teamLab: A Forest Where Gods Live - GC | teamLab

裝置藝術本身會隨著漂浮在池面的小船前進而不斷變化。而且魚群整體本身並沒有意志，而是每一尾魚都會受到附近魚群的影響，並以自律性的方式來游泳。當小船靜靜地飄浮在水面時，魚群就會聚集到小船的周圍，而當小船開始航行時，魚群就會避開小船。魚兒在游泳時會受到小船行動以及其他魚兒行動的影響。最後整個魚群行動的軌跡，就會描繪出這個作品。

在真實的巨石上呈現的裝置作品。把巨石（高約3m，寬約4.5m）在虛擬的三次元空間裡再現，並注入流水，模擬水流在岩石上的舉動最終描繪出瀑布。

水，用無數連續的水粒子來表現，然後計算粒子間的相互作用。接著按照水粒子的舉動，在空間上描繪出線條。最後通過teamLab考案的“超主觀空間”理念把所有線條的集合平面化，並描繪出瀑布。

御船山的燈光，仿佛在緩慢呼吸一樣，有規律地閃爍。
與御船山的山腳下“生命是連續之光－杜鵑花谷”傳播過來的光遙相呼應，發出強烈的聲響和光芒。

大約300萬年前，有明海產生的隆起，形成了御船山。據說神功皇後從朝鮮半島的新羅歸國（西歷200年前後）時，在這裡連接了御船，所以被稱為御船山。

據說大概在1300年前，後來修建了奈良大佛的名僧行基當時來到御船山，在三個洞窟中雕刻了五百羅漢，並在第三洞窟深處的岩石上雕刻了三個佛像。而同時他在三個佛像的旁邊挖了洞，1300年來洞裡從未干枯積滿了水，自古以來被視為具有藥效的神水，被世人飲用。

書法會在岩石洞窟和外部岩壁之間來回。立體而連續的洞窟和岩壁表面上被寫出的書法，在被書寫成形之後，會立體地旋轉。
用光描繪的書法，黑色的書體代表著此處並沒有光，和洞窟深處的黑暗無法區分。書法和洞窟的黑暗合成一體，在洞窟的岩壁上不斷書寫著空書。

“空書”是teamLab在創立時就開始的，在空間裡描繪的書法。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。

Masses (Megaliths) of different space-times are clustered in the bath house ruins.The forest surrounding the bath house ruins is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house was made in modern times, but after just a short period, it was abandoned, becoming a space-time where time had stopped completely. And this group of megaliths is also a mass made up of compressed space-times where the flow of time varies. Here, various space-times intersect and overlap.
Each megalith is surrounded by similarly standing megaliths, the space-times of which are all connected. 
The artwork is continuously rendered in real time by a computer program. It is neither prerecorded, nor on loop. As a whole, previous states never recur, and the artwork is continuously changing due to the movement of people. Every moment is unique and can never be seen again.
The following artworks exist in the artwork space of the three-dimensional objects grouped in these bath house ruins.
・Flowers and PeopleThis artwork is in a state of continuous change. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters. 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. If a person stays still, the flowers surrounding them grow and bloom more abundantly.
・Universe of Water Particles When people approach the artwork, the flow of the water changes. The movement of people influences the artwork, causing it to evolve continuously, while the artwork influences other works. For instance, the water causes the flowers in the work Flowers and People to scatter.
Water is represented by a continuum of numerous water particles. The interaction between the particles is calculated and then lines are drawn in relation to the behavior of the water particles. The lines are “flattened” using what teamLab considers to be ultrasubjective space.

* In order to view  teamLab: A Forest Where Gods Live before it opens (sunset), purchase a Daytime Rakan Bath Reservation. After sunset, only a teamLab: A Forest Where Gods Live exhibition ticket is needed.

A long-forgotten underground passage has recently been discovered, and the depths of the passage are decaying. In this space that is crumbling and losing its original structure, a fire burns eternally.

The forest above the underground passage is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time and with each year passing year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The forgotten underground tunnel is a space where time seems to have stopped, and the depths of the passage are a decaying space and time that will not exist for much longer. The fire that eternally burns there also has its own space and time.
Here, various space-times intersect and overlap.

The fire changes shape due to a transparent absolute presence.
Lines are drawn in relation to the flow of combusting gas, 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.

