teamLab: A Forest Where Gods Live - GC | teamLab

装置艺术本身会随着漂浮在池面的小船前进而不断变化。而且鱼群整体本身并没有意志，而是每一尾鱼都会受到附近鱼群的影响，并以自律性的方式来游泳。当小船静静地飘浮在水面时，鱼群就会聚集到小船的周围，而当小船开始航行时，鱼群就会避开小船。鱼儿在游泳时会受到小船行动以及其他鱼儿行动的影响。最後整个鱼群行动的轨迹，就会描绘出这个作品。

在真实的巨石上呈现的装置作品。把巨石（高约3m，宽约4.5m）在虚拟的三次元空间里再现，并注入流水，模拟水流在岩石上的举动最终描绘出瀑布。

水，用无数连续的水粒子来表现，然後计算粒子间的相互作用。接着按照水粒子的举动，在空间上描绘出线条。最后通过teamLab考案的“超主观空间”理念把所有线条的集合平面化，并描绘出瀑布。

御船山的灯光，仿佛在缓慢呼吸一样，有规律地闪烁。
与御船山的山脚下“生命是连续之光－杜鹃花谷”传播过来的光遥相呼应，发出强烈的声响和光芒。

大约300万年前，有明海产生的隆起，形成了御船山。据说神功皇后从朝鲜半岛的新罗归国（西历200年前后）时，在这里连接了御船，所以被称为御船山。

据说大概在1300年前，后来修建了奈良大佛的名僧行基当时来到御船山，在三个洞窟中雕刻了五百罗汉，并在第三洞窟深处的岩石上雕刻了三个佛像。而同时他在三个佛像的旁边挖了洞，1300年来洞里从未干枯积满了水，自古以来被视为具有药效的神水，被世人饮用。

书法会在岩石洞窟和外部岩壁之间来回。立体而连续的洞窟和岩壁表面上被写出的书法，在被书写成形之后，会立体地旋转。
用光描绘的书法，黑色的书体代表着此处并没有光，和洞窟深处的黑暗无法区分。书法和洞窟的黑暗合成一体，在洞窟的岩壁上不断书写着空书。

“空书”是teamLab在创立时就开始的，在空间里描绘的书法。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。

Masses (Megaliths) of different space-times are clustered in the bath house ruins.The forest surrounding the bath house ruins is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house was made in modern times, but after just a short period, it was abandoned, becoming a space-time where time had stopped completely. And this group of megaliths is also a mass made up of compressed space-times where the flow of time varies. Here, various space-times intersect and overlap.
Each megalith is surrounded by similarly standing megaliths, the space-times of which are all connected. 
The artwork is continuously rendered in real time by a computer program. It is neither prerecorded, nor on loop. As a whole, previous states never recur, and the artwork is continuously changing due to the movement of people. Every moment is unique and can never be seen again.
The following artworks exist in the artwork space of the three-dimensional objects grouped in these bath house ruins.
・Flowers and PeopleThis artwork is in a state of continuous change. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters. The flowers bud, grow, and blossom before their petals begin to wither and eventually fade away. The cycle of growth and decay repeats itself in perpetuity. If a person stays still, the flowers surrounding them grow and bloom more abundantly.
・Universe of Water Particles When people approach the artwork, the flow of the water changes. The movement of people influences the artwork, causing it to evolve continuously, while the artwork influences other works. For instance, the water causes the flowers in the work Flowers and People to scatter.Water is represented by a continuum of numerous water particles. The interaction between the particles is calculated and then lines are drawn in relation to the behavior of the water particles. The lines are “flattened” using what teamLab considers to be ultrasubjective space.

* In order to view  teamLab: A Forest Where Gods Live before it opens (sunset), purchase a Daytime Rakan Bath Reservation. After sunset, only a teamLab: A Forest Where Gods Live exhibition ticket is needed.

A long-forgotten underground passage has recently been discovered, and the depths of the passage are decaying. In this space that is crumbling and losing its original structure, a fire burns eternally.

The forest above the underground passage is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time and with each year passing year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The forgotten underground tunnel is a space where time seems to have stopped, and the depths of the passage are a decaying space and time that will not exist for much longer. The fire that eternally burns there also has its own space and time.
Here, various space-times intersect and overlap.

The fire changes shape due to a transparent absolute presence.
Lines are drawn in relation to the flow of combusting gas, and the flames are created by the accumulation of those lines in three-dimensions. The lines are then “flattened” using what teamLab considers to be Ultrasubjective Space to represent the flames.

teamLab is exploring the concept of Distributed Art.
If you launch the Distributed Fire smartphone application and approach this artwork, the flame will ignite and you can take the artwork home with you. When you bring that flame close to another person's smartphone, a flame will alight. As you connect the flame, and they connect that flame with someone else, the flame will spread all over the world. The flames that are spread are displayed on the Map of The Flame.

