tag:blogger.com,1999:blog-55396395543040280372024-03-13T07:59:11.852-07:00Urania's GardensUrania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comBlogger111125tag:blogger.com,1999:blog-5539639554304028037.post-65305691612987474402020-05-12T01:31:00.001-07:002020-05-12T01:45:49.096-07:00 Home/Network 1995-1997, bio-affective topology and the expansive dynamics of intimate space by PolyXene Kasda<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIQj4gg6stzeTJTRpi0_PcsG6Is1P9iI6b3DO1IBN-o8eQgMN4BDqzd8ozJ2HzmT4j9Er11mKo0U5jMJZZpmdki8B2EoalP4SYB1GEFaKYK_hwgTddibXXmH679RAARnTOZMAQv4hpJbos/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="1010" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIQj4gg6stzeTJTRpi0_PcsG6Is1P9iI6b3DO1IBN-o8eQgMN4BDqzd8ozJ2HzmT4j9Er11mKo0U5jMJZZpmdki8B2EoalP4SYB1GEFaKYK_hwgTddibXXmH679RAARnTOZMAQv4hpJbos/s320/11.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">P. Kasda, Small Arctos detail installation in neighborhood Athens 97</td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-weight: normal;"><b>The recent lockdown reminded me of my Home/Network 97 acoustic-visual installation in my neighborhood in Paleon Faleron Athens. it was an immersive project on </b></span></span></span></span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><span lang="en-GB"><span style="font-weight: normal;"><b>the
expansive dynamics of intimate territories enriched by an interactive acoustic inter-balcony happening. The visual artwork consisted of an open air installation of old (1910) ceramic tiles extracted from my neighboring dilapidated building, on which i had painted the smiling faces of Small Arctos (our hibernating twin dedicated to Artemis). </b></span></span></span></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7OsWoSLGY0lkNaNCYZwPKUcycUq24T8xmfZ5WnAvOWWxhikJ8JQeydv3tyaHWnwlyuLHb1DX0c-KtAKWZwc3r5EbvpDhDLxNhtCw2chwdJFUF2VcLNJ-gjOg7GTSTn0uvENi61AEqDmk/s1600/retea2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7OsWoSLGY0lkNaNCYZwPKUcycUq24T8xmfZ5WnAvOWWxhikJ8JQeydv3tyaHWnwlyuLHb1DX0c-KtAKWZwc3r5EbvpDhDLxNhtCw2chwdJFUF2VcLNJ-gjOg7GTSTn0uvENi61AEqDmk/s400/retea2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB">P. Kasda, Casa/ Retea, Home/Network</span></span><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB">, Transilvania 1-2, Sibiu, Romania 1995 </span></span></span></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><b><span style="font-size: xx-small;">The above neighborhood project was based on my previous article <span style="font-size: xx-small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB">P. Kasda, Casa/ Retea, Home/Network</span></span><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB">, Transilvania 1-2, Sibiu, Romania 1995 in which i had described the expansion of my intimate space through my synchronization with the ancient Greek odonymic topology in which my house is embedded; Ploutonos, Artemidos, Aphrodite..</span></span></span></span></span><span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc;">, ancient vibrant sacred names unleashing in the present the repressed imagery of my deep
unconscious, which, I was now recognizing embodied in
the vigilant topology of Greece, an ontological riddle that is
incessantly defying our mortality under our feet.</span></span></span></b></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><b><span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc;">This article inspi</span></span><span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc;">red the great poet Mircae Ivanescu who after translating it from French to Romanian wrote a nine pages poem-elegy entitled </span></span></b></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: x-small;"><span style="font-family: Verdana, sans-serif;"><b><span style="font-size: xx-small;"><span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc;"><span style="font-size: xx-small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;">“</span></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><i>Hypothetical
voyage to Polyxenia in an immobile train”,</i></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;">
XVIIth Poetry Festival of Sibiu 18-22/10-1995. (copyright: Reseau Europeen de Poesie, Poly Kasda)</span></span></span></span></span></span></span></b></span></span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b>the 9 pages long elegy by Μircae Ivanescu, 95 <span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc; font-family: "calibri" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;"> (copyright: Reseau Europeen de Poesie, Poly Kasda)</span></span></span></span></span></span></b></span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b><br /></b></span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b><br /></b></span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b><br /></b></span>
<span style="font-size: x-small;"><b>γ</b></span></td></tr>
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<span style="font-size: small;"><i>“elle ecrit que sa
maison ouvre sa face vers la mer
</i></span><br />
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<span style="font-family: "times new roman" , serif; font-size: small;"><i>-tout
pres des lieux d'ou partaient</i></span></div>
<span style="font-size: small;">
</span>
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<span style="font-family: "times new roman" , serif; font-size: small;"><i>les
processions des torches pour eleusis-</i></span></div>
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</span>
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<span style="font-family: "times new roman" , serif; font-size: small;"><i>donc,
le</i></span><span style="font-size: small;"><i> soir,
quelquefois, elle renversait tout d'un coup,</i></span></div>
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</span>
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<span style="font-size: small;"><i>le
temps, ...</i></span></div>
<span style="font-size: small;">
</span>
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<span style="font-size: small;"><i>....
