Abstract

Walter Benjamin’s concept of the “aura” highlights the uniqueness and authenticity of an artwork, which he argues is diminished in the age of mechanical reproduction. Contemporary artists, however, often employ advanced lighting techniques, innovative ideas, and technology to revive or transform this aura into a meditative experience. As a result, I would term this trend “kabbalistic modernity,” a phrase adapted from Leon Wieseltier in the preface to the book Illuminations, which I define as the use of innovative and contemporary techniques to provoke spiritual philosophy. I have chosen four field sites to explore this trend teamLab Borderless: an interactive digital installation, James Turrell’s interactive digital installations at Museum SAN, Hiroshi Sugimoto's architecture Enoura Observatory, and Tadao Ando’s architecture Space of Light. More specifically, some of the artworks evoke what I would call a “mundane divine” experience: a sense of the sacred that arises from simplicity and nature, enhanced by lighting and abstract tactility. This creates an almost tangible feeling of touch without actual physical interaction, blending the internal and external worlds. In these installations, viewers perceive light as both an external stimulus and an internal emotional resonance, where the boundaries between the self and the outside environment dissolve.

1.     Introduction

Walter Benjamin’s concept of the “aura” refers to an artwork’s distinct presence and genuineness, rooted in the specific time and place of its creation. He argues that the mechanical reproduction of art, through photography or film, eradicates the artwork’s aura by detaching it from its original context, thus substituting “a plurality of copies for a unique existence” (Benjamin 228).

In a modern world saturated with replicas, Benjamin believes that the unique inherent value of art as a singular, unrepeatable experience diminishes. Criticizing Benjamin’s ideas, Leon Wieseltier calls him “modernity’s kabbalist,” describing Benjamin as someone who perceives modernity as a cryptic, mystical force (Benjamin viii). Benjamin’s critical stance toward the materialism of modernity suggests that deeper spiritual realities could be unlocked through critical analysis beneath the surface of everyday life.

I argue that prominent features of contemporary art, especially works involving light, can be interpreted through what I term “kabbalistic modernity.” Rather than merely critiquing modernity’s materialism, these works use modern technologies—specifically lighting techniques—to cultivate spiritual serenity, a special feeling the audience perceives when appreciating artworks imbued with “aura.” Thus, the aura in the artworks can be enhanced through the audience’s perception of unique, site-specific interactions with light.

Among these artworks, I identified three shared characteristics that contribute to the aura by creating unrepeatable, unique experiences:

1)    Mundane divine: where ordinary contemporary art or spaces are infused with a sense of the sacred through lighting.

2)    Abstract tactility: where light creates an almost tangible feeling of touch, enveloping the viewer without physical interaction.

3)    Blended interiority and exteriority: where light dissolves the boundaries between the viewer’s inner self and the external world.

To illustrate my theory, I will analyze four field sites: teamLab Borderless, James Turrell’s exhibitions in Museum SAN, Hiroshi Sugimoto’s Enoura Observatory, and Tadao Ando’s Space of Light. These examples showcase how contemporary artists utilize light not only to preserve the authenticity of their works but also to distinguish their creations from imitations, reinforcing the spiritual aura that Benjamin fears would be lost in an age of mechanical reproduction.

2.     Literature Review

The literature review will be divided into two parts: 2.1. Key Concepts, and 2.2. Field Site Introduction.

2.1. Key Concepts

Benjamin defines aura as “the unique phenomenon of a distance, however close it may be. If, while resting on a summer afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, of that branch” (Benjamin 222). By offering this example of perceiving aura from natural objects, Benjamin illustrates aura as having both temporal and spatial uniqueness. He states: “its presence in time and space, its unique existence at the place where it happens to be” (Benjamin 220). Throughout the work of art in the age of mechanical reproduction, Benjamin argues that “which withers in the age of mechanical reproduction is the aura of the work of art” (Benjamin 221). When reproducing a piece of art, its historical context and cultural significance are lost. Through revealing and criticizing the impact on development of mechanical reproduction brings, Benjamin highlights the significance of restoring the “aura” in artworks, describing it as “a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind” (Benjamin 221).

