teamLab: Continuity | teamLab

这个作品的空间中同时存在着多个季节，而这些季节会缓缓地逐渐变换。
花朵也会配合不断变换的季节，改变生长的地点。

花朵会从诞生、成长、结出花蕾、开花，到不久后凋谢、枯萎、死亡。也就是说，花朵永远地重复着从诞生到死亡的过程。若观众停伫不动，他们附近的花朵就会生长得比平时更多，且持续绽放。观众若是触摸或踩踏到花朵，花朵就会同时凋谢死去。

有时花朵会超越其他作品的边界，蔓延绽放到其他空间，并受其他作品的影响而凋零、消失。

春天，到访的群山樱花烂漫，山脚油菜花片片。面对绚烂的山花，使我不禁遐想，这些花有多少是人工种植的，又有多少是大自然的馈赠。这里绽放的花朵无边无际，是让人心旷神怡的场所。而接着让我感受到的是，这里的自然环境多多少少是受到了人为影响而形成的生态环境。有多少是自然原本的相貌，又有多少是人为影响造成的，界线非常模糊。也就是说，自然与人类没有对立的概念，让人心旷神怡的大自然结合了人类的影响，是和谐共处的生态环境。而有别于近代，人类对于自然无法掌握和控制的前提下，有了遵循自然法则的人们的长期经营，才创造了这个让人心旷神怡的自然环境。生活在这个山谷里的人们，依稀地让我感觉到自古以来的自然与人的关系性依然留存，我想近一步探索在无法控制自然的前提下，对于自然产生影响的人为因素到底是何物。

This work starts when the crows leave a room.
The crows cross the boundaries of other works, and fly around extensively influencing the works that they enter. For example, the crows’ flight scatters the flowers of other works, or in the case of Born From the Darkness a Loving, and Beautiful World, if the crows fly into a Chinese character, the world contained within that character will appear.
Crows are rendered in light as they fly around the space, leaving trails of light in their paths and creating Spatial Calligraphy. The crows chase one another and in turn become chased themselves. When the chased crows crash into one another, they scatter, turning into flowers. The crows attempt to fly around people in the space, but when they crash into a viewer, they scatter, turning into flowers in the same way.
The artwork is rendered in real time by a computer program. It is neither a prerecorded animation nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.

This work is to be viewed from a specified position in the space.
This work starts when the shoal of fish from The Way of the Sea, Flying Beyond Borders enters the space in the back of the exhibition. The work ends when the fish leave the space and disappear.
If you stand at the specified position, the boundary between the wall and the floor disappears, the real space dissolves, and the lines drawn by the trails of  the fish appear to be drawn in three dimensions in the space. Eventually, the body becomes immersed in the artwork world, and the border between the artwork and the viewer dissolves.
The shoal of fish illuminated by the light moves freely through the space, and their trails of light draw lines in the space. The fish sense people in the space and try to avoid colliding with them. People are also assigned a color, and when a fish passes by a person, it takes on that color.
This work is part of a series called The Way of Birds. “The way of the bird” is a saying in Zen which refers to the fact that unlike a human road, the road of the bird is not fixed. The road of the bird is free, unfettered, and leaves no trace. Here, the birds are replaced with fish.
The movement of thousands or tens of thousands of fish is beautiful and mysterious, like a single giant life form. The shoal of fish has neither a leader nor mutual consensus, but just moves on the simple basis of, “If my neighbor moves, then I move too.” However, the biological mechanism that causes hundreds of fish to move at the same time is still enigmatic. It seems there is a universal principle that human beings do not yet understand. While affected by the presence of people in the space, each fish seems to obey some sort of primitive rule as it moves, drawing lines in the space and unintentionally painting the surfaces with complex and beautiful colors.
The installation is rendered in real time by a computer program, it is neither a prerecorded animation nor on loop. The installation is in constant change, previous states will never be repeated and can never be seen again.

