Plate Recorder | Catalogue

In collaboration with Roy Maayan
> Read more about Plate Recorder


> Jerusalem Design Week 2018 | Hansen House, Jerusalem | May 2017
> ⌀ 30 cm | ceramics, overglaze | electronics, mechanics, software
> 馃敶 = sold

* Click images to zoom-in

馃敶 May18 #1
Emanuelle's echo
Tel Aviv, May 2018
May18 #2
Frog slow motion
Kikar Rabin, Tel Aviv, 2015
馃敶 May18 #4
Mushon: Data Driven Politics
Berlin, May 2018




馃敶 May18 #5
Noa drumming at Kinnernet
Givat Haviva, April 2018
May18 #15
Ilana Dayan reading Netanyahu
Israel, November 2016
馃敶 May18 #16
They told him
Tel Aviv, 1993




May18 #17
Netanyahu's nuclear speach
Jerusalem, April 2018
May18 #18
Liat & Mohesen
Tel Aviv \ Tehran, May 2018
May18 #20
Tal's kids' messeges
Tel Aviv, 2018




馃敶 May18 #23
Video of Plate Recorder Cluj
Cluj, October 2017
May18 #24
Dalia listening to kids singing
Ramat Gan, 2009
馃敶 May18 #25
Jouna & Leen
Haifa, April 2018




May18 #27
Giro D'Italia
Rothschild, Tel Aviv, May 2018
May18 #28
Patient #143R
Tel Hashomer Hospital, May 2018
May18 #29
Instagram stories
May 2018




May18 #31
Roy reading Haaretz
Kiryat Ono, May 10th 2018
May18 #32
Mohesen's Dream: Take I
Tehran, May 2014
馃敶 May18 #33
True love
Florence, 1987




馃敶 May18 #36
Oval's 94 Diskont
Germany, 1995
May18 #37
Scheherazade
Israel, 2016
May18 #39
Rasha, PERMA model of happiness
San Diego, April 2018




May18 #40
Shajara's grandfather's joke
Hyderabad, February 2018
馃敶 May18 #41
Tu Bishvat
Afula, 1981
馃敶 May18 #42
Panas Boded
Tel Aviv, November 2017




May18 #43
Last day of the year
Tel Aviv December 31st 2017
馃敶 May18 #45
Littel Shim singing
Neve Monoson, 1979
May18 #46
Eduardo's grandfather:
Te Quiero Dijiste
Guadalajara, April 2016




May18 #49
Nisrefet's 20th reunion
Tel Aviv, May 2018
May18 #50
Itay & Liat: Aco Kusta Tal
Cyprus, August 2016
May18 #51
Israel's first sound sample on PC
Tel Aviv, 1985




May18 #52
Tomer at Umami vocal group
Israel 2016
May18 #54
Nimrod coding
Kiryat Hamelacha, Tel Aviv, May 2018
May18 #55
Auto recording
Savion, May 2018




May18 #56
Mohesen's Dream: Take I
Tehran, May 2014
May18 #57
Globes printing machines
Rishon Lezion, February 2016
May18 #58
Driving Greta to the vet
Beit Berl, December 2013




May18 #59
Dog's party
Tel Aviv, September 2012
May18 #61
Itay: final project defense
Shenkar, Ramat Gan, July 2017
馃敶 May18 #62
Quiet
Savion, May 2018







> Cluj Ceramics Biennale 2017 | Muzeul de Arta Cluj-Napoca, Cluj | October 2017
> ⌀ 33 cm | ceramics, overglaze | electronics, mechanics, software


Cluj17 #1
Ghost's soundtrack
馃敶 Cluj17 #8
Amru Lo
Cluj17 #10
Awsome Dance Mix



Cluj17 #11
Ana - Shai Zabary
Cluj17 #19
El Male Rachamim
Cluj17 #21
Opening



Cluj17 #26
Opening
Cluj17 #29
Opening
Cluj17 #33
Opening



馃敶 Cluj17 #34
Opening
馃敶 Cluj17 #02
Opening




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Resources & Suppliers

Well, girls love shopping... :)

Aliexpress - Everything... - made in China

Electronic components, motors, sensors, batteries:
Pololu
Sparkfun
Adafruit
Electronics Goldmine
Parallax
Hobby King

Mechanics:
Open Builds 
McMaster-Carr

住驻拽讬诐 诪拽讜诪讬讬诐 讘讬砖专讗诇

www.4project.co.il
讚讗砖 讗诇拽讟专讜谞讬拽讛
 
诪. 讻讛谉 讗诇拽讟专讜谞讬拽讛 - 讜讜诇驻住讜谉 66, 转诇 讗讘讬讘
注讬讚谉 讛讛讬讬讟拽 - 讜讜诇驻住讜谉 59, 转诇 讗讘讬讘
讗专讬住讟讜拽 - 讛专 爪讬讜谉 26, 转诇 讗讘讬讘




