Σελίδες

5.7.17

text by PolyXene Kasda for her Life Achievement Award, Visionary Art Italy 2017




Text by PolyXene Kasda for Visionary Art Life Achievement Award and Best Artist Award 

I was born in Alexandria Lost ; a shifting Hellenistic homeland grafted with the element of deconstruction, reconstructed in the dissipative global structure of my  Project Myth/Network .  I was born in the ‘point zero of the present as defined by radiocarbon calibration, in the beginning of nuclear tests and the changes in the measurement of time with the first computers.
 I choose to start this intervention with one insightful moment that shifted my point of view and has defined all my subsequent work

I was walking knee-high in the sea of Avithos in the burning aroma of the sun reflected by the sparkling membrane of the water. I was warm light. Someone called me. At the sound of my name my familiar world emerged with me from the light. It was a slow-burn experience of me seeing myself seeing the reflection of an otherwise inaccessible reality. This innocent summer walk 1985 turned out to be the most revolutionary act in my life”
This peripatetic time-shift insight into my very process of perception, had inspired me to write The Conscious Eye, Athens 1988, a short essay dealing with an eye seeing itself seeing, thinking itself thinking, while undergoing the cubist-state-of-mind that sealed the arts and sciences of the 20thc., revealed the linguistic-cognitive scaffold of vision (references to structuralist and conceptual art) and triggered modern crisis, mining with autognostic explosives our certainties.
 In that reflexive essay I had made many references to the then rising science of A.I. as an endoscopic tool (research conducted at Prof. Papert’s lab.  MIT , A.I. department 1985).
The Conscious Eye 1988 was revived by A.I. Professor who injected the old text, with contemporary research in Artificial Intelligence and Machine Consciousness in the joint essay Artificial Intelligence Professor John Kontos ‘Needles’ Poly Kasda's Conscious Eye,
Intelligence is what hasn’t been programmed yet and so is the unsolvable mystery of our consciousness. In this light, Artificial Intelligence-Machine Consciousness Technology is an introspective tool explicitly disengaging us from our absorption in our ‘being-in-the-world’, unleashing, by the power of contrast, the possibility of an endoscopic participation in the phenomenon of Being- in- the- world.
“ But, what was the nature of this compulsive tide that pushed artists in a self-cancellation frenzy, leaving behind a dilapidated mental space and the labyrinthine traces of an unsatiated question mark?”
With this question my book The Conscious Eye 1988 was completed and I was left with this viral Something Essential Missing.
Now I know that this ellipsis, this devouring self-grinding wormhole hollowing itself out in the comfort of convention is the most precious element in our human consciousness. I knew I had tο drift into it to be able to comprehend incomprehensibly this matter which was other than anything known.
 In 1990, I surrendered to my SEM attraction and I found myself in the bottom of the Lake of Mornos, in Greece, which, was hit by drought, uncovering, for a short while, a Hellenistic city and a submerged sanctuary
Metaphorically, I was sucked into my counter-clockwise reflection, my whole being swallowed inward in myself, in the self-engulfing archetypal fields of Puer Aeternus, carving with my searching fingers the mud overflowing the sacred altar as though I was trying to exhume that SEM from its own sacrificial plinth.
The mud sculptures, relics of that ritual performance, the Chrysalii, were soon seeded by hundreds of international participant-interactors, in 300 sites, in 27 countries, co-creating a biodegradable, interactive global installation which melted in the rain leaving behind a conceptual web of relational arrows, without the use of web technologies which were still unknown.
Attuned to my “transcendent-I” still held in ‘the other side of the mirror’, I was now unleashing on the crest of the nineties the repressed imagery of my swelling consciousness which I was rediscovering embodied in the mythical topology of Greece. My art-works now consisted mainly of affective immersive maps, charged with graphisms and time-shattering instructions merging spectral/ actual space, tracing mythologically-augmented- anti-historical parcours, activating dormant receptor, restituting with chunks of information mythically augmented spectral hyper-spaces without the use of Virtual Reality technologies, through the consensual synesthetic engagement of the participating poets.
This early crust of breakthrough experimentations was recycled in 2009 into the fertile layer of Urania’s Gardens community projects, realized with the collaboration of PrimopianoLivinGallery, social art generating artwork merging actual / inner/spectral space: 
There I was  pattern-Setting and monitoring  a set of techno-agro-psycho-social applications, in culturally gagged, mythically augmented loci of Greece, based on a core idea and evolving script layers outpacing the emerging psychosocial play states- 
Special attention was given to the phasmatic affect of ancient relics on our cognitive processes
Urania’s Gardens projects ranged from art-constellations in remote villages, exploration of madness in social semantics, linguistic games and treasure-hunt games on legend-freighted subjective maps with the risky guidance of Heraclitus’antinomic fragments, exploring the ecstatic power of paradox, meant to elicit the impossible experience of PAI, the archetype of the Child playing
Our current project under preparation is Kadmus looks for Europe, an Alphabet-centered project in which the whole city of Thebes is to be converted into a linguistic playspace crammed with Lexomorphic patterns generated by the numerical modeling of words based on the Ancient Greek numerical codification of the Greek alphabet: a fascinating linguistic game where everyday words are morphing into elegant rhythmic number-sets meant to renormalize our disrupted rhythm with their ancient examined proportions.

