Agam’s Time Line


ืœื™ืžื•ื“ื™ื
1946 ื‘ื™ืช ื”ืกืคืจ ื‘ืฆืœืืœ ื”ื—ื“ืฉ ืœืื•ืžื ื•ืช ื•ืœืืžื ื•ืช, ื™ืจื•ืฉืœื™ื
1949 ื‘ื™ืช ื”ืกืคืจ ืœืืžื ื•ื™ื•ืช, ืฆื™ืจื™ืš, ืฉื•ื•ื™ื™ืฅ, ืืžื ื•ืช ืืฆืœ ื™ื•ื”ื ืก ืื™ื˜ืŸ
1949 ืชื•ืœื“ื•ืช ื”ืืžื ื•ืช ื•ืžื•ื–ื™ืงื”, ืื•ื ื™ื‘ืจืกื™ื˜ืช ืฆื™ืจื™ืš, ืฆื™ืจื™ืš, ืฉื•ื•ื™ื™ืฅ
1951 ื‘ื™ืช ื”ืกืคืจ ืœืืžื ื•ืช ืžื•ืคืฉื˜ืช, ืคืจื™ื–, ืฆืจืคืช

ย ื”ื•ืจืื”
1968 ืื•ื ื™ื‘ืจืกื™ื˜ืช ื”ืจื•ื•ืืจื“, ื‘ื•ืกื˜ื•ืŸ
1983 ื”ืืงื“ืžื™ื” ื”ืขื‘ืจื™ืช, ืกืŸ ืคืจื ืกื™ืกืงื•, ืงืœื™ืคื•ืจื ื™ื”
1983 ื—ื™ื ื•ืš ื—ื–ื•ืชื™, ื™ื‘ื ื”
1985 ื—ื™ื ื•ืš ื—ื–ื•ืชื™, ืžื›ื•ืŸ ื•ื™ืฆืžืŸ, ืจื—ื•ื‘ื•ืช

ืคืจืกื™ื
1963 ืคืจืก ืขืœ ืžื—ืงืจ ืืžื ื•ืชื™, ื”ื‘ื™ืื ืœื” ืฉืœ ืกืŸ ืคืื•ืœื•, ืกืŸ ืคืื•ืœื•, ื‘ืจื–ื™ืœ
1972 ืคืจืก ืกื ื“ื‘ืจื’ ืœืืžืŸ ื™ืฉืจืืœื™, ืžื•ื–ื™ืื•ืŸ ื™ืฉืจืืœ, ื™ืจื•ืฉืœื™ื
1976 ืื–ืจื— ื›ื‘ื•ื“ ืฉืœ ืืœื‘ืžื”, ืืจืฆื•ืช ื”ื‘ืจื™ืช
1996 ืคืจืก ืื•ื ืกืงโ€ื• ืœื—ื™ื ื•ืš, ืžื“ืœื™ื™ืช ื™ืืŸ ืืžื•ืก ืงื•ืžื ื™ื•ืก ืœโ€ืฉื™ื˜ืช ืื’ืโ€ ืœื—ื™ื ื•ืš ื—ื–ื•ืชื™ ืขื‘ื•ืจ ื™ืœื“ื™ื ืงื˜ื ื™ื

ืžื‘ื—ืจ ืคืกืœื™ื ื™ื“ื•ืขื™ื ื‘ืžืจื—ื‘ ื”ืฆื™ื‘ื•ืจื™
1965 โ€œืžื˜ืืžื•ืจืคื•ื–ื” ื›ืคื•ืœื”โ€
1971 ืžื ื•ืจืช 18 ืจืžื•ืช, ื™ืจื•ืฉืœื™ื
1975 โ€œืžื–ืจืงื•ืชโ€, ืคืืจื™ืก, ืฆืจืคืช
1985 โ€œืฉืจืฉื™ืโ€, ืžื ื•ืจื” ื‘ื’ืŸ ื‘ืจื ืจื“, ืชืœ-ืื‘ื™ื‘;
1986 โ€œืืฉ ื•ืžื™ืโ€ ื›ื™ื›ืจ ื“ื™ื–ื ื’ื•ืฃ, ืชืœ-ืื‘ื™ื‘;
1989 โ€œืชื–ืžื•ืจ ืžื•ืกื™ืงื” ื—ื–ื•ืชื™โ€, ืคืืจื™ืก, ืฆืจืคืช
2002 โ€œื’ืœื’ืœื™ืโ€ ื‘ื›ื ื™ืกื” ืœื™ื“ ืฉืจื”, ื™ืจื•ืฉืœื™ื
2009 โ€œืชืงืฉื•ืจืช ืฉืœื•ื ืขื ื”ืขื•ืœืโ€, ืงืื•ืกื™ื•ื ื’, ื˜ื™ื™ื•ื•ืŸ
2010 ย โ€œืžื ื•ืจื”โ€, ื ื™ื•-ื™ื•ืจืง ืกื™ื˜ื™, ืืจื”โ€ื‘
2014 โ€œืœื”ืชืคืœืœ ืืžื•ื ื” ื—ื–ื•ืชื™ืชโ€, ืขื™ืจ ื”ื•ื•ืชื™ืงืŸ, ืจื•ืžื, ืื™ื˜ืœื™ื”,
ย 