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诇讬讗转 住讙诇


诇讬讗转 住讙诇 (讬砖专讗诇, 1979), 讗诪谞讬转 谞讬讜 诪讚讬讛 讛诪砖诇讘转 讗诪谞讜转 讜讟讻谞讜诇讜讙讬讛. 住讙诇, 讛诪讙讬注讛 诪专拽注 讟讻谞讜诇讜讙讬 讜诪讚注讬, 专讜转诪转 讘注讘讜讚讜转讬讛 讟讻谞讜诇讜讙讬讜转 讜诪讬讚注 讻讞讜诪专讬 讙诇诐 讜诪砖转诪砖转 讘讛诐 诇讘谞讬讬转 诪讻讜谞讜转 讜诪讬讬爪讘讬诐 讛拽讜砖专讬诐 讘讬谉 讛注讜诇诐 讛驻讬讝讬 讜注讜诇诪讜转 讜讬专讟讜讗诇讬诐. 住讙诇 讬讜爪专转 讜诪转讘讜谞谞转 讘住讬讟讜讗爪讬讜转 砖诇 讞讜住专 讛诇讬诪讛 讛注讜诇讜转 诪讞讬讬 讛讬讜诐 讬讜诐 讛讗讬砖讬讬诐 讘转讜讱 住讘讬讘讜转 讟讻谞讜诇讜讙讬讜转 讜砖讜讗诇转 砖讗诇讜转 讛注讜住拽讜转 讘讗讬谞讟讬诪讬讜转 诪讜诇 谞讬讻讜专, 驻专讟讬讜转 诪讜诇 讞砖讬驻转 讬转专, 讝讛讜转, 讝讻专讜谉, 讜诪拽讜专讬讜转.

诇讬讗转 讘注诇转 转讜讗专 砖谞讬 讘诪讚注讬 讛诪讞砖讘 讜讘讬讜诇讜讙讬讛 讜讛转讻谞讬转 讛讘讬谉-转讞讜诪讬转 注诇 砖诐 注讚讬 诇讗讜讟诪谉 诪讗讜谞讬讘专住讬讟转 转诇 讗讘讬讘, 讜转讜讗专 砖谞讬 诪讗讜谞讬讘专住讬讟转 Minerva 讘住谉 驻专谞住讬住拽讜, 注讘讚讛 讻讞讜拽专转 讘诪注讘讚讜转 讛讞讚砖谞讜转 砖诇 诪讬讬拽专讜住讜驻讟 讜诇讬诪讚讛 讘讗拽讚诪讬讛 诇讗诪谞讜转 讜注讬爪讜讘, 讘爪诇讗诇, 讘讗讜谞讬讘专住讬讟讛 讛注讘专讬转 讜讘诪讻讜谉 讛讟讻谞讜诇讜讙讬 讘讞讜诇讜谉.

注讘讜讚讜转讬讛 讛讗讞专讜谞讜转 砖诇 住讙诇 讛讜爪讙讜 讘诪讜讝讬讗讜谉 讬砖专讗诇, 讘讘讜谞讚住拽讜谞住讟讛诇讛 讘讘讜谉, 讘诪讜讝讬讗讜谉 诇讗诪谞讜转 砖讬诪讜砖讬转 讘驻专谞拽驻讜专讟, 讘诪讜讝讬讗讜谉 讛讛住讟讜专讬讛 讛讬讛讜讚讬转 讛讗诪专讬拽讗讬转 讘驻讬诇讚诇驻讬讛, 讘诪讜讝讬讗讜谉 讛专爪诇讬讛, 讘讬转 讛谞住谉 讘讬专讜砖诇讬诐, 驻住讟讬讘诇 讛讗讜专 讘讗诪住讟专讚诐, 驻住讟讬讘诇 讛讗讜专 讘讬专讜砖诇讬诐 讜注讜讚.

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Education

I recently graduated a second M.Sc. degree in Applied Arts & Sciences (Minerva Schools KGI, San Francisco, 2017).

In 2007 I graduated my M.Sc studies at Tel Aviv University, under the supervision of Prof. David Horn (physics) and Prof. Eytan Ruppin (computer science & medicine). My M.Sc research was in the field of bioinformatics and machine learning. In my research I dealt with the extraction of regulatory motifs from promoter regions in the genome and understanding aspects of the mechanism by which gene regulation occurs.

In 2005 I graduated the Tel Aviv University Interdisciplinary Program for Fostering Excellence. My undergraduate studies as a student of the program included an individually designed interdisciplinary curriculum. I aimed to acquire knowledge in various aspects of computational biology and machine learning; I have mostly studied mathematics, computer science and biology and got to taste a bit of economics, psychology, history & arts.

Paper:
Liat Segal , Michal Lapidot , Zach Solan , Eytan Ruppin , Yitzhak Pilpel, David Horn
Nucleotide variation of regulatory motifs may lead to distinct expression patterns
Bioinformatics Vol. 23, pages i440-i449.

Abstract
Motivation: Current methodologies for the selection of putative transcription factor binding sites (TFBS) rely on various assumptions such as over-representation of motifs occurring on gene promoters, and the use of motif descriptions such as consensus or position-specific scoring matrices (PSSMs). In order to avoid bias introduced by such assumptions, we apply an unsupervised motif extraction (MEX) algorithm to sequences of promoters. The extracted motifs are assessed for their likely cis-regulatory function by calculating the expression coherence (EC) of the corresponding genes, across a set of biological conditions.
Results: Applying MEX to all Saccharomyces cerevisiae promoters, followed by EC analysis across 40 biological conditions, we obtained a high percentage of putative cis-regulatory motifs. We clustered motifs that obtained highly significant EC scores, based on both their sequence similarity and similarity in the biological conditions these motifs appear to regulate. We describe 20 clusters, some of which regroup known TFBS. The clusters display different mRNA expression profiles, correlated with typical changes in the nucleotide composition of their relevant motifs. In several cases, a variation of a single nucleotide is shown to lead to distinct differences in expression patterns. These results are confronted with additional information, such as binding of transcription factors to groups of genes. Detailed analysis is presented for clusters related to MCB/SCB, STRE and PAC. In the first two cases, we provide evidence for different binding mechanisms of different clusters of motifs. For PAC-related motifs we uncover a new cluster that has so far been overshadowed by the stronger effects of known PAC motifs.
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Contact

liat.segal@gmail.com
Instagram | Facebook | Twitter | LinkedIn

Liat Segal [1979, Israel] | lives and works in Tel Aviv.
Liat Segal is a contemporary media artist, fusing together art and technology. Segal observes existence at an age of Big Data by materializing the digital, through the use of software, electronics, mechanics and information. In her works, she questions intimacy vs. alienation, privacy vs. over-exposure, control, identity, memory, presence, communication, and originality.

