An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: https://www.teamlab.art/jp/ew/collecting-forest-planets/planets/

Description: “Multi Jumping” is an elastic floor that lets you bounce. The ground beneath you sinks, and you can jump higher than usual. When you step on “Multi Jumping,” the floor beneath your feet sinks, creating a distortion in space-time where stardust gathers and a star is born. If you bounce on the star, it begins to move. By continuing to bounce on the moving star as you chase it, the star grows and you experience the life of a star. When a star reaches the end of its life, it turns back into stardust, becoming the source of a new star. When it grows extremely large, the star becomes a black hole, drawing in the surrounding stardust and stars. Background of the work The life of a star Stars that emit their own light, like the sun or the stars shining in the night sky, are called “stars.” In the universe, there are many different kinds of stars, such as “planets,” like Earth, on which we live, and “satellites,” like the moon, that orbit around them. Here, however, we will talk about “stars” that emit their own light. A key factor in the life of a star is “gravity.” According to Einstein’s theory, in the universe, the mass of objects creates distortions in space-time. The force that causes surrounding objects to gather as if drawn toward these distortions in space-time is called “gravity.” The birth of a star In the universe, vast amounts of stardust and gas drift about, and when they gather under gravity, they form the embryo of a star. The state immediately before something becomes a star is called a “protostar.” The evolution of a star A “protostar” gathers surrounding stardust and gas through gravity and evolves into a shining star. A star at this stage is called a “main-sequence star.” Stars spend most of their lives as main-sequence stars. The sun we see is currently at this stage. As it evolves further, the star begins to swell and becomes a large red star called a “red giant.” The end and rebirth of a star If a star has a mass less than about eight times that of the sun, it releases gas and ends its life. If it is more massive than that, it ends its life in a “supernova explosion.” A star is blown apart by a supernova explosion, turning back into stardust and gas, which then becomes the material for the birth of the next star. Work page: https://www.teamlab.art/jp/ew/multijumpinguniverse-planets/planets/

Description: “High-Speed Spinning Bounce Balls” are spherical objects that people can step on to bounce into the air. The spheres spin rapidly, but when people approach, they stop spinning and become stepable. If you step on spheres of the same color in succession, the inside of the sphere bursts open and spreads into the space. If you continue stepping on them, caterpillars are born. If you keep bouncing on spheres of the same color all the way to the end, all the spheres in the space burst open and many caterpillars are born. Work page: https://www.teamlab.art/jp/ew/collecting-forest-planets/planets/

XG初のワールドツアー【XG 1st WORLD TOUR “The first HOWL”】のファイナルとして行われた東京ドーム公演。COSMIC LABはライブカメラをモーショングラフィックス、リアルタイムVFXと自由度高く融合させる独自のシステムを構築してコンテンツを制作。 約1年に渡るワールドツアーのファイナルに相応しい熱気あるステージに、生カメ演出の未来を感じる一夜となりました。