</i></span>
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<span style="font-size: small;">
</span>
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<span style="font-size: small;"><i>et
la, elle etait le temoin de cette marche vers-vers quoi? - et nous
sommes ici, a lire ce qu'elle ecrit - et</i></span></div>
<span style="font-size: small;">
</span>
<br />
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<span style="font-size: small;"><i>elle
est ailleurs -”et le silence est terrible”-</i></span></div>
<span style="font-size: small;">
</span>
<br />
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<span style="font-size: small;"><i>....</i></span></div>
<span style="font-size: small;">
</span>
<br />
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-size: small;"><i>Il
existe certaines verites, si proches de notre pensee</i></span></div>
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</span>
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<span style="font-size: small;"><i>qu'il
suffit que l'on ouvre ses yeux pour les voir-?</i></span></div>
<span style="font-size: small;">
</span>
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<span style="font-size: small;"><i>Et
sinon-ce serait seulement une plage et les pas </i></span>
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<span style="font-size: small;">
</span>
<br />
<div align="LEFT" style="margin-bottom: 0cm;">
<span style="font-size: small;"><i>se
perdant dans le sable“.</i></span></div>
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</span>
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<span style="font-size: small;">(a
suivre<i>)
</i><i><b>Mircae Ivanescu, </b></i></span><br />
<span style="font-size: small;"><i><b> </b></i><span style="font-style: normal;"><span style="font-weight: normal;">Mihae
Eminescu awarded poet.</span></span></span></div>
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</span>
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<span style="font-size: small;"><span style="font-family: "times new roman" , serif;">{</span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;"> from his nine pages long unedited elegy</span></span></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><i><b>
</b></i></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;"><b>“</b></span></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><i><b>Hypothetical
voyage to Polyxenia in an immobile train”,</b></i></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">
XVIIth Poetry Festival of Sibiu 18-22/10-1995, Romania, inspired by
her article </span></span></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB"><i>P. Kasda, Casa/ Retea, Home/Network</i></span></span><span style="font-family: "times new roman" , serif; font-size: xx-small;"><span lang="en-GB">, Transilvania 1-2, Sibiu, Romania 1995</span></span></span><span style="font-style: normal;"><span style="font-weight: normal;">}.</span></span></span></span></span></div>
<span style="font-size: small;">
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<span style="font-size: small;"><br /></span>
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<span style="font-size: x-small;"><i>Γράφει
ότι το σπίτι της ανοίγει προς τη θάλασσα</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>-πολύ
κοντά στα μέρη απ'όπου έφευγαν</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>οι
πομπές των δαυλών για την Ελευσίνα-</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>έτσι,το
βράδυ, που και που, αναποδογύριζε με
μιας,</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>τον
χρόνο, και, καθισμένη στο ανοιχτό παράθυρό
της κοίταζε</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>τους
νέους που πήγαιναν...</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και
γνωρίζοντας</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>εκείνη,
όπως και αυτοί, που έφευγαν </i></span>
</div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>προς
την ελευσινιακή νύχτα, ότι αυτό ήταν
το σημείο</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>της
αιώνιας επιστροφής, ότι αυτό θα άρχιζε,
και δεν θα τελείωνε-</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και
ήταν από πάντα, εδώ-έβλεπε</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>αυτό
που εμείς σ'αυτόν τον αναποδογυρισμένο
ξανά χρόνο-όμως αυτήν τη φορά</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>αντίστροφα,-δεν
μπορούμε παρά να φανταζόμαστε, με τα
μάτια κλειστά,</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και
ανυπόμονοι, ανήμποροι να θέλουμε να
ακολουθήσουμε τα όνειρά μας....</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και
εδώ, ήταν μάρτυρας αυτής της πομπής προς
-προς τι?- και είμαστε εδώ διαβάζοντας
αυτά που γράφει-</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>είναι
αλλού- “και η σιωπή είναι τρομερή-</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>et satan
nous vanne dans son cible” - ακούμε τα λόγια της...</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>....</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>κι
εμείς, είμαστε εδώ,</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>πιστεύοντας
πως αρκεί να ανοίξουμε τα μάτια μας για
να την δούμε,</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>και μη
κάνοντας αυτήν την κίνηση, τι να σημαίνει
αυτό?</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>Είναι
πραγματικά εδώ? Η πομπή θα φύγει
πραγματικά?</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>Και θα
μπορούσαμε να - την δούμε-εκείνη τα μάτια
ανοιχτά προς αυτήν την πλουραλιστική
υπόθεση? </i></span>
</div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>Υπάρχουν
ορισμένες αλήθειες, τόσο κοντινές στην
σκέψη μας</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>που
φτάνει να ανοίξεις τα μάτια για να τις δεις-?</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>Και