Liat graduated M.Sc. studies in Decision Analysis and Complex Systems (Minerva Schools KGI, San Francisco, 2017), M.Sc. in Computer Science and Biology (Tel Aviv University, 2007) and the Adi Lautman Interdisciplinary Program for Fostering Excellence (Tel Aviv University, 2005). She worked as a researcher at Microsoft Innovation Labs and taught at the Bezalel School of Arts and Design at the Hebrew University.

She had solo exhibitions at Galerie Charlot Tel Aviv (Output, 2019), Artist Residence Herzliya (Random Walk, 2019), Center Intermondes, La Rochelle (Vessel Streaming, 2018), Kanya Gallery, Berlin (This Is Not a Typewriter, 2016), National Museum of American Jewish History, Philadelphia (Scattered Light, 2015) and Hansen House, Jerusalem (People You May Know, 2014).

Her artworks have been exhibited in museums and galleries worldwide, including the Israel Museum, Jerusalem, Bundeskunsthalle Museum, Bonn, Museum f眉r Angewandte Kunst, Frankfurt, Gwangju Cultural Foundation, South Korea, Rothko Center, Daugavpils, Cluj Museum of Contemporary Art, Petach Tikva Museum of Art, Herzliya Museum of Contemporary Art, Raw Art Gallery Tel Aviv, The Genia Schreiber Tel Aviv University Art Gallery, Art Space Tel Aviv, Fresh Paint Art Fair and Art Fair Cologne. 

Liat is the recipient of the Minister of Culture and Sports Award for Plastic Arts, 2019, Israel. In 2020 her works were chosen for the Jury Selection at Japan Media Arts Festival and shortlisted by the prestigious Lumen Prize.

Represented by Shoshana Waine Gallery, Los Angeles.


Artist Statement
In my works, I materialize, translate and transform information into physical structures. I observe human processes and behaviors through technological and scientific prisms. The ways we consume and analyze information at times of hyper input intakes fascinate me. I question the effects the vast ephemeral information flow has on our self-identities, personal communication, memory, presence, choices, and intimacy and explore the social and psychological changes that occur with the inflation of online private data; data that is continually supplied and collected by and on us.

Much of my way of thinking and my inspiration comes from my scientific and technological background. I studied computer science and biology and researched social, textual and biological networks. Many times, I see the world as collections of information, mathematical representations or through biological models. Today this is reflected in my artworks.

Technology is my material, whether traditional and commonly used or state-of-the-art. I create with technologies, out of their original contexts, and give them new and intimate purposes which have nothing to do with usefulness or usability – in the sense we usually attach to these terms. The final artworks consist of several dimensions; a physical structure, motion, and mechanics, electronics, software, and data. The act of building the machines and activating them is significant to me. I feel that the technical choices I make affect the final artwork just as much as the touch of a painter affects a painting.

My works have performative aspects. I create the conditions and choreograph the behavior but I also leave space for randomness. This randomness is manifested in the starting point and data, in the human factor of activating the machine, and at the mechanical process itself, all affecting the process and the final outcome. After creating the setting and activating the work, I become a spectator myself.

Selected Press Coverage

The Independent
Wired
Widewalls
Nonagon
YOTSRIM web series by Shachaf Dekel
Portfolio Podcast (Heb)
Voyager's Stories

Selected Publications

Quantitive Plant Biology | Art–science collaborations: Generators of new ideas and serendipitous events
Garland Magazine
Weizmann Institute of Science Publication | Art ex Machina (Heb)
Bioinformatics | Nucleotide variation of regulatory motifs may lead to distinct expression patterns


诇讬讗转 住讙诇 [讬砖专讗诇, 1979], 讗诪谞讬转 诪讚讬讛 注讻砖讬讜讬转 讛诪砖诇讘转 讗诪谞讜转 讜讟讻谞讜诇讜讙讬讛. 住讙诇, 讛诪讙讬注讛 诪专拽注 讟讻谞讜诇讜讙讬 讜诪讚注讬, 专讜转诪转 讘注讘讜讚讜转讬讛 讟讻谞讜诇讜讙讬讜转 讜诪讬讚注 讻讞讜诪专讬 讙诇诐 讜诪砖转诪砖转 讘讛诐 诇讘谞讬讬转 诪讻讜谞讜转 讜诪讬讬爪讘讬诐 讛拽讜砖专讬诐 讘讬谉 讛注讜诇诐 讛驻讬讝讬 讜注讜诇诪讜转 讜讬专讟讜讗诇讬诐. 住讙诇 讬讜爪专转 讜诪转讘讜谞谞转 讘住讬讟讜讗爪讬讜转 砖诇 讞讜住专 讛诇讬诪讛 讛注讜诇讜转 诪讞讬讬 讛讬讜诐 讬讜诐 讛讗讬砖讬讬诐 讘转讜讱 住讘讬讘讜转 讟讻谞讜诇讜讙讬讜转 讜砖讜讗诇转 砖讗诇讜转 讛注讜住拽讜转 讘讗讬谞讟讬诪讬讜转 诪讜诇 谞讬讻讜专, 驻专讟讬讜转 诪讜诇 讞砖讬驻转 讬转专, 讝讛讜转, 讝讻专讜谉, 讜诪拽讜专讬讜转.

