teamLab: 舞動！藝術展 & 學習！未來の遊園地 | teamLab

Flowers bud, bloom, and in the course of time, wither and die. While eternally repeating the process of life and death, the places where they grow change gradually. When people stand still, the flowers surrounding them grow and bloom abundantly, but when people touch the flowers or walk around, they scatter and die all at once.The artwork is not a pre-recorded image that is played back; it continues to be rendered in real time under the influence of people's behavior. The picture at this moment can never be seen again.
In spring in the Kunisaki Peninsula, there are many cherry blossoms in the mountains and canola blossoms at their base. A visit to this region led teamLab to wonder how many of these flowers were planted by people and how many of them were native to the environment. It was a place overflowing with flowers, a place of great serenity and contentment. This nature is an ecosystem influenced by human activity, making us feel that nature and humanity are not in conflict. Perhaps a truly comforting nature is one that encompasses human presence as part of the ecosystem. Based on the premise that nature cannot be completely controlled, this artwork explores human activity that lives closely aligned to the rules of nature.
This artwork is an ecological pictorial space drawn through Ultrasubjective Space, which continues to be generated along with the body, others, time, and the environment. Viewers physically walk around and touch inside the world of the artwork, transforming it together with others in the same space.
This pictorial space differs from images or paintings flattened by a lens or single-point perspective. In such images or paintings, space appears behind the picture plane; the space that opens there and the space the viewer inhabits are split, and the picture plane becomes a boundary surface. The viewpoint is fixed at a single point, and bodily freedom is lost.On the other hand, a picture plane formed by Ultrasubjective Space is not a boundary that separates where we are from the world of the artwork. The world of the artwork is not outside a window; it appears as a single field that is continuously connected, without boundary, to the space in which the viewer’s body exists. Moreover, any position — front, back, left, or right — can become a viewpoint, so viewpoints exist in infinite number, and the viewer is physically free to move.Not bound to a single point, the viewer moves their body and lets their eyes roam freely, continually re-composing the world of the artwork as it changes over time, and building the pictorial space within themselves. In that moment, the artwork becomes a centerless, subjective, and embodied pictorial space in which the viewer walks and touches.
In this space, the boundaries between the viewer and the artwork become ambiguous. The artwork transforms simply by the presence of a body there, and the behavior of others also changes the world of the artwork. In conventional art, other people were often considered an obstacle that interferes with a one-on-one relationship with the artwork. However, here, the presence of others enriches and creates new changes in the artwork.
This artwork is an attempt to expand painting from a world on the other side of the screen into a space continuous with the body, others, time, and the environment. The artwork continues to be generated within the relationships among the behavior of people, the life and death of flowers, the passage of time, and the entire space. Here, the painting does not exist on its own as a completed entity; it relates to people's bodies and includes the presence of others, existing as an ecological field without boundaries.

本作品會在一小時的時間裡，讓一整年期間內的花卉們盛開又散落，不斷變化。 花朵會誕生、成長、結苞，在盛開之後散落、枯萎、死去。花會永遠重複著誕生與死滅的變化。 本作品是透過電腦程式即時演算描繪而成的作品。並非播放預先記錄好的影像作品。而且作品整體不會複製過去的狀態，會持續產生變化。本作品在這一瞬間裡出現的畫面，觀賞者永遠也無法再次見到。

世界上所有的海洋是連在一起的，所以所有的波浪也是互相串聯的。

東亞古典藝術中的波浪往往是由成組的線條來表現的。 一系列線條組成的波浪提醒著我們，它們是流動的一部分。 而在這些線條之中，波浪就彷彿生物一般，能讓人感受到生命。

事實上，當波浪翻湧而起時，你會感覺到一股強烈的生命綻放的氣息，彷彿每一朵波浪裡都蘊藏著生命。 但波浪崩落消失時，又如花朵凋零般短暫易逝，這時你才會發現原來它們都是海洋的一部分。 而那片海與所有的海洋相連，也就是說，世界上所有的波浪都是相連的。
波浪之所以像生命，是因為生命本來就像是強大的、翻湧而起的波浪。 生命源起於所有連在一起的海洋，是一種從未間斷、持續翻湧而起的奇蹟般的現象。

波浪是用無數水粒子的連續體來表現的。 我們計算了粒子間的相互作用，並模擬了三維空間中水的運動。 透過水粒子的軌跡繪製線條，並在三維空間中的波表面上描繪線條。 接著透過teamLab構想的「超主觀空間」將這些立體的線條組切割，不同於透過鏡頭和透視切割的空間，觀賞者的視點不固定，身體也就變得自由。 映射著波浪的牆不會成為我們與作品之間的邊界面，波浪的藝術空間與人們身體所處的空間連續。

這件作品在七個屏幕上以三維形式呈現。
    作品探索了的空間認知，存在於超主觀空間中的三維空間裡。光線之下的八咫鳥在空中飛翔，身後明亮的尾巴形成了“空間書法”。八咫鳥在相互追逐中化作花朵，散落空中。
    創意動畫家板野一郎(Itano Ichiro)首創了獨特的板野馬戲(Itano Circus)技法。teamLab運用這種技法以完全扭曲的視角將屏幕上填滿了簇簇飛行的火箭。這種扭曲給觀眾帶來強烈的動感和衝擊。通過超高速攝像和完全包圍觀賞者視角的舞台布置，這種技法打造出超級震撼的美景。
    這件藝術作品向板野馬戲技法表達了敬意。teamLab在三維空間中再現了原本用二維動畫呈現的扭曲空間。作品探索了兩個問題：1.什麼樣的視角邏輯結構構成了這種由動畫家首創的空間扭曲；2.這種空間扭曲是對傳統空間概念傳承的假想。teamLab在三維空間中再現扭曲的同時，也拓寬了透視視角。作品不僅切分了觀賞者的視角，還在三維空間中呈現了切分後的視角，因而也是一次視覺體驗的實驗。

這個水族館能夠讓大家所創造的魚兒盡情地遨游。

在紙上隨意描繪魚的圖案，隨之被描繪的圖案，會像被注入了生命一樣，游入眼前巨大的水族館中。
當你觸碰到游泳的魚時，被觸碰的魚兒會馬上逃跑。當觸碰到餌食的袋子時，袋子裡的餌食會讓魚兒們飽餐一頓。

《彩繪城鎮》中繪製的圖畫將成為世界上獨一無二的立體紙模型。

在彩繪城鎮中繪製的汽車、建築等都會各自展開變成展開圖。 將展開圖拼合起來，您就可以製作出世界上獨一無二的立體紙模型。

這是一個跳躍行進，並單腳著地在水面上漂浮著的◯△◻的天才跳房子遊戲。

連續跳到同樣形狀的符號上，就會產生魚兒，蝴蝶和小鳥。如果能夠持續的跳躍，就會產生更多的魚兒，蝴蝶和小鳥。
另外，當你連續跳到同樣顏色的符號上時，這個顏色就會慢慢擴大開來。

當你碰到擴展到牆上的魚兒，蝴蝶和小鳥時，它們就會變成顆粒消失。

這張桌子是小人兒居住的桌子。
小人兒在桌子裡邊跑來跑去，不會注意到您的存在。但當您將手或其他東西放在桌子上時，小人兒就會注意到它，並跳到它上面。根據物體的形狀，小人兒可以滑行、跳躍和攀爬。放置很多東西就能讓小人兒玩得很開心。