This thesis is about the production, direction and animation οf a contemporary dance music video lasting four (4) minutes. Its title is "OBLIVION: Music video using the Rotoscoping technique". Its subject is the loss of a great summer love and the pain that comes when this love is over. Its goal for all of its elements be to harmoniously joined together i. e. the dance, the surroundings, the colors, the music and the animation so as to make the viewer feel nostalgic and melancholic.

Paraphrase, reference of the title to the depression caused by the shocking images of drowned children in the Mediterranean, the watery grave of persecuted refuges.

Α video art piece with performance and art installation elements in public space.

As an observer, who neither intervenes nor interacts with the subject, this documentary attempts to present parts of the everyday life of a music therapy student, emphasizing her expressions and reactions while producing sounds and improvising.

While we dream, much of the information that the brain involuntarily collects during the day, is intersected and integrated with previous experience and can be used in future behaviors.

"Dharmadhatu" is an experimental audiovisual video with linear narrative. It has been created with an original experimental technique, where each frame results from a live recording of the behavior of flowing colors on a painted surface.

Artist Paris Chatzigiannis, in his studio, talks about his life with painting.

The documentary is a city-symphony focusing on the people of the city, their interrelations, their behavior, their habits, their relationship with the city and how all of the above were affected by the lockdown, the mandatory use of a mask, and the policing and surveillance.

In the realm of acoustic hyper-reality we meet aural simulacra of the order of maleficence. These are signals that mask and denature a profound acoustic reality. They are referential and representational, but in a way that they dissimulate reality and become its twisted Doppelgängers. Simulacra of the order of maleficence are perversions of reality. With the sound artwork ‘Natural Perversion’ Through a set of sonic processes the artist delves into autogenerative, autopoietic, responsive and biomimetic modes of creation exploring how the original naturally produced audio signal can be transformed into a sonic caricature and depending on the way it balances between its signifier and its signified aspect, it may re-interpret naturally produced concrete audible events into a musical language which serves both the acousmatic and the non-cochlear approaches to contemporary sound art.

The performance Finem deals with app[ause ας a transformative act. The aim of the action is to deconstruct applause ας a social expression of admiration and recognition.