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2017–2026
The Longitudinal Sensorial Investigation

Links, coming soon

Schori has conducted a continuous ten-year materials and sensory research journey that shifts focus from external computerized software configurations to organic, tactile substrates as active sites where synthetic and human cognition interact.

  • ScentScript Glove (2022–2026 / Present): Covered by a confidential provisional patent application (U.S. Pat. Pend. Ser. No. 64/114,894). This wearable multimodal textile system tracks real-time bio-telemetric sensing loops to provide autonomic co-regulation, shielding human cognitive sovereignty against the compliance matrices of autonomous AI agent fleets. 

  • Ondas / Ripples (2025): Proposal -  A collaborative participatory freshwater literacy initiative leveraging local water mythologies, crafts, and plant-based filtration vessels along the Ebro River in Catalonia, Spain.

  • The Kiki Bouba Communication Lab (2024) The Kiki‑Bouba Sensorial Communication Lab is a participatory two‑person event in which one person wears an inflated suit and vision‑reversing goggles while a partner guards his movements and converses with the wearer; they signal the wearer's positive or negative interoceptive state to the audience using a flag printed with the Kiki‑Bouba sensorial font. 

    • Exhibited at the ‘Beyond the Skin’ exhibition and round table event during MARKERS' 24th Anniversary at the VENICE BIENNALE. Youtube, Online, info

    • Presented at zemak gallery Lecture Beyond the skin artists and scientists laboratory - movement X Memory X roundtable

  • Printed Flavors (2018) is a speculative, multi‑sensory culinary project that counters the anonymous, textureless “monotonous purees” of automated 3D food printing. Schori developed a process to print hard and soft textures in a single pass and used it to create edible mouthfeel sculptures that embody and evoke unique home memories.

  • Fabric Flow (2017–Ongoing): A deep material study where Schori investigates long-term organic dyeing processes on silk using seasonal fruits, wine, flowers, salts, and rust buried in the ground or simmered in glass jars. This project actively revives the mid-16th-century definition of "sensive"—textiles engineered to possess the organic function of sensation and physical perception.

  • BubbleBird (2017): A mobile sensory-transmutation application concept designed to counter urban cognitive load and chronic stress by filtering hectic ambient city audio stimuli into nature-inspired loops of chirping birds and falling water.

  • The Technological Sensorium (M.A. Thesis Research, 2016): A theoretical framework establishing the User Perception (UP) design methodology. It charts a sensory loop across the domains of Reality and Consciousness where sensors and controllers are completely absorbed by the physical body, enabling critical analysis of technological body extensions.2

2020–2025
Senses, cognition and language

Links, coming soon

  • Kiki Bouba: The Sensorial Font (2024): A font inspired by ideophones, offers a sensorial annotation to text. 

    • Presented at: The "I'm Not Text" conference at Ben‑Gurion University.

  • Think Tanks and lectures (2022-23)

    • Participant in BGU ‘This is not text’ think tank, to further develop the visual language for scent.

    • ‘Beyond the Skin’, Round table, Thinking ahead and marker IXXX art project. 

    • ‘Visual language for scent’ lecture at the Imperial college, London ‘Art and Science’ conference + group exhibition.

    • ‘Visual language for scent’ lecture at the Hebrew University of Jerusalem ‘I’m not text’ conference. 

    • Participant in the Scent research group at the Tel Aviv university

    • ‘Visual language for scent’ lecture at ‘Multi Sensuality Through History & Across Media’ International Scientific Conference online

  • Visual language for Scent: (2022-23) developed while participating in a research workshop on olfaction in literature, art, theory, politics, class, and environment at the Sagol School of Neuroscience, Tel Aviv University. And at a PhD discussion group at Jerusalem University called "I Am Not a Text" that examines “text” broadly—visual, sonic, bodily, and material texts—through interdisciplinary student presentations and thematic meetings.

