 We're going to discuss a bit about the multilayerness of the Athenian landscape, and especially how the crisis has influenced so much today, both the refugee, political, economical, you call it, either way. So crisis has become quite a buzzword for Greece during the last years. Sometimes it's because of crisis. Other times it's after, before crisis. Crisis brought, or crisis was brought. And it's being abruptly used until the very present to define a situation or, better to say, to justify a situation. In the Greek language, the concept of crisis is a multilayern ambiguous one with a lot of emotions attached to it. As Kosolek describes, crisis is the Greek word for crisis as it's rooted in the Greek verb krino, to separate, to choose, to judge, to decide. This created a relatively broad spectrum of meanings. Even in classical Greek, the term was central to politics, and there was also a separation of the word crisis into two domains of meaning. That's of a subjective critique and one of objective crisis. And they were both covered in the same term. Above all, it was in the sense of judgment, trial, and legal decision, and ultimately court that crisis achieved a high constitutional status through which the individual citizen and the community were bound together. But what exactly is crisis in the modern context that we live in? During all of these years, through the media, but also in our everyday commutes, what we often come across with is that we're not dealing with an economic crisis as much as with a moral crisis, meaning that the core of the problem is not the economy, but our belief system, our values, our ethics, us. This has motivated us to try to understand it how crisis has become such a figure's word, a word that has a very specific connotation, a word that has become synonymous to Greece, in a way. And this, in the end, has influenced the international image of the country itself, as subsequently the way people feel when they decide to visit it. And well, this becomes a bit weird when it becomes the reason to visit it. So Guardian recently, you've probably seen it in the news, published an article where a tour of the poor Athens was advertised as a product to potential tourists that would pay a considerable amount to experience the remains of the city after an austerity period of almost nine years. After severe critiques, the newspaper decided to remove, of course, the page, the article that was advertising the tour. And here, for example, you can see tweets from critiques that the end was quite expensive, like 3.5,000 euros was a quite expensive amount. I did apologize, of course, for advertising, but it's quite indicative of the situation of this commodification, in a way, of the poor Greeks. Now, crisis has been accused for commodification and gentrification, but at the same time, crisis has produced opportunities for subverted spatial activism, such as graffiti. Now, we're going to there now. So public writing is not something modern, right, nor something prototype. The history of public writing is as old as the history of man itself, from the caves with archetype depiction of humans and animals later in the ancient city with a writing on the houses until today in the big city with graffiti. There are evidence to prove that there is a natural humor tendency of interfering in the environment and the tendency to familiarize with it, personalize it, make it set limits to it. In recent years, the term has been commonly established as something illegal that involves different aesthetics, means, and motivation. Today is mostly associated with writing slogans or drawing neurons. So you start from this, and you went to this. Of course not, but it's really important to point out that it's, of course, a very different thing, the graffiti of antiquity and the graffiti of today. But in the end, it's a way of saying, I am present. I am here. So it's also important to point out that graffiti, as known today, started as a political movement from the US during the 1960s. Graffiti is mainly connected to the intentions of the subject. So the writers are the graffiti artists, and their values of the subculture that entails. Now, looking today at the situation in Athens, street art and graffiti has become an overwhelming force, an integral part of the city's physical appearance, political slogan, writing, representing a considerable share. For example, here you see the Atalistoa in Agora of Athens, and of course, embedded graffiti around it, acropolis in front of it. Now, claiming walls, a space of expression and resistance, have their own historical relevance in Greece, originating from political activism and interaction between the citizens of Greece. And of course, we're going to refer to this as the previous speaker did as well. So you heard the story. This is a graffiti from a narration of Alex Grinoglos that was killed, murdered by a police officer. Graffiti, generally, the highest densities of graffiti can be found in the central districts of the city, especially the ones where students, marginalized migrants, and more left-leaning people live, Xarchia, Ammonia, Metaxugio, are today completely covered in paint and slogans. Taking a walk through the streets of the city, graffiti has turned the landscape into a representation of a city in crisis. Through the street art, you can easily read the city as a text and become familiar with the struggles of its people. So crisis inspired a lot of parties worldwide that decided to move in Athens as it became a fertile landscape for graffiti expression. And here you can see the famous soul of a famous graffiti artist in Metaxugio. This is not a new phenomenon, as social and political changes have inspired some kind of art in the past in the end of the 20th century, Berlin being the last example. Even an Athenian street artist, Kakaroks, has launched the slogan, Athens is the new Berlin, for which he has been highly criticized. The two cities have been highly compared due to their rich graffiti culture. Nevertheless, Athens is considered a very differential situation in terms of its current economic situation, as well as its multi-layered landscape. Graffiti has also been inspired by archaeology and classical antiquity, where representation of the past became embedded in the real of the urban landscape. Here you can see, for example, a sample of a small depiction of the Parthenon from Barabadi, a graffiti artist. Athens has always been an attractive tourist destination due its glorious past represented by the archaeology. And more specifically, the Acropolis Rock as the landmark that has always dominated the city. And indeed, Acropolis is always the background marketing item in every important political situation, as it represents the national and international image, not only for the city of Athens, but for Greece in general, as it has always been the symbol of democracy. Archaeology in the city, for example, here is Emmanuel Macron and Alex Tsipras in the last visit of Emmanuel Macron. His speech was given in front of the Acropolis. Archaeology in the city is being played and exploited for over 200 years from the very early existence of the state in 1830 until today. Although nowadays, there seems to be a shift. The visitors of the city center, always busted with the tourists around the Sacred Rock and around the area of Plakan Monasteraki, have discovered the other side of the Athenian landscape, a site that is being rapidly altered through the massive developments in order to accommodate this new type of tourism. If archaeological sites, museum, even those that represent the city's modern history, are narrating the formal history of Athens, our suggestion, hypothesis, is that the graffiti are narrating the other side of the city. They show how its residents are experienced and expressing their own history. That is why the production of graffiti the last couple of years in Athens has become the focus of attention. Through graffiti, comments on the economic, the political, and the refugee crisis, as well as polarization are being made. On the walls of the city, the reality is expressed by an artistic trend that cannot easily be found in galleries and museums. In the same walls, archaeology embedded in the realm of the city participates in the context, dialogue between the old remains and the new reality covering Athens. Taking the aforementioned into consideration, we came across with 10 graffiti tours in the area of Metaxuriopsyri and Dexarchia during our two weeks of field work. We carried out informal and short interviews with four groups, and we came to the conclusion that this seems to be, there seems to be an important change towards graffiti tours in Athens, as many of the participants were assuring us about the global reputation of the Athenian graffiti importance. What we have mentioned previously has created the creations of this artistic growth, although the situation coupled with Airbnb phenomenon, which has permitted an original increase of tourists and the famous Athens nightlife, has totally transformed the city landscape. Of course, Athens is not the only one to be privileged by mass tourism, although today is a more alternative form. But what distinguishes Athens? The answer is the crisis that has fueled the influx of an alternative tourism through which both the landscape and the people of Athens are getting transformed as objects of trade. In the end, the touristification of archeology, as well as art and graffiti in the streets of the city, have managed to alter the Athenian landscape and banish its local people from their residences. At the same time, poverty and its reflection have turned into spectacular and consumable products for tourists. If we add to this a real estate industry that exploits and profits from the situation, there you have an Athenian landscape in crisis as a commodification. So, thank you very much. Thank you.