The term “Kabbalistic modernity,” which I use to describe the development trend of contemporary art, particularly those involving the use of light, originates from the preface of Illuminations. Leon Wieseltier once commented on Benjamin that “[h]e was modernity’s kabbalist; In his turgidly enchanted world, there were only mysteries, locked and unlocked”(Benjamin viii). According to Wieseltier, the concept of kabbalistic modernity, as it applies to Benjamin’s work, involves a deep engagement with the mysteries of the modern world and a search for hidden spiritual meanings.

Nowadays, contemporary artists have found ways to convey profound spiritual meanings through their works, offering viewers a sense of serenity and inspiring them to seek peace. As a result, I would argue that this trend embodies “kabbalistic modernity,” which I define as the use of innovative and contemporary techniques to provoke spiritual philosophy. Artists practicing kabbalistic modernity employ contemporary art creation methods or technical systems to uncover spiritual resonance in their work, effectively restoring or enhancing the artwork’s aura through unique, immersive experiences.

2.2. Field Site Introduction

The four selected field sites are teamLab Borderless, James Turrell’s installations in Museum SAN, Hiroshi Sugimoto’s Enoura Observatory, and Tadao Ando’s Space of Light. They all represent contemporary art installations using light to preserve “aura” and follow the trend of kabbalistic modernity, though they each embody unique qualities. I will analyze these sites in the Field Site Study section based on my firsthand experience. The four field sites are selected for their distinct approaches to preserving “aura” through light, digital interactivity, perceptual art, celestial alignment, and spanning minimalist architecture.

I selected teamLab for its highly technical nature that incorporates computer algorithms to enable real-time interactions with the audience (Stetz), which embodies the philosophy that “[e]verything exists on a fragile continuity of life that knows no boundaries and has continued for a long, long time”(teamLab). By weaving this idea into their installations, teamLab creates a space where viewers can experience the interconnectedness of all things. By involving viewers in “the multisensory, co-creative experiences” (Grassi) that emphasize unity and flow, teamLab demonstrates kabbalistic modernity, using contemporary techniques to evoke a communal, almost spiritual sense of oneness.

Museum SAN hosts James Turrell’s Ganzfeld and Wedgework light installations. Turrell employs advanced techniques in optics and geometry, such as the Ganzfeld effect, to manipulate perception and blur physical space. In Ganzfeld, viewers are immersed in a field of shifting colored light that erases clear visual boundaries, while Wedgework uses geometric shapes of neon light to dissolve interior walls. These light-based methods produce a spatial effect, allowing the artwork to expand beyond the boundaries of architecture (Perlin and Schwan). By merging interiority and exteriority, Turrell’s works embody kabbalistic modernity, using contemporary illusion to inspire deep contemplation.

Hiroshi Sugimoto’s Enoura Observatory is located in Odawara, Japan. Completed in 2017, the observatory comprises several distinct features, including the Summer Solstice Observation Gallery, the Winter Solstice Tunnel, the Optical Glass Stage, and the Uchōten tea house. The innovation lies in the precision of engineering: tunnels and openings are oriented so that sunlight falls in specific ways on solstices and equinoxes. This precision in calculations serves a spiritual purpose: viewers witness the natural light in well-orchestrated ways on special occasions, gaining self-awareness and a sense of their place in the cosmos. By hiding technical details and highlighting mystical alignment between sun and architecture, Sugimoto’s site exemplifies kabbalistic modernity, blending modern precision with cosmic spirituality (Sugimoto).

Tadao Ando’s Space of Light is a contemporary architecture that uses the minimal amount of design possible to render a sacred site of light. In analyzing it as one of the four field sites, I will compare it with his earlier work, Church of Light (Fig. 1). The Church of Light and the Space of Light have core differences:  The Church’s light enters through a wall crucifix, whereas Space of Light channels light vertically from ceiling slits; and in terms of function, The Church of Light serves a specific religious purpose, while Space of Light creates a sense of sacredness that is not directly tied to religion. However, similar to The Church of Light, The Space of Light, with its cross-shaped natural light and use of negative space, creates an immersive atmosphere that enhances its spiritual qualities, embodying the philosophy of blending tranquility and minimalism, especially through its  “mute, yet sturdy walls”,  which actively opposes segmented natural spaces. The comparison between the two sites by Ando shows his consistency in minimalist modernism and spiritual philosophy.