αλλιώς-θα ήταν μονάχα μια παραλία και
βήματα</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i>που
χάνονται στην άμμο.</i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: left;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i><b>Mircae
Ivanescu </b></i></span><span style="font-size: x-small;"> 1995</span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i><b>υποθετικό
ταξίδι προς τη Πολυξένη</b></i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i><b>σε
ένα ακίνητο τραίνο</b></i></span></div>
<div style="margin-bottom: 0cm; text-align: left;">
<span style="font-size: x-small;"><i><b>(μικρό
απόσπασμα)</b></i></span></div>
<div align="CENTER" style="margin-bottom: 0cm;">
<br /></div>
<div align="CENTER" style="margin-bottom: 0cm;">
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<div align="CENTER" style="font-weight: normal; margin-bottom: 0cm; margin-left: -1.25cm;">
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<b><span style="font-size: small;"><span style="text-indent: -0.5in;"><span lang="EN-US" style="background-color: #cccccc; font-family: "calibri" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;"> (copyright: Reseau Europeen de Poesie, Poly Kasda)</span></span></span></span></span></span></span></b></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-58827401085337630342020-05-07T07:39:00.004-07:002020-05-12T01:47:13.078-07:00ATTENTION FRAUD<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></td></tr>
</tbody></table>
<b><span style="font-size: x-large;">ΑΤΤΕΝΤΙΟΝ</span></b><br />
<b><span style="font-size: x-large;">The site (polykasda1.rssing.com) is a fraud using my name and the cultural contents of my blog to sell their filthy sponsored ads:</span></b><br />
<b>http://polykasda1.rssing.com/chan-58245065/latest.php?fbclid=IwAR3Fl_Gg2MBwwXLA69VB46f4hFfnO535DL6XncrccDvcdZY2CIp5C-OEJ4o </b></div>
Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-49737104852600783572020-04-23T02:55:00.003-07:002020-04-23T03:17:53.150-07:00Το Συνειδητό Μάτι 88, το βιβλίο φάντασμα που δεν λέει να παλιώσει <div dir="ltr" style="text-align: left;" trbidi="on">
<div class="_5w1r _3_om _5wdf" style="max-width: 164px; overflow-wrap: break-word;">
<div class="_4gx_">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr align="center"><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDDEfqu7aweZY4U2-MioniuYuPjc-SW5PopLQF_GX_NCgIR736W7ngs0KmNWTer5v_pJ5Qld35xT5y2XG1TajUdy_bCtvWpLMETzxK6hPML3H55G03t2H0TeUL2fWieL0pvV5nkS6h5UX/s1600/SM.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="394" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDDEfqu7aweZY4U2-MioniuYuPjc-SW5PopLQF_GX_NCgIR736W7ngs0KmNWTer5v_pJ5Qld35xT5y2XG1TajUdy_bCtvWpLMETzxK6hPML3H55G03t2H0TeUL2fWieL0pvV5nkS6h5UX/s400/SM.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="_5yl5">Η εξερεύνηση των</span><br />
<div class="">
<span class="_5yl5">υπολογιστών
και της προοπτικής τους ως τεχνητά συστήματα αντίληψης άνοιξε ένα
επαναστατικό πεδίο και στην τέχνη. Ο πειραματισμός με τη νέα
πληροφοριακή σημειογραφία και ο αναστοχασμός στις ανοίκειες διαστάσεις
της ψηφιακής οικολογίας δημιούργησε έργα και στον ελλαδικό χώρο από τη
δεκαετία του '80 και μετά, που διαδέχτηκαν την ηλεκτρική και ηλεκτρονική
τέχνη. Η υπολογιστική τέχνη και θεωρία της τέχνης είναι ένα κίνημα που
άρχισε πρόσφατα να ερευνάται και να ιστορικοποιείται διεθνώς, φέρνοντας
στο φως διεπιστημονικά έργα που μελετούν τις δυνατότητες των ψηφιακών
προγραμματιστικών δομών πέρα από τις λειτουργικές τους ιδιότητες, στις
γνωσιακές, συναισθητικές, συμβολικές και μαθησιακές τους εκφάνσεις. Το
κίνημα σηματοδοτείται στην Ελλάδα μετά τα μέσα τις δεκαετίας του 1980 με
το δοκίμιο της Πόλυς Κασδά "Το συνειδητό μάτι.
Τέχνη-Αντίληψη-Πληροφορική" (εκδ. Αιγόκερως, 1988). Το βιβλίο διερευνά
τις εννοιολογικές δομές πίσω από τα σύγχρονα κινήματα τέχνης,
χαρτογραφώντας κοινούς τόπους με τους συναπτικούς αντιληπτικούς
μηχανισμούς των υπολογιστών. "Το συνειδητό μάτι" αποτελεί </span><br />
<div class="_5w1r _3_om _5wdf" style="max-width: 164px; overflow-wrap: break-word;">
<div class="_4gx_">
<div class="_1aa6">
<div class="">
<span class="_5yl5">ορόσημο στη
νεότερη θεωρία της τέχνης και μια από τις πρώτες συναντήσεις τέχνης,
γνωσιακής επιστήμης και πληροφορικής, γύρω από την οποία δημιουργήθηκαν
νέες συνεργασίες, δίκτυα και έργα πολυμέσων. Η νέα αυτή διαλεκτική σχέση
μεταξύ φυσικών και τεχνητών γλωσσών και η εμβύθιση στα υβριδικά
περιβάλλοντα διεπαφής ανθρώπων και υπολογιστών, έχουν δημιουργήσει στο
πεδίο της τέχνης μια παρακαταθήκη συναρπαστικών εφαρμογών και θεωρητικών
εργαλείων που παραμένουν κατά βάση ανεξερεύνητα.</span></div>
<div class="">
<span class="_5yl5">Μαριάνα Ζήκου, Ιστορικός Τέχνης. </span></div>
</div>
</div>
</div>
<span class="_40fu" data-hover="none"><span class="_1z_2 _2u_d"><span class="_8sow"></span></span></span><span class="_40fu" data-hover="none"><span class="_1z_2 _2u_d"><span class="_8sow"></span></span></span><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-24813390945017131662018-10-23T07:16:00.003-07:002020-05-15T10:58:37.586-07:00Poly Kasda, Twixt Cup and Lip, surfing on the WB legendary spaces, Biennale of Western Balkans 2018<div dir="ltr" style="text-align: left;" trbidi="on">
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<![endif]--></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm5xGG-ndz_91ntGXZQFMLJXvrroFJKWQWNS7xymKWoJ3x8jKhLBthwn16x3unJwctS1afQuhMAaBw_Hmfl4c439cWfgspJizX_46IIlU9g1guXzMDlkjbvlTUCFFFivHy2Nf9TNfH9bkL/s1600/web+twixt+wb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;">
</a><br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Twixt cup and lip</span></b></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Poly</span></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 8.0pt;">xene</span></b><b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;"> Kasda</span></b></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Installation 200X1000cm, printed digital/manual images, 2018</span></b></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">The West Balkan Peninsula is undergoing a transitional
