Spatial Dialogues | teamLab

Masses of spacetime exist in disarray, and the spacetimes of each mass connect to each other.
When people stand in front of the flames burning within the mass, a black absolute existence appears.
Flames are a phenomenon of light and heat generated by combustion; it is a vaporized or decomposed substance in a state of flow. It is our sensory experience of seeing what is in between phenomenon and substance. People perceive fire as a single object through this sensory experience, and may even sometimes feel life in it.
Lines are drawn in relation to the flow of combusting gas in the masses 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.

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 the birds are depicted through the energy they dissipate into the world.
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.

나 자신과 바깥 환경은 둘이 아니다(不二). 서로 가르고 나눌 수 없다는 가르침이 있다. 분리의 반대말은 통합이 아니다. 둘로 보이는 것이 실은 처음부터 하나였음을 깨닫는 일로부터, 우리는 분리를 벗어난다. 오늘날 우리에게 ‘살아 있는’ 일은 이렇게 형상화되어야 하지 않을까.
한자 ‘生(날 생)’을 ‘공서(空書)’로 입체적으로 써 나간다. ‘생(生)’은 삶이자 살아 있음을 뜻한다. ‘공서’란 teamLab이 초기부터 계속해 오는 작업 방식으로, 빈 허공에 쓰는 붓글씨다. 먹물을 머금은 붓의 궤적이 지닌 깊이와 속도, 힘의 강약 등을 새롭게 해석해 공간 속에 입체로서 재구축하고, teamLab의 ‘초주관 공간’ 논리 구조에 따라 다시 평면화한다. 결과적으로 붓글씨가 평면과 입체 사이를 끊임없이 오간다.
렌즈나 원근법으로 잘라낸 작품 공간은 디스플레이 면이 향하는 쪽에 작품 공간이 나타난다. 즉 디스플레이 면이 경계선이 되어 감상자가 존재하는 공간과 작품 공간은 분단된다. 하지만 초주관 공간의 특징 중 하나로, 이 작품 공간은 디스플레이 면이 경계가 되지 않는다. 이 작품 공간은 디스플레이 면을 넘어서 감상자가 존재하는 공간까지 입체적으로 존재하는 것처럼 인지된다. 작품 공간은 감상자의 신체가 있는 공간에 연속하여 이어진다.