Tadao Ando’s Space of Light is a contemporary architecture that uses the minimal amount of design possible to render a spiritual site of light. In analyzing it as one of the four field sites, I will compare it with his earlier work, Church of Light (1989). The Church of Light and the Space of Light have core differences: The Church’s light enters through a wall crucifix, whereas Space of Light channels light vertically from ceiling slits; and in terms of function, The Church of Light serves a specific religious purpose, while Space of Light creates a sense of sacredness that is not directly tied to religion. However, similar to The Church of Light, The Space of Light, with its cross-shaped natural light and use of negative space, creates an immersive atmosphere that enhances its spiritual qualities (Petridou), embodying the philosophy of blending tranquility and minimalism, especially through its “mute, yet sturdy walls”  (Singh 201), which actively opposes segmented natural spaces.  The comparison between the two sites by Ando shows his consistency in minimalist modernism and spiritual philosophy.

3.     Field Site Study

3.1. teamLab Borderless

In the hustle and bustle of Tokyo's metropolis, there is a unique space where the boundaries between the audience and the exhibition hall dissolve: teamLab Borderless. The moment I stepped in, I felt like I was not just walking into it, but becoming a part of it. Immersed in this living canvas, I felt myself drifting between different roles: ometimes a passive observer, sometimes an engaged participant, and even at times the co-creating artist who influenced the artwork itself, as the installations responded to my movements and even my simple presence.

Unlike many traditional museums, teamLab Borderless (Fig. 2) does not have a single planned route or map for the audience to refer to. It offers a non-linear space, and hence, the audience is free to wander and explore.

Not only do viewers enjoy this freedom, but the light, a crucial medium in teamLab’s work, also flows freely through the space, remaining unbounded and interacting with viewers and other installations, rather than being confined to a single room. The movement of light is a product of “modernity”: digital technologies, such as motion sensors and real-time projection mapping, enable dynamic interactions between viewers and light installations. These technologies are incorporated to accurately detect and locate the audience and thus enable the light to “communicate” with them on the spot. teamLab uses modernity smartly and organically to create a unique experience for viewers and render a vibe of serenity for viewers to fall into while enjoying the completely unlimited interaction with the light.

In each specific room at teamLab Borderless, distinct light installations originate from “central points” as autonomous works, with their luminous forms evolving dynamically and interacting across spatial boundaries. However, the light eventually breaks free, moving through corridors and intersecting with other artworks. This movement, from my observation, implies the way living beings are born into the world, that each of us originating from our mothers but diverging along unique life paths. The light’s free movement reflects the fluidity of the audience’s exploration within the space, reinforcing a central theme of freedom. The interplay between light and viewers changes incessantly as the sensor detects each passer-by, creating an experience that feels alive and ever-changing, much like the “aura” described by Walter Benjamin, the distinct, unrepeatable essence of an artwork.

What truly sets teamLab Borderless apart from mainstream exhibitions and demonstrates its unique aura is how it challenges viewers’ perception of light as something distant and untouchable. The light installations seem to take on a tangible quality, offering an abstract tactility. This idea is vividly illustrated in the installation Light Evaporating with People (Fig.3), where motion sensors allow viewers to “touch” light: when a person reaches for a light sphere, the installation’s precise programming causes the light to collapse, making an intangible glow feel momentarily tangible.

Another installation, What a Loving, and Beautiful World (Fig 4), takes this idea even further. This piece brings to life a series of Chinese characters, each representing a natural element—flowers, wood, rainbows, and more. Each tangible touch stimulates the still characters to transform into vivid visual animation: flowers bloom, trees grow, rainbows appear. As viewers touch and interact with these characters, their actions would not only affect one character’s world but also the worlds of other artworks. The interaction between different characters and elements creates new, constantly evolving imagery, specifically, a visual landscape that could never be replicated. Each moment is entirely unique and transforms incessantly, reinforcing the idea that art exists in a continuous state of transformation shaped by both the environment and the audience.