∈Y∋とC.O.L.OによるA/V Live ユニット。世界各都市で公演を繰り広げる。 ■ Performances (2025-) Art Week Tokyo— Tokyo, Japan November 15, 2025 / FACETASM MUTEK.JP — Tokyo, Japan November 21, 2025 / Nocturne 1 Powerhouse: International — A New Arts Festival — Brooklyn, New York, USA December 5, 2025 Powerhouse: International A New Arts Festival CTM FESTIVAL — Berlin, Germany January 24, 2026 / Berlin, at Haus der Visionäre REWIRE FESTIVAL —The Hague, Netherlands April 10, 2026 Variations festival — Nante, France April 11, 2026 ∈Y∋は1986年にBoredomsを立ち上げ『Super æ』や『Vision Creation Newsun』などジャンルを打ち壊す作品を世に送り出し、世界中にファンを持つ存在となっている。また、ドラマーを集めて挑んだ壮大な「Boadrum」シリーズでも知られている。Sonic YouthやJohn ZornのNaked Cityのほか、Puzzle Punksなどのプロジェクトにも参加している。 本プロジェクトは、マルチメディアA/VコレクティブCOSMIC LAB創設者でもあるビジュアルアーティストC.O.L.OとのA/Vショーである。C.O.L.Oはテクノ元祖Jeff Millsとの合作『THE TRIP - Enter the Black Hole』や、∈Y∋との『FINALBY()』などで未知のAV体験を作り上げてきており、ヴィジュアルの構造がサウンドを生成し形作る統合システムを開発してきた。音と映像を切り離せない一つのメディアとして扱い、その場ならではの、人を変容させるような体験を生み出している。 AV/DJ/LIVE という枠を超えた加速的なハイブリッド、マキシマイズの先に立ち顕れるミニマライズ 。拡張されたシンゲリフューチャリズムや地殻原子オーディオ・ヴィジュアル・リアクティブで映像・光の不可分を加速。 A swarming bundle of chaos and fun surrounds Yamantaka Eye, aka ∈Y∋, the visionary founder of legendary avant-noise groups Boredoms, Hanatarash, and Puzzle Punks. Working since the 1980s, ∈Y∋'s output has influenced and shaped experimental music in his native Japan and across the globe. From noise and psychedelia to performance art and visual art, ∈Y∋'s career is a collage of creative mischief and devilish collaborations. He has performed with the iconic Sonic Youth, on John Zorn’s Naked City (1990), and with the influential South Korean artist Nam June Paik, among many others. Expect a face-melting and mind-warping audiovisual battery as the mutant cyberkinetic noise of ∈Y∋ is combined with the rampant visuals of C.O.L.O from Osaka’s Cosmic Lab to birth an immersive audiovisual performance. Through projects such as FINALBY( ) with ∈Y∋, C.O.L.O has developed integrated systems in which visual structures generate and shape sound, treating audio and image as a single, inseparable medium to create site-specific, transformative experiences.

WOW participated in the signature pavilion “null²” at Expo 2025 Osaka, Kansai as part of the creator team, contributing to the planning, visuals, sound, and overall direction system. The pavilion’s theme is “Polishing Life.” WOW joined as a direction member from the earliest planning stages and, together with Expo producer Yoichi Ochiai, spent several years creating a wide range of creative elements, from the pavilion’s interior visuals, sound, robot control, and experiential flow to the exterior visuals. A Pulsating Sculpture, a Conversational Space For this pavilion, Ochiai established “two mirrors” as a key concept. The first refers to the sculpture itself, which generates unfamiliar landscapes. Its mirror-finished exterior absorbs the surrounding scenery, pulsating as it repeatedly transforms like a living organism, even as a building. The second refers to the experience inside the pavilion. In a space where mirrors and imagery are integrated, visitors confront “kigō*” and engage in dialogue with a digital human. WOW was primarily responsible for this interior experience. The space confronting “kigō” is a cube measuring 8 meters in width, depth, and height, with mirrored surfaces on all sides. Projection systems on the ceiling, floor, and walls, together with a vertical video object called the “Monolith” standing at the center, work in response to one another to depict “kigō,” creating endless reflections. In addition, the cube-shaped mirrored “goshintai,” which symbolizes the space, moves freely overhead, shifting perspectives and stirring the visitor’s mind and thoughts. Using mirrors as a medium, the experience moves back and forth between meaning and matter, self and other, reality and virtuality, encouraging visitors to reconsider and reinterpret what life is and offering a prompt to “polish life.” *Elements that constitute a person’s individuality, such as their name, hobbies, preferences, voice, and appearance Two Types of Experiences, Two Different Perspectives The experience is offered in two modes: “Dialogue Mode” and “Installation Mode.” Dialogue Mode centers on the world of “computational nature,” as proposed by Ochiai, and the story connected to it, allowing visitors to let go of their “kigō” through verbal communication. In Installation Mode, visitors view simple patterned visuals, along with the Monolith and goshintai moving throughout the space, from the outer corridor, creating a non-verbal experience that lets them intuitively sense the structures at the essence of life. In both experiences, the story, visuals, sound, goshintai, and Monolith are all intricately linked, so WOW worked closely with Ochiai to craft a precise direction. Direction Where Technology and Expression Merge On the technical side, to create a more three-dimensional and densely layered experience, WOW integrated a wide range of direction elements, including AI-generated real-time video, display of 3D Gaussian splatting, sound generation, image effects, as well as the display and speech of MirroredBodies created by visitors in a dedicated app, and robot control for the goshintai and Monolith. In collaboration with various companies, WOW developed the main system that aggregates and controls these elements. In addition, the carefully designed sound direction, which makes use of characteristics across different frequency ranges, contributed to a unique auditory experience. Logo Design and Design Guidelines That Create Organic Expression WOW also handled the logo design for null². For the dynamic logo, multiple fonts were used to create a design that transforms into various forms. The static logo was refined from the dynamic logo as the official version. In both cases, the aim was to maintain a certain degree of legibility while pursuing a fluid, life-like design tone through verification and rule setting. In this project, the participating teams, including WOW, brought together all of their technical capabilities and creativity to create the work “null²,” something that could only have been realized at the Expo.