The Lexomorphe generated by the numerical modeling of the Greek word CHRYSALIS is the legendary Graal, that became a ‘speaking sculpture’ a public space monument installed in public space. It is made with my innovative material PXK that represents my skin left behind. The Chrysalis monument hosted the Olympic flame in 2004.

Is our impossible object of desire incarnated in language itself?

Etymologically the Greek word Onoma means ‘giving self-birth to Being’ (Kratylus). Could language be the Virus-of-Man that drives him to commit heroic self-sacrificial acts to leap out of his mortality as Anthropos?

Currently, I am involved in completing Chiton Apeiros, inspired by Polyxene’s sacrificial cloak in Sophocles tragedy. A depotentiation shroud made with patches of my Olympic Chrysalis monument. It is the final part of my PXK Route global installation 2004-2017. Here are 30 pieces of this material PXK that belong to this global installation.

Could the Gene of God, this partially hereditary predisposition for mystic experiences, favored by natural selection, as postulated by Dean Hamer, be a genetic reformulation of Yung’s archetype of the Child (PAI), that ‘psychic organ’ that allows us to ?mystically participate in the emanation of Being in the world?

Myth/Network is a noetic artwork, evolving on the interface of liturgical inertia/empirical time, anchoring current geopolitical con-fusion to the dispersive configuration of our mythical infra-structure.

Project Myth/Network is an intercalage of presents springing from the same principle performed on the game- changing threshold of the 21st century. Could its 4D noetic structure be echoing the dispersive configuration of the “Aeon that is PAI (Child) at play” ? (Heraclites)
It could be so and it could be otherwise” (Socrates).

PolyXene Kasda Italy Lecce 14/5/2017








6.3.17

Life Achievement Award στην ΠολυΞένη Κασδά, Visionary Art Italy 2017



Life Achievement Award στην Πολυξένη Κασδά στις 14/5/2017 στην Ιταλία

Το Lifetime Achievement Award Visionary Art  2017 θα επιδοθεί σε τέσσερις  προσωπικότητες  του Λόγου και των Τεχνών: την Grimanesa Amorós ( Νέα Υόρκη), τον Rien Vörgers  (Ολλανδία), τον Sauro Cavallini (Ιταλία) κα την Πολυξένη Κασδά  από την Ελλάδα.
Η Κασδά επιλέχθηκε  για το διεπιστημονικό της  project Μύθος/Δίκτυο 1990-2017 και για το δοκίμιο της Το Συνειδητό  Μάτι, Τέχνη- Αντίληψη- Πληροφορική (Αιγόκερως 1998) με θέμα την ενδοσκοπική διάσταση της τέχνης του 20ου αι. που προσφάτως επανακυκλοφόρησε στα αγγλικά εμπλουτισμένο με τις τελευταίες έρευνες στην Τεχνητή Νοημοσύνη: Artificial Intelligence Professor John Kontos needlesPoly Kasda's Conscious Eye, Notiosanemos/Amazon 2015. 

Η Πρόταση  Μύθος/Δίκτυο (1990-2017)  είναι ένα σύστημα που πηγάζει από την ψυχολογία του βάθους και  πραγματοποιείται σε: 
-          πολύκεντρες εικαστικές εγκαταστάσεις, με τη δημιουργική αλληλεπίδραση του κοινού και με συμμετοχές σε διεθνείς εκθέσεις, όπως, τη Μπιενάλε Πεκίνου 05-08, Μπιενάλε Τασκένδης 07, Λευκές Νύχτες Παρίσι 07, Νύχτες Μουσείων Γερμανία 15…
-          Σημειολογικές χαρτογραφήσεις  του ελληνικού φασματικού τοπίου.
-          Γλωσσικά παιχνίδια  βασισμένα στην αρχαία Ελληνική κωδικοποίηση της Ελληνικής γλώσσας.
-          Αγρο-τεχνο-ψυχοκοινωνικές δράσεις σε μυθικά φορτισμένες, πολιτισμικά παραμελημένες περιοχές της Ελλάδας http://uraniasgardens.blot.gr.
-          Αφηγηματικά άρθρα και δοκίμια όπου επεξεργάζεται και συνδέει τις εμπειρίες της με ακαδημαϊκές έρευνες.

