Concept of the Treasure hunt PAI 2011, by Polyxene Kasda

1. 

Treasure hunt cultural game Illustrations by Antonis Papantoniou/ Vim Viva

 

Tinkering with the Riddler's 'dark' fragments in the primordial landscapes of Samothrace

"Although the map was false, the treasure was real" Odysseas Papantoniou (6years old)

To be and not to be, this is the question

“In the same rivers we enter and we do not enter, we are and are not” (Heraclitus, fg.49a) 
The Game of the Hidden Treasure, on the Island of the Winds, is based on a deck of cards illustrated with the sites of the island to be discovered, while tuned to Heraclitus' antinomic fragments, that exert an immediate impact on our internal structure, that transcends common understanding. “What I understood is outstanding and what I did not understand is outstanding as well “ commented Socrates on the Riddler's centauric fragments, that throw us out of our conceptual bed and lead to 'awakening'.The object is perceived as a visible expression of the universal, waving us in the unified hyperspace that embraces the 'unexamined' sleepers' private space, while we look for the treasure; the PAI 'Lapis Exilis', hidden in the flanks of the Moon, as Mount Saos is called and in the depths of our soul.

The Walkers discover the sites on the map, through social intercourse with the locals and “listening to nature”(112), they install themselves in the complex of signs of the 'true nature” of this island, “which likes to hide”(123), feeling the 'evarestissis'; the pleasure of “God that transmutes like fire, which when mingled with incenses, is named according to the perfume of each”. (67). On their way to the infinite limits of their soul (45), they discover maddening fragments of the Cabirian mosaic related to Sacred Conjunction and “Fire with which everything is exchanged” (90). Sensitive information is blinking in the mythological/ linguistic spectrum of the Island of the Gods, where, “Mortals/ Immortals, Immortal/ Mortals interchange, one lives the death of the other and the other dies the life of the one”(62)

 The Riddler's centauric fragments “do not conceal, nor do they reveal; they mean (simainei)” (93). We can approach their disconnected structure in an ambivalent way; “agchivasiin “(122), moving like a crab, in all directions, simultaneously, around the antinomic nucleus that keeps us stretched in the high frequencies of agchinoea (Water nymph Agchinoe is Cabiro's mother..).

The insisting paradox produces, through its internal friction of opposites, Presence (parondopoiissis) and leads to transfiguration. We wake up, Deus condescende, in the light of the 'Second Sun', 'the sun of those who undergo paideia' (134).

 Tinkering with the foundation blocks of western philosophy, the Walkers confect their own path, “each, growing according to his missing” (126b), while looking for himself (101). Athena is the protectress of the island and they open themselves up to the universal pleasure of Wisdom “that rules everything through everything”(41), “that is apart from everything “(108)!.“Listen to the logos not to me” (50) advices the Dark one.

  For Heraclitus, primordial substance, part of which is the world, is spirit and matter, at the same time; his antinomic thinking is in line with the contemporary quantomechanical view of the world.

In this stochastic project of self/ environmental ecology, we open the challenge for the emergence of a prismatic, ontological approach to our world; a perceptual shift from an Egocentric to a Logocentric mode of existence. 

  The PAI Lapis Exilis,'“which is resting in its change“(84a), will remain on the island, in the hope that it will attract, in its morphic fields of resonance, future generations, challenging them to investigate, anew, that ever-promiscuous/ ever- virgin landscape, where “the sun is new everyday” (6), where “you cannot step in the same river twice”, actually, not even once; “we are and we are not”!! (49a).

To be and not to be this is the question in a culture, with transhuman reach, where the profane is obvious (profanes), where God lives in the fireplace where “the way up /down is one and the same” (60)

 Our map will “grow out of itself “(115); a dispersive structure continuously enriched by the participants' real life experiences, through an interactive internet social game (undertaken by the the local association IDEA), with the prospect to formulate new pertinent questions,“increasing the world's enigma with their light” ( Blaga), or, with their darkness..
The deck PAI 2011, illustrated by Antonis Papantoniou/ Vim Viva, is an experimental artistic landmark of our irresistible urge, in this critical escalating transition age, to strip of and fill our world with meaning; vertically connected to our primordial principle (ΠAI), to carve our exit to the future.

Bibliography

-K. Axelos, Heraclite et la Philosophie, Les Editions de Minuit, 1962.

-L. Blaga, Trilogie de la Connaissance, Librairie du Savoir, Paris,1992

-C.Jung, C. Kerenyi, Essays on a Science of Mythology, Princeton Univ. Press,1969

-P. Kasda, PAI (Les Sept Dormants, coed. Lucian Blaga University press,1997)

Details on the Samothrace Game designed and organized by the  local IDEA  culltural association group  will be delivered as soon as possible.

polyxenekasda.blogspot.com