state of self-restructuring that raises issues of regional connectivity and
integration; a convergence challenge largely shaped by its geo-plastic
peculiarities formulated in its irrational and yet persisting dogmatic formulas
and legends. In a rudimentary attempt to raise mythical awareness and get
emotional proximity to this unexplored “virtual space of spectrality”
(Derrida), I started surfing on the Balkan legendary waves, leaving behind me a
panegyrikon trail of playful doodles. In so doing, I came across haunting figures
like the Albanian kallikantzaros and the terrible<span style="mso-spacerun: yes;"> </span>ما شاء الله Shtryga with the pale blue eyes..Ι
hovered over the Serbian well of </span><span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Ορφεύς</span><span lang="EN-US" style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;"> and the pyramid mountain Rtanj said to conceal a spaceship …I met the
Slavic three headed dragon Zmey and I witnessed the fly-harassed Bosnian bull
Tur balancing on a multieyed fish while carrying the globe on its back…</span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdvz48rZ8Y98zMcZEluUm2EuU51ggZOEmY7yqbU8TEGsMqt8LXgUwMJwkNJAnfQ30PAowgdZ4rPKKjC5hWbOz26vEmvJTbNx6oz8OUSH-z0VrslPB4OztGPb6cLrav9f052lByS2SuRt9d/s1600/bowb2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdvz48rZ8Y98zMcZEluUm2EuU51ggZOEmY7yqbU8TEGsMqt8LXgUwMJwkNJAnfQ30PAowgdZ4rPKKjC5hWbOz26vEmvJTbNx6oz8OUSH-z0VrslPB4OztGPb6cLrav9f052lByS2SuRt9d/s400/bowb2.jpg" width="400" /></a></div>
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<span style="font-family: "calibri"; font-size: 12pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Bio PolyXene Kasda</span></div>
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<span style="font-family: "calibri"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">PolyXene Kasda is homo sentient of Greek origin, grown in the drifting fields of cosmopolitan Alexandria-Lost (Egypt). Trained in fine arts at the Soeur Hermann Besancon workshop in Alexandria, Egypt, she received her academic education in Physics-Chemistry in Cairo and Psychology-Sociology in Athens. Her project Myth/Network 1990-2017 is a psi-glued proposal for the fluid self-immersive aesthetics of transience, expressed as an ideography of the WWW before its spreading (ΕΜΣΤ, archive code 1595, 91), rhizomatic structures (Cultural Contribution Award University of Lucian Blaga, Sibiu 07), multi-sensorial hybrid mappings, topos-engendering RL Boardgames, linguistic/numerical structures (Honorary Medal EETE 09), innovative material PXK (Golden Medal OFA Beijing 08, Best Artwork Award PrimoPianoGallery Lecce 17), inter-space imagery and horticultural -metaphor- generated SAGA projects (Life Achievement Award Visionary Art, Lecce, Italy 17). She lives in Athens, she works everywhere.</span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-7934112702223832392018-04-30T03:20:00.001-07:002019-05-27T04:30:00.251-07:00poly kasda doodling her inter-projects' "waiting factor"<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWoTpyZAS4HywAlQchz7Bm0WKDbQiNyZKb6Et7WGsQBdJttzk6DQ6y9v1gPuleocLn6SYEZpdyAN0ukmtcCZYYCKYtGFozo-vFDic7CtLvuI8ai_gMraW1hXsfUpSsF70AZY6Y9CjZ15mn/s1600/poly+austin+2018.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="735" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWoTpyZAS4HywAlQchz7Bm0WKDbQiNyZKb6Et7WGsQBdJttzk6DQ6y9v1gPuleocLn6SYEZpdyAN0ukmtcCZYYCKYtGFozo-vFDic7CtLvuI8ai_gMraW1hXsfUpSsF70AZY6Y9CjZ15mn/s200/poly+austin+2018.jpg" width="153" /></a></div>
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<span style="font-size: x-small;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">PolyXene Kasda, Egypt-born, ‘neither-artist-nor-writer’
Greek homo sentient, studied Fine Arts at the Soeur Hermann Besancon workshop
in Alexandria, Physics - Chemistry in A.U.C Cairo and Psychology - Sociology in
ACG Athens. In her long artistic and writing career she has been haunted by Something
Essential Missing (Kasda, SEM 90), the transcendence (Xene) / immanence (Poly)
interface, liminality, spectrality, myth, the intangible and perception in art,
consistently occupied with the improvisation of new materials (PXK ) and metissian
processes of space generation, experimenting with forms of Agro-Social Action
Generative Art (Kasda, Uranias Gardens 09-17) and visionary
pragmatism (Visionary Art Life Achievement Award 17). She is an
international multi-awarded artist. Her latest artwork was Twixt Cup and Lip,
Surfing on the WB legendary spaces, a 200X1000 cm painting+digital print
installation for the Biennale of the West Balkans 2018 Greece.</span></span><span style="font-size: x-small;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Her book “The Conscious Eye: Art-Perception-Informatics”
(1986) marks the beginning of the art theory and artificial intelligence
discourse in Greece (Zikou, 2017). </span></span></div>
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<span style="font-size: x-small;"><span lang="EN-US">Poly in Austin Texas Oct. 2018</span><span lang="EN-US" style="font-family: "Times New Roman", "serif";"></span></span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-54558083467101354692018-04-12T23:28:00.000-07:002020-04-06T03:27:02.128-07:00"Μητιόεντα τεχνάσματα στο Τρίτο Γένος"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaAnps-jev6Kn-hC9DGtb7FzMQh7crnOWvQGFb4rdNdY7AtlyWy0LKyunO-vJ38XUhhMrLQAukpYg4LI4uD_nneuw0Rs9g_R9XO0t29-5Cug7emMz5aRzRlwrtRQLpY9fV_Xj_art5EXLo/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="1090" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaAnps-jev6Kn-hC9DGtb7FzMQh7crnOWvQGFb4rdNdY7AtlyWy0LKyunO-vJ38XUhhMrLQAukpYg4LI4uD_nneuw0Rs9g_R9XO0t29-5Cug7emMz5aRzRlwrtRQLpY9fV_Xj_art5EXLo/s640/1.jpg" width="640" /></a></div>
