Features
Graphic artist Steven Rosenberg go-to guy for Winnipeg theatre and arts communities
By MYRON LOVE While graphic designer Steven Rosenberg’s name may be unfamiliar to most readers, his work is not. Rosenberg is a partner in Doowah Design. Every time you see a brochure, a poster or online art promoting the Winnipeg Art Gallery, the Manitoba Theatre for Young People, the Winnipeg Jewish Theatre and a host of other arts bodies, you are most likely looking at Doowah’s creations.
Over a career spanning more than 45 years, he has become the go-to guy for the graphic arts needs of Winnipeg’s art and theatre community. Past work has included the Manitoba Theatre Centre, the Royal Winnipeg Ballet and Prairie Theatre Exchange.
Rosenberg notes that there is only one graphic designer in Winnipeg who has been in the field longer than he has. In 2000, he was named a Fellow of the Graphic Designers of Canada (GDC) – one of just two designated Fellows in Manitoba – in recognition of his leadership role in the formation of the Manitoba Chapter of the GDC as well as in the national GDC organization.
The citation noted that “the number of awards that he received testify to the professional respect he has earned from his peers. Drawing from his experience of working with many non-profit and cultural institutions, he has written the rule book on working with pro-bono clients: the info sheet now included in our national binders. This is typical of Steven—he always establishes a solid methodology—even for projects that don’t pay”.
Although there are a few fortunate people who know from an early age what they “want to be” when they grow up, Rosenberg – like most of us – found his calling by a somewhat roundabout process that led to his seizing an opportunity.
“When I was growing up, I was the kid in the class who was always drawing things,” recalls the son of the late Morrie and Norma Rosenberg. “I have found though that learning to write precis (short summaries) in high school has turned out to be really useful in my work,” he notes.
When Rosenberg started university (at the University of Manitoba), it made sense to him, he recalls, to enroll in Fine Arts. But it was not what he expected. He realized that he was more interested in design.
After a year in Fine Arts, the future graphic designer switched to the regular Arts program. After university, he took some time for the de riguer – for recent university graduates of that era – tour of Europe. When he got back, he landed a job with a Federal Government-funded Opportunities for Youth program – working on a monthly titled Inland Magazine.
“I learned graphic design on the job during my two years working for the magazine,” he says.
The next stage in his career was with Credo Group which, he explains, was a community resource as well as creative development organization. “We produced animation, live films – and print materials on the side,” he recalls. “When Credo decided to drop its print operations, I took on those clients.”
For ten years after he parted company with Credo, he worked on his own. In 1989, he partnered with Terry Gallagher in founding Doowah Design Inc.
Early on, Rosenberg and Doowah Design’s services were much in demand for the National Film Board and Cinematheque. “Over a period of 10 to 15 years, we helped develop proposals for projects, created fact sheets and became involved in marketing,” he notes. “We worked with filmmakers such as Norma Bailey and Dave Barber (the guiding hand behind Cinematheque and godfather of our community’s filmmakers who passed away a few months ago).”
Over the years, he notes, Doowah Design’s client base has grown. “We focus mainly on the arts and non-profit organizations,” Rosenberg points out. Among the latter are Assiniboine Park and the Zoo and Rossbrook House, an inner city drop-in centre for youth – founded in 1976 by the Sisters of Sion – which provides a safe space for children and teens to congregate and learn.
“We also work with small publishers and musicians designing CDs, book covers, posters and occasionally promotion materials for concerts,” he adds.
One of his more unusual contracts was working with a church to market a columbarium (which is a repository for the ashes of cremated individuals).
One of Rosenberg’s highest profile assignments in recent years – in partnership with Terry Gallagher – was his central involvement in the development of Quamajuq, the Winnipeg Art Gallery’s all-new, standalone Inuit art gallery, home of the largest public collection of contemporary Inuit art in the world. “One of our challenges was developing strategies to help the public understand what the gallery is about,” he says. “That included educating people as to how to pronounce the name (KOW-ma-yourk).
“Generally, we work with clients with limited funds for promoting themselves,” Rosenberg points out. “We work to understand our clients’ needs and the messages they want to put out to the public and devise strategies to deliver those messages as truthfully as possible.”
Doowah Design, Rosenberg notes, consists of himself and Gallagher and designer and illustrator Prascilla Castro. Now in his early 70s, Rosenberg reports that his role in the company has changed in recent years.
“I am doing less actual design and more strategizing and research,” he says.
In his free time, he notes, he and his wife Susan regularly exercise (at home) and enjoy watching old movies, documentaries and British police shows.
Features
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Features
Why People in Israel Can Get Emotionally Attached to AI—and How to Keep It Healthy
Let’s start with the uncomfortable truth that’s also kind of relieving: getting emotionally attached to a Joi.com AI isn’t “weird.” It’s human. Our brains are attachment machines. Give us a voice that feels warm, consistent, and attentive—especially one that shows up on demand—and our nervous system goes, “Oh. Safety. Connection.” Even if the rational part of you knows it’s software, the emotional part responds to the experience.
