Environmental Phenomena
2020
作品自身無法單獨存在,環境產生現像,現像創造出了作品的存在。
迄今為止人類制造出來的事物,就像石頭一樣由物質形成存在,其自身具有穩定的結構。與這些事物不同的是,本作品的存在本身是由環境創造的。
環境產生現像,環境使得這個存在的結構維持穩定。這個存在我們稱它為環境現像。
存在將迄今為止構成存在的因素從物質中釋放出來,日常生活中隨處可見的空氣、水、光等會因特殊環境而產生奇特的現像,這種現像就是存在。而這種存在的界限是模糊且連續的。即使人們破壞了作品,只要環境被維持著,作品就會繼續存在。相反,當環境得不到維持時,作品就會消失殆盡。人們的意識,將從存在本身擴展到環境。
當我們把石頭放在一個與外界隔絕的密封盒子裡時,它仍會繼續存在,但生命如果被放在這樣一個密封盒子裡,就無法維持它的存在了。生命也是因環境而維持下去的存在。
或許生命本身,也是在這打開的世界中、連續的流逝中的奇跡般的現像。
FEATURED WORKS
teamLab, 2022-, Interactive Installation, Sound: teamLab
People can walk into the artwork, and even if they do so, the artwork will continue to be maintained, its existence unharmed. If a person touches the artwork, they realize that what they are looking at is ordinary water. The artwork’s existence is not independent, but is actually a unique phenomenon created by its environment.
The places where the work appears will change as the viewer moves. The work’s appearance is unique to the viewer, so someone viewing the artwork from another angle will see a different colored work appearing in a different place. In other words, the existence of the artwork being seen is created by its environment, and exists only in the viewer.
Environmental Phenomena
teamLab explores the creation of artworks based on the concept of environmental phenomena, in which the artworks do not exist independently, but are created by the environment that produces the various phenomena.
Objects like stones and man-made creations maintain a stable structure on their own. Unlike these, the existence of the artworks are dependent on their environment.
The environment produces phenomena and stabilizes their structure - these stabilized phenomena are what create the existence of the artworks.
Environmental phenomena are released from the material substances that have been responsible for maintaining structures of existence. Elements like air, water, and light that permeate our daily lives are transformed by their environment into unique phenomena that become works of art. The boundaries of their existence are ambiguous and continuous. Even if people destroy the work, the work will remain in existence as long as its environment is maintained. On the contrary, the work will disappear if the environment is not maintained.
In time, people's consciousness will expand from existence itself to the environment.
A stone can continue to exist in a closed box, sealed off from the outside world, but life cannot sustain its existence in such a box because it is created by its environment.
Life is a miraculous phenomenon that emerges from a flow in a continuous world.
teamLab, 2020, Interactive Installation, Sound: teamLab
The only material substances present in this space are ordinary soap, water, and air. The bubbles are soap bubbles.
This floating, immense sculpture emerges from a sea of bubbles, transcending the very concept of mass. It neither sinks to the ground nor rises completely to the ceiling, but instead drifts in the middle of the space. The contours of its existence are ambiguous—it fragments into smaller pieces, but merges into a larger mass. Even when people fully immerse themselves in this sculpture, its existence remains intact. If broken by people, it naturally restores itself. However, when the sculpture is destroyed beyond what it can repair, it collapses, unable to recover. Even if people try to move or push this floating sculpture, they cannot do so,, and if they stir up wind, the sculpture disperses entirely. Physical human actions cannot move the sculpture.
Objects such as stones and man-made creations maintain a stable structure on their own. A stone will continue to exist even if placed in a sealed box, isolated from the external world.
On the other hand, a vortex created in the ocean disappears instantly when transferred into an enclosed box. In other words, a vortex does not maintain a stable structure independently. A vortex exists within the flow created by its environment formed by water continuously from the outside to the inside and from the inside to the outside, maintained by the vortex’s ordered structure. This flow allows the vortex to shift as the surrounding currents change. Moreover, its boundaries are ambiguous, and there is no material distinction between the vortex and its surroundings.
Rather than a solid object, this sculpture is created by the order of energy generated by the phenomena of a unique environment. Let us call this existence created by the order of energy, a "Higher Order Sculpture." The artwork is inseparable from the environment and changes along with the environment. It transcends the conventional notions of physical objects—it sustains its existence mid-air, having ambiguous boundaries, and it is able to maintain its shape even when people immerse themselves physically into the sculpture, naturally restoring itself even if the sculpture breaks.
By filling the space with soap bubbles, a distinct environment is created in which an order of energy is born. By doing so, a massive form emerges from this sea of bubbles that floats steadily in mid-air.