"Μητιόεντα τεχνάσματα στο Τρίτο Γένος" δεκαπεντάλεπτη εισήγηση της Πόλυ Κασδά αύριο Σάββατο 14/4, στις
11 το πρωί, στο Sυμπόσιο Aνεξάρτητης Tέχνης, στο ΕΜΣΤ (πρώην ΦΙΞ).<br />
<br /><a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DGwVQBYbIcmw&h=ATNOO6215pcNmi11rbzrfeoZu5znDl2vXt8DNAr1vpZziYdMlxabGjr07l_HNlri1Xgg-2fXg_7F7l5rgnOaKquJyuCKJqlaXyzgHoqY2HOac1vd5WH2XcwiAAJcLyE06Z7bH41fFfmRxIfR6UQQAfwSs4nz42RYwW4naXb7Vbz3OqMkTcUdxeQf2SRprcj3DEUJDrY2MuJ5Qfsn39dBIGsb4FTP2HWyJM6gTS1NIx4c1rtafDF9zYwqgYwKUbVOU6dbYmLPI8cu-56q-_EwQLYhmf9DA0PFKfGFqTH9XwtP" href="https://www.youtube.com/watch?v=GwVQBYbIcmw" rel="noopener" style="background-color: white; color: #365899; cursor: pointer; font-family: Helvetica, Arial, sans-serif; font-size: 14px; text-decoration-line: none;" target="_blank">https://www.youtube.com/watch?v=GwVQBYbIcmw</a><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-18993975460760288232017-12-21T05:48:00.001-08:002017-12-23T07:55:28.814-08:00Merry Christmas and Happy New Year 2018<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF1-FI8TouEh52I9W1OyaWQDaVeUgqFyioIq802cEGuUnqleE8bWJjzzVxsQS8GZLB667JgiOeMjCVpxrLTo9h11FXAqy1IQJFAPFUulvuoNls1Qm49eX4qeeAJEHw8cILZ5tyt19d2w1W/s1600/seriedoodling1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF1-FI8TouEh52I9W1OyaWQDaVeUgqFyioIq802cEGuUnqleE8bWJjzzVxsQS8GZLB667JgiOeMjCVpxrLTo9h11FXAqy1IQJFAPFUulvuoNls1Qm49eX4qeeAJEHw8cILZ5tyt19d2w1W/s400/seriedoodling1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">@ Poly Kasda, Doodling Interlude, series 2017</td></tr>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-41916306979409326572017-11-11T00:04:00.002-08:002019-05-27T04:31:02.266-07:00Artificial Intelligence and Art Theory in Greece<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://lekseikones.wordpress.com/2017/11/04/on-the-connection-of-art-theory-and-artificial-intelligence-in-greece/" rel="bookmark" style="border: 0px; color: #222222; font-family: inherit; font-size: 26px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;">Art Theory and Artificial Intelligence in Greece</a></h1>
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by <b>Mariana Ziku</b></div>
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<span class="sep" style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Posted on </span><a href="https://lekseikones.wordpress.com/2017/11/04/on-the-connection-of-art-theory-and-artificial-intelligence-in-greece/" rel="bookmark" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; font-weight: bold; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" title="21:26">04.11.2017</a></div>
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A documentation of 30 years of cross-disciplinary research with dialog between Poly Kasda and John Kontos.</div>
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In this years conference “<a href="http://avarts.ionio.gr/ttt/" rel="noopener" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">Taboo, Transgression, Transcendence in Art & Science</a>” (26-28 May 2017, Ionian University, Corfu Greece) I presented an essay in an html format on the intersection of art theory and artificial intelligence in Greece through a case study and a critical approach.</div>
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You can browse the html presentation here: <a href="http://lekseikones.metartnet.com/ai-myth/index.html" rel="noopener" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">http://lekseikones.metartnet.com</a></div>
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<img alt="The adventures of the eye" class="alignnone wp-image-690" data-attachment-id="690" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The adventures of the eye" data-large-file="https://lekseikones.files.wordpress.com/2017/11/conscious-eye.gif?w=411&h=288?w=360" data-medium-file="https://lekseikones.files.wordpress.com/2017/11/conscious-eye.gif?w=411&h=288?w=300" data-orig-file="https://lekseikones.files.wordpress.com/2017/11/conscious-eye.gif?w=411&h=288" data-orig-size="360,270" data-permalink="https://lekseikones.wordpress.com/2017/11/04/on-the-connection-of-art-theory-and-artificial-intelligence-in-greece/conscious-eye/" height="288" src="https://lekseikones.files.wordpress.com/2017/11/conscious-eye.gif?w=411&h=288" style="border: 1px solid rgb(238, 238, 238); display: block; height: auto; max-width: calc(100% - 14px); padding: 6px;" width="411" /><br />
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Snippet from the film documentary <i>‘The adventures of the eye’ (Οι περιπέτειες του ματιού) </i>by Poly Kasda, directed by Marc Gastine, TV show Periskopio, Athens, Hellenic Radio Television, 1986</div>
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The paper -soon to be included in the conference proceedings- is a follow up of my theoretical research in the cross-disciplinary field of art theory and artificial intelligence.</div>
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You can read the abstract below and the full paper in <a href="https://uoi.academia.edu/MarianaZiku" rel="noopener" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">Academia</a>:</div>
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<span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Title</b><br />Art Theory and Artificial Intelligence in Greece: A documentation of 30 years of cross-disciplinary research with dialog between Poly Kasda and John Kontos</span></div>
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<span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Abstract</b></span><span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The essay aims to bring forward the ongoing collaboration of artist-writer Poly Kasda and professor of artificial intelligence John Kontos, who marked the beginning of the art theory, consciousness and artificial intelligence discourse in Greece in the mid 80’s, based on an original research.</span></div>