诇讬讗转 讘注诇转 转讜讗专 砖谞讬 讘诪讚注讬 讛诪讞砖讘 讜讘讬讜诇讜讙讬讛 讜讛转讻谞讬转 讛讘讬谉-转讞讜诪讬转 注诇 砖诐 注讚讬 诇讗讜讟诪谉 诪讗讜谞讬讘专住讬讟转 转诇 讗讘讬讘, 讜转讜讗专 砖谞讬 诪讗讜谞讬讘专住讬讟转 Minerva 讘住谉 驻专谞住讬住拽讜, 讘讛诐 讛转诪讞转讛 讘讘讬讜讗讬谞驻讜专诪讟讬拽讛, 讘讬谞讛 诪诇讗讻讜转讬转 讜诪注专讻讜转 诪讜专讻讘讜转. 注讘讚讛 讻讞讜拽专转 讘诪注讘讚讜转 讛讞讚砖谞讜转 砖诇 诪讬讬拽专讜住讜驻讟 讜诇讬诪讚讛 讘讗拽讚诪讬讛 诇讗诪谞讜转 讜注讬爪讜讘, 讘爪诇讗诇, 讘讗讜谞讬讘专住讬讟讛 讛注讘专讬转, 讘诪讻讜谉 讛讟讻谞讜诇讜讙讬 讘讞讜诇讜谉 讜讘诪讻诇诇转 住诪讬谞专 讛拽讬讘讜爪讬诐.

住讙诇 讝讻转讛 讘驻专住 砖专转 讛转专讘讜转 诇讬讜爪专讬诐 讘转讞讜诪讬 讛讗诪谞讜转 讛驻诇住讟讬转 诇砖谞转 2019. 讛爪讬讙讛 转注专讜讻讜转 讬讞讬讚 讘诪砖讻谉 讛讗诪谞讬诐 讛专爪诇讬讛 (讛讬诇讜讱 诪拽专讬, 2019), 讘讙诇专讬讛 砖专诇讜 讘转诇 讗讘讬讘 (驻诇讟, 2019), 讘Centre Intermondes 讘诇讛 专讜砖诇, 爪专驻转 (Vessel Streaming, 2018), 讘讙诇专讬讛 Kanya 讘讘专诇讬谉 (This is Not a Typewriter, 2016), 讘诪讜讝讬讗讜谉 讛讛讬住讟讜专讬讛 讛讬讛讜讚讬转 讛讗诪专讬拽讗讬转 讘驻讬诇讚诇驻讬讛 (Scattered Light, 2015) 讜讘讘讬转 讛谞住谉 讘讬专讜砖诇讬诐 (People You May Know, 2014).

注讘讜讚讜转讬讛 讛讗讞专讜谞讜转 讛讜爪讙讜 讘转注专讜讻讜转 拽讘讜爪转讬讜转 讘诪讜讝讬讗讜谉 讬砖专讗诇, 讘讘讜谞讚住拽讜谞住讟讛诇讛 讘讘讜谉, 讘诪讜讝讬讗讜谉 诇讗诪谞讜转 砖讬诪讜砖讬转 讘驻专谞拽驻讜专讟, 诪讜讝讬讗讜谉 讛专爪诇讬讛, 诪讜讝讬讗讜谉 驻转讞 转拽讜讜讛, 诪专讻讝 专讜讟拽讜 讘讚讗讜讙讘驻讬诇住 诇讟讜讜讬讛, 诪砖讻谉 讛讗诪谞讬诐 讛专爪诇讬讛, 讛讙诇专讬讛 讛讗讜谞讬讘专住讬讟讗讬转 注诇 砖诐 讙谞讬讛 砖专讬讬讘专, 转诇 讗讘讬讘, 讙诇专讬讛 专讜-讗专讟, 诪拽讜诐 诇讗诪谞讜转 讘拽专讬讬转 讛诪诇讗讻讛, 驻住讟讬讘诇 讛讗讜专 讘讗诪住讟专讚诐, 讜注讜讚.


