teamLab: Continuity | teamLab

這個作品的空間中同時存在著多個季節，而這些季節會緩緩地逐漸變換。
花朵也會配合不斷變換的季節，改變生長的地點。

花朵會從誕生、成長、結出花蕾、開花，到不久後凋謝、枯萎、死亡。也就是說，花朵永遠地重復著從誕生到死亡的過程。若觀眾停佇不動，他們附近的花朵就會生長得比平時更多，且持續綻放。觀眾若是觸摸或踩踏到花朵，花朵就會同時凋謝死去。

有時作品會超越了其他作品的邊界，綻放在其他空間，受其他作品的影響而凋零、消失。

春天，到訪的群山櫻花爛漫，山腳油菜花片片。面對絢爛的山花，使我不禁遐想，這些花有多少是人工種植的，又有多少是大自然的饋贈。這裡綻放的花朵無邊無際，是讓人心曠神怡的場所。而接著讓我感受到的是，這裡的自然環境多多少少是受到了人為影響而形成的生態環境。有多少是自然原本的相貌，又有多少是人為影響造成的，界線非常模糊。也就是說，自然與人類沒有對立的概念，讓人心曠神怡的大自然結合了人類的影響，是和諧共處的生態環境。而有別於近代，人類對於自然無法掌握和控制的前提下，有了遵循自然法則的人們的長期經營，才創造了這個讓人心曠神怡的自然環境。生活在這個山谷裡的人們，依稀地讓我感覺到自古以來的自然與人的關系性依然留存，我想近一步探索在無法控制自然的前提下，對於自然產生影響的人為因素到底是何物。

This work starts when the crows leave a room.
The crows cross the boundaries of other works, and fly around extensively influencing the works that they enter. For example, the crows’ flight scatters the flowers of other works, or in the case of Born From the Darkness a Loving, and Beautiful World, if the crows fly into a Chinese character, the world contained within that character will appear.
Crows are rendered in light as they fly around the space, leaving trails of light in their paths and creating Spatial Calligraphy. The crows chase one another and in turn become chased themselves. When the chased crows crash into one another, they scatter, turning into flowers. The crows attempt to fly around people in the space, but when they crash into a viewer, they scatter, turning into flowers in the same way.
The artwork is rendered in real time by a computer program. It is neither a prerecorded animation nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.

This work is to be viewed from a specified position in the space.
This work starts when the shoal of fish from The Way of the Sea, Flying Beyond Borders enters the space in the back of the exhibition. The work ends when the fish leave the space and disappear.
If you stand at the specified position, the boundary between the wall and the floor disappears, the real space dissolves, and the lines drawn by the trails of  the fish appear to be drawn in three dimensions in the space. Eventually, the body becomes immersed in the artwork world, and the border between the artwork and the viewer dissolves.
The shoal of fish illuminated by the light moves freely through the space, and their trails of light draw lines in the space. The fish sense people in the space and try to avoid colliding with them. People are also assigned a color, and when a fish passes by a person, it takes on that color.
This work is part of a series called The Way of Birds. “The way of the bird” is a saying in Zen which refers to the fact that unlike a human road, the road of the bird is not fixed. The road of the bird is free, unfettered, and leaves no trace. Here, the birds are replaced with fish.
The movement of thousands or tens of thousands of fish is beautiful and mysterious, like a single giant life form. The shoal of fish has neither a leader nor mutual consensus, but just moves on the simple basis of, “If my neighbor moves, then I move too.” However, the biological mechanism that causes hundreds of fish to move at the same time is still enigmatic. It seems there is a universal principle that human beings do not yet understand. While affected by the presence of people in the space, each fish seems to obey some sort of primitive rule as it moves, drawing lines in the space and unintentionally painting the surfaces with complex and beautiful colors.
The installation is rendered in real time by a computer program, it is neither a prerecorded animation nor on loop. The installation is in constant change, previous states will never be repeated and can never be seen again.

A rock mass floating in the world of teamLab Borderless in Shanghai. The rock mass floats down the passage of teamLab Borderless in Shanghai and sinks into the wall. The rock mass transcends the physical space of the museum itself, the sunken part appearing in the space of this exhibition.
When people hold a hand over the rock mass that comes out of the walls of this space, the rocks glow blue. The light flows to the rock mass sinking into the walls of Shanghai. When people touch the rock mass sunk into the wall at Shanghai, the rock mass glows red and the light flows into the rock mass on this side. When red light flows into the rock mass, it means that someone in Shanghai is touching the other side of the rock mass.

“反轉無分別”之空間書法，會跨過屏幕的邊框，在空間裡連續著一筆書寫。這一筆，會影響其他作品，如“花與人的森林，迷失、沉浸與重生”的花朵會被它沖散。被描繪出來的“空書”會在作品空間內朝著同一方向持續旋轉。作為“超主觀空間”的一個特徵，在視覺上，其向左旋轉和向右旋轉在理論上是相同的。所以，它會隨著觀賞者的意識，呈現向左方向或向右方向旋轉的形態。
“空書”是teamLab從創立以來一直延續的，在空間裡書寫的書法。書法特有的墨跡，深淺度、速度和力度，在全新詮釋的空間裡被立體的再構建，通過teamLab的“超主觀空間”的理論結構被二次元化。書法在平面和立體之間不斷巡迴。

When no one is in the space, it is completely dark and nothing exists. When people enter the space and stand still, butterflies are born from their feet where they stand, or from their hands held above the wall. When people hold their hands over the butterflies themselves, the butterflies die.
The butterflies fly beyond borders and through other artworks, entering monitors or leaving rooms, dissolving the boundaries between artworks and flying through other works. By flying seamlessly through the other pieces, the artwork is freed from the concept of “frames” and blurs the boundaries between works. The butterflies are influenced by other artworks as they fly.
Only the butterflies born from people fly in this exhibition. If people kill more butterflies than they create, this artwork will cease to exist.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

站立在靠近入口處的空間中央觀看的作品。

當“超越邊界的群蝶，短暫的生命”從展館深處的作品空間移動進入此處空間時、作品便會上演。當其他作品進入此空間後，「超越邊界的群蝶，短暫的生命」便會離開。

站立在此空間的入口附近中央時，牆壁和地板的交界會消失，從而使身體整個沉浸到作品的世界，觀眾的身體和作品世界的邊界也會消失殆盡。

作品不是將預先制作好的影像進行放映，而是通過電腦程序實時繪制而成的。整體來說，作品的圖像並非復制以前的狀態，而是受到人們行為舉止的影響，持續發生變化。眼前這一瞬間的畫面，錯過就無法再看到了。

人類自身和環境是“不二”的，也就是說看上去是不同的，但實際是同一的，不分彼此且無法分離的。這裡的“無法分離，指的或許並非是統合，而是對於雖然看上去是兩個不同的東西，但實際上是同一物體的再認知。
用“空書”在立體地書寫著像征著生命和生存的“生”字。“空書”是teamLab從創立以來一直延續的，在空間裡書寫的書法。書法特有的墨跡，深淺度、速度和力度，在全新詮釋的空間裡被立體的再構建，通過teamLab的“超主觀空間”的理論結構被二次元化。書法在平面和立體之間不斷巡回。
生存在現代社會的我們，把我們所思考的“生”用形態表現出來。