本作品是通過點狀光的集合來創造三維物體的火焰的互動雕塑作品。此創作方式類似於點彩繪畫，即用各色彩點來繪制圖像。
當人們靠近時，火焰將變得更強。
火焰是由於燃燒而產生的一種光和熱的現像，並非是一種物質，而是我們看到燃燒這種化學反應時的感官體驗。 這種感官上的體驗，使得火焰能夠被我們認知為是一種物體，且有時能夠在其中感受到生命的存在。
大多的火焰，從外焰到焰心的顏色都是逐漸變化的。外焰為紅色，內焰為強烈而明亮的白色，焰心則是較暗的顏色。 然而盡管生雞蛋的顏色構成也與之相似，外殼是白色的，內部是透明的，中心部分是黃色的，作為一個三維物體，從外面卻只能看到白色的外殼。火焰這個三維物體之所以看起來能夠像二維繪畫一樣有色彩的層次，而非如雞蛋一樣，是因為火焰是由光所構成的三維物體，內部強烈且明亮的白色即使與外部的紅色混合，也依然呈現白色的樣子。因此，作為一個三維物體的火焰，無論從哪裡觀賞，都像一幅具有色彩層次的平面繪畫。
本作品通過點狀光的集合來創造三維物體的火焰，從而使得火焰的雕塑能夠在三維和二維之間來回穿梭。

This space in the hotel was originally a banquet hall. It was built during the years of steep modern economic growth, and gradually fell out of use due to changes in the times, becoming a closed space where time stands still.
Various times and spaces exist at Mifuneyama Rakuen. By destroying the outer wall of the building, teamLab reconnects the various times and spaces, and creates a place where they intersect and overlap.
The rubble of the collapsed outer wall creates flickering black shadows and static red shadows.

teamLab: A Forest Where Gods Live struggled through the Covid pandemic and survived with the support of VOLVO. This space was created through the VOLVO project.

御船山樂園裡的櫻樹透過燈光投射發出燦爛的光芒。
每棵樹上的光會個別自我行動，像是在呼吸一樣一下發出強烈光芒、一下變得灰暗。

每棵樹上的光在遇到觀賞者接近通過時，光芒的顏色會產生變化並且發出特別的音色。而且該樹木的光芒會放射狀的傳播到附近的樹木。被傳播的樹木燈光會發出同樣的音色，並且接著再傳播給相鄰的樹木上，不斷連續進行下去。

當光芒從森林的深處延展過來時，就表示另一方有人在。這麼一來人們應該會比平常更加意識到相同空間內其他人的存在吧。

Available time (30 minutes one way):
Jul 12 - Sep 08, 8:00 - 17:00
Sep 09 - Oct 06, 8:00 - 16:00
Oct 07 - Nov 04, 8:00 - 15:00
* To experience this artwork, a ticket for teamLab: A Forest Where Gods Live - GC is required

A giant tree over 3,000 years old. The roots of the tree are wrapped in rough bark, with their central section split open near the surface of the ground. The interior is a hollow space about 22 square meters in size, with a stone shrine in the back.

When the garden was built towards the end of the Edo period (1845 CE), efforts were made to find a path connecting the garden to the sacred tree based on the theory that there was a hidden path in the forest. A footpath made from stones was finally uncovered, where you can find The Floating Tree.

Depending on your location and the pace at which you walk through from The Floating Tree to the Excavated Path Leading to the Giant Sacred Tree, the musical experience changes.

觀山水處設於御船山樂園的池塘邊。在這裡可以看到遍布整個池塘的《錦鯉舟楫共舞所描繪之水面圖》與點亮整個御船山樂園的《呼應的御船山》二者共同出現在一幅完整的構圖當中。御船山樂園的光是人們走過山腳下的《生命是連續不斷的光芒──杜鵑花谷》時所產生的光的的擴散與傳播

倒完茶之後，茶中會不斷綻放花朵。當觀賞者拿取茶碗，花朵就會散落而花瓣則會延展到茶碗之外。花朵在茶中不斷綻放。只要茶碗之中還有茶水存在，花朵就會不斷地綻放盛開。茶碗中的茶，就是花朵能夠無限綻放的世界。如此喝茶，就如同將無限擴張的世界喝下去似的。
必須有茶水存在作品才會誕生。如果茶被飲盡的話，作品也就不復存在。茶是一種容易變化的存在，根據茶碗中茶水量的不同，茶水面積大小也會不斷改變。配合著這個變化，所誕生花朵的大小也會跟著改變。當茶水從茶碗之中濺灑而出時，該處也同樣會綻開花朵。
作品裡的花朵在一年裡會不斷變化，隨著季節的變化在每個月綻放出不同的花朵。
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，錯過就無法再看到第二次了。

