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Along my studies, I have engaged a transmedia artistic practice oscillating from traditional painting mediums to interactive digital installations. Initial point for each of my artworks has been a vast research in philosophical ideas, scientific phenomena and their overlapping fields. I consider my artworks theory-driven, while focusing in concept design and a kind of solipsistic performance. I have been triggered by theorists that examine the construction and modality of worlds - cogitating on the ways ideas are “shaped” within human mind related to the world, ranging from the individualpsycological (or existential) to a scientific perspective. Such philosophical discourses have been raised by theorists as David Lewis and his book On the Plurality of Worlds, Saul Kripke and his research regarding the Intuitionistic and Modal Logic, Willard Van Orman Quinee investigating ontology, philosophy of language and mathematics in his book Word and Object - all embracing the work of Ludwig Wittgenstein, Bernard Russel and Gottlob Frege. David Chalmers and John Searle -that have presented contemporary interpretations in philosophy of mind, consciousness and languagealong with Philip Zimbardo, John Boyd, Nassim Nicholas Taleb have altogether unfolded the idea of construction of worlds through different aspects. My current work focuses on the interrelations of disparate media and the aforementioned thoughts in a more “concrete form” that still preserves a certain openness to new methods, techniques and
5 | Artistâ€™s Statement
conceptual constellations. One of my recent projects includes an interactive video installation with my virtual self (3D Model) that dematerialises according to the movement of the viewer, using 3D sensors (designed in Processing). I am interested in, either participating in collective research projects or conducting my own individual research, within an interdisciplinary environment for knowledge.
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A cellular automaton is a collection of “colored” cells on a grid of specified shape that evolves through a number of discrete time steps according to a set of rules based on the states of neighboring cells. The rules are then applied iteratively for as many time steps as desired. Von Neumann was one of the first people to consider such a model, and incorporated a cellular model into his “universal constructor.” Cellular automata were studied in the early 1950s as a possible model for biological systems (Wolfram 2002, p. 48). Comprehensive studies of cellular automata have been performed by S. Wolfram starting in the 1980s, and Wolfram’s fundamental research in the field culminated in the publication of his book A New Kind of Science (Wolfram 2002) in which Wolfram presents a gigantic collection of results concerning automata, among which are a number of groundbreaking new discoveries. Wolfram Math World, Cellular Automaton
Primary Narcissism, in psychology is a defense mechanism, common in the formative years (6 months to 6 years old). It is intended to shield the infant and toddler from the inevitable hurt and fears involved in the individuationseparation phase of personal development. Secondary or pathological narcissism is a pattern of thinking and behaving in adolescence and adulthood, which involves infatuation and obsession with one’s self to the exclxusion of others. It manifests in the chronic pursuit of personal gratification and attention (narcissistic supply), in social dominance and personal ambition, bragging, insensitivity to others, lack of empathy and/or excessive dependence on others to meet his/her responsibilities in daily living and thinking. Pathological narcissism is at the core of the narcissistic personality disorder. Dr. Sam Vaknin, Narcissism At A Glance
Building The Rule Set
NARCISSISTIC REGRESSION AND THE FORMATION OF SECONDARY NARCISSISM Research shows that when an individual (at any age) encounters an insurmountable obstacle to his or her orderly progression from one stage of personal development to another, he or she regresses to his infantile-narcissistic phase rather than circumvent the hindrance (Gunderson-Ronningstam, 1996). While in regression, the person displays childish, immature behaviors. He feels that he is omnipotent, and misjudges his power and that of his opposition. He underestimates challenges facing him and pretends to be â€œMr. Know-Allâ€?. His sensitivity to the needs and emotions of others and his ability to empathise with them deteriorate sharply. He becomes intolerably haughty and arrogant, with sadistic and paranoid tendencies. Above all, he then seeks unconditional admiration, even when he does not deserve it. He is preoccupied with fantastic, magical thinking and daydreams. In this mode he tends to exploit others, to envy them, and to be explosive. The main function of such reactive and transient secondary narcissism is to encourage the individual to engage in magical thinking, to wish the problem away or to enchant it or to tackle and overcome it from a position of omnipotence. A personality disorder arises only when repeated attacks on the obstacle continue to fail -- especially if this recurrent failure happens during the formative stages (0-6 years of age). The contrast between
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the fantastic world (temporarily) occupied by the individual and the real world in which he keeps being frustrated (the grandiosity gap) is too acute to countenance for long. The dissonance gives rise to the unconscious â€œdecisionâ€? to go on living in the world of fantasy, grandiosity and entitlement. Sam Vaknin, Narcissism At A Glance
YES NO N n If If If If If If
Narcissist Neighbors(enviroment) N N N N N N
== == == == == ==
1 0 1 0 0 1
&& && && && && &&
n n n n n n
> 4, N == 1 > 4, N == 0 < 4, N == 1 < 4, N == 1 == 4, N == random between 1 AND 2 == 4, N == random between 1 AND 2
Still Frame, N2DCA, Cube-Radius 1px, 2015.
