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3DCGArt workInstallationInteractive

Mimicry's Little Room

2019

00:01:11
Mimicry's Little Room
企画・制作：　anno lab
ディレクション・プログラミング： 藤岡 定（anno lab）
アートディレクション： 村上 ヒロシナンテ（anno lab）
リギング： 田中 喜作（anno lab）
プロジェクトマネジメント： 吉田 めぐみ（anno lab）
額縁製作：石川 智之（hanatolife）
モデリング： 徳永 早俊
リギング：三原 昌也
anno lab
Commissioned to create an installation for the masterpiece Alice in Wonderland, I wanted to create a space where visitors could feel as if they had entered the mysterious world within the story. The various unbelievable events Alice experiences are wondrous, but at the same time they are filled with the intellectual curiosity and excitement we felt as children—thoughts like “Wouldn’t it be great if this happened?” and “What if this happened?” For the installation, we wrote down countless “wouldn’t it be great if...” ideas and exchanged many proposals, and in the end we decided on the concept of John Tenniel’s beautiful illustrations coming to life and moving in response to the viewer. The small 2.5-meter-square room was designed as a “special place for connecting with Alice’s world.” Inside the 14 frames hanging on the walls are iPads, each displaying a character from Alice’s story. Based on John Tenniel’s original illustrations, 3D model data was created for the characters, and through shader programming, real-time image processing makes them look like paintings drawn with hatching techniques, so at first glance they appear to be ordinary framed artworks. When a person stands on the carpet in the center of the room, a Kinect v2 sensor detects their pose, and all the characters in the frames slowly begin to move and “mimic” the person’s stance. The playfulness that fills Alice’s world contains many suggestions for the way we live and work today. Dutch historian Johan Huizinga argued that “play” is the essence of human activity and the source from which culture arises. French philosopher Roger Caillois developed this view of humanity, identifying mimicry, meaning “imitation,” as one of the four fundamental elements of play, and noting that it played a particularly important role in primitive societies. In addition, in Mozart, Hideo Kobayashi points out that Mozart was a genius of imitation, and that his original music was born out of imitation. We can discover many things through play and develop culture. We created this work in the hope that many people, through the story of Alice and this exhibition, would feel the importance of filling everyday life with more play. この作品は、「不思議の国のアリス展」に下記の日程で出品される予定です
#1　神戸2019年3月16日(土)－5月26日(日)兵庫県立美術館
#2　松本2019年7月13日(土)－9月8日(日)松本市美術館
#3　横浜2019年9月21日(土)－11月17日(日)そごう美術館
#4　福岡2019年12月3日(火)－2020年1月19日(日)福岡市美術館
#5　静岡2020年2月1日(土)－3月29日(日)静岡市美術館
#6　名古屋2020年4月18日(土)－6月14日(日)※会場は後日発表
#7　新潟2020年6月27日(土)－9月6日(日)新潟市新津美術館

公式サイト
http://www.alice2019-20.jp/

People

anno lab PM 藤 Sadamu Fujioka unverified Director / Programmer 村 Hiroshi Murakami unverified Art Director 田 Kisaku Tanaka unverified Rigging 吉 Megumi Yoshida unverified Project Manager 石 Tomoyuki Ishikawa unverified Framing Fabricator 徳 Toshitoshi Tokunaga unverified Modeler 三 Masaya Mihara unverified Rigging

Other Works by あのラボ（anno lab）

drop - 映像作家: annolab
AnimationArt workInstallationInteractiveProjection mappingWater screen

drop

2020 ~
00:02:00
Description: An art piece created as the "Sea Room" at the Museum of Inhomogeneous Nature and People, located within Nagasaki Bana Resort Campground in Bungotakada City, Oita Prefecture, using water-drop projection mapping. By combining a water-drop fountain performance by Water Pearl Co., Ltd. with an ultra-high-speed projector from Tokyo Electron Device Limited, the work achieves precise projection mapping onto a continuous stream of falling water droplets. This new technology, which has been patented internationally, makes it possible to display animations that smoothly move individual water droplets up and down—something that could not be achieved with conventional Water Pearl installations using strobe lighting. These water droplets are real water that can be touched.
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2020 ~
00:07:36
One of the interactive artworks created around the theme of engaging with nature and expanding physicality, housed in the “Museum of Inhospitable Nature and Human,” established in Bungotakada City, Oita Prefecture. This work is conceived as a room where visitors can play with sunlight. As visitors walk through the room, the small openings in the ceiling automatically open and close, enveloping their bodies in light, while the patches of sunlight on the floor constantly change shape, like the waxing and waning of the moon, in response to the opening and closing of those openings. The viewer’s position is detected by sensors, and only the small openings on the side facing the sun are activated. In addition, the interior is adjusted by analyzing weather data from the Japan Meteorological Agency, so that the most suitable effect is produced at any given moment: on sunny days, mist fills the room and shafts of light can be seen streaming down to the floor. Moreover, piano notes sound when the small openings open, and a piano piece is performed as visitors walk through the room. In this work, the technology is not directly presented; instead, it is used solely to capture sunlight and deliver it directly onto the viewer’s skin, allowing them to feel nature. Rather than artificial light, natural light is delivered to the viewer, evoking not only sight but also the warmth that light holds, and designed to sharpen the senses and awareness of those who experience it.
The Wall of Discovery - 映像作家: annolab
InstallationInteractiveProjection mapping