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<span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">To this end, the essay outlines three projects of Kasda‒Kontos collaboration in the course of 30 years, which explored the intersection of their threefold field of endeavor:</span></div>
<ul style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; list-style: square; margin: 0px 0px 1.625em 2.5em; outline: 0px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The film documentary ‘The Adventures of the Eye’ (1986)</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Kasda’s book publication ‘The Conscious Eye: Art – Perception – Informatics’ (1988)</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Kasda–Kontos’ joint book publication ‘Artificial Intelligence Professor John Kontos needles Poly Kasda’s “Conscious Eye”: Perception – Consciousness – Diegesis – Discovery – Creativity’ (2015).</span></li>
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<span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">In respect to Kasda–Kontos’ research in process, I will attempt a critical reflection between art theory, consciousness studies and artificial intelligence, stressing in particular the concepts of myth and mythical thought, which Kasda has explored persistently with original contributions through her long-term project Myth/Network (1990-2017).</span></div>
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<span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Keywords</b><b><br /></b></span><span style="border: 0px; color: black; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">art theory, artificial intelligence, consciousness, Poly Kasda, John Kontos, introspection, myth</span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-82750918245182650992017-09-11T01:21:00.002-07:002020-04-06T03:24:43.686-07:00Archive documentary Myth/Network (Κasda) - ντοκιμαντερ Μύθος/Δίκτυο (Κασδά). Photos Stefanos Samios <div dir="ltr" style="text-align: left;" trbidi="on">
<a data-ft="{"tn":"-U"}" data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DGwVQBYbIcmw&h=ATNOO6215pcNmi11rbzrfeoZu5znDl2vXt8DNAr1vpZziYdMlxabGjr07l_HNlri1Xgg-2fXg_7F7l5rgnOaKquJyuCKJqlaXyzgHoqY2HOac1vd5WH2XcwiAAJcLyE06Z7bH41fFfmRxIfR6UQQAfwSs4nz42RYwW4naXb7Vbz3OqMkTcUdxeQf2SRprcj3DEUJDrY2MuJ5Qfsn39dBIGsb4FTP2HWyJM6gTS1NIx4c1rtafDF9zYwqgYwKUbVOU6dbYmLPI8cu-56q-_EwQLYhmf9DA0PFKfGFqTH9XwtP" href="https://www.youtube.com/watch?v=GwVQBYbIcmw" rel="noopener" style="background-color: white; color: #365899; cursor: pointer; font-family: Helvetica, Arial, sans-serif; font-size: 14px; text-decoration-line: none;" target="_blank">https://www.youtube.com/watch?v=GwVQBYbIcmw</a><br />
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<span style="font-family: "verdana" , sans-serif;">PolyXene Kasda, on the early stages of her 'abduction' in the spectral space of mythical consciousness, or, ΧΩΡΑ</span><br />
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<span style="font-family: "verdana" , sans-serif;"><a href="https://youtu.be/GwVQBYbIcmw">https://youtu.be/GwVQBYbIcmw</a></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Η </span><span style="font-family: "verdana" , sans-serif;">Πολυξένη Κασδά στα πρώϊμα στάδια της 'απαγωγής' της στα φασματικά πεδία της ΧΩΡΑΣ</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"></span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">The Temple of Metamorphosis covered with oysters in the lakebed of Mornos Greece. Photo Stefanos Samios 1990 </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmzzhW-ikh5xJAQC4sNXszlrq214wghSycXxpLz_hYvtm3IABPGSIU32Qxyk_HQX5ZKmqZp6e_RAfUpByvAMkN61Cii-PFJlsdkE09xNj4r_aQPey9tfNIhuR_VCvApikVNGWgiFyDHM6v/s1600/lacmornosperformance90.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="522" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmzzhW-ikh5xJAQC4sNXszlrq214wghSycXxpLz_hYvtm3IABPGSIU32Qxyk_HQX5ZKmqZp6e_RAfUpByvAMkN61Cii-PFJlsdkE09xNj4r_aQPey9tfNIhuR_VCvApikVNGWgiFyDHM6v/s400/lacmornosperformance90.jpg" width="261" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Performance PolyXene Kasda in the Temple of Metamorphosis sunk in the lakebed of Mornos Greece. Photo Stefanos Samios '90</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFibuTrwSZhrdPnkgTCH-V5zzDDuXAWzJfsxO103JcqwYQcoBjhGkGqy-gnDc88sdDolUWbHdqY8nOtLHncW0ZX2Trrjsq2CykrIYBGC1bcQeePKSijS24EIC-oTVkTuYChtMB-9JfBM6R/s1600/03a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="282" data-original-width="443" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFibuTrwSZhrdPnkgTCH-V5zzDDuXAWzJfsxO103JcqwYQcoBjhGkGqy-gnDc88sdDolUWbHdqY8nOtLHncW0ZX2Trrjsq2CykrIYBGC1bcQeePKSijS24EIC-oTVkTuYChtMB-9JfBM6R/s400/03a.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chrysalis, Poly Kasda's performance in the Temple of Metamorphose sunk in the lakebed of Mornos, Ph. Stefanos Samios '90</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRV9JC5nqYmEfOsfUJpJsAFfXl3rnZbKjS-pKbI6k1-ZS3WPZaiQjG_zvMFeE-78gbmg6z8hGDS9hOtCmlgKhFX60HoEAHXamqx9ien45XgK_OmfvhIRLlCBeoX27H2yersbcOeSpBOQqu/s1600/06mornosinstallation.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="607" data-original-width="926" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRV9JC5nqYmEfOsfUJpJsAFfXl3rnZbKjS-pKbI6k1-ZS3WPZaiQjG_zvMFeE-78gbmg6z8hGDS9hOtCmlgKhFX60HoEAHXamqx9ien45XgK_OmfvhIRLlCBeoX27H2yersbcOeSpBOQqu/s400/06mornosinstallation.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chrysalii installation by poly Kasda in the lakebed of Mornos Greece. Photos S.Samios'90</td></tr>