This interactive digital technique is highly modern, but it produces a timeless spiritual effect: viewers often report feelings of peace and unity. By making light tactile and responsive, teamLab uses technology to evoke a sense of wonder and connection, embodying kabbalistic modernity as it uses contemporary innovation to provoke a spiritual experience.

3.2. James Turrell at Museum SAN

In Ganzfeld (Fig 5), Turrell plays with the viewer’s sense of space by using light and color to dissolve physical boundaries. At the start of the installation, viewers sit facing stairs leading up to a platform and a blue “curtain” of light. Later, as one ascends, the space dramatically expands into a much larger area, where the colors of pink, blue, yellow, red, and green continually shift. The clear, solid wall that seems present from below transforms into an infinite void, blending what was previously perceived as interior and exterior space.

The sensation of walking into this boundless expanse, where colors change and shapes and forms disappear, triggers a feeling of disorientation. At the same time, the installation prompts a deeper contemplation of space and perception. When the viewer attempts to reach out and touch what appears to be a surface, they find it is a void—an empty space that cannot be physically grasped. This interplay between illusion and reality, where solid forms turn out to be emptiness, heightens the sense of wonder and triggers contemplation. This use of controlled lighting to make the physical limits of the room disappear is a modern technique in perceptual art.

In Wedgework (Fig 6), Turrell takes a different approach to manipulating light, creating geometric shapes that blur the line between the real and the illusory. The installation begins with a passage through a pitch-black corridor, which evokes a sense of unease as viewers prepare to enter an undefined space. Upon entering, they encounter abstract forms such as rectangles, wedges, and trapezoids, defined by varying light intensities.

The darker linear area within the installation appears as edges that form the structure of the seemingly tangible space, while the illuminated areas suggest surfaces that dissolve upon closer inspection. The viewer’s engagement with these light-based forms creates a fluctuating perception of space that blends physical reality with visual illusion. As one sits in front of the artwork, it becomes increasingly difficult to discern where solid forms end and where the immaterial begins. The experience shifts from an intellectual desire to distinguish reality from illusion to a more immersive surrender to the ambiguity of the space itself, inviting the audience to accept and embrace the world rather than reject its negative side, eventually reaching a state of serenity.

The ability of light to create these undefined borders between real and virtual spaces challenges the viewer’s sense of certainty. It becomes less important to distinguish between the tangible and the intangible as Turrell encourages viewers to embrace the state of in-betweenness via the experience of moving through a space that seems to extend infinitely, both in time and in the imagination. This ongoing extension of light and space, coupled with the lack of clear physical boundaries, creates a transformative experience in which the viewers are drawn into a unique artistic world where interiority and exteriority, as well as authenticity and illusion, blend together, inviting viewers to explore a space that challenges traditional perceptions of reality.

Turrell’s innovative use of light and space embodies both the aura of singular, unrepeatable experiences and the spiritual transcendence of kabbalistic modernity. The blending of interiority and exteriority, along with the disorienting void, offers viewers an encounter that can never be fully replicated. Despite its illusory nature, the unlimited space and illusion allow viewers to explore how they can perceive light differently from in daily life. Thus, it creates an aura of uniqueness and temporal specificity. Turrell’s art evokes an aura by making the viewer’s experience inseparable from the present moment, thereby heightening its uniqueness.

At the same time, both Ganzfeld and Wedgework engage with the idea of kabbalistic modernity, where the spiritual is accessed through modern technology and the manipulation of light. The careful design of spaces that blend the real and the illusory, the finite and the infinite, matches the trend of kabbalistic modernity. Light becomes not just a medium for visual engagement but a tool for spiritual contemplation, allowing viewers to step into a space that extends far beyond material reality and evokes a deeper connection to the divine. The overall effect of both works is disorienting yet meditative: viewers are gently guided into a serene, contemplative state. This blending of modern perceptual technology with spiritual contemplation exemplifies kabbalistic modernity.