在近代以前，日本有一種叫做“重疊的色彩”，即表面的顏色和背面顏色的組合（當時的絲綢很薄所以可以透過層層絲綢形成一種複雜的色彩），以及重疊後的色彩的層次，織布的縱線和橫線的組合等複雜的色彩，被賦予了代表季節的色彩的名字。
當有人靜止站立在燈附近時，最接近人的燈會發出強烈的光芒並發出聲響。然後，燈光會傳播到最靠近的兩個燈上。傳播出去的燈光會閃爍同樣的光芒，並發出同樣的聲響，然後再次傳播到最為接近的燈上，並且不斷連續地延伸開來。被傳播出來的光芒一定會使得所有的燈發出一次最強烈的光芒，並一定會回歸到最初的燈上。也就是說，和人相互感應的燈光，分為兩路，各自描繪出一條貫穿所有燈的光線，並最終回歸到起點。人們也一定會意識到，在同一空間裡有他人的存在。
燈的配置雖然乍看之下雜亂無章，但是每個燈配置在空間中的位置使其最靠近的兩個燈之間連出一條線時，都只會出現一條獨一無二的連接線。會這樣配置的意義就在於，當呼應的燈光雖然只與最接近的兩個燈相呼應，但是所有的燈都會被呼應一次並一氣呵成以形成一道光的路徑，而最後會回歸到起點的燈處。
有關燈的定位，需要滿足以下制約，並根據數學原理在空間里合理配置，燈懸掛的高度以及不均一的分佈，在三維空間裡形成的路徑（光的軌跡）的平滑度，通過定量化的測試，和對多種方案的評價，最終形成了本作品。
燈具的平面構成採用了填滿空間的交錯式佈置方式，並且整齊的排列在空間中所設置的網格上。這是第一個制約條件。我們將地板，天花板的高度，人能通行的通道高度與寬度等物理空間的條件設定為第二個制約條件。而當所有燈在3次元空間中與最接近的兩個燈連成線時，起點與終點互相連接並只能形成一條線則是第三個制約條件。
透過這種過程而創造出來的定位方案，乍看是毫無規則的，所以人無法預測光的移動軌跡且不會厭倦，實際上物理空間裡最接近的燈發出的光會相互連接，就好像火焰會自然蔓延一樣。然後，燈光的軌跡會一氣呵成形成一條路徑，由自己為起點的光與他人所形成的光必定會相交錯。
這不完全是以固定空間為前提創造出的靜態美，也包含了當人們靠近燈時形成的動態美。同時，這也是由數字媒體技術可自由地設計變化本身而形成的一種，包容因人的行為而產生變化與動態的，新時代的空間。
 ＊燈罩部分使用了來自意大利威尼斯，穆拉諾島的穆拉諾玻璃制作。

地點：御船山樂園 園內
時間：御船山樂園開放時間內均可觀賞

供奉著祠堂（hokora）的，由巨石堆積而成的超自然的磐座（iwakura，日本古代自然崇拜（萬物有靈論）的一種）。

地點：御船山樂園 園內
*僅供在御船山樂園酒店及御宿竹林亭宿泊的客人觀賞

在江戶時代後期，建造御船山樂園時（1845年），建於池畔邊、用來作為第28代武雄領主鍋島茂義公的別宅，有著茅葺屋頂的荻野尾御茶屋。春天、秋天時會開放一般民眾進入。

地點：御船山樂園 園內
時間：御船山樂園開放時間內均可觀賞

據說由於與神功皇後自朝鮮半島的新羅歸來（200年左右）時的「御船」有所關連而得名。

地點：御船山樂園 園外
時間：24小時均可觀賞

別稱「御船山城」。
據說是由武雄第二代領主後藤資茂於1118年至1120年左右所建。
後藤家在江戶初期（17世紀前半葉）時，由佐賀藩主鍋島勝茂賜姓鍋島，並作為「親類（視同親戚）」，成為了武雄鍋島家。
塚崎城因江戶幕府的「一國一城令（1615年）」而遭廢城，整個江戶時代都作為武雄鍋島家的居館而存留下來。

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