讛爪讛专转 讗诪谉

讘注讘讜讚讜转讬讬 讗谞讬 诪转专讙诪转 诪讬讚注 诇讻讚讬 讞诇诇讬诐 驻讬讝讬讬诐 讜讬讬爪讜讙讬诐 讞讝讜转讬讬诐. 讗谞讬 注讜住拽转 讘砖讗诇讜转 拽讬讜诐 讗谞讜砖讬讜转 讘注讬讚谉 谞ְ转讜ּ谞ֵ讬 注ָ转ֵ拽 注诇 讬讚讬 讛讙砖诪转诐 讘讞讜诪专. 讻讗砖专 讛诪讬讚注 讛讜驻讱 诇驻讬讝讬, 讻讗砖专 讗谞讜 讬讻讜诇讬诐 诇注诪讜讚 诇讬讚讜 讜诇讘讞讜谉 讗讜转讜, 讗谞讜 讬讻讜诇讬诐 诇诇诪讜讚 诪砖讛讜 注诇 讛讝讛讜转 讛注爪诪讬转 砖诇谞讜, 注诇 专爪讜谉 讞讜驻砖讬 讜注诇 讘讞讬专讛 讘讝诪谉 讛讝讛. 讗谞讬 诪转讘讜谞谞转 注诇 讛专砖转讬讜转 讛诪讜拽爪谞转 讜爪专讬讻转 讛诪讬讚注 讛讻驻讬讬转讬转 讜讘讜讞谞转 讗转 讛砖驻注讜转讬讛 注诇 诪谞注讚 讗驻砖专讜讬讜转 讛转拽砖讜专转 讜讛讗讬谞讟讬诪讬讜转 讛讗谞讜砖讬转, 转驻讬砖转 讛讝诪谉, 谞讜讻讞讜转, 讬爪专, 砖诇讬讟讛 讜讝讬讻专讜谉.

讗讜驻谉 讛诪讞砖讘讛 讜讚专讻讬 讛讬爪讬专讛 砖诇讬 诪讜砖驻注讬诐 诪讛专拽注 讛诪讚注讬 讜讛讟讻谞讜诇讜讙讬 砖讗谞讬 诪讙讬注讛 诪诪谞讜. 讛砖讻诇转讬 讛驻讜专诪诇讬转 谞注讛 讘注讬拽专讛 注诇 讛爪讬专 讘讬谉 转讞讜诪讬 诪讚注讬 讛诪讞砖讘 讜讛讘讬讜诇讜讙讬讛. 讞拽专转讬 诪注专讻讜转 讘讬讜诇讜讙讬讜转 讜讞讘专转讬讜转 讘讗诪爪注讜转 讻诇讬诐 讞讬砖讜讘讬讬诐 诪转讞讜诐 讛讘讬谞讛 讛诪诇讗讻讜转讬转 讜讛诪注专讻讜转 讛诪讜专讻讘讜转. 讻讬讜诐, 转讞讜诪讬诐 讗诇讛 诪讛讜讜讬诐 诇讬 诪拽讜专讜转 讛砖专讗讛 讜注讚砖讛 砖讘注讚讛 讗谞讬 讘讜讞谞转 讗转 讛注讜诇诐.

讛诪讻讜谞讜转 砖讗谞讬 讬讜爪专转 讘谞讜讬讜转 讻谞讚讘讱 注诇 讙讘讬 谞讚讘讱: 诪讘谞讛 诪讻谞讬 砖诪讘爪注 转谞讜注讜转 讜驻注讜诇讜转 驻讬住讬讜转; 诪注专讻转 驻讬拽讜讚 讜讘拽专讛 讗诇拽讟专讜谞讬转 讛诪拽讘诇转 讛讜专讗讜转 诪诪注专讻转 诪诪讜讞砖讘转 砖讻讜诇诇转 转讜讻谞讛 讜讘住讬住讬 谞转讜谞讬诐 讛谞讘讞专讬诐 讘诪讬讜讞讚 诇讻诇 诪讟诇讛 讘谞驻专讚. 讛讟讻谞讜诇讜讙讬讛 – 诪讻谞讬拽讛, 讗诇拽讟专讜谞讬拽讛, 转讜讻谞讛, 讜讻讬诪讬讛 - 讘讬谉 讗诐 讞讚讬砖讛 讗讜 诪住讜专转讬转, 讛讬讗 讞讜诪专 讛讙诇诐 砖诇讬.

讞砖讜讘 诇讬 诇讘谞讜转 讗转 讛诪讻讜谞讜转 讘注爪诪讬. 讗谞讬 诪专讙讬砖讛 砖讛讘讞讬专讜转 讛讟讻谞讬讜转 砖讗谞讬 注讜砖讛 诪砖驻讬注讜转 注诇 讛讬爪讬专讛 讛住讜驻讬转 讘讚讬讜拽 讻诪讜 砖诪砖讬讻转 讛诪讻讞讜诇 砖诇 爪讬讬专 诪砖驻讬注讛 注诇 讗讜驻谉 讛讘讬讟讜讬 砖诇讜. 讗谞讬 诪讝诪谞转 讗拽专讗讬讜转 讗诇 讛转谞讗讬诐 讘诪住讙专转诐 驻讜注诇转 讛诪讻讜谞讛. 诪谞讙讚, 讗谞讬 诪谞住讛 诇砖诇讜讟 讘讘诇转讬 谞砖诇讟, 诇讗诇祝 讗转 讛砖专讬专讜转讬. 讗谞讬 诪讜讚注转 讛讬讟讘 诇讞讜住专 讛讗驻砖专讜转 砖诇 讛讚讘专, 讗讱 诪诪砖讬讻讛 讘讻讱. 讜讛专讬 讛讬讚讬注讛 砖讚讘专 讻诇砖讛讜 讛讜讗 讘诇转讬 讗驻砖专讬 诪注讜诇诐 诇讗 诪谞注讛 诪讗转谞讜 诇专爪讜转 讘讜. 讛专爪讜谉 讛讝讛 讛讜讗 讻砖诇注爪诪讜 讞讜诪专 讙诇诐.


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Talk





#1
My Studio!





