The Greenwich Globe restores the connection between time and space by giving a physical representation to the way we keep time. The shadow it casts on the wall operates like a hybrid between a world clock and a sundial. While rotating at the speed of earth, each spike in the shadow shows the local time at a corresponding geographical region.
Time zones were invented to unify the clocks of neighboring regions and form a system that is easy to follow. In reality this artificial division is strongly influenced by political and economical forces. This means that some countries share a time zone with their business partners and allies rather than their neighbors.
The globe’s shape was generated by an algorithm that treated time as physical matter. Each additional hour is represented through a constant degree of elevation. It contemplates what shape our earth would take if our understanding of time was reflected in its topography.
• Created in the new media class at UdK Berlin.
• Was exhibited in “Cultural Commuters” at State of Design exhibition, Berlin 2016
• Featured on the creators project online magazine by Vice
Auschwitz Jewish Pavilion
During 2012 I was part of a team in charge of the graphic design and video-handling of the new, permanent exhibit in the Jewish Memorial Pavilion in The Auschwitz-Birkenau State Museum .
This exhibition portrays the story of the Jewish Holocaust, in the former Nazi extermination camp. The resulting space is meant to provoke a deep, meaningful and reflective experience. We attempted to inspire the visitors to contemplate the fundamental morality as human beings, and to create a truthful and profound expression of the magnitude of the Holocaust.
This Project was completed as part my position at Succary Studio and working alongside studio de-Langa, the Head of the Visual Communication department at Bezalel Academy of Art and Design, Prof. Adi Stern, Artist Yael Burstein and audio-artist Ishai Adar.
LangWidgets – Navigation System for Semantic Fields
The project examines new variations of interactive lexicographical arrangements.
One of the innovations brought along by online dictionaries was the elimination of alphabetical organization needed for orientation in a vocabulary. Although this was a positive development, it has not constituted a change in the manner in which we use dictionaries. The standard online dictionary does not allow the users to browse, but instead forces them to look for a specific word.
The goal is to find a visual and technological solution that will allow the user to experience and internalize the structure of a new vocabulary through their senses rather than memorizing it.
LangWidgets are based on psycholinguistic theories, some of which are outlined in WordNet, an ongoing Princeton University lexicographical project.
WordNet is a large database of words grouped into sets of cognitive synonyms, and maps of conceptual relations between words, similar to the way they are reticulated in our mind.
The suggested interface involves a set of physical interactive widgets and a GUI. It allows the user to search for a specific word and browse through its semantic field, synthesizing the user's verbal cognition and spatial orientation.
LangWidgets’ first prototype was developed at the Interaction Lab at HIT Holon.
For this project I received the Sandberg Research Grant Award, by The Israel Museum Jerusalem.
Today, more and more scholars are proposing to introduce cognitive principles into the structure of lexicons. The idea that lexicons should mirror the way language is organized in our brains seems like the most logical conclusion to the scientific evidence that our language reflects our cognitive processes.
From a designers point of view, the fact that interfaces and language are metaphorical by nature and both reflect the structure of our cognition makes IxD the perfect medium for bringing cognitive research into lexicography.
In this project I examine the way we think about language so as to deduce how we should interact with it. I base my work on the Conceptual Metaphor Theory which claims that the words we use on a specific topic reflect our understanding of it, namely that abstract ideas are always spoken about in terms of concrete entities from our physical surroundings.
For this work I chose four metaphors corresponding to four abstract concepts:
Each metaphor is given a physical interpretation; in form, behavior or interaction. The resulting artifacts exploit knowledge that the user already has of the real world to provide insight into characteristics of the concepts mentioned above.
This project is the outset of a larger research. The final goal of this research is to develop an intuitive interface for lexicons based on the Conceptual Metaphor Theory.
A short PDF for additional info about the objects
TCIM was developed during my master studuies at new-media class at UdK
Lost in Translation
A video installation that displays the progression of translation from Russian to Hebrew.
It conveys the disparities between original source and translated outcome, as well as the variety of possible translations which occur when two verbal cultures are compared.
The inaccuracies of translation which are inevitably embedded in any translation process, are presented in a strictly non-verbal fashion. This way the viewer doesn't have to read or understand the languages, to view and appreciate the losses of meaning when a word “migrates” to another language and culture.
Possible wordings in Hebrew are weighed against the Russian source in an attempt to find the most suitable phrasing. With each Hebrew word presented, part of the Russian semantic field "dries out", demonstrating the semantic relations that will be lost in the Hebrew output. As individual words are examined in the top screens, they are simultaneously tested within their context in the paragraph. Visuals contributed by native speakers of both languages accompany the progress in an attempt to fathom the associative worlds of both Russian and Hebrew speakers. At the end of each translation cycle a different output text is printed out.
The text used in the installation is a prologue to the Russian version of Lolita by Vladimir Nabokov, which he initially wrote in English and later translated himself to Russian.
Bachelor thesis project at the Bezalel Academy of Arts and Design, Jerusalem (2009).
Featured at the 10*10 event (2009).
Polonsky Prize for outstanding achievement in design (2009).
Exhibited in “100 Jahre Jung” group exhibition of Bezalel Academy’s honorary graduates, at the Universität der Künste Berlin (2010).
Exhibited in “Bezalel On Tour” traveling exhibition, in Germany, France, USA and UK (2010-13).
Part of a group research on the role of visual and audio feedback in induced synchronization.
Two riders sits face-to-face on bikes with a shared front wheel. They control – together – two wheels, displayed on a double-sided screen between them. Their goal is not to race, but to move in sync. The better they synchronize their cycling, the richer the display becomes: the wheels turn into a bike, and the world in which it travels bursts into life.
I was part of the conceptualization team and in charge of the on-screen animated feedback
Conducted during my six-month fellowship at the
Interaction Lab at HIT
In collaboration with Michal Rinott,
Shachar Geiger and Yael Livneh.
Was displayed in the Interactive Gallery of the Tel
Aviv Museum of Art.
The Pied Piper Mouse Trap
Distance-measuring sensor activates a mouse trap which plays music while luring a mouse out of the house. The Arduino microcontroller reads the motion-sensor and controls the music Box. An approaching mouse activates the trap. The bait on the tip of the paper slip lures the mouse step by step, while the progression of the perforated note paper generates the melody. Playing the music from the Der Rattenfänger von Hameln opera by Viktor Nessler.
We cannot send physical goods via digital communication so we send them in the post. Unlike instant messaging the postal service is operated by people and therefore inherently time consuming. In a matter of speaking parcels travel not only in space but also in time. The notion that you sent something to the future is a natural conclusion made by anyone who ever sent a package to a distant friend.
De Haèlle Cheeses designed to benefit from the unreliability of our postal service. The duration and the method of the delivery are appropriated to develop a unique line of cheeses that ripe and mature on the way to their recipients.
Will a short flight to Italy effect the homemade blue cheese, or is a delivery via land is needed? Is being stuck in Ukrainian costumes will alter the final outcome? Does a long journey on a boat to another continent can linger as a unique aftertaste?