Για το έργο της έχει ήδη βραβευτεί με το Αργυρό Μετάλλιο του Παν/μίου Lucian Blaga του Σιμπιού Ρουμανία 2007 και με Χρυσό Μετάλλιο από την Oλυμπιακή Eπιτροπή του Πεκίνου Olympic Fine Arts 2008

Η Πρόταση Μύθος/Δίκτυο ξεκίνησε στο Μουσείο Σύγχρονης Τέχνης του Ιοενσού, συνέδριο PAND   Συνάντηση των Κόσμων, Φινλανδία 1990
Πρόταση Μύθος/Δίκτυο 1991 Αρχεία καλλιτεχνών ΕΜΣΤ. Κωδικός εισαγωγής 1595. Δωρεά Ξαγοράρη.




18.8.16

Cultural botanology, by PolyXene Kasda (art-based research on-the-make,continuously revised)

P. Kasda, Chrysalis2, Chaos Aghia Triada, Greece. Photo:S. Samios1990

 Uranias gardens, synopsis and the birth of a new project


At intervals, the entangled n-dimensional flow of my project  was freezing by my intercepting observation and was recalibrated in the analogous time frame”.P. Kasda, Mein poezie is een reis in de geegtelidjke textuur vaan het land, 3000 Letters X, The Seven Sleepers Leuvain 1994

"For an elktikon hemarof seven years we have been planting seed ideas, (things per se), in the fertile fields of Uraniasgardens, eavesdropping their growth, with minimum interference. Uranias Gardens is a mental space that emerged during a friendly gathering while discussing the nature of time and space; a digitally substantiated mental field, receptive to the seeding, sprouting and sharing of new ideas and projects to be realized in real space.
 During each realization process, modified by the peculiarity of each specific site, I could observe the intrinsic power of formulated Ideas to morph and organize themselves into spacetime structures, attracting the creative human and non-human components necessary for their fleshing out in our emergent synesthetic hyper-spaces, reappropriating with our visionary repurposing those experimental sites. 
Aligned with Xene**, i was monitoring, from inside-out, the way my pattern-setting ciphers were encoded into coherent virtual constructs, the way my consciousness was mapping itself in the landscape around me; the way i was recreating and simultaneously recognizing with an"anagnoristikon meidiama"*** the hermetic ancient symbols i was stumbling upon, during my parcours in the phasmatic topology of Greece...
Uraniasgardens was a dynamic cross-pollinating working field in which i could set Trojan pattern- strategies, device my own tools to explore, with Metissian**** cunning, uncharted spectral territories integrating them in our conscious space perception..
During this self-combustive process I kept on stumbling concretely on powerful abstract concepts, rediscovering them anew, forepacing, at times, tech innovations and discoveries. 
By formulating my projects' praxes, in my parallel self-reflexive narrative texts, i could assimilate and possibly anchor their contents on on-going academic research; a self-regenerating, uroboric artistic-linguistic process crammed with articles and essays, while juggling live action with spectral space elements in pliable time contractions and expansions...". 

*ελκτικόν ήμαρ: attractive time-chunk of nowness
**Xene : reference to my mythical twin 'in the other side of the mirror'; as described in my narrative essay "When that word swallowed me", Sphinx Thebes syn. Poesia e Conoscenza. 
***anagnoristikon meidiama:reference to a special type of knowledge through identification of the seeker with the sought,
****'Metissian manoeuvres' stands for Odysseu's polytropic ruse, this ingenious  resourceful intelligence  as described in J.P. Vernant-M.Detienne's  "Les ruses de l':intelligence. La Metisse des Grecs"

*****reference to the legendary magnetic stone of Samothrace that was inspiring its magnetic enthusiasm to the iron rings of the initiates and they in turn transferred its power to more and more rings creating a long chain of load-stones reaching our days. The Heraklia Lithos stands for a psychophysical element engrailed in our structure, making its presence felt by the gravity of its own void; the urge that drives us out of our skin which i call SEM or Something Essential Missing.Some name it Lapis Exilis , others The Gene of God, I name it ΠΑΙ  in my book PAI, Seven Sleepers co.ed Uni.Press Lucian Blaga, 1997..


PolyXene Kasda, Metisse and the Heracleian Stone*****, or,  the irresistible charm of real-life project-plotting (narrative essay on-the-make).


Uraniasgardens 2009-2016 projects*: the symfiliotic merging of actual /inner/ spectral space 

Dynamic Pattern-Setting and monitoring of a set of techno-agro-psycho- SAGA Myth/Network applications, in culturally gagged, mythically augmented loci of Greece. All projects were based on a core idea and evolving script layers outpacing the emerging psychosocial play states- 

Special attention was given to clues providing a psycho-anthropological synesthetic signature of each place  :
- the environment-subjectivity affective entanglement 
-  the phasmatic affect of ancient relics on our cognitive processes and the possible restitution of their ghost imprints that seem inseparable from our unconscious consciousness 

local benefits:  topological  re-evaluations, myth- spectral and agro- space awareness, cross-cultural interchange,  residents'creative involvement, creation of permanent,international polycentric art collections.

