Ares Ioakimidis.
Born September 16, 1985.
Attention has long gravitated toward physics, science, and questions that resist resolution. Philosophical problems are not treated as abstractions, but as persistent background noise. Science and philosophy remain intertwined, without clear separation.
Engagement with systems and mechanisms resulted in formal studies in Electronic Engineering for Audiovisual Systems. Over time, experimentation gave way to construction and maintenance, shifting focus toward information technology and web-based systems.
Digital work, physical practice, and analytical play coexist without hierarchy. Olympic archery, chess, and photography persist as parallel states. A broader interest in physics—particularly quantum theory—runs beneath them. Mathematics operates as structure.
Infinity remains the working condition.
Archery began early, was interrupted, and later resumed as a structured and consistent practice. What exists now is continuity: regular training within an organized competitive environment and sustained exposure to performance conditions. The emphasis remains on process-driven improvement rather than isolated outcomes.
Participation spans both indoor and outdoor competitive formats, forming a balanced technical and tactical framework. Alongside competition, there is formal engagement with coaching education at an introductory certified level, contributing to a broader understanding of training structure and methodology. Results exist and are recorded, but they do not define the narrative.
Work, practice, and study operate as parallel systems. Each follows a defined structure while producing variable states. Progress emerges through repetition, analysis, and exposure to conditions that resist predictability.
Chess is approached as a daily system within this framework. Study and play occur consistently, driven by analysis rather than repetition. What sustains the practice is the chaotic structure beneath the rules: branching possibilities, unstable positions, and decisions that resist optimal resolution.
Physical execution, cognitive load, and digital construction are treated as separate domains governed by similar principles. Stability is never assumed; it is tested. Each system functions as a closed environment with multiple valid paths. Outcomes are observed and recorded, but the focus remains on the framework that enables iteration and refinement.
Photography emerged as a primary way of processing the world through images rather than text. Visual perception operates as a working language, shaped by observation, framing, and timing.
Moments are captured as they occur, without staging or correction. Street photography remains the central focus, not as a genre but as a condition: unpredictable movement, partial information, and decisions made in real time. Other forms exist in parallel, explored without fixation.
The practice developed among boxes filled with photographs — black and white, color, and visibly aged. Despite their differences, they carried a consistent weight: the same residue of time, material, and presence. Something closer to the trace of analog process than to the image itself.
The image functions as a record, not an explanation.