//figurative documentary proposal
Collaborative project with
Felix Noemayr and Martina Eddone
Texts (synopsis, script sample,
director’s note, dramaturgy)
// Diagrams // Collages //
Sketches // UI, UX design // Video Guide
Research question: How do representations of ecosystems influence our understanding towards represented realities?
The aim of this project is to examine the complex impact of representations on our perception of ecosystems of any kind. A consecutive research question was raised: How can we enable empathy towards nonhuman agents through and within representation? The inquiry developed into the creation of our own representation: A fictional documentary proposal which is solely based on the already existing digital archive Mississippi. An Anthropocene River; a case study that is physically and culturally distant from us, thus it is our only resource for understanding the ecosystem of the river. The act of making a representation solely based on an existing representation is an extreme example of the deficiency of representation to sufficiently portrait reality.
By providing a fictional proposal instead of an actual documentary, we intend to enable a critical discussion on the level of representational influence. We look beyond the finished surface of representations and examine their inner structures, by using ourselves, in order to question underlying intents and voiced subjectivities that shape every reproduction of reality.
In alignment with the research goals, the created proposal places the river itself at the center of narration. With simulating a long-missing voice of the Mississippi (an act of empathetic acknowledgment), we aim to regard nonhuman agents as essential interlocutors in any human discourse on ecosystems.
Project website here.
ITexts (lexicon, report) // Diagrams // HTML, CSS Coding // Video Report
Design Academy Eindhoven, 2020
The project “In the quest for the meaning [of a rock]” is an exploration of the ways of searching for the meaning of things, in particular on the realm of the internet. It is mostly built upon a report that explains the different decisions made while searching online for an answer to the symbolic question, “What is a rock?”. The report is being updated by an opposing reflection to the meaning of the findings themselves.
Above and beyond, the project deals with the act of collecting, reusing, and re-publishing ideas. The Are.na platform, where collective knowledge fosters, was used as the web source of this research. In the last part of the process, the material that was collected was uploaded to the web. The gesture of re-publishing aims to contribute to the layers of interpretation and appropriation of “what a rock means” as shared online. For this reason, the initial material was filtered by the subjectivity of the investigator and thus altered. This modification is displayed on a website and two generators of the random definition of a rock, in the form of text and images. Everything was built on coding, as a performance that exemplifies and criticizes the act of the production of meaning. This additional gesture intends to highlight the absurdity of the narrowed perception of the essence of things through words and images.
Full website here.
MA Graduation Project
supervisor: Antonis Pittas
Performative Installation
Text // Video // Prints // html, CSS, JS
The following is a strictly fictional story. It starts with a claim; that I, same as you, I am a spectator, possibly a hyper spectacle, holistically immersed in the news stories I read. Using a social media platform as an update delivery device, we can fabricate an imaginary reality. In this case, based on the #BoycottGreekMedia narration published by other users. While I perform an immersion in the situation, elements of my judgment and personal life merge with facts. On which I react.
This is my hyper spectacle, told in 21 tweets.
for Scylla
Collaborative project with Bianca Schick
Performative series of events
Texts (scripts, manifesto) //
Performances
Scylla is busy tinkering with bureaucracy and conformity, within her ongoing research project ‘The Passport Ceremonies.’ The PC is the governed body and the erratic identity. The PC is the amplified version of the perpetual human number. The PC is the performance of some conformism and the system. But, PC prioritizes strangers over friends to duly dispense justice. Thus, beware of paroxysms. Scylla wants to overcome the constraints of oneself, as prescribed by these two: Bianca Schick and Sofie Topi.
Visit Scylla.
Essay // Video // Playing Cards // Installation
Eindhoven, 2021/Wroclaw, 2022
The “I spaghettified myself for pastime and consent” is a 9 minutes long hybrid screen home video essay on digital distraction and destruction of the self.
This project is situated within the Post-Truth era. Not in politics, not in the news world, but in the condition of the passive receiver; the viewer in lethargy, in front of a screen, in the many surfaces of screens, making a reality that has little to do with the felt or the true self.
It is a compilation of writings on digital time and digital duration that accompany short counteractive vertical screen clips. Together, they perform a self-therapy monologue to expose a digital condition that was intensified by the pandemic. The one I prefer to call “postponed until further notice”, or in this case, “living the illusion”. That is, distance and isolation playing out against the self. It is a sidelined currently experienced dimension of a forced, nearly hysterical, exclusive dependence and proximity on one’s self and the screen. Invisible fingers, tight motivational words, and pixels point out the self, demanding self-criticism, self-improvement, self-confidence, self-caring, and self-control. Time seems to get only valorized by an open window and a direct confrontation with yourself. This idea generally makes me angry. That to say, it is ultimately a play with emotions.
Thinking along with the “being pilled” condition, I translated my phone into a stage for (my own) immersion into the leap of time. It is a try-out act against the elusiveness of non-happenings in the state of constant self observing and monitoring. It is an exaggerated manifestation of stress projected into the constitution of the relationship between (my)self and the screen. Of course, I am kidding—I don’t have a relationship with my screen.
The project was shown as a multimedia installation in the Survival Art Review 20, Wroclaw, Poland (June, 2022).
Visit Scylla.