Using the tools of graphic design, I looked for a means of creating a direct and efficient relationship between the Interactive Timeline and Interactive Map. I introduced a set of different color rings that would surround each of the 7 killing sites indicating which form of killing was invoked, in relation to the 22 actions events identified on the population chart.

The different color rings vary, depending on the nature of the action. The connectors are developed as a second tier effort, to create a direct connection between the action or crime, and the location on the map, In this manner, individual visitors can engage in a series of clicks to learn about the events of murder taking place at the camp. This coordinated system heightens levels of engagement between the visitor, the map, the crimes, and the seven killing sites.

The use of text boxes, featuring four symbols and a verification system, provides an in-depth presentation of each event on the Jungfernhof timeline. The population chart centralizes the murder of Jews within Holocaust history. By combining these two systems, visitors learn the depth and scope of the history at the camp in a month-by-month progression of events. Interactivity animates the history.

As a descendant of victims and an artist, I do not want the human dimension of this story to be lost. Given the detached nature of scientific research and graphic representation, I use concepts of interactivity to combat an intellectualized appraisal of the history. This approach not only champions the visitor to actively interrogate the site, it also contributes to the storytelling nature of the project. As human beings, we sometimes fail to retain historical facts. We are more likely to cling to the stories.