Diploma projects
A selection of the theses I have supervised
Embedded Files
THE SECRET
Vasiliki Spai, 2026
An interactive installation exploring anonymity, confession and emotional reflection through technological mediation. The first version ran on an Arduino Uno with a distance sensor, letting visitors read anonymous secrets silently on an LCD screen. The second adds a Raspberry Pi 5 and machine learning: speech-to-text for recording new secrets, and emotion recognition through computer vision. The system reads the visitor's face while they are exposed to someone else's confession, and answers with a soundscape. It works as a digital mirror of human vulnerability — and takes algorithmic uncertainty and error as artistic material, since they reflect the difficulty of human communication accurately enough.
OPPORTUNITIES DO NOT WAIT
Marietta Bitsakaki, 2026
An interactive installation about how we decide. The work is a roulette of choices, digital and physical at once, built from three columns of random projection. Pressing physical buttons triggers a randomness algorithm that combines images drawn from a set of original hand-made cards in a pop idiom — objects and concepts of daily routine: procrastination, time, goals, sources of anxiety, travel. Each illustration is designed to bring out the psychology that accompanies a choice: fear, stress, pressure, guilt, insecurity, uncertainty, weighted by how much the decision costs.
COSMIC
Dimitra Anastasiadou, 2026
A digital multimedia work on environmental awareness and education through play: a website of small consecutive games with a humorous narration that guides the user and tells the story. A browser game about ecological damage caused by human action, moving across environmental ethics, pedagogy, aesthetic education, and the psychology of humour online and in teaching. Built on principles of visual composition, open-source applications and the references of internet humour, it addresses several age groups at once. The user explores the planets of a solar system across six mini-games, using only the cursor and their hands in front of the camera — and while settling their planet, has to face pollution and find a balance between people and nature
LIVING SYSTEMS AND BIO ART
Irini Tampasouli, 2025
Bio art — a term still forming, first proposed by Eduardo Kac — is an ongoing interdisciplinary redesign of life in vitro, and it unsettles the borders between art, the life sciences and philosophy. Where traditional art depicted or interpreted the natural world from a distance, through representation, bio art intervenes directly in biological material: living organisms, cells, DNA, used as medium. At a moment when biotechnology and genetic engineering are rapidly extending our ability to modify life at its most basic level, the thesis asks what "life" now means, what the ethics of using these achievements are, and what role art has in the argument.
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
CONTROL AND FEEDBACK PROCEDURES IN THE DEVELOPMENT OF SONIC ENVIRONMENTS
Georgia Mantalia, 2025
Connects cybernetic theory with the practice of sound art. Cybernetics — the science of control and communication in the animal and the machine — provides a frame for understanding balance, information and stability inside dynamic systems, and the thesis works through its fundamental mechanism: feedback, negative and positive, which lets a system regulate itself, stabilise, and cross into a new equilibrium. Steve Reich's Pendulum Music and the work of Agostino Di Scipio show how a circular relation between sound, mechanism and environment can become an autonomous sonic entity. From there it moves to self-adapting systems — Alice Eldridge's Singing Homeostat as second-order feedback, holding uncertainty and information in balance — and on to generative process, where making new states comes before seeking stability, and to the stochastic models of Iannis Xenakis, where probability replaces determinism.
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
THE ARCHIPELAGO OF NIROU
Lida Zacharopoulou, 2026
The work opens in the first person, and the voice belongs to the last person who remembers:
I saw a hole in the map and wanted to fill it with your story — with the emptiness of your absence, for when nothing at all is left to us. Now that nothing stays hidden, now that everything has been found, that hole in the map marked the territory of the wild and the native. I hold on to the rock. I am the last one who remembers, and I am afraid that if I close my eyes it will disappear.
It sets out to tell the story of people who lived for a moment at the edges of that sea — how they kept the place secret inside themselves across time, and how they went further and further in order to meet.