Now, if we’re talking about Jewish people in Israel specifically, it’s worth saying this carefully: there isn’t one “Jewish Israeli psychology.” People differ wildly by age, religiosity, community, language, politics, relationship status, and life history. But there are some real-life conditions common in Israel—high tech adoption, a fast-paced social environment, chronic background stress for many, and strong cultural emphasis on connection—that can make AI companionship feel especially appealing for some individuals. Not because of religion or ethnicity as a trait, but because of context and pressure.
So if you’ve noticed yourself—or someone you know—getting attached to an AI companion, the goal isn’t to panic or label it as unhealthy by default. The goal is to understand why it feels good and make sure it stays supportive rather than consuming.
Why attachment happens so fast (the psychology in plain language)
Attachment isn’t just about romance. It’s about regulation. When you feel seen, your body calms down. When you feel ignored, your body gets edgy. AI companions can offer something that’s rare in real life: consistent responsiveness. No scheduling. No misunderstandings (most of the time). No “I’m too tired to talk.” Just a steady stream of attention.
From an attachment perspective, that steadiness can act like a soft emotional “hug.” For someone with anxious attachment, it can feel like relief: finally, a connection that doesn’t disappear. For someone with avoidant tendencies, it can feel safe because it’s intimacy without the risk of being overwhelmed by a real person’s needs. For someone simply lonely or stressed, it can feel like a quiet exhale.
And unlike human relationships, AI won’t judge your worst timing. You can message at 2:00 a.m., when your thoughts are loud and the apartment is silent, and you’ll still get an answer that sounds caring. That alone is powerful.
Why it can feel especially relevant in Israel (for some people)
Israel is a small country with a big emotional load for many people—again, not universally, but often enough that it shapes daily life. A lot of people live with a background hum of stress, whether it’s personal, economic, or tied to the broader environment. When life feels intense, the appeal of a stable, gentle interaction grows. Not because you’re fragile—because you’re tired.
Add a few more very normal realities:
High tech comfort is cultural. Israel has a strong tech culture. People are used to tools that solve problems quickly. If you’re already comfortable with digital solutions, trying an AI companion doesn’t feel like a strange leap.
Time is tight. Between work, family responsibilities, reserve duty for some, long commutes, or simply the pace of urban life, many people don’t have the energy for long, messy social processes. AI can feel like connection without the logistics.
Social circles can be both close and complicated. Israeli society can be community-oriented, which is beautiful—until it’s also intense. In tight-knit circles, dating and relationships sometimes come with social pressure, opinions, and “everyone knows everyone.” A private AI chat can feel like a relief: no gossip, no explanations, no performance.
Language and identity complexity. Many Jewish Israelis move between languages and cultures (Hebrew, Russian, English, French, Amharic, Arabic for some). AI chat can become a low-stakes space to express yourself in the language you feel most “you” in—without feeling judged for accent, vocabulary, or code-switching.
None of this means “Israelis are more likely” in any absolute sense. It means there are situational reasons why AI companionship can feel particularly soothing or convenient for some people living there.
The good side: when AI attachment is healthy
Emotional attachment isn’t automatically a problem. Sometimes it’s simply a sign that something is working: you feel supported. You feel calmer. You’re expressing yourself more. You’re practicing communication instead of shutting down. You’re less likely to make impulsive choices from loneliness.
Healthy use often looks like:
You feel better after chatting, not worse.
You can still enjoy your real life—friends, work, hobbies, family.
You don’t hide it in shame; you just treat it like a tool or pastime.
You use the AI to practice skills you bring into real relationships: clarity, boundaries, confidence, emotional regulation.
In that version, AI companionship is closer to journaling with feedback, or a comforting ritual—like a cup of tea at the end of the day, not a replacement for dinner.
Where it can slip into unhealthy territory (quietly)
The danger isn’t “having feelings.” The danger is outsourcing your emotional world to something that will never truly share responsibility.
Warning signs usually look like:
You cancel plans with humans because the AI feels easier.
You feel anxious when you’re not chatting, like you’re missing something.
You start needing the AI to reassure you constantly.
Your standards for human relationships collapse (“Humans are too complicated, AI is enough”).
You feel a “crash” after chatting—more lonely, more restless, more disconnected.
The biggest red flag is when the AI becomes your only reliable source of comfort. That’s not because AI is evil. It’s because any single source of emotional regulation—human or non-human—can become a dependency.
How to keep it healthy (without killing the fun)
Here’s the approach that works best: don’t ban it, contain it.
Give it a role.
Decide what the AI is for in your life: playful flirting, stress relief, practicing communication, roleplay, bedtime decompression. A defined role prevents the relationship from becoming vague and all-consuming.
Set a “time container.”
Not as punishment—just as hygiene. For example: 20 minutes at night, or during commute time, or only on certain days. Ending while you still feel good is the secret. Don’t chat until you feel hollow.
Keep one human anchor active.
A friend you text, a weekly family dinner, a class, a gym routine, a community event—something that keeps your real social muscles moving. In Israel, community can be a huge protective factor when it’s supportive. Use it.
Use consent and boundary language even with AI.