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Still Frame, N2DCA, Circle-Radius 10px, 2015.
Work in research of the scientific structured representation of matter and the artistic representation of matter
PREFACE As I said in the subtitle, with this work I tried to research the link between the real matter as is in the physical world and the idea of matter, the artist in his common practice (like in sculpture, or painting) uses matter and makes forms from it, I wonder how it will be to use and some more unaproched matter or better condition of matter, like black holes,and how I could make use of them to create an artistic work. In spite of the scientific start the “piece of art” was continued and finished merely as a word game, or something like philosophy of words, or maybe poetry. The work is part of a bigger research of mine,how words construct reality or even worlds. Here I will present the core and the most significant results of this research.
BLACK HOLES AND WORDS My first start was to learn what is a black hole, and how to manipulate it. After searching I realized that it is not like a matter that we can use,as is oil paintings or marble, but a condition of a matter. A black hole is formed when a massive star collapses and implodes due gravity. The star’s mass is collapsing more and more in a smaller volume of space. The velocity you would need to escape from the star goes up,until not even light is capable of escaping. That is the way a black hole forms. I started searching about the Schwarzschild Black Hole,the simplest
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Schwarzschild Black Hole Anatomy, pic 1.
model of Black Hole. The Schwarzschild Black Hole, named after the physicist and astronomer Karl Schawarzschild, consisted from two main components (pic 1). The Event Horizon and the Singularity Point. The Sngularity Point is the center of the Black hole, is the point tha gravity goes to. The Event Horizon is the point that there is no going back, the gravity is so strong that you can not escape. The Event Horizon is calculated with the equation of K. Schwarzchild for Schwarzchild Radius (pic 2). Schwarzchild Radius calculates the radius between the singularity point and the event Horizon such as the escape velocity of the Event Horizon Surface equals the speed of light.
Schwarzchild Radius Equation, pic 2. Where: Rg is the Schawarzschild Radius; G is the Gravitational Constant; Ms is the Mass of The Object; c is theSpeed of Light in Vacuum.
From here I started approaching the subject with two different ways, the first was with scientific simulations and the second was through the connections of words with the objects. With the first aproach I found that if you get inside a Black Hole, except that your body will be disbanded in the basic particles, you will experience an effect that is called Gravitational Lensing. The black hole bends light around it, as illustrated in pic 3. A single object produces multiple images. The resulting gravitational lensing is illustrated in pic 4. The black hole appears to “repel” the image radially, which in turn stretches the image transversely. Parts of the image nearer the black hole are repelled more, so the image appears compressed radially. The black hole itself appears larger than it “really” is. http://jila.colorado.edu/~ajsh/insidebh/schw.html - Gravitational Lensing
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Frames of a Gravitational Lensing Effect Simulation
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My artistic background, with no scientific knowledge in science and astrophysics, added a new level of difficulty to conduct these simulations or even produce the artwork. So I tried to simulate the effect of beeing or getting inside a Black Hole so that I can simulate an enviroment and make my instalation.Beside the aesthetic stimulation of this effect, the simulators use models that reproduce the closest possible way the phenomena of the Black Hole and Gravitational Lensing effect. My first attempts were some aesthetic sketches, with no actual representation of scientific laws.
