[Official] teamLab Future World, ArtScience Museum, Marina Bay Sands, Singapore

The contours of life’s existence are not the surface boundary of the body, but something ambiguous that includes the environment that is continuous with it.
As long as people live, they dissipate energy and affect the environment, such as the flow of air.
In this artwork, the existence of a person is depicted through the energy dissipated by people into the world for as long as they live.

Being consists of the mind, the body, and the environment that is continuous with them.

Objects like stones and man-made creations so far have maintained a stable structure on their own. But life is different. Whereas a stone can continue to exist in a closed box, sealed off from the outside world, life would cease to exist.

Life is like a vortex created in the ocean. A vortex forms and exists in a flow of matter, and the boundaries of its existence are ambiguous.  

Although a vortex is steady, it is constantly moving and swelling like a powerful life-form. The vortex cannot maintain a stable structure on its own; rather, it is created and sustained by water that continuously flows inwards and outwards.

The same is true of life. It consumes external matter and energy as food and discharges it, sustaining its ordered structure as the energy dissipates. In other words, life does not exist by itself. It is the environment that is continuous with it that maintains the structure of life.

Life is a miraculous phenomenon that emerges from a flow in an open world. Like an ocean vortex, it is an existence with ambiguous boundaries in an infinite continuity.

To be alive is to be inseparable from the world, constantly dissipating energy into it.

Seasonal flowers bloom while slowly changing. Animals are born from those flowers. The flowers continue to bloom and die in an eternal cycle, forming the shapes of animals.When people touch the animals, the flower petals scatter. If people touch the animals too much, all of the flowers will scatter, and the animals will die and fade away.

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. 

When a person stands on the waterfall they obstruct the flow of water like a rock, and the flow of water changes. The flow of water continues to transform due to the interaction of people. Previous visual states can never be replicated, and will never reoccur. 

The flow of the waterfall influences other artworks.

The butterflies in Flutter of Butterflies are born from people, they dance in the space, but if people touch them they die.

When people enter the space and stand still, a butterfly chrysalis appears on their body, and the butterfly emerges and flies from their feet.The artwork is born from a person, but they themselves may not realize it. Instead, they will notice the butterflies being born on other people before realizing that they too are creating the artwork.The butterflies transcend the boundaries of the display, entering and flying around in other works. By seamlessly flying into other works they break the concept of the artwork frame, and make the boundaries ambiguous. The butterflies are affected by the conditions in other artworks.

If people touch and kill too many butterflies, then the work will cease to exist.

Neither prerecorded nor on loop, the work is rendered in real time by a computer program. The interaction between the viewer and the installation causes continuous change in the artwork. Previous visual states can never be replicated and will never reoccur.

100 Years Sea is a video work with a running time of 100 years. The work is based on the World Wide Fund for Nature (WWF)’s prediction in 2009 that sea levels will continue to rise by a maximum of 120cm by the end of the century. Beginning in 2009, the sea level in this work rises over the course of a hundred years until 2109.From the moment of this artwork’s creation in 2009, a world parallel with the actual sea is born. When looking at the artwork 100 years from its beginning, what will be the state of the actual sea? Will the rise in sea levels be more serious than the WWF predicted? Or will the sea levels be lower? The sea in this work continues to rise as we head toward that inevitable time. 
In classical East Asian art, waves are often expressed using a combination of lines. These waves created by lines allow us to realize that each wave is one part of a larger flow, and conveys life as though the waves are a living entity. 
When the waves rise, we can feel a powerful breath of life, as though life is blooming. It feels as though each wave has a life of its own. But when the waves collapse and disappear, we realize, with a sense of fragility, that they were a part of the ocean. And that ocean is connected to all of the other oceans. In other words, all of the waves in the world are connected to each other.The waves seem alive because life is like a rising wave. It is a miraculous phenomenon that continuously emerges from a single, continuous ocean.

Enso is the Zen practice of drawing a circle with a single brushstroke. This artwork depicts enso drawn as Spatial Calligraphy. The brushstroke is suspended in space, but there are moments when its circular shape is revealed as the brushstroke rotates and shifts the viewpoint.
Spatial Calligraphy is a form of calligraphy drawn in space that teamLab has been exploring since it was founded. The artwork reconstructs calligraphy in three-dimensional space to express the depth, speed, and power of the brushstroke, and that calligraphy is then flattened using the logical structure of space teamLab calls Ultrasubjective Space. The calligraphy shifts between two and three dimensions.
Back in ancient times, enso was drawn in space using sticks, to symbolize the concepts of enlightenment, truth, the universe, and equality, in a figurative manner. The circle is also a reflection of the viewer’s inner self, thus its interpretation depends on the viewer.