#2
The Originals Machine | 2011






#3
Heart for the Tin Man | Fresh Paint 5 | 2012
by Liat Segal & Assaf Talmudi






#4
People You May Know | Solo Exhibition| Hansen House, Jerusalem | 2014
Curator Karni Barzilay

Location


Typewriter


Placeholder



Placeholder | Distruction




#5
Attending Machine | 2015
+ Museum f眉r Angewandte Kunst, Frankfurt, Germany
+ Herzliya Museum of Contemporary Art, Israel
+ Bloom Awards, Art Fair Cologn, Germany
+ Gwangju Media Art Festival, South Korea





#6
Plate Recorder | 2017
In collaboration with Roy Maayan
+ Latvia International Ceramics Biennale 2018 | Rothko Center, Daugavpils
+ Jerusalem Design Week 2018 | Hansen House, Jerusalem
+ Cluj Ceramics Biennale 2017 | Muzeul de Arta Cluj-Napoca









#7
Random Walk | Solo Exhibition| Artists Residence Herzliya | 2019
Curator Ran Kasmi Ilan

I \ CAUSE



II \ EFFECT


III \ RIPPLE





#8
Random Walk 2.0 | 2019






#9
FOMO | 2019
Petach Tikva Museum of Art, Israel





#10
Tropism | 2020
In collaboration with Dr. Yasmine Meroz
Curators Dr. Tamar Mayer and Dr. Sefy Hendler



* Positive Phototropism (video by GPhase)





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FOMO

诪讜讝讬讗讜谉 驻转讞 转拽讜讛 | 2019
讛诪讬爪讘 FOMO 诪转讜讻谞谉 诇讛讬讜转 诪讜爪讙 讘诪讜讝讬讗讜谉 驻转讞 转拽讜讛 (讘讙诇专讬讛 讛诪专讻讝讬转) 讻讞诇拽 诪讛转注专讜讻讛 讛拽讘讜爪转讬转 '讗讬砖讬讜转 讙讘讜诇讬转: 专讙砖讜转 讜讘讬谞讛 诪诇讗讻讜转讬转' 讘讗讜爪专讜转讛 砖诇 谞讜讛专 讘谉 讗砖专



FOMO 讛讬谞讜 诪讬爪讘 讛讘讜讞谉 讛转谞讛讙讜转 拽讜诇拽讟讬讘讬转, 讘注讬讚谉 讘讜 讛砖转谞讜 讘讗讜驻谉 讚专诪转讬 讚专讱 讛转拽砖讜专转 讜诪讬讚转 讛拽讬砖讜专讬讜转 讛讗谞讜砖讬转. 讛诪讜砖讙 FOMO (Fear of Missing Out) 诪转讗专 讞讜讜讬讛 谞驻讜爪讛 讘注讬讚谉 讛讚讬讙讬讟诇讬 - 讞专讚转 讛讛讞诪爪讛. 讗讚诐 讛讞讜讜讛 FOMO 讞讜砖砖 诇讛讞诪讬抓 讞讜讜讬讜转 砖讗谞砖讬诐 讗讞专讬诐 讞讜讜讬诐 讜诇驻住驻住 讛讝讚诪谞讜讬讜转 讞讘专转讬讜转, 专讜诪谞讟讬讜转, 注住拽讬讜转 讗讜 讗讞专讜转. 讞专讚转 讛讛讞诪爪讛 讛讬讗 讛驻讞讚 诇讗 诇讚注转 诪讛 拽讜专讛, 讜讙诐 讻砖讻谉 讬讜讚注讬诐, 讛转住讻讜诇 讛谞讜讘注 诪讗讬 讛讬讻讜诇转 诇讛讬讜转 讘诪住驻专 诪拽讜诪讜转 讘专讙注 诪住讜讬诐. 讞专讚转 讛讛讞诪爪讛 诪讘讬讗讛 诇专爪讜谉 诇砖诪讜专 注诇 拽砖专 专爪讬祝 注诐 讗讞专讬诐, 讜诪转讘讟讗转 诇专讜讘 讘诪注拽讘 讚讬讙讬讟诇讬 讻驻讬讬转讬 讘专砖转讜转 讛讞讘专转讬讜转. 讗诇讜 讛诐, 讻诪讜讘谉, 讻讜讞讜转 诪谞讜讙讚讬诐 讝讛 诇讝讛 讜诇专讜讘 讬砖讗讬专讜 讗转 讞讜讜讛 讛FOMO 拽讬专讞 诪讻讗谉 讜诪讻讗谉.

讘讞诇诇 讛转注专讜讻讛 诪讜爪讘转 拽讘讜爪讛 讘转 讻转专讬住专 讗讜讘讬讬拽讟讬诐 诪诪讜讻谞讬诐 讘注诇讬 谞专讗讜转 驻砖讜讟讛 讜讗讜专讙谞讬转. 讛驻专讟讬诐 讘注诇讬 诪讘谞讛 讘讬爪转讬 讛诪讝讻讬专 讗转 诪砖讞拽 讛讬诇讚讬诐 '谞讞讜诐 转拽讜诐' (讘讙讜讘讛 砖诇 讻80 住"诪) 谞注讬诐 讘转谞讜讚讜转 讚诪讜讬讜转 诪讟讜讟诇转 讜住讘讬讘 注爪诪诐. 讛讗讜讘讬讬拽讟讬诐 讬驻讙讬谞讜 讛转谞讛讙讜转 拽讘讜爪转讬转 讘转谞讜注转诐 讛诪砖讜转驻转 讜讘讗讬谞讟专讗拽爪讬讛 讘讬谞诐 诇讘讬谉 注爪诪诐 讜讘讬谞诐 诇讘讬谉 讛讞诇诇, 转讜讱 谞住讬讜谉 谞讜讗砖 诇诪讝注专 讗转 转讞讜砖转 讛FOMO , 讛讬讗 讞专讚转 讛讛讞诪爪讛 讛讞讘专转讬转.