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
AESTHETICS OF PROGRESS: AESTHETICS, THE ENVIRONMENT AND OUR PSYCHE
Michalis Demetriou, 2023
A journey, taken partly under the influence of Robert Pirsig's Zen and the Art of Motorcycle Maintenance, which begins in a traditional settlement and ends in the centre of Athens.
Along the way the reader is walked through a series of arguments: that the working principles of the things we use, our own psychology, the environment and capitalism form a single interdependent complex — and that this complex is steering us down particular paths, towards a destination that is blurred but in no way optimistic.
In the margin of that story runs a second, more technical text. It picks up some of the branches of the journey and extends them with references and data drawn from the hive mind that the web has become.
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
HOW MUCH OF A "YOUNG GIRL" ARE YOU?
Paraskevi I. Antoniou, 2023
The thesis sets out to draw the figure of the Young-Girl, as Tiqqun define it in Preliminary Materials for a Theory of the Young-Girl.
There, the Young-Girl is a symbol with universal reach: the ideal citizen of an over-consuming society, the society of the Spectacle. It carries no gender marker. It is an objectified being — and anyone reading the book will find parts of themselves in it. First you are taken aback; then it becomes entertaining; then it makes you angry; and by the end it has handed you a set of small, seductive fragments of "wisdom".
Tiqqun insist their book is not a theoretical work at all. They call it trash theory — material accumulated by chance encounter. The thesis adopts the same method deliberately, because trash theory makes visible the disorderly process of assembly that conventional rhetoric hides.
It begins with Tiqqun themselves and their history as a group, then with the Preliminary Materials, and then with a first acquaintance: how the Young-Girl was born, what its body is, what it sounds like. From there it assembles a mosaic of its images — the ecological, the imaginary, the digital, the sad, and the basic Young-Girl — and arrives, through critical analysis, at its conclusions.
Keywords: Young-Girl, Spectacle, living currency, capitalism, cyberfeminism
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
SYMPATHO
George Zafeiriadis, 2022
A study of the passage from childhood to adulthood, and of the place play holds within it: what it means to abandon the toy, and how that abandonment is bound up with the path to maturity. The research follows ritual as it attaches itself to the transitional events of a life, with particular attention to rites of passage in ancient Greece and to the symbolic weight the toy carries in them. From that research comes an audiovisual installation which narrates a contemporary rite of passage — one the viewer is invited to enter and complete.
SOMETHING GOES
Georgia Skartadou, 2020
A digital interactive audiovisual application, deployable as a virtual installation or as a standalone executable. It investigates the flow of information — its creation, collection, storage and interpretation — through the mechanisms of digital perception, and asks how those fragments are transformed into unified contexts of meaning. The conceptual ground is the placeless: the image against the word, the map, and the atlas.
ORIGAMI SINGING
Adamantia Albani, 2018
New conditions in economy and technology demand new educational methods and new alliances between fields. The thesis evaluates open-source tools and methods for collecting and processing data, working through the Internet of Things — microcomputers, sensors, wearables — and applies them twice: in an educational workshop at the Agros High School in Corfu, and in an art installation shown at the Aleurapothikes of the Old Fortress during the 2018 Audiovisual Arts Festival. The work exists in two versions, one educational and one artistic, so that the range of the field becomes visible.
BLAH
Laura Konti, 2020
An investigation of language as a public material and as an analytical instrument that shapes every model of social gravity — the relation of language to power, and of language to reality. The theory moves through three sections: gravity, air, language. The artwork turns attention away from language as a structural system and towards nonsensical vocality: the primary body underneath every linguistic signification. An interactive work that answers the human voice with air, its intensity proportional to volume, using immersive physical theatre and Black Box practice to make a space where the speaking subject can be observed free of linguistic convention.
OBSERVED MECHANISMS
Zoi Zipela, 2022
Clarifies social and existential processes through installations built on the mask and the mirror. It explores mechanisms of adjustment and absorption, the relation between public and private, and the multiplicity of the idol — a conversation between the internal and the external environment.
