Documented work

1995-98 -"The chant of the dying flesh", "The delight of deception", "Geochronus Metalika", physical installations that incorporated hand made sculptures and plastic sheets printed with computer generated imagery of alternative spaces made by a 3d program. (See Previous portfolio)

Venues: The works traveled to several museums in Europe and Israel as a part of the "Remote Connections" Exhibition, Curator: Amnon Barzel. (see: CV)
Interest: The works dealt with the meeting point between the physical and the digital realities.
Inspiration: Decay, process, a frozen moment in time, Lament over lost possibilities of representation.
Techniques: 3d, inkjet printed posters, interactive CD, hand craft.

1996-2000 – "Vitalia", an air inflated spiraled construction with an imbedded computer system at its core (4m width X 6m length X 4m height) was made from computer generated imagery of an imaginary inner world inspired by actual photographs of the inner human body.
A 3d file was constructed and a vast amount of images were created and tailored into a panorama that engulfed the construction. The original file could be accessed via a computer system embedded at the core of the construction. Session of interaction could be viewed outside the core in an embedded computer monitor.

Venues: Several international festivals in Europe and Israel (see: CV)
Interest: Physical constraints versus digital freedom; The inability to bridge the gap between physical and digital realities; Computer interaction as a private act viewed unknowingly in a public place; To achieve immersion without the use of visual aids and blocked stimuli.
Inspiration: Flip the world inside out; The body as an inner landscape; a frozen walk through (later seen in the frozen circular animation scene in the Matrix)
Techniques: 3d, inkjet printed posters, air inflated construction.

2000-2002 – a succession of conceptual projects researching both feasibility and interactive models of visitor's perception and progress through space. In search of a non linear open scenario.

Projects: Immersia, 10 rubber units, Terra Mobila, ZoneZoe'1, ZoneZoe'2 (see: schori-installations.pdf)
Interest: a-life, game play, labyrinth, topographical maps, robotics, klein bottle, digital deterioration, soundscape
Conclusions:
- A model that intercept user's input, hence changing in a meaningful way that sets new conditions for participation may lure the audience into further participation.
- Immersion can be achieved by creating physical illusions – influence the visitor physically by creating conditions of vertigo, disorientation, imbalance, sense of danger, etc.
- Interactive installations based on game strategies, real conflicts, dead-end situations, may generate meaning.

2003-2004 – a search for a model and physical medium that will allow the creation of scaled down effective human-machine interaction had yielded 2 projects: Abyss and e.mia.me'. Both based on Ferrofluid, a magnetic fluid that is part liquid, part magnet. It adopts magnetic behavior at the presence of a magnetic field. In its absence it behaves like liquid. These qualities allow direct manipulation over matter that generates a charming video stream of change inflicted by users. (to be further developed)

net.art

Venues: See CV
Concept: portray a collective consciousness.
Method: Accumulation of visualized data and visual traces of activity through users' participation.
Techniques: Flash driven data base
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Beadgee – Following a commission from Impakt.nl
Memolog – Following an invitation from the Exit-art gallery, New York
Oodlala – Following an invitation from the [R][R][F] 2004* -->XP- the global networking project by Agricolla the Cologne