Among countless cellular entities, artificial interventions influenced by human presence destroy them, drawing vortices in the process. Yet the painted image receives a continuous influx of energy from outside, autonomously forming a highly ordered steady state of energy, then being once again covered over by newly born cellular entities and returning. Countless particles, and the painted image as well, are all part of the whole, born from the whole and reduced back into the whole. Work page: https://www.teamlab.art/jp/ew/transientabstractlife-resonance-kyoto/kyoto/

Video Installation
 Display, Web camera, PC, Video, Sound
Duration: variable
 Sound: AI-generated On March 27, 2025, the landscape between Tachikawa and Tama Center was recorded with a high-resolution high-speed camera through the window of the Tama Monorail in western Tokyo. Taking this single recording as its source material, this work rewrites the temporal and spatial structure of the image through digital coordinate transformation, thereby transforming the very temporal and spatial experience of 'passing' itself. Rendered through continuously varying timings and parameters, streams of transformed footage play on seamlessly, their paths shifting in response to the viewer's act of 'watching' or 'not watching' the screen. Responding to this non-linear generation, the sound is produced in real time through an AI model. Carrying its contradictions within, the landscape flows endlessly on — from right to left, without cease. In time, this flow quietly works upon the viewer's perception, and the relations between distance, speed, and time gradually come undone.

「動きの面白さ」に注目した新しい工作番組。番組の提供する工作のしくみと視聴者のアイデアがあわさることで、新しいものが生まれる。映像配信の特性を活かした表現を駆使して、子どもたちのものづくりへの興味と力を育てます。その第一弾の特番です。 スマホやタブレットを活用した参加型コーナー「アニ工作」「アニカメラ」で新しい映像との関わり方を提案したり、簡単な工作で驚きの動きが生まれる「うご工作エンジン」わかりやすい映像として伝えたり、映像表現の活用という意味でも、これまでに培ったいまできることを投入・更新しています。ぜひご覧ください。

At “Flow,” a music + visual event organized voluntarily by students at Ritsumeikan University, I performed live with musician yuvnovation. Using my own custom software, I performed visuals in real time by striking keys on a PC keyboard. It was a lot of fun.

Color strokes are not grasped as a whole by anyone, nor are they directed, nor are they influenced from outside. As simple interactions arise locally between strokes, or between strokes and people, order continues to emerge on its own while moving toward disorder. Even if each one is separated in time and space, once order emerges among them, the constituent elements transcend spacetime and appear as a single existence. And even if their shapes and sizes undergo major superficial changes, or if the constituent elements are replaced, this spacetime existence is maintained. This spacetime existence is part of the sea of disorder, is swallowed up by the sea of disorder, and yet continues to be born again from the sea of disorder. Order and disorder, existence and the whole, have no boundaries and are continuous; they collide and blend together, yet keep rising and receding. Images created through lenses and perspective are spatial illusions that render three-dimensional space on a two-dimensional plane. Three-dimensional space appears beyond the two-dimensional plane, and that three-dimensional space and the viewer are separate spaces, with the two-dimensional plane serving as the boundary. The viewpoint is fixed, and the body is lost. Unlike these, this work is not a spatial illusion; the work space exists as it is in the same space as people’s bodies. Walls and floors do not become boundary surfaces between the viewer and the work space; the work space becomes one with the space occupied by people’s bodies. The viewer’s viewpoint is not fixed, and the body is free. Work page: https://www.teamlab.art/jp/ew/order-chaos-phenomena/phenomena/

Experience the moment when sound does not merely get “played,” but rises up as a living creature. Sound takes on form, overlaps to create relationships, and behaves like a flock. Changes in intensity and pitch are directly transformed into expressions and movements, unfolding organically within space. By interacting with sound as if touching it, the work offers an intuitive experience of enjoying its transformations. craymons are monsters with clay-like qualities that can take any shape and visualize sound.