*Gargling Sky, village/ network, for the Year of Astronomy-2009-
 overview  polycentric international art- constellation spread throughout the remote meteorite- showered village Gergeri, Crete. 
Crumbling traditional buildings, 17th c. watermills, elderly homes, abandoned old school were restored in one morning to this end. 
Engagement of the local youth, astrophysicists and shepherds.

Observation: spontaneous revival of Ariadne's thread simulacrum by the youth of the village who linked the circuitous parcours of the exhibition with constellations made of ribbons attached on the walls of the houses- spontaneous participation of housewives offering local delight and shepherds who participated with their self-made musical instruments.
The Forest of Rouvas, a sanctuary of biodiversity was included in the inauguration parcours, where the residents cooked meat in the traditional "andikristo"way in a configuration echoing the orbits of the planetary system around the sun (fire).
Art co-curators Chrysa Vathiaanaki, Donatella Bisutti, Auspices  Municipality of Rouvas, now, Gortys
The dispersive installation was extended in Croisees d'Arts, Chateau London, France (c0-cur. K-Droz Paris)

relevant research-narrative articles
P. Kasda, The Gergerian Experience, Artooth.gr articles
P. Kasda, Gargling Sky, newspaper of the Greek Chamber of the Arts ΕΕΤΕ, nb.158
P. Kasda, Γάργαρος Ουρανός 2009, http://kasdapolyxene.blogspot.gr. 11/8/2011

      
from the Samothrace museum
*ΠAI -2010-: Mythical foundation
Trans-border, transloci artworks and cultus performances on Aion as a Child /ΠAI playing/ΠΑΙΖΩΝ,
  inspired by Kasda's poetic narrative essay PAI, published in French, Flemish and Romanian by the Seven Sleepers Leuvain co-ed. Uni.Lucian Blaga Sibiu 1997

The event was extended in Bulgaria, Thebes, Patmos, Athens (Technopolis), Lecce Italy (Primopianogallery)..
and were enriched by the local Children' forest installation:"Leleki (stork), leleki come back". 

Org. Union of the Cultural Associations of Evros gen. secretary Katerina Kaltsou, Alexandroupolis, Samothrace

Site benefits: Permanent international EPOFE art collection ΠAI in Alexandroupolis-Samothrace
Exhibited in the Natural  History Museum of Alexandroupolis.
art -.co-curators Dores Saquegna (Primipiano Italy) and Pierre Chirouze (K-Droz Paris).

P. Kasda, PAI 2010 concept,“The eon is a child playing, tossing {dice}; the kingdom is the Child’s” Heraclites. Uraniasgardens 6.10.2010.
P. Kasda, PAI, the Seven Sleepers Leuvain co-ed. Uni.Lucian Blaga Sibiu 1997




*The Samothrace Game -2011-,  To be and not to be. Aye, this is the question!:  Looking for ΠAI (the Fugitive Child) in the Kabeirian island and in one's inner being, with the risky ambiguous guidance of Heraclitus' antinomic Fragments.
Psycho-physical reality game in the "virtual space of spectrality"(Derrida),  favoring archetypal potentization, spectral /actual space transpositions, oscillations and intricate states of mind.


The landmark-images were remotely teledictated to game- imager Antonis Papantoniou in Athens, by the local residents' legend- freighted, subjective telenarrative, resulting in the creation of an affective, biomatic map of the island, painted on a set of 22 cards. The parcours cards of the deck could be shuffled and reshuffled by the participants creating alternative aleatory routes in this peculiar treasure hunt.
A time-capsule was inserted inside the neolithic Gate of the Sun.
This open-ended game set to be enriched by the participants' interactions and the assimilation of the characteristics of the game in real life through the Proteus effect.

 Kasda's basic concept was enriched by a game created and organized by IDEA; an emerging local cultural association of residents, which morphed itself to this end..

P. Kasda, Concept of the treasure hunt Looking for PAI 2011http://uraniasgardens.blogspot.com 2011
P. Kasda, Map of the hidden treasure PAI 2011in Samothrace. Ibid
P. Kasda, Treasure-hunt cultural game PAI 2011..//polyxenekasda.blogspot.com 9/1/11


 T   *Tu vas a Tuva? oueh je vais a Ithaca -2011-..
The project was first formulated for the apex 2011 contest with the title Tout va a Tuva? It was reformulated on paper in 2013 with primopianoatelier as The Ithaca-Salento experiment to be/not to be realized in the future. ....

A playful contemporary version of Homeric Ithaca, inspired by R. Feynman's Tuva, the utopic space that has inspired poets to create epics driven by that self-devouring SEM, or, that Something Essential Missing  that heroic conscient element engrailed in our human unconscious, retroactively charged with our human entelechy, that makes its power felt through the merciless attraction of its own void.

