This major research paper explores the characteristic of borderlessness that applies to interactive installation art. "Borderlessness" is a concept that teamLab (a Japan-based interdisciplinary art group) pursues in their interactive installation artworks, which indicates the immersive spatial sense that spectators experience. With the complex computer programming design in teamLab's artworks, borderlessness challenges the conventional ocularcentric experience in exhibitions and innovates a new trend in immersive exhibitions. My paper analyzes two case studies from teamLab’s
oeuvre: Forest of Flowers and People: Lost, Immersed and Reborn (2017)
and Crows Are Chased and the Chasing Crows Are Destined to be Chased as Well (2017). Both projects apply the strategy of borderlessness to themes concerning the natural world, yielding works that have achieved popular success worldwide. This MRP argues that the success of teamLab’s exhibitions gained support through the general trend of the “experience economy.” Artworks involving new media, installation, immersion and interactivity – embodied by teamLab’s concept of “borderlessness” – both exemplify the experience economy and expand beyond the term to develop a more embodied and participatory understanding of aesthetic experience.