诪讘谞讛 讛讗讜讘讬讬拽讟讬诐, 讗讜驻谉 转谞讜注转诐 讜讛讚讬谞讗诪讬拽讛 讘讬谞讛诐 诪讻讜讜谞转 诇讬爪讬专转 转讞讜砖转 讞讜住专 讬爪讬讘讜转, 讜讗讬 谞讜讞讜转 砖诇 讛诪转讘讜谞谉 讘诪讬爪讘. 讛讗讜讘讬讬拽讟讬诐 诪注讜专专讬 讞诪诇讛 讜讛讝讚讛讜转 诪爪讚 讗讞讚 讜诪讗讬讚讱 诪注讜专专讬诐 转讞讜砖转 谞讬讻讜专. 讛讞讜诪专讬讜转 砖诇讛诐 谞拽讬讛 讜拽专讛 讗讱 转谞讜注转诐 讞讬讬转讬转 讜砖讘讟讬转. 拽爪讜讜转 讗诇讛 注砖讜讬讬诐 诇注讜专专 讘诪转讘讜谞谉 转讞讜砖讜转 拽讜讟讘讬讜转 砖诇 讛讝讚讛讜转 讜讚讞讬讛, 住拽专谞讜转 讜注讜诪住 诪住讞专专. 讛诪转讘讜谞谉 讘谉 讛注讬讚谉 讛专砖转讬 讻讻诇 讛谞专讗讛 讬讝讚讛讛 注诐 砖谞讬 诪爪讘讬 讛拽爪讛 讛诇诇讜.

讘讻诇 驻专讟 讬讛讬讜 讞讬讬砖谞讬诐 砖讬讗驻砖专讜 讗讬住讜祝 诪讬讚注 注诇 诪讬拽讜诪讬 讜讛转谞讛讙讜讬讜转 讞讘专讬讜 讛拽专讜讘讬诐 讗诇讬讜. 注诇 住诪讱 诪讬讚注 讝讛 讻诇 驻专讟 讬讘讞专 讗转 讛转谞讛讙讜转讜, 讻诇讜诪专, 诇讗谉 诇驻谞讜转 讜讘讗讬讝讜 注讜爪诪讛 诇讛转谞讜讚讚. 拽讘讜爪转 讛驻专讟讬诐 讛专讜讘讜讟讬讬诐 讘诪讬爪讘 讬转谞讛讙讜 讘讗讜驻谉 转讙讜讘转讬 诇转讞讜砖转 讛FOMO 砖诇讛诐. 讛诐 讬砖拽讬注讜 诪讗诪爪讬诐 专讘讬诐 讘爪驻讬讬讛 讜讘讗讬住讜祝 诪讬讚注 讘谞讜讙注 诇诪讬拽讜诐 讜诇讛转谞讛讙讜转 讞讘专讬讛诐 讜讘讻诇 专讙注 讻诇 驻专讟 讬讘讞专 讗转 爪注讚讬讜 讛讘讗讬诐 讘讛转讗诐.

诇讗讜讘讬讬拽讟讬诐 讘诪讬爪讘 FOMO 讬讛讬讜 砖谞讬 诪爪讘讬诐 讛转谞讛讙讜转讬讬诐: 诪爪讘 讞讬驻讜砖 讜诪爪讘 讗讬谞讟专讗拽爪讬讛: 讘诪爪讘 讞讬驻讜砖 讻诇 驻专讟 讬讗住讜祝 诪讬讚注 注诇 诪讛 砖诪转专讞砖 讘住讘讬讘转讜 注诇 讬讚讬 住讬讘讜讘 讙讜驻讜 住讘讬讘 爪讬专讜 讜爪驻讬讬讛 讘讛转谞讛讙讜讬讜转 讛驻专讟讬诐 讗砖专 讘讟讜讜讞 讛专讗讬讛 砖诇讜. 诇注讜诪转 讝讗转, 讘诪爪讘 讛讗讬谞讟专讗拽爪讬讛, 讻砖驻专讟 专讜讗讛 驻专讟讬诐 讗讞专讬诐 诪转谞讜讚讚讬诐 讻诪讟讜讟诇转 (转谞讜注讛 砖诪砖诪注讜转讛 驻注讬诇讜转 讜讗讬谞讟专讗拽爪讬讛 讞讘专转讬转), 讛讜讗 讬驻谞讛 诇讻讬讜讜谞诐 讜讬转谞讜讚讚 讙诐 讛讜讗. 讗讜诇诐, 讙诐 讻讗砖专 驻专讟 诪爪讜讬 讘诪爪讘 讗讬谞讟专讗拽爪讬讛, 讻注讘讜专 讝诪谉 拽爪专 转砖讜讘 讜转讙讘专 讘讜 转讞讜砖转 讛FOMO 讜讛讜讗 讬讗讟 讗转 转谞讜讚讜转讬讜 讜讬砖讜讘 诇讛住转讜讘讘 注诇 爪讬专讜 讘讻讚讬 诇专讗讜转 '诪讛 讛讜讗 诪驻住讬讚'. 讘讻讱 诇诪注砖讛 讬驻住讬拽 讗转 讛讗讬谞讟专讗拽爪讬讛 讘讛 讛讜讗 诪爪讜讬 诇讟讜讘转 讞讬驻讜砖 讙讬专讜讬讬诐 讞讚砖讬诐.

