In the first, introductory part, according to the given pronunciation, a route was recorded by different means. This practice was performed by the situationalists, who are a key influence. As means of recording we used the written word and photography. The route involved the Athens Avenue. So we walked along it and this process generated many thoughts. The area, although familiar, was observed from a different perspective, rediscovered from the beginning. A very basic element of this place was the associations. Each image evokes thoughts, different for each person, according to personal experiences and experiences. So these experiences led to the written and visual capture of images, thoughts and vice versa.

Media: mobile phone, notebook, photoshop, sketching with brush and ink

De Certeau analogically compares walks in the city to a written text and argues that as we walk through the city we do not read it but rather pronounce it, we create it.

     Often in order to perceive reality, to understand space, for our gaze to notice something concrete, something everyday, we need to reproduce it through an artistic process. A script needs to be set up. Particularly when we refer to the city, which is a totality but at the same time is composed of fragments disparate from each other and it is not only the material space that is represented but also an idea, an atmosphere, a relationship between objects and actions. But for the script to work, the spaces must first be studied.

Eugene Atget himself believed, or let it be believed, that he was doing nothing more than a simple survey of Paris and its surroundings. And without more this first excuse and first reading are not without truth. But the photographer Atget realised with absolute clarity the transformative power that his own choice encompassed. Thus a simple door, probably not the most beautiful, certainly not unique in Paris or elsewhere, as it is presented, deprived of the surroundings that defined it, acquires a supernatural power. The depth disappears, as the third visible dimension, and in its place is absolute blackness. This now plays the role of depth with the added dimension of mystery.

As a continuation of the first part of the work, the selection of a second point in the city for wandering followed. Our interest turned to Athena Street. It is a point which is of particular interest both because it hosts many old buildings that have been preserved with the obvious influence of time on them.... and because it combines the old and the new Athens, since this is where various merchants have kept their stalls, shops and kiosks for many years. So we started wandering in this place, where we left ourselves to the place and our associations in order to use and enjoy it without any restrictions and predetermined flow in how we will work. The first sketches and first photographs gave way to an interview we conducted with a local vendor, a look at the antique shops where they are heterotopic spaces, taking us back in time and conversations with passers-by.

Media: camera, sketchbook, notebook, interview, photos, premiere, photoshop, lightroom

Microcosm of a slit: the slit can be opened through conversation. You see someone who is "there" but only if you reach out and interact can you learn about them, about their microcosm that you would never "see" if you didn't take the step to "look".

Certain artistic practices such as walking, as well as other acts of orality (public utterances, readings and recitations), described by Michel de Certeau, among others (Rendell, 2006,p. 16,17 Kouros, 2008), intervene in the context of claiming a transformation of the perception of a place. Jane Rendell states that walking is a way for artists to engage with notions of place, space and site, of relating one location to another in a particular sequence.

In his study of face-to-face interaction, Goffman emphasizes group games in social rituals, referring to the parallel smaller playful social gatherings that develop on the margins of the main determined engagement targeted by the encounter. For example, in the context of a game, a collateral, secondary level of social subspace development may be formed, which have conditions of strong social membranes, compared to the more general, central condition of the encounter. This social bubble or membrane, which forms and surrounds subgroups, is achieved contextually as an event in the context of shared findings by their members, who comment on and critique the dominant occupation, projecting their difference against it leading to their exclusion or choice of absence from the dominant event of the encounter. Moreover, it notes that, in addition to the immediacy and relevance that these parallel ephemeral social contexts claim, they often require serious commitment, intense psycho-mental absorption and total mobilisation from the participants, unlike the dominant game, which is a regulated simpler recreational activity.

Each individual organic microsystem of developing social interaction, through the synergies of smaller groups, takes the form of an essential playful act. Individual peripheral games (games), on the margins of the main preoccupation that overdetermines the circumstance of the encounter, claim not just players, but active participants in the dimension of the indeterminate event. Indeed, participants from these peripheral games may take leading roles in the main encounter, as external agents influencing it, without participating in the game or having a role in the main event (of the game).

In part four we chose a café which we considered as a ''threshold'', those entering the space change rhythm, mood and role. People in this location choose to pause in the flow of their day and for a while coexist there, stationary, with the other bystanders. As if they are all playing a role together, a scene that has been planned and designed in advance. Who distributed the roles? These thoughts led to the creation of a condition, a scenario, which transformed the simple everyday objects on the table into exhibits of significant value. So we photographed them from particular perspectives and they drew all our attention to them for this purpose. Then through photoshop they were placed in places and positions corresponding to works of art, exhibits etc.

Means: camera, photoshop, lightroom

The concept of dialogicity, in the context of Bakhtin's essays, is linked to otherness on the basis that meaning in narrative is driven by paths of imagination.

Dialogicity acquired a social and political wider dimension, including in the sphere of the everyday, relations with the accidental, with the unpredictable, with the provocative, with the experimental and the subversive.

In the fifth and last part, based on several videos we watched in class, such as ''Stan Brakhage - The Wonder Ring'', we chose to wander around the centre of Athens. So we went back to the monastery and the streets of the square. Lots of traffic, people and a group of dancers in the square doing their act. We let go of the city and followed it to see what it had to show us. We captured moments with pictures and video, used a small mirror to try shots presented upside down that created a second frame within the existing one, and noticed spots that people often ignore. This observation turned our attention to the reflections that appeared on various surfaces. So we carried out a form of performance, experimenting with our shots and forms that now seemed alien due to the distortions caused by the reflections. This new presence, which so faithfully copied our every movement, piqued our interest in creating a video that would be about this coexistence, this union and separation from ourselves.

Tools: camera, premiere, photoshop, lightroom, after effects

The distorted version of our bodies in rooms with distorting mirrors not only provokes laughter, but raises subterranean questions about our identity. If the body ceases to be the familiar body then the self also becomes momentarily unfamiliar and alien, while its proliferation calls into question our uniqueness.