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<span style="font-size: small;">The lime Chrysalii were disseminated to hundreds of artists and non-artists who installed them and documented them around the globe, creating in 1990 an ideography of the World Wide Web before its appearance </span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-80910515626899801712017-07-05T01:44:00.002-07:002019-03-07T01:21:25.902-08:00text by PolyXene Kasda for her Life Achievement Award, Visionary Art Italy 2017 <div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><b>Text by PolyXene Kasda for Visionary Art Life Achievement Award and Best Artist Award </b></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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.<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";"> I choose to start this intervention with one
insightful moment that shifted my point of view and has defined all my
subsequent work <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">“<i>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”</i> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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 20<sup>th</sup>c., revealed the linguistic-cognitive scaffold
of vision (references to structuralist and conceptual art) and triggered modern
crisis, mining with autognostic explosives our certainties.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"> 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).<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">The Conscious Eye 1988 was revived by A.I. Professor
who injected the old text, with contemporary research in Artificial
Intelligence and Machine Consciousness</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; font-size: 9.0pt; line-height: 115%;"> </span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">in the joint essay <i>Artificial
Intelligence Professor John Kontos ‘Needles’ Poly Kasda's Conscious Eye</i></span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; font-size: 9.0pt; line-height: 115%;">,</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">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. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">“ 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?”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">With this question my book The Conscious Eye 1988 was
completed and I was left with this viral Something Essential Missing.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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 t</span><span style="font-family: "calibri" , "sans-serif";">ο</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"> drift into
it to be able to comprehend incomprehensibly this matter which was other than
anything known.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"> 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</span><br />
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxv6kzx_xvpSw1-zo_z4Yj86Vk91KUZPpOt5FUVDbFsDu_pI3uJ1kxE1_yYQrAebHfxXCkd6eB2aHXM8z_UYLl9SDKThhhnvTuyjEA8NRUEBhBQK69CqySn55k9Odz8XsPrpbYA-axapN/s1600/g1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1134" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxv6kzx_xvpSw1-zo_z4Yj86Vk91KUZPpOt5FUVDbFsDu_pI3uJ1kxE1_yYQrAebHfxXCkd6eB2aHXM8z_UYLl9SDKThhhnvTuyjEA8NRUEBhBQK69CqySn55k9Odz8XsPrpbYA-axapN/s320/g1.jpg" width="226" /></a></span></div>
<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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.</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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.</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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, </span><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">restituting with chunks of
information mythically augmented spectral hyper-spaces </span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">without the
use of Virtual Reality technologies, through the consensual synesthetic
engagement of the participating poets. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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:<b> </b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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- <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">Special attention was given to the phasmatic affect
of ancient relics on our cognitive processes <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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 <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnXdgMAHlxOK7274dGpNodJY8ZU_bUgE-BZQKzy4Cjq0Mgu_l3ZV7-znyrjJBS9qnI-sBrfT8NrSRZysdH318kFRUTZwfCgiFR_uDITNJiVH-j2s9F_3nMdksWvHRAySl3rB9S9w8a2tD6/s1600/g11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnXdgMAHlxOK7274dGpNodJY8ZU_bUgE-BZQKzy4Cjq0Mgu_l3ZV7-znyrjJBS9qnI-sBrfT8NrSRZysdH318kFRUTZwfCgiFR_uDITNJiVH-j2s9F_3nMdksWvHRAySl3rB9S9w8a2tD6/s320/g11.jpg" width="320" /></a><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">Our current project under preparation is <b>Kadmus looks for Europe,</b> an Alphabet-centered
project<b> i</b>n 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.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-SFD0OShdypxRmFkjo9HBhBa_0ubjruaeqe0BAfEDXzvPab6dJXYv-vWlRwBVQaCYMfcsPBSqWcrIeT6xmRNgb7q3WB6jQNPW5xD8ZZFs4PKWPjed5HPdntM3jPgXYSgHu9q5IN63nVbQ/s1600/g13+.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-SFD0OShdypxRmFkjo9HBhBa_0ubjruaeqe0BAfEDXzvPab6dJXYv-vWlRwBVQaCYMfcsPBSqWcrIeT6xmRNgb7q3WB6jQNPW5xD8ZZFs4PKWPjed5HPdntM3jPgXYSgHu9q5IN63nVbQ/s320/g13+.jpg" width="240" /></a><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">The
Lexomorphe generated by the numerical modeling of the Greek word CHRYSALIS is
the legendary Graal, that became a ‘speaking sculpture’ </span><span lang="IT" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">a public space monument installed in public space.