 Tu vas a Tuva? http://www.polyxenekasda.blogspot.com 27.12.11


Πιθ΄ Ελλέβορον”/ Pith'Ellevoron / Drink Helleborus -2014-  Physis and Pharmakon- botanology and madness.
Agricultural topology affect on our cognitive processes 

"Alert and flexible at the end of the line, I follow the unfolding of the self-combustive idea with which i am aligned and which is steadily growing out of itself, continuously ramifying, involving more and more creative people from all fields, winding its way through ordinary life, redefining space, sealing our future ". P.  Kasda (Project diary 2014).

"and all these lovely irregularities revealing the defects of the standard model mined from its interior by the persisting Enigma revealing and hiding itself behind its own turbulence effects..." P. Kasda (Ibid)

M.Manieri, Antikyra 2014
The interactive SAGA performances were scattered all-over the town of Antikyra, Boetia, Greece, shock cross-cultural encounters eliciting brain-storming reactions..
Helleborus is a local herb known for healing madness. 
Pith'Ellevoron is an ancient Greek saying meaning "drink a sedative, stop talking crazy". 
Org. Allotropia local popular academy- artistic co-curator: Primopianogallery Italy, under the auspices of the Greek Ministry of Culture.
Site benefits: Permanent art and agro collection in Allotropia museum.

http://uraniasgardens.blogspot.gr/2014/02/a-seed-project-is-sprouting-in-Antikyra
poly Kasda, .http://uraniasgardens.blogspot.gr/search014PROJECT Drink Helleborus /"ΠΙΘΕΛΛΕΒΟΡΟΝ!" (pith'elevoron) continuously re-edit
P. Kasda, Pith'Elevoron/ Drink Helleborus http://festival.culture.gr/2014/10/


*Sphinx 2015-16, The Hidden Thebes Festival on the contagious effect of spectral Thebes. Ontological entanglement of man/nature/myth, 
the Riddle of the Sphinx, or, the potentized incubation of our latency- the haunting affective presence of  stone-walled Thebes.

pattern-setters, general curators:  Konstantin Angelou, Poly Kasda
artistic co-curators: Dores Saquegna (visual arts), Maria Frangi (theatre), Maria Cheetara (architecture)

Auspices: Athens School of Fine Arts - Greek Ministry of Culture.


P. Kasda, PROJECT SPHINX 2015 unveiling invisible THEBES, Greece, continuously re-edited.25.2.15
P. Kasda, When that word swallowed me, Sphinx Festival of Hidden Thebes  co-ed.Poesia e Conoscenza Milan 2016
The Sphinx Hidden Thebes Festival was an outgrowth of "Miorita, Melusina and the Sphinx", Kasda- Angelou telecommunications project probing “mioritic”unconscious space (Lucian Blaga), digital deterritorialization and the critical instability of the culturally uninformed model of hybrid Europe, selected by Arscenic French Association for the twin Capitals of Europe 2007..

P. Kasda, MIORITA, MELUSINΕ και η Σφίγγα των Θηβών: Tinkering με τα στοιχεία de differentes cultures. http://uraniasgardens.blogspot.com 8.10.14

P. Kasda, Project Miorita, Melusina and the Sphinx of Thebes,  //uraniasgardens 2007

P. Kasda, topologie syncretique europeenne,2014, http://polyxenekasda.blogspot.com



*Sphinx 2017 Kadmos looks for Europe. Europe looks for Kadmos (under preparation) while i am writing this text, speculating on my previous projects, a new hyper-project is sprouting in Urania's Gardens; I can already feel, with the Kore's  anagnoristikon meidiama (recognition smile), the hot breath of spectral Thebes rekindled on my spine...I listen to the murmuration of my subconscious mind swelling in the hiatus perforating the interface of spectral/actual Thebes; an absorbing spacetime bubble in which our next community experiment will/will not be held.)

General concept/ pattern-setting curators: Konstantin Angelou, Mariana Zikou, Poly Kasda. The whole city of Thebes is transformed into a language game playspace, crammed with linguistic codes, riddles and artifacts.  Digital acoustic and olfactory topological maps of Thebes are  materializing the eyeless Oedipian space of spectrality.


"mythical pedema is a Snakes and Ladders' board game, i.e. the ancient 'Game of the Goose', an ancient Egyptian symbol of the incarnation of the Invisible - in which a bad throw can throw you from end to start, inτο the growler's cell.. gradually, i realized that the rules of this game are primarily ethical, obeying to the boundaries of Logos and the solutions to the dilemmas are always based on the Golden Mean". P. Kasda, Surfing on the Medusa's Hair 1999, unedited. 