Studies
1946 The New Bezalel School of Art and Design, Jerusalem
1949 The School of Fine Arts, Zurich, Switzerland, Art with Johannes Itten
1949 Art History and Music, University of Zurich, Zurich, Switzerland
1951 The School of Abstract Art, Paris, France

ย Teaching
1968 Harvard University, Boston
1983 Hebrew Academy, San Francisco, California
1983 Visual Education, Yavne
1985 Visual Education, Weizmann Institute, Rehovot

Awards
1963 Prize for Artistic Research, Biennale of Sรฃo Paulo, Sรฃo Paulo, Brazil
1972 Sandberg Prize for an Israeli Artist, Israel Museum, Jerusalem
1976 Honorary Citizen of Alabama, United States
1996 UNESCO Prize for Education, Jan Amos Comenius Medal for the โ€œAgam Methodโ€ for Visual Education for Young Children

A selection of well-known sculptures in the public space
1965 โ€œDouble Metamorphosisโ€
1971 Menorah 18 Ramot, Jerusalem
1975 โ€œFountainsโ€, Paris, France
1985 โ€œRootsโ€, Menorah in Gan Bernard, Tel Aviv;
1986 โ€œFire and Waterโ€ Dizengoff Square, Tel Aviv;
1989 โ€œVisual Music Orchestrationโ€, Paris, France
2002 โ€œWheelsโ€ at the entrance near Sarah, Jerusalem
2009 โ€œCommunicating Peace with the Worldโ€, Kaohsiung, Taiwan
2010 โ€œMenorahโ€, New York City, USA
2014 โ€œPraying Visual Faithโ€, Vatican City, Rome, Italy,

I believe – Agam Museum

ื”ืžื•ื–ื™ืื•ืŸ, ื›ืžื•ื‘ื™ืœ ืชืจื‘ื•ืช ื•ื—ื™ื ื•ืš ื‘ืขื™ืจ, ืžื”ื•ื•ื” ืกื‘ื™ื‘ื” ืžื›ื™ืœื” ื•ืžืืคืฉืจืช ื‘ืžื™ื•ื—ื“ ื‘ื™ืžื™ื ืืœื”, ืžืขื™ืŸ ืื™ ืฉืœ ืฉืคื™ื•ืช. ื”ืกื‘ื™ื‘ื” ื”ื™ื™ื—ื•ื“ื™ืช, ื”ื—ืฉื™ืคื” ืœืฉื™ืงื•ืฃ ืฉืœ ืžืฆื™ืื•ืช ื—ื™ื•ื‘ื™ืช, ืฉืœ ื™ืฆื™ื‘ื•ืช, ืฉืœ ื”ืจืžื•ื ื™ื”, ืฉื•ืžืจืช ืขืœ ื”ื—ื•ืกืŸ ื’ื ื‘ื™ืžื™ื ืงืฉื™ื. ื—ืœืœื™ ื”ืžื•ื–ื™ืื•ืŸ ื•ืืžื ื•ืชื• ืฉืœ ืื’ื ืžื–ืžื™ื ื™ื ืืช ื”ืชืœืžื™ื“ื™ื ืœื”ืจืžื•ื ื™ื” ืฉืœ ืฆื‘ืขื™ื ื•ืฆื•ืจื•ืช ื•ืžืกื™ื™ืขื™ื ื‘ื”ืขื‘ืจืช ืชื—ื•ืฉื•ืช ืฉืœ ืจื•ื’ืข ื•ืžื•ื’ื ื•ืช ื‘ืžืจื—ื‘ ื‘ื˜ื•ื— ืœืฉื™ื— ืคืชื•ื— ื•ืžืืคืฉืจ, ืœืžืขืŸ ืœื›ื™ื“ื•ืช ื—ื‘ืจืชื™ืช ื•ืขืจื‘ื•ืช ื”ื“ื“ื™ืช. ื—ืฉื•ื‘ ืœื ืคื—ื•ืช! ื‘ืžื•ื–ื™ืื•ืŸ ืžืจื—ื‘ ืคื™ื–ื™ ืžื•ื’ืŸ ื•ืžืจื•ื•ื—..