3.3. Enoura Observatory

The Enoura Observatory, designed by Hiroshi Sugimoto, creates an experience where everyday materials take on spiritual significance, reflecting both the ancient and the modern. When visiting, I was immersed in the integration of mundane and divine.

Everything in the Enoura Observatory is constructed from raw, natural materials. The use of stone is prominent throughout the site, with even the most minor details, like stones bound with rope to remind viewers not to cross certain boundaries, being carefully considered. Since these natural construction materials were taken from the surroundings, they blend seamlessly with the environment. The architect’s persistent use of the same simple natural materials embodies simplicity and purity while serving practical functions.

As I walked into the observatory’s reception hall, I felt a connection to nature, especially from a table carved from a thousand-year-old tree from Yakushima (Fig. 7), an island famous for its ancient forests. Using the millennia-old wood not only symbolizes a deep connection to the past but also evokes the sacredness of time, turning mundane objects like furniture into manifestations of natural history.

Other than the construction materials, the most striking example of the observatory’s merging of the mundane and divine comes from its careful alignment with seasonal sunlight (Fig. 8). During key moments of the year, the solstices and the equinoxes, the angle of the sun’s rays is calculated to perfection, illuminating different areas of the observatory. For example, on the winter solstice, the light precisely penetrates through the tunnel. It illuminates the passageway leading to the shrine, inviting spiritual reflection as the sun’s path marks the passage of time.

While the Enoura Observatory seems to be an extension of nature, blending seamlessly with its surroundings, an underlying layer of modernity is present. The structure, though built from traditional materials like wood and stone, is meticulously designed with modern calculations to ensure the sun’s rays align perfectly with key moments in time. The sunrise on the solstices and equinoxes is not left to chance; it is the result of careful scientific planning, revealing the hidden presence of modern technology within the observatory.

Additionally, functional components such as restrooms and vending machines are subtly integrated into the architecture using wood and stone, so as not to disrupt the viewer’s connection to nature. Although modern calculations underlie the design, Sugimoto conceals the technology, making the experience feel timeless. By combining hidden modern precision with a mystical atmosphere, Enoura exemplifies kabbalistic modernity by provoking spiritual awe with contemporary means.

3.4. Space of Light

As I entered Tadao Ando’s Space of Light (Fig. 9), I felt like I could spend all afternoon there, watching the ever-changing light and meditating, which exactly matched the site’s purpose as a meditation pavilion. This site is a profound exploration of how the simplest design can evoke spiritual experiences through the medium of light. This simplicity, while rooted in modernist architecture, paves the way for a deeper contemplation of light as more than a visual element: it becomes a metaphor for the divine, subtly guiding the viewer into a state of serenity and reflection.

Its minimalist design embodies innovation: a rectangular slit in the roof precisely frames the rising sun. At dawn, sunlight passes through and forms a glowing cross on the floor, transforming the bare concrete into a luminous symbol. This precise architectural geometry and timing are a modern technical feat. The steady, unbroken illumination creates a sense of timelessness, a space where the mundane is elevated into the realm of the divine.

The precision with which Ando has calculated the interaction of natural light with space is a testament to modernist principles, where form follows function. The use of concrete as the primary material underscores this modernity with both its strength and simplicity. Yet within this apparent constancy lies a unique, dynamic element: a fifth beam of light, noticeably brighter than the others, that moves gradually throughout the day. This beam is influenced by the sun’s position, shifting as the day progresses and the weather changes, resulting in a constantly evolving experience where no two moments are ever the same. The light, while simple in essence, is infinitely variable, creating a sense of aura, a feeling that each encounter is unrepeatable and distinct.

Yet, Ando deliberately uses this modern framework not as an end, but as a vessel for something far more profound. The design is purposefully stripped of ornamentation so that the light can “perform,” casting sacred shadows and highlighting the transcendent potential of ordinary materials.

By using contemporary concrete architecture and natural light to create a sacred atmosphere, Space of Light demonstrates kabbalistic modernity by connecting modern craftsmanship with divine meaning. The four diverging light beams and the narrower and brighter fifth beam that moves along the passage of time, leading to a spiritual encounter that feels both timeless and deeply personal, reviving the “aura.”