Myth/Network projects 1990-2009 underlying and sustaining the Uraniasgardens projects 2009-2016- :


 Code Lexomorphes, 1991- 2009 -2017-: the philosophical structure of Greek language. Greek words as mathematical entities. Speaking sculptures and cryptographic patterns generated by the numerical modeling of Greek words based on the Ancient Greek mathematical codification of the Greek alphabet


P. Kasda, Lexomorphe ΑΝΘΡΩΠΟΣ
P. Kasda, A. Sitra. synthesis of Lexomorphes ΨΥΧΗ, ΟΝΟΜΑ, ΕΛΠΙΔΑ, ΑΝΘΡΩΠΟΣ
participated in:
-Structuralist exhibition Homage a Stazewski Concept/ Form, Municipal Center of Athens 1991.
-Panhellenic Congress on Greek Language 2009, Old Parliament of Athens, org. Chamber of Fine Arts of Greece.
-Bienale di Poesia di Alessandria, Italy 2004-2008
-Uraniasgardens Congress for the International Year of Astronomy 2009, Municipal Center of Athens 
-Flags, British Embassy of Beirut, UNESCO-MEADOWS-OFAA 2012. Lexomorphes were proposed as a mathematical inter-space communication code 

Related articles and essays:
P. Kasda, Code Lexomorphes, the iconic dimension of Greek languagePoesia e Spiritualita review, Milan, Italy 2007.
P. Kasda, Chrysalis/Grail, Reflections of an Object of Truth, Verita e Dubbio 2004. XVII  Bienale di Poesia di Alessandria,Joker, Italy 200
P. Kasda, project Myth/network, Τετάρτη Αποστολική, Municipal Pinacotheque of Athens1994-
Dedication to Polyxene Kasda,Tyflomyga review, Athens 2003- 
P. Kasda, When that word swallowed me, narrative essay Sphinx,-The Hidden Thebes Festiva/ poesia e conoscenza 2016
Artificial Intelligence Professor needles Poly Kasda's Conscious Eye, essay Southwiind /Amazon 2015

Sonorous landscapes: as team hyper-project "Kadmus looks for Europe 2017" starts morphing, i visualize Code Lexomorphes gigantic patterns covering Mt. Phikion of Thebes, the mythical mount on which the Sphinx was challenging voyagers with its lethal Self-regenerating Riddle. The word Phikion is derived from the name Phix, the ancient Greek name for the Sphinx.The idea is to convert the mountain into a linguistic riddle. ONOMA in Greek is interpreted by Socrates as that which gives self-birth to ON (the creature in question).

-  Landscape semiotics-Affective hermeneutic maps of spectral Greece -1994-1996-, knowledge through mystic participation- herding the tantalizing trails of spectral space ossified symptoms, into a self- apocalyptic matrix -  evocative landscape semiotics and language games.


Mythologically augmented, anti-historical parcours in mythical sites of Greece - graphisms and sets of instructions encouraging the participants'identification with apocalyptic symbols condescendingly opening prosvassis to  'ekstatic' noetic hyperspaces emerging in actual life, through the participants' consensual synesthetic engagement.

"I was unleashing in the present the repressed imagery of my deep unconscious, which, to my surprise, I was now recognizing embodied in the vigilant topology of Greece, an ontological riddle that is incessantly defying our mortality under our feet”.P. Kasda, When that word swallowed me, Sphinx, the Hidden Thebes Festival editions 2016.

Project-maps:
 -Tavrokathapsia, The Gate of Fire, crossing Crete 1994
-Arcteia, tracing Artemis (Artemeo means I AM), on the triangle linking Brauron Attica, Lykeon Mi. Arcadia, Icaria Nas..1996.
Realized under the auspices of the Municipal Radio of Athens 9,84F.M, with the participation of  the Biennial of Poetry of Alessandria Italy,Τοuchstone poetry group for the XVth European Poetry Festival (Brussels), the European Poetry Network (Belgium)who adopted the Maps as a new form of generative poetic expression.


"ancient symbols are seen as wormhole shortcuts in the fabric of spacetime  condescendingly opening through  anagnorisistic identification with the anonymous simulator of our reality game"  P. Kasda, on the irresistible charm of real-life project-plotting (essay on-the-make).


Relevant articles and essays:

