The range that the physical human eye can see at any given moment is narrow and the focus is shallow. It could be said that we see space by logically reconstructing sets of narrow, shallow, two-dimensional images of parts of a space going back to some time in the past. Therefore, the space that we perceive with our bodies is a reconstruction of a set of parts that are much larger than the parts that we perceive when we capture the whole space with a camera lens. And it is in such accumulations of parts that the notion of time is contained.

As outlined in the details of Ultrasubjective Space, it may take longer to go back in time to combine and reconstruct the image with Ultrasubjective Space. Similarly, teamLab believes that in the past it used to take more time to perceive each moment than in the present day. This may be related to why, around the 18th century, ukiyo-e artists in the Edo Period depicted rain with lines (Fig. 1), such as the lines drawn by Utagawa Hiroshige to depict rain in Sudden Shower over Shin-Ohashi Bridge and Atake (1857) (Fig. 2). During this time, European artists did not depict rain in this manner (Fig. 3), however, Vincent van Gogh chose to copy the technique of Sudden Shower over Shin-Ohashi Bridge and Atake in one of his artworks (Fig. 4).

In premodern East Asian art, water, such as rivers and oceans, was often depicted as a collection of lines (Fig. 5, Fig. 6), and this collection of lines seems to convey life, as if the water was a living entity.

When the particles that make up water are perceived over a longer moment in time, the movements of the physical particles create lines. At that moment, the fluid water, which is a continuum of particles, becomes a set of lines drawn in three-dimensional space. And when that set of lines is translated into a two-dimensional space via Ultrasubjective Space, the boundary between the viewer and the world of the artwork disappears. The viewer may even feel they are a part of that set of lines, and may begin to feel life within it.