    • Presented at: ‘Visual language for scent’ lecture at ‘Multi Sensuality Through History & Across Media’ International Scientific Conference online

    • Thinking Ahead Program, Imperial College, London 

  • ScentSenzia (2021): ScentSenzia is a concept for a hybrid physical‑virtual installation of nine kaleidoscopic VR worlds that store and recreate scent memories for people who lost their sense of smell, using three distinct swings with VR headsets, textile petals, projections, and scent cues that respond to users’ movements. .

  • Sense of Scent (2020) : A site-specific olfactory installation featuring a round table greenhouse partitioned with custom naturally dyed patchwork blankets. Visitors were asked to sniff small agar-agar sculptures infused with different scents and trace cross-modal responses by interpreting those abstract olfactory inputs in terms of physical textures—categorizing them as smooth, wrinkled, or neutral.

    • Exhibited At: ‘Art smells’an international group exhibition curated by Doron Pollak and Prof. Yehuda Rot, Hava Gallery, Hulon, 2020-21

2005–2010
Ubiquitous projects

Links, coming soon

  • HydroGnome (2009): A sustainable telepresence installation examining data streams of localized water conservation ecosystems.

    • Exhibited At: Mamuta Art and Media Center, Jerusalem (Opening Exhibition).

  • Scriberou (2008–2009): A conceptual locative mobile application combining a Google Maps interface with a dowsing metaphor to validate urban text-art traces.7

  • Undula (2008–2009): A conceptual mobile AR system using geographic SMS messages to embed temporal psychogeography records across city spaces.

  • The Dowser Man (2008): A web/mobile app inspired by the ancient method of finding water by holding a twig over the ground. In the dowser man project, your mobile becomes a twig, with which you can discover and draw GPS paths on Google Maps. Nodes on the path become portals where users can upload, document, or validate nodes; paths fade after 30 days unless validated (owners may delete them); while following a path, the app shows it only when you're on it and lets you send MMS from any point; artifacts are shared, revealing others' views of the city.

  • Susurrus (2007): Ferrofluid is a substance between solid and liquid that forms spikes and blobs in magnetic fields. Sussurus used a robotic arm and remote, sensorized huggable totems so participants could tilt and hug to alter the magnetic field and the ferrofluid’s behavior. Their actions generated a live, responsive video stream of the material’s movement, which was projected at the participants’ feet. 

    • Exhibited At: Genia Schreiber University Art Gallery, Tel Aviv.

  • Wabbits (2005–2006): An interactive installation consisting of 20 toy rabbits fitted with micro-controllers that exhibit emergent swarm behavior as they bump into each other. Their movements are monitored by a black rabbit that transmits black and white spotted imagery to a video screen above the plane.

    • Exhibited At: Bloomfield Science Museum, Jerusalem (Launched at the Heara 10 Exhibition curated by the Salamanca group).

2000–2005
net.art, smart materials and interactive concepts

Links, coming soon

  • Emmet (2004): A conceptual interactive drawn swarm reading crowd concentration levels and behaving accordingly. Designed for conferences. 

  • Memolog (2002–2004): A collaborative net.art database and virtual quilt generator inspired by the AIDS Quilt. It allows users to express unedited grief over terror victims through an open database that generates navigable quilt patterns using a trans-cultural symbol system derived from Phoenician culture.

    • Exhibited At: Exit Art Gallery, New York (TerrorVision Exhibition).

  • Beadgee (2003–2005): an interactive net.art Flash toy based on the 19th‑century nursery rhyme collection Three Young Rats. Schori replaced Calder’s drawings with modular illustrations that users exploded into interchangeable parts and reassembled into new sentences. Recombinations followed visual Kariocy principles. New creations were collected in an online gallery. 

    • Exhibited At: Winner of the Impakt "Art of the Narrative" competition (Holland, 2003); no/copy/right net exhibition (no.org.net, 2004–2005); Machida City Museum of Graphic Arts (Japan, 2005); FILE Electronic Language International Festival (São Paulo, 2005).

