Noise;nse is a work that explores various aspects of reality through changes brought about by visual noise. The sound of a car engine, the wavering patterns of curtains—our surroundings are filled with noise that places a burden on the senses. What is noise to humans is a foothold for technology to perceive reality. Could there be a world of noise known only to technology? In this work, by adding the direction, distance, and color of light to two pieces of fabric and generating visual noise—such as periodic misalignment and distortion—it expresses how the patterns of plants are transformed. Striped moiré patterns appear around the fabric, while different patterns emerge in the plants sandwiched between the fabrics. These are changes in noise caused by the unique unevenness of the plants.

Description: This video installation consists of a display that moves up and down and footage of falling rocks projected onto it. The work addresses three spatial dimensions: the “space of images” created by the video, the “real space” in which it is viewed, and the “virtual space” that connects them. In cinema, events and spaces outside the frame are called “off-screen,” and their presence is suggested through sound or the reactions of characters. However, in the contemporary age, where video experiences through computer multi-window displays have become commonplace, it is also possible to recognize the video content itself as an object off-screen. In this work, the bodily act of following the moving display with one’s eyes, together with the reciprocal experience of the video in response, evokes the singular event of “falling rocks.” Yet the visual synchronization/asynchronization produced by the mismatch between the movement of the display and the rhythm of the video continually shifts the perceived location of the object in our minds. Where, exactly, is the stone falling?

When people touch flowers, the flowers fall and die. When people touch sand, the falling sand breaks. Since ancient times, people have watched sand fall and come to understand the concept of fleeting time, and through the changing of blooming flowers, they have sensed the passage of long time. The time carried by falling sand, the time in which flowers are born and die again and again, and the time of the human body—these different times intersect and overlap. The space of the flowers is framed by teamLab’s concept of “ultrasubjective space,” so unlike space framed by a lens or perspective, the viewer’s point of view is not fixed, and the body is liberated. And the wall on which the flowers are projected does not become a boundary between us and the artwork; the space of the flowers continues seamlessly with the space in which people’s bodies exist. Artwork page: https://www.teamlab.art/jp/ew/life-sandfall-jeddah/jeddah/