Dating apps have been integrated into modern romance, yet their impact on relationship stability and emotional depth, remains contested. The purpose of this study was to examine a research gab by exploring the ongoing debate between Gidden’s concepts and Bauman’s theory in the context of dating app use among Greek young adults, aged 18 to 35, through attachment styles, choice overload, and dating app motives. The data were obtained through a survey from 207 participants. No difference emerged between anxious and avoidants for frequency of use. No significant results were found for attachment anxiety and its association to sexual and relationship motives. No effect emerged for relationship formation being affected by choice overload, and choice overload did not mediate the pathway between attachment style and dating app motives. However, it was found that avoidants are more likely to use dating apps for sex. Additionally, the current study supports the presence of a hybrid model between Liquid Love and pure love for the use of dating apps in Greece. Dating apps do not suppress commitment, instead they serve as platforms where users can negotiate their goals. The current study challenges existing literature, due to the non-significant findings and it provides empirical evidence on how dating apps operate in Greece, by introducing a hybrid model of intimacy.
The burial of Polynices signifies Antigone's own metaphorical burial; the painting mourns and honours the Political Antigones, entombed with her. That is the historical figures who opposed authority and championed moral virtue over legal compliance. Antigone, within the modern context of politics, symbolises resistance against power, injustice, and oppression, embodying the moral ideals and the individuals who shared her defiant and ethical spirit. The painting reinforces the modern viewer's responsibility to actively engage against injustice, vocalize their virtues, and embrace the identity of the Political Antigones, even when it contradicts societal conventions and the status quo.
Metropolis of the Unconscious: A Surrealist View of Athens is a curatorial and research project that explores Athens as a psychological and symbolic landscape through Greek surrealist and modern art. Bringing together painting, collage, film, and archival material, the project examines how myth, memory, architecture, and everyday life intersect in the city’s visual imagination. Structured around three thematic sections: Surreal Topographies, Spaces of Reflection, and Memory and Historical Consciousness, it presents Athens as a fragmented, dreamlike metropolis shaped by desire, identity, and political history.
A city portrait of Athens as a representation of the economic market and, consequently, as a psychological pathology that unfolds from antiquity to the modern metropolis. In antiquity, the Athenian market was a symbol of community– a civic center of social and political activity that valued the seeking of ideal virtues. From the 18th century onwards, however, there is a visible and increasingly vicious shift toward a transactional, privatized, and consumerist market structure. Contemporary Athens materially reflects this shift, showcasing how it has culminated into a form of psychological pathology for the city dwellers. This degeneration is potrayed through a two-minute stop-motion animation of a collage. The pictures include: archeological artifacts, historical photographs, and personal photography. By juxtaposing antiquity’s communal markets with modern corporate ones, the video visualizes the market as a source of public-sphere decadence and impersonalization.
My creative project depicts a surreal and tranquil world dominated by nature, where technology, artificial intelligence, and humanity have not overtaken or destroyed the environment. Influenced by Dune, cinematic science-fiction aesthetics, M.C. Escher’s explorations of altered perspective, and Richard Mosse’s infrared photography, the work presents a landscape of heightened clarity and mirrored stillness. This visual purity reflects a world free from technological interference, yet paradoxically constructed through artificial means. The project explores how AI-generated visions of untouched nature evoke beauty, isolation, and a redefinition of perception in a post-human context.
The rapid evolution of photography has laid the groundwork for easier manipulation. This evolution combined with the development of Artificial Intelligence allows one to “bend an image to their will” and make people believe in their creation, which does not necessarily depict reality. However one might wonder, how did this begin? Photographic manipulation has been around for centuries and is particularly evident in 19th century spirit photography as well as haunted hotel photography. This work depicts how manipulated images can lead to the formation of illusions and a distorted reality, a phenomenon only amplified in the age of Artificial Intelligence.
“Antigone’s Hegel” is a short film of a contemporary Antigone inspired by the Adrianna shipwreck in 2023 that caused 600 people to drown — a Hellenic Coast Guard that buried a child drowned by the coastguard's inaction. The film juxtaposes government statements, legislation, press excerpts and fragments of Sophocles Antigone. Hegelian Dialectic in the script is visually and textually fleshed out through juxtaposition that represents the antagonism between thesis and antithesis– aspiring to evoke a sense of synthesis to the viewer. The clash takes place in two fronts: Creon, representing the state and Antigone’s internal voice, representing the unwritten laws of justice, and between independent press and state- aligned press. It's a stream of consciousness narrative that depicts the internal dissonance generated by political argumentation.
We all know Sophocles’ Tragedy of Antigone and without a doubt we have all interacted with his work both in many forms, be it text or even a live play. What really is Antigone, is she a person finding a tragic fate fighting for her right to mourn? Or is she a representation of something deeper? Perhaps an interpretation, a role that anyone can have in our Tragic society? Through the form of a short animated film I am exploring the idea of Antigone entering a rather contemporary setting.
Gestures are essential in communication, yet their role in comprehension is understudied. This study explores how gestures could aid understanding in English as a foreign language, as well as a potential link between gestures and anxiety when using a foreign language in class. Gesture perception and production and foreign language classroom anxiety were measured via an online questionnaire with a hundred ACG-Deree undergraduate students. The results showed that gestures aid comprehension, especially when communication is compromised. Although students lack confidence when speaking in class, they do not experience anxiety; therefore, no correlation was found between gesture use and classroom anxiety.
Inspired by the infectious disease tuberculosis (TB), my project, “The Whispers of the Unseen” narrates the story of the TB bacterium from its own perspective. Set in the Victorian era, where the disease was most prominent, the story takes the form of a series of six letters of the time. Drawing from the symptomatology and appearance of the disease, a character with certain physical and personality traits was developed and from its perspective the letters were composed and narrated the journey of the bacterium from birth to its spread and its eventual defeat. These short letters attempt to challenge traditional storytelling by offering a unique, non-human perspective to narration and using a non-traditional method to learn about a historical illness.