Distributed Art duplicates itself, or a part of an artwork is distributed among people. Then, once in the hands of the people, the artwork is further actively distributed, and also makes copies of itself. The artworks will be distributed and exist on people's networks and become decentralized. When the artwork exists on the network, it continues to exist even if the original disappears.

本作品是通过点状光的集合来创造三维物体的火焰的互动雕塑作品。此创作方式类似于点彩绘画，即用各色彩点来绘制图像。
当人们靠近时，火焰将变得更强。
火焰是由于燃烧而产生的一种光和热的现象，并非是一种物质，而是我们看到燃烧这种化学反应时的感官体验。 这种感官上的体验，使得火焰能够被我们认知为是一种物体，且有时能够在其中感受到生命的存在。
大多的火焰，从外焰到焰心的颜色都是逐渐变化的。外焰为红色，内焰为强烈而明亮的白色，焰心则是较暗的颜色。 然而尽管生鸡蛋的颜色构成也与之相似，外壳是白色的，内部是透明的，中心部分是黄色的，作为一个三维物体，从外面却只能看到白色的外壳。火焰这个三维物体之所以看起来能够像二维绘画一样有色彩的层次，而非如鸡蛋一样，是因为火焰是由光所构成的三维物体，内部强烈且明亮的白色即使与外部的红色混合，也依然呈现白色的样子。因此，作为一个三维物体的火焰，无论从哪里观赏，都像一幅具有色彩层次的平面绘画。
本作品通过点状光的集合来创造三维物体的火焰，从而使得火焰的雕塑能够在三维和二维之间来回穿梭。

This space in the hotel was originally a banquet hall. It was built during the years of steep modern economic growth, and gradually fell out of use due to changes in the times, becoming a closed space where time stands still.
Various times and spaces exist at Mifuneyama Rakuen. By destroying the outer wall of the building, teamLab reconnects the various times and spaces, and creates a place where they intersect and overlap.
The rubble of the collapsed outer wall creates flickering black shadows and static red shadows.

teamLab: A Forest Where Gods Live struggled through the Covid pandemic and survived with the support of VOLVO. This space was created through the VOLVO project.

御船山乐园里的樱树透过灯光投射发出灿烂的光芒。
每棵树上的光会个别自我行动，像是在呼吸一样一下发出强烈光芒丶一下变得灰暗。

每棵树上的光在遇到观赏者接近通过时，光芒的颜色会产生变化并且发出特别的音色。而且该树木的光芒会放射状的传播到附近的树木。被传播的树木灯光会发出同样的音色，并且接着再传播给相邻的树木上，不断连续进行下去。

当光芒从森林的深处延展过来时，就表示另一方有人在。这麽一来人们应该会比平常更加意识到相同空间内其他人的存在吧。

Available time (30 minutes one way):
Jul 12 - Sep 08, 8:00 - 17:00
Sep 09 - Oct 06, 8:00 - 16:00
Oct 07 - Nov 04, 8:00 - 15:00
* To experience this artwork, a ticket for teamLab: A Forest Where Gods Live - GC is required

A giant tree over 3,000 years old. The roots of the tree are wrapped in rough bark, with their central section split open near the surface of the ground. The interior is a hollow space about 22 square meters in size, with a stone shrine in the back.

When the garden was built towards the end of the Edo period (1845 CE), efforts were made to find a path connecting the garden to the sacred tree based on the theory that there was a hidden path in the forest. A footpath made from stones was finally uncovered, where you can find The Floating Tree.

Depending on your location and the pace at which you walk through from The Floating Tree to the Excavated Path Leading to the Giant Sacred Tree, the musical experience changes.