The Wall of Discovery

2017
00:00:46
Science advances by asking “why?”, letting our imaginations grow into hypotheses, and repeating experiments while believing in those hypotheses. “Discovery Wall” was created as a warm-up before entering the Basic Exhibition Room at the Fukuoka City Science Museum, to encourage visitors to question everything and let their imaginations run free. To inspire people to explore with curiosity—wondering “What happens if I touch this picture?” or “What does this picture mean?”—we incorporated many intriguing devices into the content, based on events in the history of science and scientific phenomena, and freely imagined by animation creators. When you touch the reliefs, science and imagination burst forth as delightful animations. Each one connects and interacts, eventually converging into the question: “Why?”
Spacetime’s Tail - 映像作家: annolab
Art workInstallationInteractive

Spacetime’s Tail

2014
00:03:01
“Tail of Spacetime” was created as an artwork for experiencing the concept of spacetime. Through Minkowski’s light cone, we are always present at our current point, gazing at the horizon of possibilities expanding into the future at the speed of light. When you touch the “Tail of Spacetime” placed at the center of the work’s space, you can see, within the concept of spacetime, the trajectory of how you arrived at your present location. The space is three-dimensionally scanned by sensors placed in front, and by comparing the positions of the past and present space, it generates in real time an image that makes it seem as though your past self exists in the same space as your present self. Manipulating spacetime through visual effects has been achieved by SF films such as Back to the Future, manga such as Doraemon, and experimental works such as Norman McLaren’s Canon, Zbigniew Rybczyński’s Tango, and Michel Gondry’s music video for Kylie Minogue’s Come Into My World. But what it actually feels like had, until now, only been something we could imagine. By imagining, people can perceive the real world in a new way and transform it. The concept of spacetime is still very new, but with its emergence, the way we perceive our world has changed greatly as well. “Tail of Spacetime” is still an experience within video, but as technology continues to advance, I believe it may not be far off before it leaps into physical space. I look forward to seeing what kind of world lies beyond the ability to experience spacetime with our own skin.

Explore 3DCG

Gotchi-Noh / Izutsu (The Well Cradle) - 映像作家: excalibur
2D animationAnimationArt workImageMotion graphicsOriginalPixel Art

Gotchi-Noh / Izutsu (The Well Cradle)

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00:01:31
“Is the moon not the same moon as in the past, and is spring not the same spring as before?” (Modern colloquial translation: Is the moon not the same moon as it was in the past, and is spring not the same spring as it once was?) - The ghost of the woman, “Izutsu” This work was created in official collaboration with the DeFi-staked crypto collectibles “Aavegotchi,” and was released as crypto art. “Aave” in Aavegotchi means “ghost” in Finnish, and it is a web3 game in which users collect a variety of NFTs featuring cute ghosts as its motif. In Japan’s traditional performing art of “Noh,” there is a type called “mugen Noh,” in which a ghost is the protagonist. This work draws on “Izutsu,” which is also regarded as the finest masterpiece of mugen Noh. “Izutsu” centers on the theme of “unchanging love,” and the protagonist is performed as the spirit of a woman who continues to wait for the man she loves, Ariwara no Narihira, even after death. This work (crypto art) overlaps that with a future society that will undergo changes beyond our imagination through blockchain technology, and with the fundamental human passions that remain unchanged even as the times change. Noh includes the keyword “yūgen,” one of the aesthetic ideals that form the foundation of Japanese culture, an essential quality in which the depth of a thing’s flavor cannot be fully grasped by human understanding. This work uses the metaverse, played with avatars, as a metaphor for a Noh stage performed with Noh masks, depicting the “yūgen” of a new worldview. “Though I alone remain as I once was” (Modern colloquial translation: Only I remain unchanged, continuing to think of you as I always have.) - Ariwara no Narihira (825–880)
Gazes - 映像作家: takayoshiohara
Experimental filmInstallationInteractive

Gazes

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An audiovisual installation composed of five wide displays and a 3D sensor. The displays show a 3D model of the artist generated using volumetric capture technology, continuously casting its gaze in various directions. In this work, the vertices of the viewing frustum that constitutes the perspective of the image are always set along the extension of that gaze, so the viewer continually experiences dynamic anamorphosis (distorted imagery). However, only when the viewer’s viewpoint is tracked and the 3D model turns its gaze toward that position—that is, only when the viewer and the 3D model “meet each other’s eyes”—does a single integrated space emerge across display planes oriented in different directions. Invented in the 15th century, perspective drawing has continued to exert a strong influence on dualistic ways of understanding the world, centered on the subject/object divide. In this work, by making the reciprocity of the gaze a condition for the existence of virtual space, those boundaries and hierarchical relationships are dissolved, while the visual experience that arises there presents a current reality in which multiple dimensions coexist.