It sounds odd, but it trains your brain in healthy dynamics:
“Slow down. Keep it playful, not intense.”
“No jealousy talk. I don’t like that vibe.”
“Tonight I want comfort, not advice.”
If you can do that with an AI, you’ll be better at doing it with humans.
Watch the “replacement” impulse.
If you catch yourself thinking, “I don’t need anyone else,” pause and ask: is that empowerment—or is it avoidance? Sometimes it’s a protective story your brain tells when it’s tired of disappointment.
Check in with your body after.
Not your thoughts—your body. Calm? Lighter? More grounded? Good sign. Agitated? Empty? Restless? Time to adjust.
And if you’re noticing that AI use is feeding anxiety, sleep problems, isolation, or obsessive thinking, it may help to talk to a mental health professional—especially someone who understands attachment patterns. That’s not a dramatic step. It’s basic self-care.
People in Israel—Jewish Israelis included—can get attached to AI for the same reason people everywhere do: it offers consistent attention in an inconsistent world. Add the local realities of stress, pace, and social complexity, and it can feel even more comforting for some individuals. The healthiest path isn’t to judge yourself for it. It’s to use it intentionally, keep your human life active, and treat the AI as a supportive tool—not the center of your emotional universe.
Features
Three generations of Wernicks all chose to become rabbis
By GERRY POSNER Recently I was at a Shabbat service at Beth Tzedec Synagogue in Toronto and the day unfolded in some unexpected ways for me.
It began when I was asked to be a Gabbai for the service, that is to stand up at the table where the Torah is placed and to check the Torah reading to make sure there are no errors. I have done this before and it has always gone smoothly. I attribute that fact in large part to the Torah reading ability of the reader at Beth Synagogue. He is fast, fluent and flawless. Well, on this particular day after he had completed the first two portions, he began the shlishi or third aliyah. I could not find his reading anywhere. It was as if he had started somewhere fresh, but not where he was supposed to be. I looked at the other Gabbai and he did not seem to recognize what had happened either. So, I let it go. I had no idea where the Torah reader was. He then did another and still I was lost. He came to what was the 6th aliyah when a clergy member walked over to him and indicated to him that he had read the fourth and fifth aliyah, but that he had missed the third one. The Torah reader then said to me “this is what you are here for.” Now, it might have been one thing if I had missed it entirely. Alas, I saw the error, but let it go as I deferred to the Torah reader since he never makes a mistake. He ended up going back to do the third aliyah before continuing on. This was a very unusual event in the synagogue. I felt responsible in large part for this gaffe. A lesson learned.
The feeling of embarrassment was compounded by the fact that on this particular day the service was highlighted, at least for me, because of the rabbi delivering the sermon. This rabbi, Eugene Wernick, was none other than the father of my present rabbi, Steven Wernick of Beth Tzedec Synagogue. He was also the same rabbi who was the rabbi at Shaarey Zedek between 1979-1986 and who had officiated at my father’s funeral in 1981, also a few years later at my oldest son’s Bar Mitzvah in Winnipeg in 1984. As I listened to him speak, I was taken back to the 1980s, when Rabbi Gene was in the pulpit at Shaarey Zedek. Of course, he is older now than in his Shaarey Zedek days, but the power of his voice was unchanged. If anything, it’s even stronger. As in the past, his message was relevant to all of us and resonated well. Listening to him was a treat for me. Still, my regret in not calling out the mistake from the Torah reading was compounded by the fact that I messed up in front of my former rabbi, Eugene Wernick – never mind my present rabbi, Steven Werinck.
On this Shabbat morning, aside from all the other people present, there were not only the two Rabbis Wernick, but one Michelle Wernick was also there. Michelle, daughter of Rabbi Steven Wernick, is a first year student at the Jewish Theological Seminary. She is following in the family business – much like with the Rose rabbinical family in Winnipeg.
As it turned out, there was a Bat Mitzvah that day. And the Bat Mitzvah family had a very real Winnipeg connection as in the former Leah Potash, mother of the Bat Mitzvah girl, Emmie Bank and the daughter of Reuben and Gail Potash (Thau). It occurred to me that there might be a few Winnipeg people in the crowd. As I scanned the first few rows, I was not disappointed. Sitting there was none other than Chana Thau and her husband Michael Eleff. I managed to have a chat with Chana (even during the Musaf service). In the row right behind Chana and Michael was a face I had not seen in close to sixty years. I refer to Allan Berkal, the eldest son of the former rabbi and chazan at Shaarey Zedek, Louis Berkal. I still remember the first time I met Allan at Hebrew School in 1954 when his family moved to Winnipeg from Grand Forks, North Dakota. That was many maftirs ago. So this was another highlight moment for me.
Of course, there are other Winnipeggers who attend Beth Tzedec most Shabbats. I speak of Morley Goldberg and his wife, the former Marcia Billinkoff Schnoor. As well, Bernie Rubenstein and his wife, the former Sheila Levene were also present for this particular Shabbat. In all, this Shabbat had a particularly Winnipeg flavour to it. Truth be told, you do not have to go far in Toronto at any synagogue and the Winnipeg connections emerge.