Resonant Collective Sculpture
2009
Where Bodies, Environments, and Works Resonate as One Continuous Field
Although each individual sculpture is an autonomous physical entity, they respond to one another, forming a single continuous field.
Physical actions such as being pushed by a body, moved by others, and when outdoors, the effects of the environment such as wind and rain, the behavior of wild animals, interactions with adjacent sculptures within the same group, and other surrounding artworks—all of these become triggers for resonance. The light, sound, and movement generated in a single sculpture do not remain closed within that individual entity, but there occurs a chain reaction to nearby sculptures, and further into surrounding artworks and spaces, continuing throughout the whole.
Here, it is not only humans that move the artwork. The body, others, the environment, and the artwork are connected to the same ecosystem and responsive field—individual sculptures do not exist on their own as a complete entity, but continue to exist in relationships.
This structure is an attempt to expand sculptures from solid objects, as autonomous individuals, into a network-like existence that continues to be generated within the relationships among the body, others, the environment, and other artworks. In this ecological responsive field, where humans and non-humans participate together, the boundaries of the sculpture do not remain within the contours of individual physical objects.
FEATURED WORKS
Resonating Microcosms - Solidified Light
teamLab, 2022, Interactive Installation, Endless, Sound: Hideaki Takahashi, teamLab, Production Support: Hirohito Saito (OryZa Design), Shinya Yoshida (SYD INC.)
When each ovoid is pushed over by a person, it shines brightly and emits a sound tone as it rights itself. The surrounding ovoids also respond one after another, and the same light color and tone continues to resonate out. The artwork space is transformed by people's actions, making people and the environment part of the artwork.
The patterns of color that appear within the ovoid exist as infinite possibilities until they are seen, and only at the moment it is viewed from a certain perspective is a single appearance fixed. They continue to transform in response to the viewer's moving body, the fluctuations of the sculpture itself, and the surrounding environment.
This artwork is part of the Resonant Collective Sculpture series, continuing from teamLabBall (2009-). Although each individual sculpture is an autonomous physical existence, they respond to one another, forming a single continuous field.
In this series, physical actions such as being pushed by a body, moved by others, and when outdoors, the effects of the environment such as wind and rain, the behavior of wild animals, interactions with adjacent sculptures within the same group, and other surrounding artworks—all of these become triggers for resonance. The light, sound, and movement generated in a single sculpture do not remain closed within that individual entity, but there occurs a chain reaction to nearby sculptures, and further into surrounding artworks and spaces, continuing throughout the whole.
Here, it is not only humans that move the artwork. The body, others, the environment, and the artwork are connected to the same ecosystem and responsive field—individual sculptures do not exist on their own as a complete entity, but continue to exist in relationships.
This structure is an attempt to expand sculptures from solid objects, as autonomous individuals, into a network-like existence that continues to be generated within the relationships among the body, others, the environment, and other artworks. In this ecological responsive field, where humans and non-humans participate together, the boundaries of the sculpture do not remain within the contours of individual physical objects.
teamLab, 2014-, Interactive Installation, Sound: Hideaki Takahashi, teamLab
每棵树木在人们或野生动物接近时，都会发出强烈的光芒并鸣响音色。周边的树木也会接连呼应，使光芒与音色不断连续传播。
树木也会与周边的作品相互呼应，彼此让光芒与音色连续延展。当光芒从树木的深处涌来时，便意味着在那一侧人或是野生动物存在。身体、他者、野生动物的行为举止，以及周边的作品，都会让作品空间产生变容，使人们与环境也成为作品的一部分。
本作品是 Digitized Nature 艺术项目的一部分。Digitized Nature 是一项在不破坏自然的前提下，让自然以其本来的面貌直接转变为艺术的尝试。
森林树木自身的姿态、质感和变化包含着久远的时间、生命的连续性以及与生态系统的关系。树木本身既是生态系统的一部分，同时其表面和内部也孕育着生命，构成了一个生态系统。与人类制造的物体不同，它存在的轮廓是模糊的。
当传感、网络、光和声音等非物质材质叠加在这些树木上时，树木在保持其原本面貌的同时，彼此相互呼应，作为群体形成一个连续的场域。这并不是人类将自然作为原材料来进行雕刻，而是在漫长时间和生态系统里形成的树木，在保持其原本面貌的同时，作为相互呼应的群体雕塑而矗立起来的尝试。
在这里，并不只有人类才会让作品产生变化。身体、他者、野生动物、环境、树木以及周边的作品，都被连接到同一个生态系统式的呼应场域中。每棵树木并非作为单体而完结，而是在关系中持续存在。人们不仅是在观看作品，更是走入树木的呼应之中，通过光芒与音色的连续性，去感受他者、野生动物以及环境的存在。
这一结构将自然呈现为一个与人们和环境共同变化的生态系统式的场域，而不是一个存在于作品外部的对象。
teamLab, 2009, Interactive Ball