4.     Comparative Study of Four Field Sites

These four field sites use light to evoke the mundane divine, abstract tactility, and blended interiority and exteriority, crafting a spiritual experience aligned with kabbalistic modernity and merging contemporary technology with meditative qualities. Thus, by connecting the lighting effect with the corresponding timing, the visiting experience becomes one of a kind, rendering the unique “aura.”

Hence, despite their differences, all four sites exemplify kabbalistic modernity by using innovative methods to create spiritual experiences and preserve aura. teamLab and Turrell both dissolve the viewer’s sense of interior and exterior through digital or optical means, inviting immersion in an expansive, contemplative space. Enoura and Ando transform the everyday (stone, wood, concrete, sunlight) into the sacred through precise alignment and design. Each site uses modern methods (digital projection, perception science, astronomical alignment, minimalist architecture) to serve spiritual philosophies (unity, transcendence, cosmic awareness, religious symbolism).

4.1. Mundane Divine

The two field sites by Tadao Ando use their unique yet simple design and natural lighting techniques to make the “divine” a part of the viewer’s experience.

In the Space of Light, the minimalist design allows light to penetrate and transform simple, concrete forms into a contemplative environment. The incorporation of light as an element that enters through the cross on the ceiling creates a sacred, church-like atmosphere. The interplay between the cold, sharp harshness of artificial concrete and the softness, or even the intangibility of the natural light, creates a space where viewers can experience the divine from the contrast of materials.

At The Enoura Observatory, the use of raw, natural materials, stone, wood, and ancient trees from Yakushima, imbues the space with a deep connection to the earth and nature. The alignment of sunlight with celestial events like equinoxes and solstices anchors the human experience in larger cosmic rhythms. The awe inspired by the beauty of these natural celestial events and elements encompasses both the divine and the principle of kabbalistic modernity. This modernity, with its inherent precision, is deeply intertwined with nature, inviting the audience to experience a spiritual connection and explore the profound philosophical themes regarding an individual’s place in the grand universe.

Both sites approach the divine through the mundane, creating environments where the viewers participate in something beyond themselves, and using modern architectural precision (alignments, geometry) to sanctify ordinary materials and the natural light, which follows the trend of kabbalistic modernity.

4.2. Abstract Tactility

The concept of “abstract tactility”, when the intangible light suddenly feels tangible, with shape, appears in both the Space of Light and teamLab Borderless, regardless of their having completely different concepts. This sensory paradox between the intangible and the tangible intrigues viewers. It draws them closer to the art, as they feel an intimate connection with something that, by nature, should be untouchable.

In Space of Light, Tadao Ando shapes light by inviting it through the rough, sharp, and sculptural surfaces of concrete. The light beams penetrate, casting shadows and highlighting textures in a way that makes it seem almost physical. The tactile quality arises from the simplicity and mundanity of the surrounding environment, giving the light a sculptural effect. In contrast, teamLab Borderless takes a more dynamic, interactive approach via digital technology. The interaction between viewers and light blurs the divide between the virtual and the physical, making the light feel like a responsive substance that viewers can capture and shape with their actions.

While Ando’s work emphasizes the tactile interaction of light through simplification, teamLab’s installations create a fluid, interactive experience using complex technology and digital means. These distinct modern methods—architectural design and interactive technology—both create an “abstract tactility” that highlights the paradoxical perception of the tangibility of a supposedly intangible substance, introducing a meditative layer of awareness when interacting with light.

4.3. Blended Interiority and Exteriority

Both James Turrell’s installations and teamLab Borderless engage viewers in a spatial transformation where interior and exterior boundaries dissolve. By largely using modern techniques, the audience can reach a state of serenity from the seemingly conflicting feeling of being placed in unlimited space while actually being in a limited space with limited color changes.

