Credits
About
Color of the Year
Pantone is the global consensus.
It is the universal agreement on color, a brilliant system that brings order to chaos. But standardization sometime creates a flattening effect.
LENS gives that reality volume.
WE TURN the 2D swatch into living
3D environments, transforming the "Color of the Year" from a objective fact into a deeply subjective experience.
Here, color isn't just viewed.
It is inhabited.
If it looks Aesthetic: That's Pantone's colors (Not affiliated)
If it looks "Intentional": That's Studio WWW, Bezalel Academy.
If it looks broken: That's Me.
PHANTOM TOUCH 2024
This digital installation recontextualizes that choice through the lens of the year's defining technological event: the official launch of YouTube.
This moment marked a digital phase change the historic transition from a static, text-based web to an era of continuous, fluid video streaming.
The simulation interprets the color not merely as a pigment, but as a representation of "Data Liquefaction."
The floating 3D forms act as encapsulated data packets within this new stream. Unlike flat pixels, these "liquid lenses" possess density and weight, simulating the heavy bandwidth required to transmit moving images for the first time. They hover in a state of suspension, a visual reference to the buffering process, where raw data is accumulated and stabilized before flowing into motion.
The visual experience is submerged in an oceanic soundscape to reinforce the sensation of immersion. The audio simulates the hydrostatic pressure of being "underwater" in this new flood of content.
It acts as an acoustic isolator, emphasizing the physical weight of navigating a world that has effectively turned to liquid.
This digital installation aligns that choice with the year's monumental scientific achievement: the first operational images from the James Webb Space Telescope (JWST). This event redefined our optical boundaries, shifting the focus from terrestrial observation to deep-field infrared spectroscopy.
The simulation treats the color not as a pigment, but as a visualization of previously invisible data. The 3D environment creates a zero-gravity topology where suspended spheres and connecting vectors mimic the geometry of orbital mechanics.
The violet hue serves as a background radiation field, representing the "New Digital Cosmos" - a space where data points are interconnected across vast, calculated distances, mirroring the structure of galactic networks revealed by the telescope.
The auditory layer is designed to evoke scale rather than melody. The soundscape utilizes distorted, nocturnal frequencies to simulate a "Cosmic Night" - an environment where the silence of the vacuum is replaced by the hum of vast data processing.
It places the viewer at the edge of the known interface, staring into a system that is simultaneously ancient and synthetically new.
This installation reinterprets that sentiment through the technological paradigm that defined the year: the rise of Spatial Computing and the breaking of the "fourth wall" between screen and user.
The artwork visualizes the shift from flat displays to immersive environments where digital objects demand to be "touched."
The simulation focuses on "Haptic Visuality" - the ability of the eye to perceive texture before the hand makes contact. The screen is densely populated with thousands of vertical fibers, creating a living field that challenges the cold precision of the pixel with biological softness.
This is not merely decoration, but a study in synthetic density; it questions whether a digital simulation can effectively replicate the comforting physics of organic matter within a virtual space.
To ground this synthetic field, the soundscape is strictly terrestrial. The audio consists of dry, high-fidelity nature recordings (crickets, shifting grass), acting as a "Reality Anchor."
This auditory layer creates a deliberate dissonance with the digital visual, bridging the gap between the artificial "peach skin" on screen and the genuine sensory experience of the physical world.