INSTALLATION / VIDEO
交互装置案例 Interactive Installation Case 时间之网 THE WEB OF TIME
《时间之网》以五块纱幕与双向投影构成可穿行的时间场域，通过人体感应、风动与光影变化，将观众的靠近、停留和移动转化为影像的浮现、重叠与流动。作品让时间不再只是线性经过，而成为一张可以被身体触碰、扰动并重新编织的柔性之网。
纱幕之间浮现时间
Time Suspended in Veils
《时间之网》由安佳琳与LeeMAX共同创作，作品以五块纱幕构成主要视觉结构，通过双向投影将空间、光影与纹理交织为一处可被穿行和感知的时间场域。纱幕既像影像的承载面，也像记忆之间若隐若现的边界，使往昔与现在不再被清晰分隔，而是在层层叠映中彼此渗透。观众在观看时，会面对不断浮现、消隐和重组的影像关系，仿佛进入一张由光、风与时间共同编织的柔性网络。
Time Web, created by An Jialin and LeeMAX, uses five gauze screens as its main visual structure, weaving space, light, shadow, and texture into a field of time through two-way projection. The gauze becomes both a surface for images and a translucent boundary between memories, allowing the past and the present to overlap rather than remain separate. As viewers encounter images that appear, fade, and reconfigure across the layered screens, they seem to enter a soft network woven from light, wind, and time.
BODY TRIGGER
身体轻触时间之网
The Body Sets Time in Motion
作品通过人体感应、风动与投影之间的多重互动，将观众的靠近、停留和移动转化为空间中影像与纱幕变化的触发条件。当观众进入装置区域，身体的存在会影响光影的显现方式；风的介入则使纱幕产生轻微起伏，让投影不再停留在固定平面上，而是在流动的介质中不断发生偏移、重叠与散开。观众无需复杂操作，只需在纱幕之间行走、驻足或经过，便能参与到时间图像的生成与变形之中。
Through body sensing, wind movement, and projection, the work transforms the viewer’s approach, pause, and movement into triggers for changes in image and screen. When viewers enter the installation space, their bodily presence influences the appearance of light and shadow, while the movement of air causes the gauze screens to shift subtly. Projection is no longer fixed on a static surface, but drifts, overlaps, and disperses across a moving medium. Without any complex operation, viewers participate in the formation and transformation of temporal images simply by walking, pausing, or passing between the screens.
LIGHT MEMORY
光影退后记忆流动
Where Light Becomes Memory
《时间之网》的核心并不在于展示互动技术本身，而在于借助感应、风动与投影构建一种关于时间的感知经验。技术被安置在空间背后，使纱幕、光影与身体之间形成细微而持续的关系。影像在半透明的层次中不断叠加，像记忆在现实中反复浮现，又随风与人的移动慢慢改变。作品在往昔与当下、可见与不可见、真实空间与影像空间之间建立联系，使观众在流动的光影中感受时间并非线性经过，而是一张可以被触碰、被扰动、被重新编织的网。
The focus of Time Web is not to foreground interactive technology itself, but to use sensing, wind movement, and projection to create a perceptual experience of time. Technology remains behind the scene, allowing subtle and continuous relationships to form among gauze, light, shadow, and the body. Images accumulate across translucent layers, like memories repeatedly surfacing within the present, then slowly changing with air and movement. Between past and present, visibility and invisibility, physical space and projected space, the work suggests that time is not merely a linear passage, but a web that can be touched, disturbed, and woven anew.