In "Butler and Foster_ Knight Lands", what governs the spatiotemporal experience is air, or 'atmosphere'. The term 'atmosphere' can be etymologically understood in Chinese as a kind of energy that surrounds like falling snow, and in English, as a sphere created by a gas that spreads out, evoking images of a soft form rather than a rigid shape, and of permeable boundaries rather than clear ones. Additionally, recent aesthetic studies, affect theory, and cultural geography focus on atmosphere as the energy generated through the interaction between subject and object. As a theoretical concept, atmosphere is not solely embedded in physical places and objects, nor is it purely subjectively located in the mind of a perceiving subject. This air cannot originate from one side alone; it emerges collectively between the subject and object, taking on a quality akin to a tangible sensation. In particular, the feeling that something is about to happen or that something has just occurred creates a heightened atmosphere, generating tension that penetrates the collective body gathered there. An atmosphere in which excited anticipation coexists with emerging anxiety gradually shapes the deformed space of an empty vessel.

Mu:p has structured the performance space, named 'The Forest,' with an audience area that resembles a crescent moon, creating a layout that crosses through it. The 'moon' accommodates only two people per row, making the space relatively narrow. Audience members seated at the edges of this 'moon' are compelled to constantly shift their gaze. They become busy arranging their sight to encompass the left and right, front and back—essentially dividing the space into quadrants. Additionally, there is the dynamic of the inside and outside created by glass doors that function like a curtain, further complicating the spatial arrangement. The varying heights of the audience seating create different layers, not merely a difference between low and high, but seemingly assigning each audience member a unique role in 'seeing' the performance.

The gaze of about thirty audience members, each from a different perspective, fills the space like filaments. Just as a filament is a thin, elongated conductor that emits thermions when electric current flows through a vacuum tube, the audience's glances—each inherently misaligned—extend in various directions, generating electron movement. These strands of gaze intersect with the paths created by the performers, forming points of force and accumulating energy. In this way, the nodal or refractive points where gaze and movement meet and fold resemble a spiderweb, dynamically structuring the interaction of internal and external experiences uniquely for each audience member and performer, unleashing and radiating competing energies.

The four performers, who embodied your article, entered in the same way from outside to inside. They came in with wet appearances, finding the opening door, changing clothes in the room, and then drying their bodies before hanging those clothes on a line—a series of movements. Dressed in costumes that seem to express different personalities, the four performers perform a set of repetitive movements like a ritual. Although they are subjects subjected to the audience's gaze, their gestures also express a subject liberated from that gaze. While there are four of them, they appear as different manifestations of the same individual.

In this section across from the protagonist's room, a sequence of running at full speed is inserted. The performer's movements, which gauge subtle points and moments while controlling breathlessness and explosive release through the distribution of force, inscribe another kind of energy into the space through the repetition of dispersion and cohesion. The line drawn by the running force resonates with the slow, large arc of the line before hanging the wet clothes, stirring the air on the left and right sides of the audience and thereby restructuring it. The bodies of the performers serve as conduits that clarify the accumulating forces in the space. By choreographing their movements, the work folds and envelops the powers of air, ultimately making a shape out of an empty vessel.^{[ 1 ]} 

At a certain point in the performance, when the headlights of a vehicle approached from outside the glass door and flashed, the air in that space momentarily revealed countless strands of energy, rippling as if alive.

^{Translated by ChatGPT}