ืžื˜ืจื•ืช:

>ย ืœืคืชื— ืื•ืจื™ื™ื ื•ืช ื—ื–ื•ืชื™ืช ื›ืฉืคื” ืื•ื ื™ื‘ืจืกืœื™ืช ื‘ืืžืฆืขื•ืช ื”ืชื‘ื•ื ื ื•ืช ื•ืฉื™ื— ืกื‘ื™ื‘ ื”ื™ืฆื™ืจื•ืช ื‘ืžื•ื–ื™ืื•ืŸ.
>ย ืœืขื•ืจืจ ืกืงืจื ื•ืช ื•ืœืขื•ื“ื“ ื™ืฆื™ืจืชื™ื•ืช ื•ื”ื‘ืขื” ืขืฆืžื™ืช ืฉืœ ืจื’ืฉื•ืช, ืžื—ืฉื‘ื•ืช ื•ืจืขื™ื•ื ื•ืช ื‘ืืžืฆืขื•ืช ืขื•ืœื ื”ืฆื•ืจื•ืช ื•ื”ืฆื‘ืขื™ื.
>ย ืœื”ื ื’ื™ืฉ ื•ืœืงืจื‘ ืืช ื”ืชืœืžื™ื“ื™ื ืืœ ืขื•ืœื ื”ืืžื ื•ืช.
>ย ืฆื•ื•ืช ื”ื”ื“ืจื›ื” ืฉืœ ื”ืžื•ื–ื™ืื•ืŸ ื‘ืขืœ ืจืงืข ื‘ืืžื ื•ืช, ื‘ื—ื™ื ื•ืš ื•ื‘ื”ื“ืจื›ื”, ื—ืœืงื ืืžื ื™ื ืคืขื™ืœื™ื.
>ย ื”ืžื•ื–ื™ืื•ืŸ ย ืžืืจื— ืฆื•ื•ืชื™ ื”ื•ืจืื” ืœื™ืžื™ ื”ืฉืชืœืžื•ืช, ืคืขื™ืœื•ืช ื”ื•ืจื™ื ื•ื™ืœื“ื™ื, ืคืขื™ืœื•ืช ืœื•ื•ืขื“ื™ ื”ื•ืจื™ื ื•ื›ื“ื•ืžื”.

The museum, as a leader in culture and education in the city, constitutes an inclusive and enabling environment, especially these days, a kind of island of sanity. The unique environment, the exposure to the reflection of a positive reality, of stability, of harmony, maintains resilience even in difficult times. The museumโ€™s spaces and Agamโ€™s art invite students to the harmony of colors and shapes and help convey feelings of calm and protection in a safe space for open and enabling discourse, for the sake of social cohesion and mutual responsibility. Equally important! The museum has a protected and spacious physical space.


Goals:

>ย ย Develop visual literacy as a universal language through observation and discussion of the works in the museum.
>ย ย Arouse curiosity and encourage creativity and self-expression of feelings, thoughts and ideas through the world of shapes and colors.
>ย ย Make the world of art accessible and bring students closer to it.
>ย ย The museumโ€™s teaching staff has a background in art, education and teaching, some of whom are active artists.
>ย ย The museum hosts teaching staff for training days, parent and child activities, activities for parent committees, and the like.