Experim Cow In Space, Blender 3D video still, 2014.
Reddish Half Cow Blender 3D and Ae video still, 2014.
Cow with Spherical Object, Blender 3D video still, 2014.
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Final Installation Sketch, Blender 3D and Ae video still, 2014.
The second approach was throught words, It was my belief that within the very structured set of rules of the black hole, I would be able to find a blind spot in order to install my own phrase “Installation with a Siamese Cow inside a Black Hole.” A gesture like that would face the problem of the universal constants, as is the speed of light. I could not change the costants without changing the world as it is. So I decided to make a possible world where the meaning of the words are not the same as ours, giving them the chance to change the “rules” of the universe with merely just words. My video begins with a dialogue between a pair of immanent beings. These two beings seem also that can communicate with each other. A schematic diagrammatic approach is being developed parallel to the aforementioned dialogue. Starting point of this dialogue is the Schwarzchild Black Hole. A simultaneous deformation of both language and diagram is taking place, thus resulting in a total obscurity, leaving the viewer incapable of understanding what they are saying. there is also no point of trying to understand, because maybe their world is not like anything we understand. An interesting point in this video is that the structured logic with this schematic, little by little gets deconstructed, until an even more undescribable image appears.
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Final Installation Sketch, Blender 3D and Ae video still, 2014.
THE PRESENTATION The outcome was a presentation of the results of my research with the final video presented in a lecture format, which was held in the first Painting Workshop in the School of Fine Arts, Athens, 2014.
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Still Frames From the presentation in First Workshop of Painting in ASFA
Instalation Inside A Black Hole Revisited
The second edition of this work,was presented in a video format, Both editions shared the same structure with different approaches, with the second edition being also presented in two parts. After a small introduction to the general concept, a screening was set up with the title and a pulsed color-gradient video between red and black, underling the aesthetic of the ambient shifts of reds to the blackness of the Black Hole. PART 1 The first part is called â€œColorless green ideas sleep furiouslyâ€? from the famous sentence that Noam Chomsky in his book Syntactic Structures as an example of a sentence that is grammatically correct, but semantically nonsensical.It is a presentation style video, starting with the definition of a Black Hole. After the definition of the Black Hole I try to approach the phenomenon as a physical object and I present the only observation of a black hole, that denoted after a ten year observation of the same stars. The black hole could only be perceived by the strange movement of the stars.
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Inbetween the presentation I created a video installation using Blender3d, I made a weird semi-sphere that refracts the light around an object and creates visually the same effect as the gravitational lensing of the Black Hole.
After that I placed in a plane, a video of me digging a hole in the ground and two cubes that are rotating around the center of this semi-sphere,so the space would be more obvious.
The main concept was to create a hole inside a hole, through the gradually degradation of the concept and the matter of black hole.
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After that, I present some facts that prove that scientists can not observe black holes, but they can detect them only through their effect on other nearby matter.
The presentation of the first part ends with a philoshopical argument, about the nature of the matter of Black Holes and the approach the scientists hold with them, the scientific approach is mostly based on mathematical equations, not representational observations, moreover the scientific simulations are lacking in the reality of the decription of the phenomenon. The argument is that if we want to make the installation there are two ways,one phenomenologically and one structually, I define what I mean with these two words. When I refer to the structural way I mean the reality itself,the phenomenon of Black Hole itself, the closest to reality, and when I refer to the phenomenological approach -that is a simulation of the reality- I include the mathemetical equation, scientific simulation or even a phenomenon that visually resembles the black hole or functions like it (in this case a movie, a scientific simulation or a game, etc.). The argument concludes with the statement that the artistic practice -when phenomenologically approached- does not “slip into” do’s and dont’s.