A rock mass floating in the world of teamLab Borderless in Shanghai. The rock mass floats down the passage of teamLab Borderless in Shanghai and sinks into the wall. The rock mass transcends the physical space of the museum itself, the sunken part appearing in the space of this exhibition.
When people hold a hand over the rock mass that comes out of the walls of this space, the rocks glow blue. The light flows to the rock mass sinking into the walls of Shanghai. When people touch the rock mass sunk into the wall at Shanghai, the rock mass glows red and the light flows into the rock mass on this side. When red light flows into the rock mass, it means that someone in Shanghai is touching the other side of the rock mass.

“反转无分别”之空间书法，会跨过屏幕的边框，在空间里连续着一笔书写。这一笔，会影响其他作品，如“花与人的森林，迷失、沉浸与重生”的花朵会被它冲散。
被描绘出来的“空书”会在作品空间内朝着同一方向持续旋转。作为“超主观空间”的一个特征，在视觉上，其向左旋转和向右旋转在理论上是相同的。所以，它会随着观赏者的意识，呈现向左方向或向右方向旋转的形态。

“空书”是teamLab从创立以来一直延续的，在空间里书写的书法。书法特有的墨迹，深浅度、速度和力度，在全新诠释的空间里被立体的再构建，通过teamLab的“超主观空间”的理论结构被二次元化。书法在平面和立体之间不断巡回。

When no one is in the space, it is completely dark and nothing exists. When people enter the space and stand still, butterflies are born from their feet where they stand, or from their hands held above the wall. When people hold their hands over the butterflies themselves, the butterflies die.
The butterflies fly beyond borders and through other artworks, entering monitors or leaving rooms, dissolving the boundaries between artworks and flying through other works. By flying seamlessly through the other pieces, the artwork is freed from the concept of “frames” and blurs the boundaries between works. The butterflies are influenced by other artworks as they fly.
Only the butterflies born from people fly in this exhibition. If people kill more butterflies than they create, this artwork will cease to exist.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

站立在靠近入口处的空间中央观看的作品。

当“超越边界的群蝶”从展馆深处的作品空间移动进入此处空间时、作品便会上演。当其他作品进入此空间后，「超越边界的群蝶」便会离开。

站立在此空间的入口附近中央时，墙壁和地板的交界会消失，从而使身体整个沉浸到作品的世界，观众的身体和作品世界的边界也会消失殆尽。

作品不是将预先制作好的影像进行放映，而是通过电脑程序实时绘制而成的。整体来说，作品的图像并非复制以前的状态，而是受到人们行为举止的影响，持续发生变化。眼前这一瞬间的画面，错过就无法再看到了。

人类自身和环境是“不二”的，也就是说看上去是不同的，但实际是同一的，不分彼此且无法分离的。这里的“无法分离，指的或许并非是统合，而是对于虽然看上去是两个不同的东西，但实际上是同一物体的再认知。自然赋予我们恩泽，也带给我们灾难。同样，我们受惠于文明的进步，也承受着这种进步带来的负面影响。自然与文明总是相伴相生。时间没有绝对的恶与善。我们很难理解也无法安放自己的情感和心绪。无论未来等待我们的是什么，我们只能选择去面对而不绝望地继续生活。
用“空书”在立体地书写着象征着生命和生存的“生”字。“空书”是teamLab从创立以来一直延续的，在空间里书写的书法。书法特有的墨迹，深浅度、速度和力度，在全新诠释的空间里被立体的再构建，通过teamLab的“超主观空间”的理论结构被二次元化。书法在平面和立体之间不断巡回。
用镜头和透视呈现出的作品空间出现在显示面的另一侧。 换句话说，显示面成为了一个边界，将观赏者存在的空间与作品的空间分割开来。 然而，"超主体空间 "的特点之一便是在通过 "超主体空间 "所呈现的作品空间中，显示面并不会成为空间的边界。 这种作品空间能够超越显示面，仿佛以三维形态存在于观赏者所处的空间中。作品的空间与观赏者身体所处的空间因此得以连接并延续。