Agam – Hebrew

ื‘ืฉื ื”โ€ืœ ืชืฉืขโ€ื— ื ืคืชื— ืžื•ื–ื™ืื•ืŸ ืื’ื ืœืืžื ื•ืช, ื”ืžื•ืงื“ืฉ ืœื™ืฆื™ืจืชื• ืฉืœ ื™ืขืงื‘ ืื’ื ื•ืœื–ืจื ื”ืืžื ื•ืช ื”ืงื™ื ื˜ื™ืช. ื”ืžื•ื–ื™ืื•ืŸ, ื™ื•ื–ืžื” ืžืฉื•ืชืคืช ืฉืœ ืขื™ืจื™ื™ืช ืจืืฉื•ืŸ ืœืฆื™ื•ืŸ ื•ืฉืœ ื”ืืžืŸ ืื’ื, ื‘ืŸ ื”ืขื™ืจ, ื”ืžื•ื›ืจ ื‘ืขื•ืœื ื›ืื‘ื™ ื”ืชื ื•ืขื” ื”ืงื™ื ื˜ื™ืช.ย 
ื”ืžื•ื–ื™ืื•ืŸ ืžืฆื™ื’ ืชืขืจื•ื›ืช ืจื˜ืจื•ืกืคืงื˜ื™ื‘ื” ืœื™ืฆื™ืจื” ื‘ืช ืœืžืขืœื” ืžืฉื‘ืขื” ืขืฉื•ืจื™ื ืฉืœ ืื’ื, ื”ื›ื•ืœืœืช ื™ืฆื™ืจื•ืช ืžืื•ืกืคื™ื ื‘ื™ื ืœืื•ืžื™ื™ื, ืฉื”ื•ืฆื’ื• ื‘ืขื‘ืจ ื‘ืžื•ื–ื™ืื•ื ื™ื ื•ื‘ืื•ืกืคื™ื ื ื—ืฉื‘ื™ื, ื•ื›ืŸ ื™ืฆื™ืจื•ืช ื—ื“ืฉื•ืช ืžื”ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช.
ื”ืืžื ื•ืช ืฉืœ ืื’ื ืžืจืชืงืช ืฆื•ืคื™ื ืžื›ืœ ื”ื’ื™ืœืื™ื, ืžืคืขื•ื˜ื•ืช ืกืงืจื ื™ื ื•ืขื“ ืื•ืฆืจื™ ืืžื ื•ืช ื•ื—ื•ืงืจื™ื ืžื›ืœ ื”ืขื•ืœื. ย 
ืื’ื ืขื•ืฉื” ืฉื™ืžื•ืฉ ื‘ืžื’ื•ื•ืŸ ืžื“ื™ื•ืช: ืคื™ืกื•ืœ ื•ืฆื™ื•ืจ ืฉืžืฉื ื™ื ืฆื•ืจื”, ืฆื™ื•ืจื™ ืชื‘ืœื™ื˜ ืคื•ืœื™ืžื•ืจืคื™ื™ื, ื™ืฆื™ืจื•ืช ื“ื™ื’ื™ื˜ืœื™ื•ืช ืื™ื ื˜ืจืืงื˜ื™ื‘ื™ื•ืช, ื—ืคืฆื™ื ื•ืžื™ื™ืฆื‘ื™ื.

ื’ื ื›ื™ื•ื ืžืžืฉื™ืš ืื’ื ืœื—ื“ืฉ ื•ืœื™ืฆื•ืจ ื‘ืฉืื™ืคื” ืœื‘ืกืก ืืช ื”ืžื•ื–ื™ืื•ืŸ ื”ื™ื—ื™ื“ ื‘ืขื•ืœื ื”ืžื•ืงื“ืฉ ืœืืžื ื•ืช ืงื™ื ื˜ื™ืช, ื›ืžืจื›ื– ย ืœืชืคื™ืกืช ื”ืขื•ืœื ื”ืืžื ื•ืชื™ืช ืฉืžืคืขื™ืœื” ืื•ืชื• ื•ืœืžืชื•ื“ื•ืœื•ื’ื™ืช ื”ื—ื™ื ื•ืš ื”ื—ื–ื•ืชื™ืช.
ืžื•ื–ื™ืื•ืŸ ืื’ื ืžืืคืฉืจ ืœืจืื•ืช โ€œืžืขื‘ืจ ืœื ืจืื”โ€ ื•ืœื—ื•ื•ืช ืืžื ื•ืช ืฉืžืฉืงืคืช ืžืฆื™ืื•ืช ื›โ€ืชื ื•ืขื” ืชืžื™ื“ื™ืชโ€ ,ืฉืœื ื ื™ืชืŸ ืœื™ื™ืฆื’ ืื•ืชื” ื›ืชืžื•ื ื” ื‘ื•ื“ื“ืช, ืžืฆื™ืื•ืช ืืฉืจ ื”ืžืืคื™ื™ืŸ ื”ืงื‘ื•ืข ื”ื™ื—ื™ื“ ืฉืœื” ื”ื•ื โ€œื”ืฉื™ื ื•ื™โ€.