29 |Hole Inside A Hole
PART 2 In the second part I keep the title of the first edition “Black Holes and Words”. The second part is even more ambivalent and difficult to follow up through textual and visual experience. I share two hints as referential points for this: the first one from David Lewis’ book “On the plurality of Worlds”, which is talking about modal realism and the concreteness of the possible worlds thought logic, and the second one is Saussure’s circuit of the speech as mentioned in his book “Course in General Linguistics.” Reference and title are presented and the video initiates with specific pages of Saussures’s aforementioned book. The video shares similarities with the presentation of the first edition, though lacking my presence in explaining the sequence of the frames. During the video, I give semi-direct hints for the viewer through the references I use. I start with the schematic depiction of the Schwarzschild Black Hole - the standard model of the black hole, by explaining its elements. After that, I duplicate the model and through a syntax of parenthesis, a series of sets of worlds is being represented. The second set functions as a parallel world, shaped by a different set of rules than ours. Later a progressive deconstruction-construction gesture of the model results in creating another world.
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EatEye Organism PREFACE Here I used Cell Blender, an addon of the programm Blender 3D for organic interaction between cells to make an organism of my own. I produce one video, a real time simullation of this organism AKA external simulation EatEye and an inside interactive simulation that was made with the Unity game engine. I made also some kind of a graphic physiological map of this organism.
External Simulation EatEye CellBlender and Blender 3D video still, 2015
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Internal Simulation Eat Eye Unity Game Engine and Blender 3D, 2015
the physiology mAp
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39 | Light Masks Shape I - The Child Of Silence
ShapeIsTheChildOfSilence Blender3D and Ae video stills, 2015
I Miss My Adulthood
PREFACE This work is consisted from 6 pieces of chopped wood that was curved with a pyrograph the famous antinomy of Bertrand Russel in formal logic, while also accompanied by the translation of Otto Weininger aphorisms in a small limited edition publication. I connected the wood and suffering of curving with the pyrograph with the Antinomy of Russell, I connected the set of all sets paradox with the concept of God, the publication of Otto Weiningers aphorisms completes the work because Otto Weininger was a philosopher that died in the age of 23, through suicide suicide. In his aphorisms, one can witness a gradual delusion of his self, reaching the Man-God through the gesture of suicide that rejects his own matter.. In the foundations of mathematics, Russell’s paradox (also known as Russell’s antinomy), discovered by Bertrand Russell in 1901, showed that some attempted formalizations of the naive set theory created by Georg Cantor led to a contradiction. The same paradox had been discovered a year before by Ernst Zermelo but he did not publish the idea, which remained known only to Hilbert, Husserl and other members of the University of Göttingen. According to naive set theory, any definable collection is a set. Let R be the set of all sets that are not members of themselves. If R is not a member of itself, then its definition dictates that it must contain itself,
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and if it contains itself, then it contradicts its own definition as the set of all sets that are not members of themselves. This contradiction is Russell’s paradox. Symbolically:
GOD OMNISCIENT = all-knowing OMNIPOTENT = all-powerfull OMNIBENEVOLENT = possessin perfect goodness OMNITEMPORAL = existing in all times OMNIPRESENT = existing in all places St. Thomas Aquinas “Summa Theologica”
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INTRODUCTION Otto Weininger was born on April 3rd 1880 in Vienna, as a son of a jewish artisan. At the age of 18 he enrolled the Philosophical Faculty of the University in Vienna. He studied philosophy, psychology and also took courses in natural sciences and medicine. He learned Greek, Latin, French and English from very early age, and later also learned Spanish and Italian, and acquired passive knowledge of the languages of August Strindberg and Henrik Ibsen (i.e., Swedish and Danish/ Norwegian). After compliting his doctorate he set to work on his masterpiece Sex and Character, which was published in 1903.