讛诪讬爪讘 砖讜讗讘 讛砖专讗讛 诪转讞讜诐 讛诪讞拽专 砖诇 诪注专讻讜转 诪讜专讻讘讜转 讜讘讬谞讛 诪诇讗讻讜转讬转 讜砖讜讗诇 砖讗诇讜转 讛谞讜讙注讜转 讘爪讜专讱 讛讗谞讜砖讬 讘讗讬谞讟讬诪讬讜转 讜讘拽砖专, 讘讬讻讜诇转 诇谞讻讜讞 讘专讙注 讘注讜诇诐 专讜讜讬 讙讬专讜讬讬诐, 讜讘专爪讜谉 讛讗谞讜砖讬 诇讛驻讬讙 讗转 转讞讜砖转 讛讘讚讬讚讜转. 诪注专讻转 诪讜专讻讘转, 讘诪讜讘谞讛 讛诪讚注讬, 讛讬讗 诪注专讻转 讛诪讻讬诇讛 诪住驻专 讙讚讜诇 砖诇 驻专讟讬诐 讗讜讟讜谞讜诪讬讬诐 讛诪砖驻讬注讬诐 讝讛 注诇 讝讛. 讻诪讜 讘诪拽专讛 砖诇 拽谉 谞诪诇讬诐 讗讜 诇讛拽 爪讬驻讜专讬诐, 讜讗祝 讘诪注专讻讜转 讞讘专转讬讜转 讗谞讜砖讬讜转 专讘讜转, 讻诇 驻专讟 讘诪注专讻转 驻讜注诇 讘讗讜驻谉 注爪诪讜谞讬 讜驻砖讜讟 讘讗讜驻谉 讬讞住讬. 讗讜诇诐, 讛诪转讘讜谞谉 讘诪注专讻转 讘诪讘讟 注诇 讬专讗讛 讛转谞讛讙讜讬讜转 拽讜诇拽讟讬讘讬讜转 诪讜驻诇讗讜转 讘诪讜专讻讘讜转谉, 砖讗讬谞谉 谞讬转谞讜转 诇讞讬讝讜讬. 讘诪注专讻讜转 讗诇讛 讗讬谉 驻讬拽讜讚 诪专讻讝讬 讗讜 讛讻讜讜谞讛 讞讬爪讜谞讬转 讜讛转讜驻注讜转 讛诪讜专讻讘讜转 讛谞爪驻讜转 讘讛谉 谞讜爪专讜转 注诇 讬讚讬 讚讬谞讗诪讬拽讜转 驻砖讜讟讜转 砖诇 讛驻专讟讬诐 讛驻讜注诇讬诐. 诇转讻讜谞讛 讝讜 拽讜专讗讬诐 讗专讙讜谉 注爪诪讬. 讘讚讜诪讛 诇谞讬住讜讬讬诐 砖谞爪驻讜 讘讞拽专 诪注专讻讜转 诪讜专讻讘讜转, 讛讛谞讞讛 讛讬讗 砖转讬讜讜爪专 讘诪讬爪讘 讛转谞讛讙讜转 拽讘讜爪转讬转 诪讜专讻讘转 注诇 讬讚讬 诪谞讙谞讜谉 砖诇 讗专讙讜谉 注爪诪讬. 注诇 驻讬 讛谞讞讛 讝讜, 诪转讜讱 讗讜住祝 诪爪讘讬诐 驻砖讜讟 诪注讬谉 讝讛 (诪爪讘 讛讞讬驻讜砖 讜诪爪讘 讛讗讬谞讟专讗拽爪讬讛 讛诪转讜讗专讬诐 诪注诇讛) 转转拽讘诇 讛讛转谞讛讙讜转 拽讘讜爪转讬转 讛诪讝讻讬专讛 讛转谞讛讙讜讬讜转 讘注讜诇诐 讛讞讬.

住讙诇 诪砖转诪砖转 讘讻诇讬诐 讞讬砖讜讘讬讬诐 讛讘讗讬诐 诪讛注讜诇诐 讛诪讚注讬 讜诪讬讬砖诪转 讗讜转诐 讘讬爪讬专转 讛讗诪谞讜转 诇砖诐 讛转讘讜谞谞讜转 讘砖讗诇讜转 讛讜诪谞讬讜转 注讻砖讬讜转. 讞讜诪专讬 讛讙诇诐 讘讬爪讬专讛 讻讜诇诇讬诐 转讜讻谞讛, 讗诇拽讟专讜谞讬拽讛, 诪讬讚注 讚讬讙讬讟诇讬, 诪讻谞讬拽讛 讜专讜讘讜讟讬拽讛. 注诐 讝讗转, 讛注讘讜讚讛 诪讻讜讜谞转 诇驻专讜讟 注诇 诪讬转专讬 讛专讙砖 讜讛拽讜讙谞讬爪讬讛 砖诇 讛爪讜驻讬诐 讙诐 讬讞讚, 讜诇转转 诇讛诐 转讞讜砖讛 讛诪讝讻讬专讛 讛转讘讜谞谞讜转 讗谞转专讜驻讜诇讜讙讬转 注诇 砖讘讟 谞讬讚讞 讜注诐 讝讗转 诪讜讻专 讛讬讟讘 诪讚讬.


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