I have continued working on cross-disciplinary production, such as pictorial images with cinematic qualities and painterly animation. This work, *Sandbox*, is an experiment in replacing painting and animation with a game engine. In this work, I used a game engine to create an “electronic sculpture” and attempted to visualize a non-tactile sense of reality. By following afterimages that traverse space, it aims to unsettle the viewer’s bodily perception. At the same time, an autoplay function was built in so that the game would assimilate into the environment like ambient music, becoming a “passive game / background game.” It is an interaction/installation in which the viewer/player can seamlessly move back and forth between “play,” controlled with a controller, and “viewing,” without using a controller.

Kazuki Abe Solo Exhibition: “Hand-Drawn Computation” Venue: Art Space Kimura ASK? 2F Dates: March 3–15, 2025 Under the theme of Hand-Drawn Computation, I developed a system that generates visuals from sound information. The system analyzes the characteristics of sound in real time and uses them as the basis for drawing images. The work actively incorporates elements associated with hand-drawn expression, such as free-flowing curves and subtle transformations of form. By reinterpreting the delicacy of hand-drawing as a sequential drawing algorithm, this project explores computational methods of image-making.

We do not perceive the world we see. We see the world we perceive. Countless spheres of light. As people approach the spheres of light, they shine more intensely, and the surrounding spheres respond in turn, continuing one after another. If you widen your field of view and stare, spheres of darkness, like lumps of darkness that has solidified, also begin to appear. However, these spheres of light and darkness do not exist. The spheres of darkness do not even appear on camera. Nothing such as glass or any other object is present on the surface of the spheres of light; these spheres are made only of light. There is no material boundary surface, and the boundary between the sphere and the body remains ambiguous in perception. However, in this universe, light does not solidify, and it never forms into spherical masses by itself. In other words, these spheres of light do not exist. These spheres are not present in the physical world, but are sculptures that exist in the world of perception: "Cognitive Sculpture / Sculptures of Perception." Their material consists of light, the environment, the body, and perception. Shaped by the experiencer’s own dynamic body and perception, they appear and exist in the experiencer’s own perceptual world. When they exist in perception, that is existence. And the spheres cannot exist even in the world of perception on their own; they are created by the environment. The phenomena produced by the environment are the existence of the work. Work page: https://www.teamlab.art/jp/ew/masslesssuns-phenomena/phenomena/

Environment gives rise to phenomena, and phenomena create the work. Immersed in that new body of works, one becomes one with the environment. The work cannot exist on its own; environment gives rise to phenomena, and phenomena create the work. Pebbles and the things humans have made until now have been objects. Objects possess a stable structure in themselves and, separated from the outside world, continue to exist even when placed inside a sealed box. A vortex born in the sea, on the other hand, disappears the moment it is transferred into a closed box. A vortex does not maintain its structure by itself; it exists only within the flow created by its environment. It is formed by water that continuously flows from outside to inside, and from inside to outside, changing along with the flow. Its contours are indistinct, and there is no material difference between the vortex and the world outside it. Rather than making objects, create a special environment, and create works through the phenomena that environment brings forth. Let us call this “environmental phenomena.” Works cannot be separated from their environment; they change as the environment changes. Works are liberated from the material objects that have so far carried their existence. Even the ordinary things of everyday life—air, water, light—will become phenomena through unique environments, transforming into a new kind of existence. Transcending the common sense of what humans have made until now, works will retain their existence even when people enter them bodily, and will be repaired when broken. The boundaries of a work’s existence are indistinct and continuous with what lies outside it. However, if the environment is lost, the work will disappear. Human consciousness will expand from existence itself to the environment. Exhibition details: https://www.teamlab.art/jp/e/phenomena/