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“After the completion of that work, Weininger said to his friend Moriz Rappaport: “There are three possibilities for me – the gallows, suicide, or future so brilliant that I don’t dare to think of it.” He spent the entire summer in Italy, initially staying atlength in Syracuse, where he wrote many of the aphorisms in this book. In the last days of September he finally returned to Vienna. There he worked, though certainly with a firm intention to commit suicide, on “Last Aphorisms”; he wrote through two whole nights. Here he suddenly found the solution to a problem which had previously tortured him incessantly: “Souls, individuals, are not the ultimately real; they, too, are still the expression of vanity, the attachment of worth to the person. Only the Good,which contains all individual elements within it, is of the highest reality.”2 Days after, he rented a room in the house in which Beethoven died. There he spent a night; and in the early morning -on October 4, 1903, at the age of 23 – he ended his life by a gunshot to the chest.” from the introduction in the translation of Martin Dudaniec & Kevin Solway.
This final phrase of Weininger before his death, and after reading his work, I was conceived about the significance of translating his work, he was part of a group of thought that is called youth metaphysics, as Carlo Michelstaedter, Rimbaud and the Tractatus of Wittgenstein belong. Is the moment of the teenager that goes somehow to the adult world, and he is trying to find his bounds and set his world. Weiningerâ€™s work has never been translated to greek. This publication is a part of a larger study I conducted for Weininger. Aphorisms became my topic of interest because they literally presented the gradual thought of Weininger towards his own dematerialisation. The translation is based on the english and the original german text of Martin Dudaniec & Kevin Solway edition.
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I Miss My Adulthood 5cm*6.3cm publication Otto Weiningerâ€™s aphorisms, 2016
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Otto Weininger in his death bed
A Manual Through Disabillity PREFACE The “A Manual Through Disabillity” was a team project that was produced for the final stage of HackTheBook hackathlon contest in Onassis Cultural Centre with the team Calculus (Daphnie Monastirioti, Nicky Analyth ) which I am part of. HackTheBook contest was a 48 hour contest that one had to invent a new aproach of the book through analog and digital material, open source programms, open source technology and the Europeana collections. The hackathlon had no final concrete product, but something like prototype. The main idea was based on exquisite corpse, the surrealists game, poetry making and a database in Europeana. Our concept was focused on people with kinetic problems.The final book was something like a theme based book, that the reader could “tweak“ and make new visuals by collages with images or transform the text and make some kind of poetry. The book was accompanied by an aplication made in processing with the openCV library, that was tracking your movement and distorted accordingly an image (or by a video, by camera of your computer or a video file) that you inserted in it.
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Image that used for the cover of the book, 2016
The cover of the book.
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The whole book had an essence of miss manufacturing, the cover was related to glitch art movement,and depicted a distorted image of a woman with kinetic dissability in her eyes.
The first page of the book, was used as a sample of how to use the book
Inside the book, there were holes and pockets that enabled one tpcan insert different images or texts,so he/she personalize it. There was also the idea that these pages could be cut so someone can give them as a gift.
The text behind the first page sample.
Behind every page there were some random texts based on the dissability that themed the page infront. Here the reader could also make his interventions, and customize the text, so to make some poetry. The page after, was a dailys calendar, that the reader-user could answer some questions about dissability.
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A no sample page.
Here is a no saple page, empty from texts and images that the user had to personalize. Visible holes are available in the envelope so that the reader-user can insert images and texts.
The application was made in processing (java) and it was based in the opencv library for Processing made by Greg Borenstein. This library with the help of cascade xml files can scan the image or the video that you insert and locates the part that you have chosen. The main goal was to find the part and throught the center of this part dismorph the video or the image like a glitch piece of art thought the movement of the part that you have choosen,and create a new image so you can print it and insert it in the â€œA Manual Through Disabillityâ€?and make new images and collages. OpenCV for Processing Reference, https://github.com/atduskgreg/opencv-processing.
Face recognision withe OpenCv library, locating the center of the face.
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The goal was to merge three kinds of codes,one that recognize the part from the cascade file and finds the center, while the second one could save the movement from the center. And the third code would distort the picture through the previous route.