In modern biology, the definition of life cannot be strictly defined, but everything that is structured upon cells, capable of metabolism, and self-reproduction are labeled living things for convenience. In other words, all living things are composed of cells. All cells are enclosed by a cell membrane constructed of a lipid bilayer, with the hydrophilic part facing outward and the hydrophobic part covered within the layers. Both the inside and outside of the enveloping membrane are liquid. Soap bubbles are similarly enveloped by lipid bilayer membranes, and these membranes are structurally identical to cell membranes. However, contrary to cells, the bilayer of the bubble membrane floats in and encloses air, so the hydrophobic part faces outward, while the hydrophilic part is covered within the layers. In other words, if we consider cells to be pouch-shaped membranes in liquid, then bubbles are pouch-shaped membranes in air.
This sculpture is created from substances composed in the same ways as cells, the structuring units of life-forms, and the order of energy created from this environment.
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. Life exists within the flow of matter and energy, and its contour, like a vortex, is ambiguous.
Perhaps, life is a miraculous phenomenon that emerges in the flow of matter and energy, and its structure is the order of energy created by that flow.
teamLab, 2022, Digital Installation, Sound: teamLab
A sphere made of accumulated rays of light.
The light radiates from the center in infinite fine rays, creating its spherical shape. The light source remains motionless, yet the countless lines emitting from it wriggle continuously.
The sphere has no surface boundary, and the perception of the boundary between the artwork and the body is ambiguous. When you try to touch a sphere, your hand goes into the sphere as it does not have a physical boundary.
What is this sphere? Why do the rays wriggle?
Our world is within us.
And once we recognize this sphere made of accumulated lines, our perception of the world expands, and we will begin to notice them wherever we go.
teamLab, 2022-, Interactive Digital Installation, Endless, Sound: Hideaki Takahashi
無數的光之球體群與黑暗的球體群。
每一個光球,都仿佛是光凝固了之後形成的僅由光構成的團塊一般,在空間中能夠被清晰地感知,但卻沒有物質層面上的表面。人們對於作品與身體之間邊界的認知也是模糊的。拓寬視野後,仿佛是僅由黑暗形成的青紫色的黑暗球體開始在眼前浮現。
當你想要觸碰光之球體時,球體會發出強光,周邊的球體也會接連呼應,連續而去。
在這個宇宙中,其實並不存在僅由光構成的團塊。也就是說,這些光之球體存在於你的認知之中。
而且,作品無法單獨存在,環境所造成的現像是作品的存在本身。
作品對存在的概念提出了疑問。
懸浮──被平面化的赤與青,與曖昧的紫 / Levitation - Flattening Red and Blue & Blurred Violet
teamLab, 2021, Digital Installation, Sound: Hideaki Takahashi
在空間中,如生命一樣的能量的秩序被創造出來。
球體在空間中沒有任何依附。即使如此,球體還是能借由能量的秩序,超越質量的概念在空中上浮,既不頂天也不立地,或靜靜地漂浮在空間的正當中,或在空中上下起伏。當球體被敲擊時,就會落到地面上並會在地面上滾動。而當沒有受到撞擊或打擾時,它又會仿佛自我修復一般,慢慢回升到空中。
球體始終在立體和平面之間循環往復。
何為生命?比如說,因為病毒並不擁有生物學上所定義的最小單位的生命體:細胞,而且也不會復制增殖,所以被認為是在生物和非生物的邊界線上存在的東西。在生物學裡,到目前還無法定義到底是什麼來左右物質最終成為生物或者非生物。
而另一方面,你,在明天也仍然繼續保持是你,這是有違於“熵(shang)增定律”裡有形物體會崩潰的理論的。一般被認為熵(表現混亂或者無序程度的物理量)在自然界中會朝著無限增大的方向發展,而生命卻正相反。生命是與物理定律相反的,超越自然現像的存在。
1977年諾貝爾化學獎得主物理化學家伊利亞·普裡高津發現,自然界存在需要借由,從外部攝取的能量後,在內部生成熵,並通過把這些熵向外部排出體外而才得以形成的,能夠在非平衡狀態中得以維持的秩序和構造。把能量(以及物質)往外部耗散從而減少內部的熵,並以此產生秩序。 也可以說生命體以將外界的能量作為食物來攝取,將熵作為排泄物向外部耗散,從而維持內部的熵保持不變。
生命可能是一種與外部環境相連的能量的秩序。
而由於生命的存在本身就是一種違背物理定律的超自然現像,所以當我們在作品的空間中創造能量的秩序時,球體便會仿若是是一種與物理規律相反的超自然現像一樣,違背了萬有引力,慢慢地漂浮起來,停留在空間的正當中,或在空中上下起伏。
當我們看到超自然現像(指超越自然界定律的現像)在眼前發生時,自身的認知本身就會發生改變。而這種認知上的改變,則會引導你進入 "與日常生活不同的狀態"當中。
我們旨在通過藝術作品探索認知的變化。