이 수족관에 여러분이 그린 물고기들이 헤엄칩니다.
종이에 자유롭게 물고기를 그려주세요. 그림을 그리면 눈앞에 펼쳐진 거대한 수족관에 여러분이 그린 물고기들이 나타나 함께 헤엄치기 시작합니다.물고기들은 만질 수도 있습니다. 물고기를 만지면 도망가고, 먹이 주머니를 만지면 물고기에게 먹이를 줄 수도 있습니다.
그중에서도 참치는 전시의 물리적 공간을 넘어 세계의 다른 전시의 '세계와 이어지는 스케치 아쿠아리움’이나 ‘스케치 오션’까지 헤엄쳐 갑니다. 또 지금 세계의 다른 곳에서 그린 참치가 눈앞의 ‘세계와 이어지는 스케치 아쿠아리움’의 물 속으로 헤엄쳐 오기도 합니다.

Color in an airplane, butterfly, or hawk on the paper provided and see the picture you have drawn appear three-dimensionally, flying through the world in front of you. If you touch them, they speed up or fly away.
You can control the plane, butterfly, or hawk with the tablet and see the world from their perspectives on the screen.For example, butterflies have a 344-degree horizontal field of vision, and almost a 360-degree vertical field of vision. With the tablet, you can see the world not only in front of you, but on both sides and behind you as well.Hawks can see two things clearly at once. They can observe small creatures on the ground while looking ahead of them as they fly. Tap an area you want to zoom in on the tablet, and that area will appear bigger on the screen.
Each living creature understands the world only through their own perception, so the world looks different depending on the creature. Such worlds constructed upon each creature’s unique perceptual experiences are called umwelt.

이 창문은 꼬마 요정들이 사는 우주의 창문.빛의 펜으로 선을 그리거나 빛의 스탬프를 찍어 그림을 그린다. 그려진 선은 색깔마다 신비로운 힘을 가지고 있어, 꼬마 요정들의 세계에 영향을 미친다. 찍힌 스탬프는 꼬마 요정들의 세계에 나타나 움직이기 시작한다.
노란 선은 꼬마 요정을 강하게 튕겨낸다.파란 선은 꼬마 요정을 점점 가속시킨다.핑크색 선은 고무줄처럼 꼬마 요정을 튕겨 내며, 선의 흔들림을 전한다.보라색 선은 중력을 가지고 있어 꼬마 요정을 끌어당긴다.초록색 선은 형상을 그리면, 그 형상이 움직이기 시작한다.
주변 사람들과 함께 큰 그림을 그리고, 많은 스탬프를 찍어 꼬마 요정들의 세계에 새로운 세상을 그려 다양한 힘을 부여하면, 꼬마 요정들의 세계는 새로운 세계로 변해간다.

‘에어리얼 클라이밍 (Aerial Climbing)’은 로프로 매달린 막대들이 공중에 입체적으로 떠 있는 공간. 사람들은 떨어지지 않기 위해 이 막대를 이용해 공중을 입체적으로 건너간다. 막대들은 서로 연결되어 있어, 다른 사람이 움직이는 막대의 움직임이 자신이 서 있는 막대에도 영향을 미친다. 선택하는 경로에 따라 막대의 배열이 달라지며, 다양한 막대의 연결 방식에 따라 각기 다른 체험을 한다.다양한 색상의 막대들은 사람이 올라서면 강렬하게 빛나며, 각 색상 고유의 음색이 울리기 시작한다. 여러 사람이 다양한 색상의 막대에 올라서면, 음색은 점점 겹쳐진다.
이 공간에는 수많은 새들이 자유롭게 날아다닌다. 새들은 사람 가까이 날아갈 때, 사람이 서 있는 막대의 색을 흡수하여 그 색으로 변한다.
수천에서 수만 마리에 이르는 새 떼의 움직임은 아름답고 신비로우며, 마치 하나의 거대한 생명체처럼 보이기도 한다. 이 새 떼는 리더도 없고 서로 소통하지도 않으며, 단순히 옆에 있는 동료의 움직임에 따라 자신도 움직이는 간단한 규칙으로 움직인다고 알려져 있다. 그러나 수백 마리의 새가 거의 동시에 일으키는 움직임을 만들어내는 생리학적 메커니즘은 여전히 미스터리로 남아 있다. 인간이 아직 이해하지 못한 보편적 원리가 존재하는 듯한 느낌을 받는다. 새 떼가 만들어내는 색채로 물들어 가는 이 공간에는 전체적인 의도가 없다. 사람들의 존재 영향을 받으며, 각각의 새가 원시적인 규칙에 따라 움직임으로써 의도하지 않은 복잡하고도 아름다운 색채로 공간을 물들여간다.