观山水处设于御船山乐园的池塘边。在这里可以看到遍布整个池塘的《锦鲤舟楫共舞所描绘之水面图》与点亮整个御船山乐园的《呼应的御船山》二者共同出现在一幅完整的构图当中。御船山乐园的光是人们走过山脚下的《生命是连续不断的光芒──杜鹃花谷》时所产生的光的的扩散与传播。

倒完茶之後，茶中会不断绽放花朵。当观赏者拿取茶碗，花朵就会散落而花瓣则会延展到茶碗之外。花朵在茶中不断绽放。只要茶碗之中还有茶水存在，花朵就会不断地绽放盛开。茶碗中的茶，就是花朵能够无限绽放的世界。如此喝茶，就如同将无限扩张的世界喝下去似的。
必须有茶水存在作品才会诞生。如果茶被饮尽的话，作品也就不复存在。茶是一种容易变化的存在，根据茶碗中茶水量的不同，茶水面积大小也会不断改变。配合着这个变化，所诞生花朵的大小也会跟着改变。当茶水从茶碗之中溅洒而出时，该处也同样会绽开花朵。
作品里的花朵在一年里会不断变化，随着季节的变化在每个月绽放出不同的花朵。
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，错过就无法再看到第二次了。

在近代以前，日本有一种叫做“重叠的色彩”，即表面的颜色和背面颜色的组合（当时的丝绸很薄所以可以透过层层丝绸形成一种复杂的色彩），以及重叠后的色彩的层次，织布的纵线和横线的组合等复杂的色彩，被赋予了代表季节的色彩的名字。
当有人静止站立在灯附近时，最接近人的灯会发出强烈的光芒并发出声响。然后，灯光会传播到最靠近的两个灯上。传播出去的灯光会闪烁同样的光芒，并发出同样的声响，然后再次传播到最为接近的灯上，并且不断连续地延伸开来。被传播出来的光芒一定会使得所有的灯发出一次最强烈的光芒，并一定会回归到最初的灯上。也就是说，和人相互感应的灯光，分为两路，各自描绘出一条贯穿所有灯的光线，并最终回归到起点。人们也一定会意识到，在同一空间里有他人的存在。
灯的配置虽然乍看之下杂乱无章，但是每个灯配置在空间中的位置使其最靠近的两个灯之间连出一条线时，都只会出现一条独一无二的连接线。会这样配置的意义就在于，当呼应的灯光虽然只与最接近的两个灯相呼应，但是所有的灯都会被呼应一次并一气呵成以形成一道光的路径，而最后会回归到起点的灯处。

有关灯的定位，需要满足以下制约，并根据数学原理在空间里合理配置，灯悬挂的高度以及不均一的分布，在三维空间里形成的路径（光的轨迹）的平滑度，通过定量化的测试，和对多种方案的评价，最终形成了本作品。

灯具的平面构成采用了填满空间的交错式布置方式，并且整齐的排列在空间中所设置的网格上。这是第一个制约条件。我们将地板，天花板的高度，人能通行的通道高度与宽度等物理空间的条件设定为第二个制约条件。而当所有灯在3次元空间中与最接近的两个灯连成线时，起点与终点互相连接并只能形成一条线则是第三个制约条件。
透过这种过程而创造出来的定位方案，乍看是毫无规则的，所以人无法预测光的移动轨迹且不会厌倦，实际上物理空间里最接近的灯发出的光会相互连接，就好像火焰会自然蔓延一样。然后，灯光的轨迹会一气呵成形成一条路径，由自己为起点的光与他人所形成的光必定会相交错。
这不完全是以固定空间为前提创造出的静态美，也包含了当人们靠近灯时形成的动态美。同时，这也是由数字媒体技术可自由地设计变化本身而形成的一种，包容因人的行为而产生变化与动态的，新时代的空间。
 ＊灯罩部分使用了来自意大利威尼斯，穆拉诺岛的穆拉诺玻璃制作。

地点：御船山乐园 园内
时间：御船山乐园开放时间内均可观赏

供奉着祠堂（hokora）的，由巨石堆积而成的超自然的磐座（iwakura，日本古代自然崇拜（万物有灵论）的一种）。

地点：御船山乐园 园内
*仅供在御船山乐园酒店及御宿竹林亭宿泊的客人观赏

在江户时代後期，建造御船山乐园时（1845年），建於池畔边丶用来作为第28代武雄领主锅岛茂义公的别宅，有着茅葺屋顶的荻野尾御茶屋。春天丶秋天时会开放一般民众进入。

地点：御船山乐园 园内
时间：御船山乐园开放时间内均可观赏

据说由於与神功皇后自朝鲜半岛的新罗归来（200年左右）时的「御船」有所关连而得名。

地点：御船山乐园 园外
时间：24小时均可观赏

别称「御船山城」。
据说是由武雄第二代领主後藤资茂於1118年至1120年左右所建。
後藤家在江户初期（17世纪前半叶）时，由佐贺藩主锅岛胜茂赐姓锅岛，并作为「亲类（视同亲戚）」，成为了武雄锅岛家。
冢崎城因江户幕府的「一国一城令（1615年）」而遭废城，整个江户时代都作为武雄锅岛家的居馆而存留下来。

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