ABUSED OR ABUSER?
Fenia Iliadi, 2019
An interactive installation of hanging beeswax heads, 300 × 160 × 300 cm, with a hammer and a motor. A carousel mechanism turns, and the heads take the blow again and again. The work investigates the power relation between victim and perpetrator, and the cycle of violence that keeps them in place — the ruler and the ruled, the structures and the stereotypes that produce both, and the apathy with which violence is received once it becomes routine.
BLISS MACHINES
Vasilis Alexandrou, 2019
An exhibition continuing a practice concerned with the public and with interaction — work that extends the limits of public sculpture, treats memory as its subject, and is installed permanently in public space. The earlier practice reused objects discarded by the urban environment, intervening in them by hand until their original function was cancelled and new conceptual relations appeared. Here that work is taken into digital media, to widen the field and connect it to memory, history and education, and to address the validity of human rights in contemporary societies.
DHARMADHATU
Martha Gogakou, 2020
An experimental audiovisual video made with an original technique, in which every frame derives from live recordings of the behaviour of colour on painted surfaces.
HEAR THE SHAPE - SEE THE SOUND
Evgenia Eleni Palla, 2020
A workshop for children and adolescents at the Corfu Archaeological Museum, May 2019, and the research around it: theories of cognitive psychology, synaesthesia and the use of multisensory stimulus in learning and in art, the significance of place, and what happens to learning when it leaves the classroom. It follows the long conjunction of image and sound — graphic sound, visual music — and the cultures of making, DIY and DIWO. Participants aged 11 to 15 built circuits with photoresistors and made conductive drawings from the archaic pediment of Artemis-Gorgo, then joined the two into interactive installations they played themselves.
Evgenia Eleni Palla, Maria Kriga, Archaeological Museum Corfu, Video documentation: Marinos Pavlidis
CRASH
Fotis Kolokythas, 2019
Destructive action, whether in social upheaval or on the individual scale, occupies a serious place in human psychology. The dismantling of an established condition is attractive; it stirs the instincts. The destruction of symbols, the release of matter, and the unpredictability of destruction disturb normality and produce immediate mobilisation — and art's long closeness to destruction shows exactly those characteristics working as motive and as driving force. Decay and destruction as expressive means bring the individual into open conflict with their environment, exploring and redefining human limits. The thesis also examines how destruction is managed commercially, as news and as entertainment.
SHADOWS OF THE WORLD
Christos Rachiotis, 2018
An interactive digital installation for public awareness of statelessness. The research covers the social reality of the stateless, the causes and consequences of statelessness, its distribution across the world, and the organisations that work on it — the UNHCR and the European Network on Statelessness. Its artistic ground is the history of the installation and its relation to interactive design, and the role given to the audience within it, with reference to Scott Snibbe's Falling Girl and Make Like a Tree, to Lee Friedlander, and to Scott Blake's barcode portraits. In the finished work, photographs are rendered artistically and video snapshots are synthesised with the shadows the viewers themselves cast on the screen.
THE ONE WITHOUT A NAME
Konstantinos Karapanagiotis, 2018
Examines identity — gender, nation, race, sexuality — as social construction, working from post-structuralist theory to look critically at categories that present themselves as natural. The research issues in a short film.
I AM
Eleni Stavrakidou, 2018
Art has the standing to approach large questions directly, and it does so by working alongside philosophy, psychology or physics — making difficult concepts familiar and tangible, with the artist's own colour in the equation. This thesis takes up self-knowledge and self-improvement: the self as an object of awareness, and atomic physics as a model of interconnection. The result is an interactive installation.