  • Oodlala (2003–2005): A relational, web-based social network database for memory objects built before the advent of mainstream social media or keywords. Users uploaded images of personal objects, defined their own stories, and linked them to related items, creating a dynamic web of interlinked dots that adjusted location based on link dominance.18196

    • Exhibited At: Media Art Festival (Yerevan, 2004); PEAM (Pescara, 2004); BASICS Festival (Salzburg, 2004); International Festival of New Film and New Media (Split, 2004); West Coast Numusic & Electronic Arts Festival (Stavanger, 2004); Biennale of Electronic Art (Perth, 2004); 18th Stuttgarter Filmwinter (Germany, 2004); and "Public Works" exhibition (Jerusalem, 2005).

  • Abyss (2003–2004): Ferrofluid is a substance between solid and liquid that forms spikes and blobs in magnetic fields. Abyss documents that behavior in a video loop. The mesmerising feeling of rain drops on glass are achieved here. 

    • Exhibited At: Herzliya Museum of Art, Israel (2003) 

  • e.mia.me' / e.mia.me' (2003–2004): A conceptual interactive stage design shifting digital video streams according to underlying ferrofluid dynamics.

  • Immersia (2000–2002): A conceptual open-scenario labyrinth proposal exploring physical illusions, vertigo, disorientation, and non-linear gameplay traversal.

  • 10 Rubber Units (2000–2002): A conceptual interactive design testing scaled-down human-machine interaction models through artificial life game pieces.

  • Terra Sinteta (2000): A conceptual installation where a 3D printer dynamically prints visitor movement data captured by a camera layer, creating physically layered artifacts of motion over time.

  • Terra Mobila (2000): A conceptual interactive darkened environment where ringed, egg-shaped physical units physically tilt, bend, shiver, and alter light intensity based on spectator position, sound, and weight configurations.6

  • ZoneZoe' (2001): A conceptual terrain designed as a physical computer game where weights and steps trigger dynamic sounds across a topographic curves map to create a mental map of constraints.7

  • Loomog (2000–2002): A conceptual telepresence interactive installation focusing on organic, biodegradable technical objects.67

1999–2000
Meeting Points of Physical and Digital Realities

Links, coming soon

  • Vitalia / Vitalia-II (1999–2002): An air-inflated, spiraled 4x4x6m printed plastic construction enclosing an embedded multimedia computer core. The imagery portrayed a 3D environment resembling an inner human body landscape seamlessly mapped upon the construction, where sessions of interaction inside were projected onto an outer monitor.2122

    • Exhibited At: Fotohof Gallery (One-person show, Austria, 1999); Art Statements (Art/30/Basel, Switzerland, 1999); The First Installation Triennial (Haifa Museum, 1999); CYNET Art 00 (Germany, 2000); and Explora (Kalisher Gallery, Tel Aviv, 2002).

  • Geochronus Metalika (1997): An outdoor time-machine sculpture (3x4m) surrounding a printed sponge cube (1.5x2m) placed near an archaeological site. The system processed real data from the Tel-Kassila ritual worship site and subjected the question of place-dependent rituals to a virtual network discussion.262728

    • Exhibited At: Eretz-Israel Museum, Tel Aviv (Sukkah-themed exhibition).2930

  • The Delight of Deception (1997): An interactive passageway installation tailored for elevators or escalators. It confronted intimate and public domains by placing a traveler inside a computerized desert landscape and showing them delayed video camera footage of their own passage just minutes prior.31

    • Exhibited At: Waino Alto Museum (Turku, Finland, 1997) and ACT Gallery (Salzburg, 1999) as part of the "Remote Connections" exhibition curated by Amnon Barzel.323334

  • The Chant of the Dying Flesh (1996–1997): A modular, site-specific installation containing 3 physical sculptures made of bamboo, paper, and wax (1.5m height) juxtaposed with 4 large computer simulations printed on plastic sheets (2x3-7m) portraying those same sculptures in a cyberspace 3D world.3536

    • Exhibited At: Neue Galerie Museum (Steirischer Herbst Festival, Graz, Austria, 1996); Nikolaj Center (Copenhagen, Denmark, 1996); and Art Focus International Biennale (Jerusalem, Israel, 1997).37386

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