teamLab : Au-delà des limites | teamLab

An enormous waterfall cascades down throughout the space of Au-delà des limites as it transcends the boundaries and sometimes affects other works.
Water is represented by calculating the interactions between a continuous flow of hundreds of thousands of water particles. Then, lines are drawn in relation to the behavior of the water particles. The accumulation of these lines expresses the waterfall. 
When people stand on or touch 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.

In the background, cherry blossoms bloom and scatter, the cycle of life and death repeats itself.As people come in contact with the space, a circle is born and grows to radiate at a certain rhythm and a specific interval. The circle born transforms only the light and darkness of the background world.

This work is to be viewed from a position close to the entrance of the space.
The artwork begins when Crows are Chased and the Chasing Crows are Destined to be Chased as well: Flying Beyond Borders enters the Cosmic Void. When it ends, the crows leave the space.
If you stand at the position close to the entrance, the boundary between the wall and the floor disappears and the real world dissolves, making the lines drawn by the trails of the crows appear three-dimensional. Eventually the body becomes immersed in the world of the artwork, and the boundary between the artwork and viewer dissolves as well.
Flocks of mythical crows (Yatagarasu) rendered in light fly around the space leaving trails in their wake and forming Spatial Calligraphy. The chasing crows are eventually chased themselves, and form flowers when they crash into each other, scattering their petals. Although the crows usually avoid crashing into people in the space, when they happen to do so, they similarly form flowers, scattering their petals.

This interactive digital installation consists of a seemingly endless number of life-sized holograms. The figures depicted in the holograms exist independently from one another. They play instruments and dance, and each individual is influenced by the sounds from the figures close to them. There is no lead figure that oversees or influences all the other dancers, and there is no center or order enforced on the crowd. External events can cause disorder, but in time, peace will gradually be restored.

When a person enters the installation and a figure senses the viewer, that figure responds to the person and stops playing music. The figure passes on this information to other figures close by. After a short period of time, the figure will start playing music and dance again, but this disturbance will have disrupted the harmony. If, however, the viewer stays still or leaves, the dancers will begin to form back into one harmonious group and the feeling of peace will return.

In Japan, there is a primitive dance festival called the Awa Dance Festival dating back so far that its origins are unknown. Groups of individual dancers play music and proceed around the town arbitrarily. Groups play their own music as they like and dance as they like. Interestingly, for some reason, the music forms into a peaceful order across the whole town. Dancers who randomly meet other groups of dancers gradually and subconsciously match the tempo of their music with that of the other group. This is not due to any set of rules; it just feels right and happens without conscious choice. It seems that when people are set free from their inhibitions, an extraordinary peaceful feeling prevails despite the lack of any order to the dances. Perhaps this is how people of ancient times maintained a feeling of peacefulness.

Today, in the Internet age, the speed at which people can connect with others has accelerated. As a result, people throughout the world have become increasingly connected, and these connections have become more important. What we experience in this new age is similar to the experience of the dance festival, and perhaps in these unordered connections there is a way to find peace. The figures that appear in the holograms are anonymous and unknown. This helps the viewer to feel as though they are a part of the installation, and that anyone can experience the feeling of peace without order.

