teamLab: Everything Exists in Infinite Continuity | teamLab

Darkness is in front, and light exists in the depths.Substance and perception become ambiguous, and physical boundaries disappear.The sea gently ebbs and flows in the eternity of time.
The black of the lines that trace the waves is darkness — that is, a state without light. However, the lines drawn by the darkness, which are void of matter or light, appear in front of the shimmering light and continue to flow.
To recognize existence does not involve the presence of objects or light.Existence is born and shaped in relation to its surroundings.
Here, the waves are drawn through Ultrasubjective Space, and thus become a pictorial space that restores bodily freedom.
On the other hand, while the pictorial world is depicted on the screen, a strong shimmering light simultaneously covers that world. This shimmering light is caused by the light itself that depicts the world of waves reflecting on the surface of the screen.The shimmering light continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes, and shines from the depths of the pictorial world. While appearing across the entire screen, the shimmering light is an extremely personal light, existing only within the viewer's own perception.
The space created by this shimmering light is not an illusion of depth depicted on a flat painting. It is a space that emerges at that moment through the movement of the viewer's body and the light that depicts the world of waves.The only physical material is copper. The pictorial space created by the group of shimmering points is generated within the relationship among the physical material, time, light, the environment, and the viewer's body, and emerges within the viewer's perception. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the pictorial space as a bodily space of light.
The bodily pictorial space drawn through Ultrasubjective Space and the bodily space of light created by the shimmering light overlap. There, the waves drawn by darkness, the copper surface, the shimmering light, the environment, and the viewer's body and perception interact with each other, and a boundless bodily pictorial world of light emerges, continuous with the space where the body exists.

A murmuration is not depicted by the contours of individual birds.
When birds fly, the surrounding environment, such as the air, also moves due to the flapping of their wings and the movement of their bodies. As long as birds live, they continuously dissipate energy into the world and keep moving the surrounding environment. This artwork does not depict the material surface boundary of the bird itself, but depicts the existence of the murmuration through the energy that the murmuration continues to give to the world and the resulting movement of the environment.
A murmuration is not an accumulation of individual birds, but a giant, organic phenomenon of collective flight. The birds rise up in the space like a single large entity, while mutually changing their distance, direction, and speed from each other. The contours of its existence are not the surface boundary of individual birds' bodies. It is something ambiguous that includes the bodies of the birds, the flow of air that is continuous with them, and the energy dissipated into the surroundings.
When viewers pass in front of the artwork, the viewers themselves also move the surrounding environment. This movement occurs in the same space as the space where the depicted murmuration is. The movement of the murmuration and the movement of the viewer blend together within the same flow of energy, and the lines that depict the murmuration are disrupted and change due to the movement of the viewer.
This painting is not an image for looking at the murmuration from the outside. It becomes a continuous field where the depicted murmuration and the viewer exist within the same environment. The murmuration is not a closed existence on the other side of the screen, but changes its appearance while blending with the environment moved by the viewer's body.
Objects like stones continue to exist even if placed in a closed box, sealed off from the outside world. But life cannot maintain its existence in such a closed box. Life consumes external matter and energy as food and discharges it, maintaining its structure as the energy dissipates.
Life is like a vortex created in the ocean, an existence within a flow, and the boundaries of its existence are ambiguous, an existence within an infinite continuity.
A murmuration is also an existence that emerges within a flow. Through the continuity of individual birds' bodies, the movement of air, the dissipated energy, the viewer's body, and the surrounding environment, a giant phenomenon of a murmuration is born.
To be alive is to constantly dissipate energy into the world and to be an open existence, continuous with the world.

无数的光之球体群与黑暗的球体群。每一个光球，都仿佛是光凝固了之后形成的仅由光构成的团块一般，在空间中能够被清晰地感知，但却没有物质层面上的表面。人们对于作品与身体之间边界的认知也是模糊的。拓宽视野后，仿佛是仅由黑暗形成的青紫色的黑暗球体开始在眼前浮现。
当你想要触碰光之球体时，球体会发出强光，周边的球体也会接连呼应，连续而去。
在这个宇宙中，其实并不存在仅由光构成的团块。也就是说，这些光之球体存在于你的认知之中。而且，作品无法单独存在，环境所造成的现象是作品的存在本身。作品对存在的概念提出了疑问。

花儿永远重复着出生和死亡。

在实时的流转中，盛开的花朵随着季节的变化而一天天变化。 而工作的世界随着这个地方的太阳升起而明亮，随着太阳落下而黑暗。

观者存在的现实时间、城市的时间、花儿的生死轮回，每一个不同的时间都有交集和重叠，让身体、城市和作品的世界连在一起。 作品的空间是不同时间和空间的重叠。

作品继续由电脑程序实时绘制。 它不是播放预先录制的图像。 从整体上看，以前的工作状态并不重复，而且还在不断地永远改变。 此刻的画面再也看不到了。

This painting comes into existence for the first time only at the moment when a person views the artwork. It exists as infinite possibilities of images until it is viewed, at which moment it is determined as a single image. The image continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes each time, and shines from the depths of the pictorial world. While appearing across the entire screen, the image emerges as different each time within the perception of each viewer.
This pictorial space is not an illusion of depth depicted on a flat painting. It is a space that emerges at a moment through time, light, the environment, and the movement of the viewer's body. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the screen as a space of light.
The only physical material is copper. The image is generated within the relationship among the physical material, light, the environment, body, and perception, without the medium of video.
This artwork is an attempt to expand painting from a completed image, or an illusion of space depicted on a flat plane, into a pictorial space that is continuous with the real space and is generated from the relationship among time, light, the environment, the body, and perception. The image is a bodily space of light that emerges at each moment within perception.