計畫簡介 Project Overview

PROJECT OVERVIEW In short: someone is cycling from Kyoto to Paris.

問題：人造空間如何表象時間與意志，以及沒有空間的時間是什麼狀態。 Question: I want to understand how built space embodies time and will, and what time is like when “space” (in the built sense) is absent.

關於「人類精神採集計畫」 About “Human Spirit Harvest”

這次計畫從京都開始，沿著草原帶一路前往巴黎。主要目的是為了發現「時間・人・空間」在不同環境與地景的作用下凝固或累積出哪些不同的人類精神；雖說計畫的最初疑問關注的是人造空間如何表象時間與意志，但是實質上，或說我本人隱藏的期待是為了回答一個未知的問題：「既然人類可以透過人造空間表象時間流動甚至讓時間消失，那麼在沒有人造空間的地方，時間會是什麼樣子呢？」這次的計畫大概是來自這樣的好奇。由於這個問題無法在一個被牆面包圍著的純粹意識空間中獲得，因此有了這個採集計畫。 This project begins in Kyoto and moves toward Paris along the steppe belt. Its main purpose is to see what different kinds of “human spirit” condense or accumulate when “time, the human, and space” are shaped by different environments and landscapes. Although the project’s first question concerns how built space embodies time and will, my deeper, partly hidden expectation is to face an unknown question: “If built spaces can represent the flow of time, or even make time disappear, what is time like where there is no built space?” This project grows out of that curiosity. Because this question cannot be answered inside a purely mental space enclosed by walls, this harvest becomes a fieldwork journey.

方法：因為關係到移動，騎行本身並不只是工具上的選擇，而是一種結構化研究實踐。我會維持相對穩定的節奏，讓觀察分布在移動與靜止之間（或至少不先預期切割行動者與觀察者兩個狀態）。 Method: Because the work depends on movement, cycling is not merely an instrumental choice but a structured research practice. I keep a relatively stable rhythm so that observation is distributed across movement and stillness (or at least without presuming a clean split between “actor” and “observer”).

為什麼選擇自行車作為夥伴 Why a bicycle as my companion

人類在奔跑時會看到風，騎行時也會看到風。不同的運動會讓人看到不同的風，那是人類被賦予的身體恰當地行經世界中的某個時空節點才能讓自己看到的瞬間。選擇自行車的原因在於它的移動速度更能配合太陽在一天中移動的角度。當意識進入自動化踩踏的放空狀態時，眼睛和身體可以直接打開迎面而來的風、顏色與光線。雖說這個身體會隨著使用而折舊，甚至故障瓦解，但在它仍可使用的時間裡，我們以為是眼睛看到的，其實是身體所創造的。我曾經確實地這麼感覺到。

因此，「人類精神採集計畫」不採取觀察者測量與劃分的地景（landscape）描繪紀錄，而是嘗試透過穩定的移動逐漸排空自我，使身體成為容器，在動態中採集不可見的風景。

Human beings see wind when they run, and they also see wind when they ride. Different forms of movement open up different kinds of wind. These moments appear only when a human body, as it has been given, passes through a particular node of time and space. For this reason, the Human Spirit Harvest Project does not adopt landscape documentation based on observation, measurement, or spatial division. Instead, it seeks to gradually empty the self through sustained movement, allowing the body to become a vessel that gathers invisible landscapes within motion.

The bicycle is chosen because its speed aligns closely with the angle at which the sun moves across the day. As consciousness enters the automatic rhythm of pedaling, the eyes and the body can open directly to the wind, colors, and light approaching from the front. Although this body inevitably wears down through use and may eventually fail, while it remains within its usable span, what we take to be vision is not produced by the eyes alone, but created through the body itself.

目的：地景、流動性，以及人造空間或非建構環境，如何形塑人類對時間與空間的經驗。 Aim: To examine how landscapes, mobility, and built or unbuilt environments shape human experiences of time and space, and what forms of collective civilization or personal spirit grow from those experiences.

這個計畫想獲得什麼成果 Why a bicycle as my companion

我作為一個人類究竟站在時間與空間軸線的哪個點上，曾經想知道的是這件事。但是即便知道自己的相對位置，要以什麼樣的目光或姿態回應世界，卻也是有待發掘的事。為什麼有些文明可以使他的國民長出完整的世界觀？為什麼有些帝國的足跡曾經遍佈歐亞大陸，卻沒有留下宏偉的陵墓？在致力保存和接受消失的選擇之下，不同地域各自長出何種集體文明或個人精神，又如何表現在當地的人造空間，進而塑造當地人類的時間感，在長久的歷史時間裡凝聚出屬於該處的集體精神。希望藉著這些發現，回應某些來自自身存在衍生出的疑問。

I have long been concerned with a single question: where, as a human being, do I stand along the axes of time and space? Yet even if one comes to understand one’s relative position, how to respond to the world—what kind of gaze or stance to adopt—remains an open question. Why are some civilizations able to foster a coherent worldview among their people? Why did certain empires, whose traces once extended across the Eurasian continent, leave behind no monumental tombs? Under differing choices between preservation and the acceptance of disappearance, what kinds of collective civilizations and individual spirits emerge in different regions?

為什麼這個問題不能停在理論 why this cannot remain abstract

在東亞歷史與歐亞大陸文明的交會之中，曾有人將這種存在狀態稱為「場所の苦しみ」。 對我而言，這個問題並非抽象命題，而是一個無法迴避、必須透過行動加以回應的提問。

At the intersection of East Asian history and Eurasian continental civilizations, this condition of existence has once been described as “the suffering of place.” For me, this is not an abstract proposition, but a question that cannot be avoided—one that must be responded to through action.

