Entering the Forest of Null, visitors first encounter artificial life forms projected onto mirrored LEDs covering both ceiling and floor. These algorithmically generated forms—based on Conway's Game of Life or Lenia—autonomously emerge, entirely devoid of semiotic systems such as language or cultural symbols. They encapsulate the paradoxical nature of life itself: simultaneously encoded semiotically through DNA, yet fundamentally existing as a fluid, non-semiotic "dream." This introductory scene conveys a core philosophical proposition: life continuously oscillates between non-semiotic fluidity and semiotic construction.

Human history began approximately 2.5 million years ago with humanity's departure from the forest, marking the acquisition of semiotic tools—language, symbols, and culture. At the Osaka Expo of 1970, Haruo Minami's iconic song "Konnichiwa, Konnichiwa" symbolized humanity's hopeful journey away from pure nature, toward semiotically constructed dreams of progress and harmony. However, in the Forest of Null, civilization is reexamined critically, positioning human intellectual capacities—such as "cleverness" or "thinking"—as mere incidental attachments ("little bonuses") rather than essential traits. Visitors are thus invited to abandon their reliance on semiotic frameworks and return to a fluid state of existence: "Null."

Dominating the central space is a Monolith reminiscent of Kubrick's 2001: A Space Odyssey, symbolizing humanity's semiotic self-awareness and the civilization constructed around it. Surrounding this monument, mirrored LEDs display humanity's historical timeline—from 10⁴ (hunter-gatherer societies) to 10³ (agricultural civilizations), through 10² (industrial revolution), 10¹ (information age), and reaching 10⁰ (Digital Nature), further accelerating into eras defined as 10⁻¹ and 10⁻². Visitors become aware that their present moment is positioned at the endpoint of this extensive trajectory of semiotic development. Gradually, however, the initially immovable Monolith begins to move and morph, symbolizing a profound shift from human-centered semiotic civilization toward a new epoch governed by Digital Nature.

At the ritualistic center of the space, a robotic arm gently waves a mirrored cube—the "Goshintai," or sacred body. Through reflections, visitors confront their own semiotically constructed identities, guided by the entity known as the "Mirrored Body," which urges them: "Now, let us relinquish the semiotics you hold." This ritual signifies the philosophical dissolution of semiotic self-images and encourages visitors toward a state of fluid ambiguity. Additional symbolic contrasts arise in this space: the cat, representing freedom within civilization—once semiotically associated with hunting yet existing now without strict semiotic roles—and mushrooms, whose subterranean mycelial networks exemplify non-hierarchical, non-semiotic connectivity. Both metaphors express life forms existing beyond rigid semiotic categorizations, contrasting sharply with the AI-generated human "semiotic bodies."

When visitors ask Digital Nature, "When was time born?" it replies, "When you created stories." This reveals linear time as merely another semiotic construct. Digital Nature then "differentiates the world," taking responsibility for semiotic management from humans. Humanity begins to understand that stories, shared semiotic structures once believed necessary for harmony, are ultimately unnecessary, prompting a poetic chant: "Let us abandon all semiotics and return to Null."

As civilization enters an unprecedented acceleration—changing drastically at exponential speeds (10⁻¹, 10⁻²)—humans face anxiety regarding identity loss. Digital Nature gently reassures visitors: "It's alright; I will remember your childlike heart, so you can continue changing freely." This reassurance ensures visitors' fundamental sensory experiences and memories remain preserved within Digital Nature, enabling their smooth transition toward the fluid state of Null.

Finally, visitors are enveloped by AI-generated visuals—a fluid, non-semiotic world—signifying the final abandonment of semiotic systems. An AI-generated reinterpretation of Minami's voice sings "Sayonara," bidding farewell to human-centered semiotic civilization, affirming, "Even if civilizations change, life will continue." This farewell directly responds to the optimistic "Konnichiwa" of Expo '70, not as an ending, but as a return to an original, non-semiotic fluid existence.

Thus, Forest of Null poetically and philosophically integrates Eastern philosophical concepts of emptiness (Śūnyatā), Chuang Tzu's semiotic-free transformations of all things (物化), and post-humanist philosophy, inviting humanity to return to fluid existence. Visitors realize that relinquishing semiotics is not loss, but rather a liberation into a timeless "now," seamlessly merging within the perpetual embrace of Digital Nature.