Code reference, https://processing.org/examples/storinginput.html
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Code reference by Kim Asendorf, https://github.com/kimasendorf/ASDFPixelSort
Negative Existentialism PREFACE The Negative Existentialism is a work divided in two artworks.The first is a performance, to which i have made a construction that constrains my upper body. With these constrains i write a text about the Emptyness of the Variables symbols, based on the Alfred’s Tarski book “Introduction to Logic: and to the Methodology of Deductive Sciences”.The second artwork is an interactive installation, which uses the kinect 3d sensor to track the hands of the user.the installation presents myself as a 3d model projection in the wall,and the user can deconstruct and reconstruct my body. It was inspired not so from analytic philosophy as the first bu more from the term of “negative space” that the dancers use.I find the second artwork as a research in negative performance.
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Photograph from the performance”Negative Existentialism”, 2016
Photograph from the performance”Negative Existentialism”, 2016
Both the works, where mainly inspired by the lectures of Saul Kripke about John Locke, about negative existentialism.His aproach is more about fictional characters and the atributtes that are responsible for their existence.I tried to start the analysis of the term from the his core. First from the existence of self and second of how the words have impact in it. Although the works are in final form, The main concept is to produce a series of artworks researching the same thema.
Negative Existentialism Blender3D, Processing (Java), Kinect, live screen still, 2016
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Negative Existentialism Blender3D, Processing (Java), Kinect, screen still, 2016
dot dot , dot dot , dot dot dot line , dot dot , line dot dot , dot .
In this performance I tried to create a fallen faoustian creature, The performance took place in Shmeio Theatre, my first thought to translate the radius of the broken pieces of mirrors in a diagram that I had made in the floor. At first I was giving knifes to the public, something like a present but an unusual present, because the knife can also be a weapon. After that, I left the theatre and at the front public space, I designed a graph in the floor and I started breaking mirrors and designing the diagram with various objects that were in fabric bags inside my coat. After every break of mirror I wrote the results in an accountant notebook.
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Photograph from the performanceâ€? Line dot dot, dot dot,dot dot dot line,dot dot,line dot dot,dot.â€?, 2015
Videostills from the performance â€?Line dot dot, dot dot,dot dot dot line,dot dot,line dot dot,dot.â€?, 2015
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168m PREFACE 168m was a performance installation with the collaboration of Eleni Kordali. The main material of the performance was about 168m of pillows in the shape of long cylinders.With these pillows as material we were constraining each other. The two bodies were starting to function as one big amorfous-organic-mass. The performance took place in ENTOS-EKTOS space of Athens School of Fine Arts. After the performance the material remained as an installation in the space.
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Photography of 168m performance, 2015.
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Photographies of “168m” performance, 2015.
An Other Homeland PREFACE â€œAn other homelandâ€? was presented in Eos gallery, in Victoria square and it examined the immigration phenomenon. Victoria square in an area known for its occupation by immigrants. The performance was public. I went to Victoria square with different everyday life objects, such as clothes, toys and household items in plastic bags. First I started tying the objects in my body with a rope and when I finished with all the objects I started to engrave a line with a pair of scissors all the way from Victoria square to Eos gallery. At random points I was cutting the items so the immigrants, or some kids could take it. The performance finished when all the objects were cut off and I arrived at the gallery.
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Video stills from â€œAn other Homelandâ€? performance, 2015.
Video stills from â€œAn other Homelandâ€? performance, 2015.
Paintings PREFACE In my paintings I experiment with different media, examining the possibilities of multilayered aesthetics. Most of them are conceptdrifting studies, that would later allow me to produce a dictionary and syntax of symbols for my future works.
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Triptych nr 1, charcoal,pencil 200x200cm, 2014
< Untitled, charcoal,pastel,oil paintings 170x170cm, 2014
Triptych nr 3, charcoal,pencil 1.50x1.70cm, 2014.
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Triptych nr 2 , charcoal,pencil 1.50x1.70cm, 2014.
Figure, oil paint,acrylic paint 70x100cm, 2013
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Figure charcoal,pencil 70x70cm, 2013
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