閱讀更多｜Q&A Read more|Q&A

如果你想知道更多可以參考 If you want more context, you can open the sections below.

Q1｜為什麼叫第二十三號 Q1 | Why “No. 23”?

第二十三號來自芥川龍之介的小說《河童》。此次進行採集計畫的自行車也以此命名。
第二十三號在河童國看到另一種生活、信仰和文明，回到人類世界後卻再也無法忍受人類的氣味。大約一年後，為了回到河童國，在中央線火車站徘徊之際被巡邏人員發現並抓到精神病院。這是第二十三號的故事。

在這次計畫的時間線裡，第二十三號沒有被巡邏人員攔下，因為他並不仰賴火車這種集體運輸工具。
希望這次他可以順利回去。

“No. 23” comes from Ryūnosuke Akutagawa’s novella Kappa. The bicycle used for this harvest is named accordingly.
In the story, No. 23 encounters another way of living, believing, and building civilization in the land of the kappa. After returning to the human world, he can no longer endure its “smell.” About a year later, while wandering near a Chūō Line station in hopes of returning, he is spotted by patrol officers and taken to a psychiatric hospital. That is No. 23’s story.

In this project’s timeline, No. 23 is not stopped by patrol officers, because he does not rely on collective transport like trains.
Hopefully, this time, he can return.

Q2｜為什麼選擇京都和巴黎作為起點和終點？ Q2 | Why Kyoto and Paris as the start and end?

在過去的人生裡，有某些時刻，時間超越空間顯現在我面前。
巴黎的街道、陽台和露天咖啡座就像是裂縫張開流動持續的時間。
京都的寺廟、庭院則透過空間消除時間、我與客觀世界，只剩下某個永恆且無限的瞬間。
我認為我已理解這兩種被人造空間製造出的時間經驗，因此想知道這世上還有哪些被人類的集體文明塑造出來的時間。

In my life, there have been moments when time seemed to surpass space and appear directly before me.
Paris, with its streets, balconies, and open-air cafés, feels like a fissure opening where time is laid out as continuous flow.
Kyoto’s temples and gardens, through space, dissolve time, the self, and the objective world, leaving only an instant that feels eternal and infinite.
So if humans can build spaces that make time flow, or disappear, what other kinds of time has collective civilization made in this world?

Q3｜途中路線怎麼安排？ Q3 | How will the route be arranged?

我曾把人造空間之間的通道與裂隙，想像成人類得以脫離集體、成為觀察者的位置。 草原帶因此一度被我視為橫跨歐亞的文明通道，或一種「中間狀態」的象徵。 但是這個假設並沒有說服我，通道或間隙並不足以形成可獨立運作的完整的世界。

於是我把問題推向草原本身：
既然人類可以透過人造空間讓我感受到如此強烈的時間流動甚至讓時間消失，那麼在沒有人造空間的地方，真正的時間會是什麼樣子呢？我突然有了這樣的好奇。

I once imagined the corridors and fissures between built spaces as a position from which a human could step away from the collective and become an observer. The steppe belt therefore became, for a time, a civilizational passage across Eurasia, or a symbol of an “in-between” state. But that hypothesis did not convince me: a corridor or a gap is not enough to form a complete world that can operate on its own.
So I pushed the question toward the steppe itself:
if built space can make me feel time flowing so intensely, or even make time disappear, then what is time like where there is no built space at all? That curiosity arrived all at once.

Q4｜目前的核心假設是什麼？ Q4 | What is the core hypothesis of this project?

在人造的「有」之間，存在著被視為「無」的動態。
在我的理解中，這個「無」，或者那些被稱為通道、間隙或另一種空間的存在，才是使一切得以發生的場所。 也就是在人造空間之下還有一個有與無、主與客未分的世界，這個世界在人類經過相對的無的時候得以顯現。 按此假設，巴黎的精神更接近時間，京都更接近空間，那麼只有時間的草原應該就是人得以站立其上的地方。

某個夜晚我一邊滑著谷歌地景，一邊這麼思考著。
突然在螢幕中無盡的蒙古草原上出現一個站立在天空和草原之間的石頭小人。
經查這些石人遍布整個歐亞大陸，因此我決定跟著這些散佈在草原上的石人，展開此次的人類精神採集行動。

Between built forms of “being,” there exists a dynamic often regarded as “nothingness.”
In my understanding, this “nothingness,” or what is described as corridors, gaps, or alternative spaces, is precisely the place that allows everything to happen. Beneath built space lies a world where being and non-being, subject and object, are not yet divided, a world that becomes perceptible when humans pass through what is relatively understood as nothingness. Under this hypothesis, the spirit of Paris aligns more closely with time, and Kyoto with space; the steppe, where only time remains, should therefore be the ground on which a human can stand.

One night, I was thinking along these lines while scrolling through Google Street View.
Suddenly, on the endless Mongolian steppe on the screen, a small stone figure appeared, standing between sky and grassland.
After looking into it, I found that these stone figures are scattered across the entire Eurasian continent. That is why I decided to follow them across the grasslands and begin this harvest of human spirit.

這個計畫會產出什麼 Outputs

我（大概）會怎麼走 Route (draft)

IG：可能會有一些路上碎片｜ 連結 IG: occasional fragments from the road | Link