ื›ืœ ืžื‘ืงืจ ืžื•ื–ืžืŸ ืœื—ืงื•ืจ ื•ืœืชืงืฉืจ ืขื ื”ืขื‘ื•ื“ื•ืช ื‘ืขืœื•ืช ื”ืžืžื“ื™ื ื”ืจื‘ื™ื ื•ื”ืžืฉืชื ื™ื, ื•ืœืฉืงื•ืข ื‘ืžื” ืฉื”ืืžืŸ ืžื›ื ื” โ€“ ย ื”ืžื™ืžื“ ื”ืจื‘ื™ืขื™ โ€“ ืžื™ืžื“ ื”ืžื›ื™ืœ ืืช ื”ื–ืžืŸ, ื”ืชื ื•ืขื”, ื”ืฉื™ื ื•ื™ ื•ืืช ื”ื‘ืœืชื™ ืฆืคื•ื™.
ื”ืžื•ื–ื™ืื•ืŸ ืขื•ืฆื‘ ืขืœ ื™ื“ื™ ื”ืื“ืจื™ื›ืœ ื“ื•ื“ ื ื•ืคืจ ื•ืžืฉืชืจืข ืขืœ ืคื ื™ ื›-3,200 ืžโ€ืจ, ื”ืžื•ืงื“ืฉื™ื ืœืชืขืจื•ื›ื•ืช ื‘ืžืจื—ื‘ ืืจื›ื™ื˜ืงื˜ื•ื ื™ ืžื•ืจื›ื‘, ืžื“ื™ื˜ื˜ื™ื‘ื™ ื•ืžืขื•ืจืจ ื”ืฉืจืื”.

ื‘ืจื—ื‘ืช ื”ื›ื ื™ืกื” ืœืžื•ื–ื™ืื•ืŸ, ื‘ืžื‘ื•ืื” ื•ื‘ืื•ืœื ื”ืžืจื›ื–ื™ ื ื™ืฆื‘ื™ื โ€œืขืžื•ื“ื™ ื›ืœื™ืœื”โ€, ืขโ€ืฉ ืจืขื™ื™ืชื• ื”ืžื ื•ื—ื” ืฉืœ ื”ืืžืŸ, ืชืจื•ืžืช ืžืฉืคื—ืช ื›ื“ืจ ื•ืงืจืŸ ื ืขืžื™. ื”ืžื™ืฆื‘ ื›ื•ืœืœ ืขืฉืจื™ื ื•ืชืฉืขื” ืขืžื•ื“ื™ื ืืฉืจ ืคื•ืจืฆื™ื ืืช ื”ื’ื‘ื•ืœ ื‘ื™ืŸ ื”ืคื ื™ื ืœื‘ื™ืŸ ื”ื—ื•ืฅ. ื”ืฆื•ืคื™ื ืžืฉื•ื˜ื˜ื™ื ื‘ืชื•ืš ืกื‘ื™ื‘ื” ืžืคื•ืกืœืช ืžืจื”ื™ื‘ื”, ื—ื•ื•ื™ื ืกื™ืžืคื•ื ื™ื” ื•ื™ื–ื•ืืœื™ืช ืžืจืชืงืช, ื›ืืฉืจ ื›ืœ ืฆืขื“ ื•ื›ืœ ืžื‘ื˜ ื—ื•ืฉืคื™ื ืžื•ื˜ื™ื‘ื™ื ืฆื•ืจื ื™ื™ื ื ื•ืกืคื™ื.

ื›ืžื• ื›ืŸ, ื ืชืจืžื• ืžืกืคืจ ื™ืฆื™ืจื•ืช ื—ืฉื•ื‘ื•ืช ืขโ€ื™ ืืœื™ ื•ืื ื™ื˜ื” ื’โ€™ื™ื™ืงื•ื‘ ืœื–ื›ืจ ืขื–ืจื ื•ืœื•ืœื• ืกืœืžื” ื–โ€ืœ, ื”ื•ืจื™ื• ื”ืื”ื•ื‘ื™ื ืฉืœ ืืœื™ ื’โ€™ื™ื™ืงื•ื‘ (ื‘ืกื™ื•ืข ืงืจืŸ ืชืจื‘ื•ืช ืืžืจื™ืงื”-ื™ืฉืจืืœ), ื•ื‘ื™ื ื™ื”ื โ€œืงืกื•ื 1โ€ 1977, โ€œื—ืœื•ื ืงืกื•ื 2โ€ 1997, โ€œืžืœื—ืžื” ื•ืฉืœื•ืโ€ 1999, โ€œืชืื•ืžื™ืโ€ 2005, โ€œืžื“ื‘ืจ ื•ืคืจื™ื—ื”โ€ 2010.