P. Kasda, Pyrisporos. Art-Mythology-Informatics, Greek interdisciplinary hyper-essay, Aigokeros-Art, Athens 1994.
P. Kasda, Landscape of my SoulPoeti e Paesaggi, XIV Biennale di Poesia di Alessandria, Joker, Italy 2008.
P. Kasda, Poetry and Landscape, Echo of Faleron, Greek newspaper of Paleon Faleron, Athens 2008.
P. Kasda, Ciel et Terre, Poesia, Mito, Utopia ed. VIIIth Biennale di Poesia di Alessandria, Joker, Italy1996.
P. Kasda, Iηdicibili e Ineffabile,VIII Bienale di Poesia di Alessandria, Millenium writers, Joker, Italy 1996
P. Kasda, Taurokathapsia,Touchstone Coed. Seven Sleepers 1994.
P. Kasda,  Μyth/ Network 5, ARTI, 1995.
P. Kasda, Myth/ Network 5: The Gate of Fire, Euphorion Transilvania, VI, n. 55.56.57. Sibiu, Romania, 1995.
P. Kasda, Arkteia, on the threshold of time, Tradition et Modernite dans l'Ancien et le Nouveau Monde, Leuvain Les Sept Dormants n4 coed. Uni. Lucian Blaga press1996.
P. Kasda, Progetto Myth/ Network 1-5, La Clessidra n.1, Joker, Italy 1995.
P. Kasda, Cer si pamant, Transilvania 1-2-3, Cultura Nationala, Romania 1996.
P. Kasda, Puterea elementului mic/ Power of the Small, translated by M. Ivanescu, La Tribuna de Sibiu1995.
P. Kasda, Progetto Myth/Network 6 : Sulla soglia del tempo, La Clessidra n2/1995.
P. Kasda, Myth/ Network 5: The Gate of Fire, Euphorion Transilvania, VI, n. 55-57, Sibiu, Romania 1995  
P. Kasda, Progetto Myth/ Network 1-5, La Clessidra n.1/ Joker, Italy 1995.
P. Kasda, Μyth/Network, International bac review of Costeas Geitonas Schools, Athens 1995.
P. Kasda, Where is the Village going? Arcas, Greek newspaper of Arcadia, Greece 1995.
P. Kasda, Mein poezie is een reis in de geegtelidjke textuur vaan het land, 3000 Letters X, The Seven Sleepers Leuvain 1994
P. Kasda, Taurokathapsia Mythologically augmented Route Map across the island of Crete, Landscape semiotics, Touchstone co-ed. The Seven Sleepers 1994
Project Myth/Network 1990-2011, European heritage integration in modern perception http:PolyxeneKasda.blogspot.com




- PXK Route, global fossil touching down across the globe 2004-2017-:overview installation made with my self-devised material PXK, anchored in 25 world loci, often through my participation in big events like Athens Olympics 2004, the XVII Βiennale di Poesia di Alessandria Italy 2004, the 2nd Biennial of Beijing 2005, the 4th Biennial of Tashkent 2007, Nuit Blanche Paris 2007...
 PXK Route represented Greece in the Beijing Biennial Olympic conference 2008 and was awarded the Olympic Fine Arts Golden medal Beijing 2008.

"PXK stands for my skin left in the process of the project;s realization while assimilating diverse cultures" Ibid


 - Home/ Network -1995-1998- : broadening the definition of home. Neighborhood acoustic-visual installation on the expansive dynamics of intimate territories. Odonymic affective resonance and inter-balcony acoustic happening; a magically activated residents' instinctive connectedness..
 Municipality of Paleon Faleron, Athens.


P. Kasda, Casa/ Retea, Home/Network, Transilvania 1-2, Sibiu, Romania 1995, translated in Romanian  from French by poet Mircae Ivanescu.



- Doodling  interludes 1985-2016, perturbations of a probabilistic mind trapped on the mental/actual interface in the space between projects where nothing, or, very little happens. Notebook drawings processed on large diaphanes inserted in 13 cultural events in 7 countries ( 3rd Beijing Biennial 2008, DESIGN House of Cyprus Athens 2009, Munster Night of Museums, Germany 2014, et al..).



- Fugue, or, The Gate of Love 1996-1998-2005: overview monumental Fibonacci structure variations anchored in five distant sites of the earth-served as scenery for recursive performance re-enacting the mystic participation in the archetype of the Child "PAI". The carved stone sculpture used in these performances was to be the treasure to be/not to to be found  in the Samothrace Game 2011.  Parts of Fugue are in the Castro di Piovera Alessandria, Italy 1996,  Crabova Fountain, Arcadia 1997, University of Lucian Blaga Sibiu, Romania1997 (Silver Honorary Medal), The Aegean Foundation, Paros 1998,  Park Floisvos 2005, Athens.



Chrysalis -1990-1991-:  restoring the human need for a threshold ritual when hit by the rising Zeitgeist wave, or, "composing an ideography of the web before its spreading"(M. Zikou, the Over-determination in Poly Kasda's work, Stoa tou Vivliou, 2/6 Athens).
When the Atlas was turned into an interactive web and the object spirited away into a vibrational motif which turned into music, without the use of the internet technologies which in 1990 were still widely unknown.


Performative threshold ritual on the plinth emerging from the receding Lake of Mornos, Greece. Expansion of the resulting biodegradable installation of mud sculptures into a co-creative geocaching global installation anchored in 300 sites-27 countries, meant  to dissolve in the rain, releasing through entanglement  the dynamic relational web structure of its interactοrs' creative time-lapse arrows, echoing contemporary trendy data maps.




The polycentric interactors' documentation was augmented by a UCT world -on- the- make libation 15-2-1991, in the acoustic structure dictated by the algorithm of the word ΧΡΥΣΑΛΛΙΣ performed by SIDAS musical group dispersed in the crowd.