고동치는 산과 계곡은, 입체적인 지형으로 이루어져 있어 시각을 통한 인식과 신체에 의한 인식이 분리되어 고동치고 있다.
사람들이 그린 다양한 생물들이 고동치는 산과 계곡에 살아가고 있다. 종이에 생물들을 그리면 그림에 생명이 불어넣어지고 눈앞에 나타나 움직이기 시작한다.
생물들은 다른 생물들을 잡아먹거나 잡아먹히며 함께 하나의 생태계를 만들어간다.당신의 그림으로 탄생한 생물은 다른 생물을 먹을수록 많아진다. 반대로 한동안 다른 생물을 먹지 못하거나, 다른 생물에게 잡아 먹히면 죽어 사라진다.
도롱뇽은 뱀을 먹고, 뱀은 도마뱀을 먹고, 도마뱀은 개구리를 먹고, 개구리는 나비를 먹고 개체수가 늘어난다. 또한 나비는 꽃이 있는 곳에서 수가 늘어난다.꽃은 사람들이 가만히 있으면 그 자리에 많이 피어나고 반대로 사람들이 그 위를 밟고 돌아다니면 지고 만다. 그리고 도롱뇽은 사람에게 많이 밟히면 죽고 만다. 
생물들은 그 수가 늘거나 줄면서 이 세계로 퍼져 나간다. 당신이 그린 생물도 이 장소 어딘가에서 증가하고 있을지도 모르니 찾아보자. 
레드 리스트(Red List)란 국제자연보호연합(IUCN)이 생물의 보전 상태를 조사한 데이터베이스로, 이 작품에는 멸종 위험에 처해있는 생물을 비롯해 레드 리스트에 등재된 다양한 야생 생물들이 등장한다.

Throughout a year, the flowers that bloom every day gradually change in accordance with the seasons.
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. The flowers are interactive; depending on the proximity of the viewer to the work, or if the viewer touches the flowers, they simultaneously come to life or shed their petals, wither, and die all at once.
Neither a prerecorded animation 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. 

이 작품은 각 공간으로부터 물고기 무리가 나오면서 시작해, 다른 작품의 경계를 넘어, 다른 작품에 영향을 미치면서 종횡무진 헤엄친다. 그리고, 다른 공간에 들어가 새로운 작품으로 이어진다.사람들이 물고기 무리를 만지면, 사람들이 각자 가지고 있는 색깔로 물들어 간다.
젠(禅)의 문화에는 “조도(鳥道; 새의 길)”라는 말이 있다. 새가 가는 길은 인간의 “도로”와 같이 고정되어 있는 것이 아니고 자유무애하고 흔적을 남기지 않는 것을 의미한다.
수천에서 수만 마리의 물고기 무리의 움직임은 아름답고 신비롭고 마치 하나의 거대한 생명체와 같이도 보인다. 무리에는 리더가 없고 의사소통도 없으며, 주위의 물고기가 움직이면 자연스럽게 자신도 움직이는 단순한 규칙에 의해서 움직이고 있다. 그러나, 수백 마리의 무리가 거의 동시에 움직이는 것에 대한 생리학적인 원리는 수수께끼로 남아있다. 거기에는 인간이 아직 이해 못하는 보편적인 원리가 존재하고 있는 것처럼 보인다. 무리 전체가 만들어내는 형태에 무리로서의 의사는 없다. 사람들의 존재에 영향을 받아 한 마리 한 마리가 원시적인 규칙으로 3차원 공간 안에서 움직이며 전체로서 복잡하고 아름다운 그림을 만들어낸다.

A Flutter of Butterflies expressed as countless semi-transparent images. The butterflies enter the space from outside, they propagate, and dance in the space, but if a person goes near the butterflies they die.

The butterflies in this space were drawn by people in Graffiti Nature, and released from characters in Born From the Darkness a Loving, and Beautiful World, they transcend the boundaries of other works, breaking the concept of an artworks frame, and seamlessly enter and fly in other works. The butterflies gather in other works and are their flight is affected by the conditions in those works.

A large number of screens are positioned in the exhibition space. The position of the screens is reproduced on a computer in a virtual three dimensional space, and then the space is “flattened” from multiple viewpoints into ultrasubjective space. The flattened multiple viewpoints are then positioned onto the screens. Ultrasubjective space allows for the area around the viewpoints to be cut out and the artwork to be exhibited layered within the exhibition space.

When a visitor passes a screen and becomes immersed in the flutter of butterflies, from another person’s viewpoint that person appears to be in the same relative position as the flutter of butterflies, both in the artwork and exhibition space. For the viewer that person has become a part of the artwork. In other words, when visitors are seen through the screen by others, they become a part of the artwork not only in the exhibition space but also in the artwork world.

The artwork is rendered in real time by a computer program. It is neither prerecorded nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.