ืœืื•ืจื›ื” ืฉืœ ื”ืžืจืคืกืช ื”ืคื ื™ืžื™ืช ื‘ื‘ื ื™ื™ืŸ ืžื•ืฆื’ โ€œื”ืคื ื•ืจืžื’ืืโ€ ืขืœ ืฉืœืœ ืฆื‘ืขื™ื•, ืฆื™ื•ืจ ืชื‘ืœื™ื˜ ื‘ืื•ืจืš 22 ืžื˜ืจ ืฉื”ื•ืฆื’ ื‘ืžืงื•ืจ ื‘ืžื•ื–ื™ืื•ืŸ ื’ื•ื’ื ื”ื™ื™ื ื‘ื ื™ื• ื™ื•ืจืง, ื‘ืชืขืจื•ื›ื” ื”ื”ื™ืกื˜ื•ืจื™ืช ืฉืœ ืื’ื ืžืฉื ืช 1980. ื‘ื”ืœื™ื›ื” ืœืื•ืจืš ื”ืงื™ืจื•ืช ื”ืžืคื•ืชืœื™ื ื™ื’ืœื• ื”ืžื‘ืงืจื™ื ย ืงืฉืช ืฆื‘ืขื•ื ื™ืช ืžืจื”ื™ื‘ื” ื”ืคื•ืจืฆืช ืžืชื•ืš ืœื•ื‘ืŸ ื•ืจื•ื’ืข ื•ื‘ื”ืžืฉืš ืžืชืคื•ื’ื’ืช.
ื‘ืื•ืœื ื”ื—ื•ื•ื™ื”, ื—ืœืœ ื”ืžื“ื™ื” ื”ืจื‘-ื‘ื™ืžืชื™ ื”ื ืžืฆื ื‘ืžืชื—ื, ืžืชืงื™ื™ืžื™ื ืฉืœืœ ืื™ืจื•ืขื™ื โ€“ ืชืขืจื•ื›ื•ืช, ื”ื•ืคืขื•ืช, ื”ืจืฆืื•ืช ื•ืžื™ืฆื’ื™ื ื”ื ืžืฆืื™ื ื‘ื“ื™ืืœื•ื’ ืขื ื—ื–ื•ื ื• ืฉืœ ื”ืืžืŸ. ื‘ื ื•ืกืฃ, ื”ืžื•ื–ื™ืื•ืŸ ืžืืจื— ื›ื ืกื™ื ืกืžื™ื ืจื™ื ื•ืกื™ื•ืจื™ื, ื›ืžื• ื’ื ืคืขื™ืœื•ื™ื•ืช ื•ืกื“ื ืื•ืช ืœื™ืฆื™ืจื” ืงื™ื ื˜ื™ืช ื”ืžื™ื•ืขื“ื•ืช ืœื›ืœ ื”ื’ื™ืœืื™ื ื•ื‘ืžื’ื•ื•ืŸ ืฉืคื•ืช.

Agam Ark – Creativity, Innovation, Transformation

Agamโ€™s own words:

โ€œThe most daring innovations in technology and electronics should be employed to enhance our worship experience. The Eternal Light I created for the synagogue at the Palm Springs Jewish Community Center is controlled by computer, and the ark is engineered so that the Torah scrolls can be made to โ€œdisappearโ€ when a non-religious activity is performed.โ€

Unfortunately, over time the mechanism broke down, so the scrolls could not be lowered and raised.






The Agam ark is the central focus of the sanctuary, without the other common symbols of a jewish worship space such as a menorah, or image of the ten commandments. Therein the sanctuary is transformed into a modern worship environment, with panoramic windows revealing the local mountains.

A creative digital age translation of the first verses of the Bible from the original Hebrew can offer us a fresh look at connections between The Place and The Cloud. โ€œIn the network, God created media systems for creating heaven and earth. When the earth was absolutely empty and dark, God created light and separated between light and darkness (1 and 0)โ€ We can read the first word of the Bible Bโ€™reshit (In the beginning) as Bโ€™reshet (In the network). In Genesis 1:1, the Hebrew word et appears twice, before heaven and before earth. โ€œIn the beginning God created et the heaven and et the earth.โ€ Since English has no equivalent for the word et that links a verb to a noun, it drops out in translation. et is spelled alef-tav, the first and last letters of the Hebrew a alphabet. Spanning the full set of 22 Hebrew letters, et symbolizes media systems.

Alexenberg, Mel. Photograph God: Creating a Spiritual Blog of Your Life (pp. 45-46). Kindle Edition.

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