PORTRAIT OF POWER: MAKING THE INVISIBLE VISIBLE
Dimitrios Belogiannis, 2018
Connects art with science through the making of a portrait, which then enters a composite audiovisual interactive environment. It combines painting, sculpture, digital processing and Processing in order to extend the viewer's experience, and is structured in three parts: a short history of the portrait; the relation of art to power as it formed across the twentieth century and the beginning of the twenty-first; and the passage of the work from one material to another — a sculpted portrait becoming its digital version, with sound and motion added.
THE STRANGE DEATH OF HALF OUR SELF
Panagiota Korovini, 2018
An interactive installation on the euthanasia of the passions and of psychosomatic disorders through psychotherapy. At its centre is a murder scene arranged like a group therapy session, with dolls standing in for human corpses. The visitor's entrance begins the investigation of the "crime"; contact with each doll releases information that leads both to solving it and to the psychological question the work was built around.
MEMORY CINEMA
Vasileios Boukis, 2018
A mixed-reality interactive installation, researching a new kind of cinematic and musical narration by removing or augmenting the traditional tools of film and fitting them to a spatial interactive environment. Inside the immersion, photography becomes scenography, actors become three-dimensional geometries, and prose becomes melody. The editing is handed to the unconscious will of the viewer — tracked through the flick of the eye — and the story develops generatively. Music and sound carry the emotion and the atmosphere.
ON THE FLOOR(S): DESTRUCTION AS ARTISTIC PROCESS
Antonia Rando, 2019
The subject is social indifference, and our responsibility towards the everyday situations we walk past. The installation consists of a painted composition of human figures interacting with one another, and a Kinect sensor. Its theoretical ground runs through destruction as an artistic act, as declared by the DIAS group in 1966; through public life; and through the bystander effect in social psychology. The comment is made by the act itself: the visitor must step on the work, and in doing so performs the indifference the work is about.
BODY INSTRUMENTS
Dimitra Billia, Irini Nikolakopoulou
An interactive musical instrument at human scale, played through movement in space — Arduino, rotary encoders, sound synthesis in MaxMSP, with the string and the sine wave as its primary materials in a single spatio-sonic dialogue.
The idea began in a workshop I ran in Thessaloniki, and the students developed it into a diploma project at the Aristotle University of Thessaloniki, supervised by Apostolos Kalfopoulos.
Camera: Alejandro de Antonio, Video editing: Grigoris Tsolakis, Audio editing: Dimitra Billia
GRIFO
Alfredo Pechuan, 2017
An interactive installation of video, sound and sculptural elements, which plays with the viewer across a mosaic of actions and objects drawn from the symbolism of everyday life.
Inside the most ordinary daily tasks a great many images are hidden — images that surround us and that assemble the imaginary of the everyday. The work sets out to analyse that imaginary, and what it produces.
Its structure comes from Michel de Certeau, who identifies the actions that matter in the study of everyday life: reading, talking, walking, dwelling and cooking. The installation projects twenty-five GIFs across five surfaces, and places on a table five objects — reading glasses, a mobile phone, shoes, house keys, a fork. Each object belongs to one group of five GIFs, and each stands for one of de Certeau's five actions.
What is set up between them is a semiotic network, and the visitor is the one who has to unmask it. Touching an object, or laying a hand on it, is registered by an infrared sensor, and the corresponding set of images is projected — the shoes bringing the sequence for walking, and so on.
The theory runs through de Certeau with Luce Giard and Pierre Mayol in L'invention du quotidien, through Henri Lefebvre's Critique de la vie quotidienne, and through Erving Goffman's The Presentation of Self in Everyday Life and symbolic interactionism. For the construction of meaning it turns to semiology — Roland Barthes above all, and his student Eliseo Verón with his theory of social discourses.
The practical work draws on Doug Aitken, Néstor Lizalde and Yannick Jacquet, on the video art of Yuge Zhou, on the cinema of Chantal Akerman and Sergio Caballero, and on the photography of William Eggleston and Thomas Demand.
Co-supervision with professors of the Athens School of Fine Arts, MA in Digital Art Forms.
Google Sites
Report abuse