A website and Instagram AR filter. The digital object is meant as a teaser for an AR app that is being developed. 
As an almost abject thing, the mould takes time to develop and invites users to looks at their walls and reflect on the uncanny potential of domestic spaces. 
Drawing from horror and B-movies, the mould is meant as a metaphor. I am interested in the aberrations and imperfections of digital media, which effectively reveal their materiality. I have been researching the uncanny potential of the merging of domestic spaces and networked experiences. 

Mould AR

A series of steady shots of the interiors of my family's house, intertwined with pieces of hybrid text (partly original, partly appropriated) in English and Greek.

Objects, furniture and house structures duplicate and relocate themselves. The domestic space is seen as a bubble of activity, through all the memories, objects and networked interactions. 
The After Effects, poor-image masking gives an almost breathing, living quality to the cut-out copies. 

Haunted Interiors

A video consisting of recordings of my computer screen, as I am designing from memory, on MS Paint, the floor plans of all the family houses we have changed (5 in total). The houses change, they get more and more suburban, having a garden or a second floor. 
In between the drawings, there's shots of house building from the Sims 3 -- a game I used to play a lot throughout my teens, when the movings/ relocations took place.

Recording the process of remembering, I see that I often make small mistakes, forgetting and correcting, ending up with a version, that is anything but accurate and heavily mediated by the limitations of the medium, employing an impossible, digital perspective from above to illustrate something intimate and personal like memory. 


Memory Floor Plans

A video (part of a bigger project) revolving around a bodiless character who has come unstuck in time. Through different architectural, domestic structures and relocations, the bodiless eye reflects on being scattered, the notion of non-linear, queer/girl time, non-human, non-cinematic perspectives and materiality, all mediated through a digital lens.

The distorted footage from 360degree cameras explores the question of non-immersion, using a technology that is meant to make one “really be in space”, to keep the viewer at distance.

In the video, using 360degree videos I focus on the “natural” glitch where the camera deletes its own body, while it is attached on a drone, a weather balloon and a car. I am interested in exploring the uncanny potential of a digital immersive technologies and poor images, without further manipulating the footage or adding any effects. 

The resulting video shows a palpitating, almost breathing glitch, as it makes the landscapes, cityscapes and its very own body soft in its path. The digital "error" alters the images and exposes a certain kind of materiality.
Using the vocabulary and metaphor of the uncanny to describe a networked experience becomes oddly fitting.


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Myrto Vratsanou