 Narrative-articles springing from the above sub-project:
P. Kasda,The Silenziosi and Project Myth/Network 1990-2005 in Art-Act, Tyflomyga revue, December. 2005. (Greek)
P. Kasda, Project: Myth/Network 1990-1994: Revival of cosmological Memory in our spacetime redefinition, Tetarti Apostoliki, Pinacotheque of the Municipality of Athens catalog, T.E.E. 1994.
P. Kasda, “Logos”, ENOPE Center of Arts and Sciences, booklet 2/11/1992.(Greek)
P. Kasda, Sky inside, sky outside, Emvolimon magazine nb.8, Aspra Spitia Boetia, Greece 1990.
P. Kasda, Progetto Myth/Network 1-5, La Clessidra1, Joker, magazine, Italy 1995.
P. Kasda, The Network, Govostis ed. 1991.
Dedication to Polyxene Kasda, Project Myth/Network interview, Tyflomyga, September, Athens 2003.(Greek)
P. Kasda, Project Myth/Network 1990-1995, TV documentary by Makis Faros, production Icona, 
P. Kasda, Chrysalii, a mythological experience, Politistiki ekfrassi/ Cultural Expression journal, interview, Athens 1991.(Greek)

http://uraniasgardens.blogspot.gr/2009/01/chrysalis-chronicle.html, 
Threshold performance /Global installation by Polyxene Kasda in 1990 (Ibid).


the above sub-projects are all facets of  hyper-project Myth/Network -1990-2015- :  a 4D scattering matrix of inter-weaved sub-projects set at the interface of ritual/actual time, emerging from depth psychology and multi-plexing in overview dispersive structures; time shift traces of my threshold instant performance in the bottom of the Lake of Mornos, Greece 1990.



Project Myth/Network was launched in the Museum of Modern Art of Joensuu Finland, PAND Meeting of the Worlds conference 1990.
Archives: Project Myth/Network: emst.gr/gr/collections National Museum of Modern Art archives code 1595. Donation: Xagoraris 1991.









They wrote:
"Under-determination is transcribed in the work of Poly Kasda as scattered traces of language, objects, performances...which may reveal or conceal the true meaning, the core of her objectives. A core attracting into its orbit scientific theories of computational and cognitive science along with the philosophical and applied concepts of experience".
Mariana Ziku, art historian, Under-determination in poly Kasda's work, Stoa tou Vivliou, 2/6/2016 Athens

"She manages with a pre-scientific  way’ Paracelsus, Leonardo’s , the witch-doctor’s and Huomo Universalis’ to connect the tangible with the intangible and to  manifest in front of our eyes invisible dynamic lines that lend to our world a little more meaning"
Dr. Yannis Almyrandis, Democritus  institute of bioscience research and applications, Over-determination in poly kasda’s work, 2/6 Stoa tou Vivliou Athens  

"At each and every point of her art, Kasda re-casts and re-interprets mythological and philosophical concepts bringing them back to life transfigured in aesthetic form of the highest quality".
Dr. Yael Navaro-Yashin 2010, anthropologist, essayist, senior university Lecturer, recommendation for EN, Cambridge 2010.

In Kasda's projects original and unpredictable social “language games” are set up and left to evolve creating a multitude of narratives”.
Dr. John Kontos, Artificial Intelligence Professor John Kontos needles Poly Kasda's  Conscious Eye”, NotiosAnemos/South Wind/Amazon 2015.

Through collective synergy sustained by pure subjectivity, her itineraries- maps enriched with graphisms- are transformed into an embodiment experience for the participants, tending to be reduced into abstraction, through logical elaboration and writing. To seek to enter in this dimension seems at first sight difficult, but, once you accept to make the effort, doors will open to unsuspected dimensions”.
Donatella Bisutti, poet, writer, editor, Polyxene Kasda Myth/Network”, La Clessidra 1/1995, Joker, Italy

"Project Myth/Network is a state which is configured as much by the artist as by the participants in her growing interactive web. It is an open system that evolves on many ontological levels”.
Elzbieta KoscielakΑICA art critic, “Myth/Network: The vision of an open system in Art”, The Network,, Govostis, Athens 3/2/1991.


By revisiting myth, Polyxene, crucial-timer artist, reconstructs history itself. Through the study of the landscape magnified by observation, scientific research, linguistic analogies and the involvement of residents in her work, her project is a precious “doc” important for future generations".
Dores Sacquegna, art-curator, gallery director, Celestial Fragments, Primopianogallery, Lecce, Italy.


She belongs to an ancient and ever actual existential forefront, as, by analogy, the Pythagorean and Orphic mysteries would seem advanced today. The ancient mystery with its three folds- τα δεικνύμενα (the things shown), τα λεγόμενα (the things said) και τα δρώμενα (the things done) – is the type and form of creation that inspires and expresses Polyxene Kasda”.
Victor Ivanovici, writer, essayist, literary critic, Athens 2005.


Polyxene Kasda is IAA UNESCO artist, studied Chemistry-Physics in A.U.C Cairo, graduated in Psychology-Sociology in A.C.G. Athens.