In Ganzfeld, James Turrell creates a uniform light field, an even flow of light in all points of a space in almost all possible directions, to dissolve physical walls and create spatial ambiguity. The installation removes clear physical boundaries between the space people are in and the space they are about to enter, creating the illusion of infinite space in the audience’s sight. This effect draws viewers into a liminal zone where they are immersed in overwhelming vastness and gradually get used to it despite being within a defined and unchanging physical structure. The absence of distinct edges or focal points encourages an expansive horizon, which almost becomes a transcendental perception of space.

teamLab Borderless manages to redefine interiority and exteriority spatially by using digital projections that merge the boundaries between separate exhibition rooms where different pieces originate and the corridors that connect them. The installations flow seamlessly across exhibition rooms and aisles, creating a fluid and interconnected space. This design blurs the boundaries between the interiors of each exhibition room, where artworks are displayed, and the exterior hallways that connect the rooms. As viewers move through the space, they encounter installations from different rooms that merge together and then travel on their way. Such a viewing experience allows viewers to perceive the vastness of the environment. They can continuously enter and exit individual realms without being obstructed by any physical walls. This ongoing transformation of the space fosters a dazzling and captivating experience, evoking a sense of illusion among the viewers. By temporarily immersing themselves in this environment, the viewers experience the “aura” of the artworks—their authenticity and uniqueness.

The blending of spaces serves as a meditative invitation for viewers to surrender themselves to a shared experience with the artworks, encouraging them to reveal the constantly fluid nature of the universe through the interplay of light and illusion, despite the differences between how interiority and exteriority are defined in the two artworks.

5.     Conclusion

All four field sites achieve kabbalistic modernity by smartly incorporating modernity to enhance the spiritual aura. Each combines contemporary technique with profound themes: by utilizing advanced lighting technology, spatial design, and natural elements, these works use different modern and contemporary techniques to express different concepts, yet all cultivate a spiritual aura. Contrary to Benjamin’s theory, their “aura” is not diminished but enhanced by modern techniques. Here, kabbalistic modernity, which means using innovative and contemporary techniques to provoke spiritual philosophy, emphasizes an aura that remains unique for each viewer.

teamLab Borderless uses digital projections, sensors, and algorithms (innovative technology) to generate an immersive, evolving light environment that reacts to viewers, fostering unity and peaceful immersion (spiritual). James Turrell’s Ganzfeld and Wedgework series use advanced light-field techniques and geometric illusions (innovative perception technology) to dissolve spatial boundaries and induce a vast, trance-like state of mind (spiritual). The Enoura Observatory uses precise celestial alignment and natural materials (innovative and precise engineering) to ensure sunlight marks architecture on solstices, prompting cosmic reflection and a sense of the divine (spiritual). The Space of Light achieves a sacred feeling (spiritual) through minimalist design and precise control of natural light (innovative and contemporary design).

Despite their differences, these sites share a commitment to preserving the “aura” of art by providing unrepeatable experiences through light and design, fostering introspection, and connecting audiences to deeper metaphysical contemplation. As contemporary art continues to evolve, such works suggest a promising path forward, one in which modern techniques enrich spiritual resonance and sustain the aura in new, diverse ways.

Works Cited

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Ando, Tadao. The Space of Light. 2023. Museum SAN, South Korea. Photo by Yichen Han.

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Sugimoto, Hiroshi. The wooden table in the reception hall of Enoura Observatory. 2017. Enoura Observatory, Kanagawa, Japan. Yinji Space, https://www.yinjispace.com/article/New-Material-Research-Laboratory-Enoura-Observatory.html, Accessed 22 Jun. 2025

Sugimoto, Hiroshi. When sunlight penetrates through the stone tunnel in winter solstice.  2017. Enoura Observatory, Kanagawa, Japan. Designboom, https://www.designboom.com/architecture/hiroshi-sugimoto-enoura-observatory-odawara/, Accessed 11 Oct. 2024

TeamLab. Light Evaporating with People. 2018. MORI Building Digital Art Museum, Tokyo. Photo by Yichen Han.

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TeamLab. TeamLab Borderless. 2024, MORI Building Digital Art Museum, Tokyo. Photo by Yichen Han.

TeamLab, and Sisyu. What a Loving, and Beautiful World. 2011, MORI Building Digital Art Museum, Tokyo. teamLab, https://teamlab.art/ew/whatloving-azabudai/tokyo/, Accessed 11 Oct. 2024

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