It is made with my innovative material </span><span lang="IT" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: IT;">PXK that represents my skin left
behind. The Chrysalis monument </span><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">hosted the
Olympic flame in 2004.<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif";">Is our impossible
object of desire incarnated in language itself? <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">Currently, I am involved in completing <b>Chiton Apeiros</b>,<b> </b></span><span lang="EN-US" style="font-family: "calibri" , sans-serif;">a floorwork inspired by Polyxene’s sacrificial cloak in
Sophocles tragedy</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">. A depotentiation shroud made with</span><span lang="EN-US" style="font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;"> patches of my Olympic Chrysalis monument</span><span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">. It is the
final part of my <b>PXK Route global
installation 2004-2017</b>. Here are 30 pieces of this material PXK shreds of this global installation. </span><br />
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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 Yοung’s archetype of the Child (PAI), that
‘psychic organ’ that allows us to mystically participate in the emanation of
Being in the world? <o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">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.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">Project Myth/Network is an intercalage of presents
springing from the same principle performed on the game- changing threshold of
the 21<sup>st</sup> century. Could its 4D noetic structure be echoing the
dispersive configuration of the “Aeon that is PAI (Child) at play” ? (Heraclites)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">It could be so and it could be otherwise” (Socrates).<o:p></o:p></span><br />
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<span lang="EN-US" style="font-family: "calibri" , "sans-serif"; mso-ansi-language: EN-US;">PolyXene Kasda Italy Lecce 14/5/2017</span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-46131499298378133002017-05-17T04:32:00.003-07:002020-07-30T03:28:15.477-07:00Το Βραβείο. The Award.<div dir="ltr" style="text-align: left;" trbidi="on">
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-75995653913008525952017-05-12T23:52:00.004-07:002020-04-06T03:28:01.681-07:00PolyXene Kasda bio updated<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://polykasda, bio updated"></a><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-22844172825901827652017-03-06T04:31:00.002-08:002017-04-29T00:04:00.744-07:00Life Achievement Award στην ΠολυΞένη Κασδά, Visionary Art Italy 2017<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Life Achievement Award </span></b><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif; font-size: 12pt;">στην Πολυξένη Κασδά στις 14/5/2017 στην Ιταλία<o:p></o:p></span></div>
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<a href="https://visionaryartexpo.wordpress.com/special-project/talk-show/"><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">https</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">://</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">visionaryartexpo</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">.</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">wordpress</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">.</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">com</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">/</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">special</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">-</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">project</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">/</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">talk</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">-</span><span lang="EN-US" style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">show</span><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">/</span></a><span class="MsoHyperlink"><span style="background: #F6F7F9; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
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<span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Το</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> <b>Lifetime Achievement Award </b></span><span lang="EN-US" style="background: white; color: #333333; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Visionary Art </span><span style="background: white; color: #333333; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">2017 </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">θα επιδοθεί σε τέσσερις </span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">προσωπικότητες
</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">του Λόγου και των Τεχνών: την</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> <b>Grimanesa</b></span><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Amor</span></b><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">ó</span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">s</span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">(</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Νέα
Υόρκη), τον</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> <b>Rien</b></span><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">V</span></b><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">ö</span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">rgers </span></b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">(Ολλανδία), τον</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> <b>Sauro</b></span><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Cavallini</span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> (</span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Ιταλία)
κα</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">i </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> την</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Πολυξένη
Κασδά</span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><b><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">από την
Ελλάδα.<o:p></o:p></span></div>
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<span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Η Κασδά
επιλέχθηκε </span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">για το
διεπιστημονικό της </span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> project</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Μύθος/Δίκτυο
1990-2017</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">και για
το δοκίμιο</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">της <i>Το Συνειδητό Μάτι</i>, Τέχνη- Αντίληψη- Πληροφορική (Αιγόκερως
1998) με θέμα την ενδοσκοπική διάσταση της τέχνης του 20<sup>ου</sup> αι. που προσφάτως
επανακυκλοφόρησε στα αγγλικά εμπλουτισμένο με τις τελευταίες έρευνες στην
Τεχνητή Νοημοσύνη: </span><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Artificial Intelligence Professor</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">John</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Kontos</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">‘</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">needles</span></i><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">’ </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Poly</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Kasda</span></i><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">'</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">s</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Conscious</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Eye</span></i><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">,</span></i><i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> Notiosanemos</span></i><i><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">/</span></i><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Amazon </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">2015.</span><span lang="EN-US" style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> </span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
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</w:wrap></v:imagedata></v:shape><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Η Πρόταση <b>Μύθος/Δίκτυο (1990-2017)</b> είναι ένα σύστημα που
πηγάζει από την ψυχολογία του βάθους και πραγματοποιείται σε: <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="background: white; line-height: 13pt; margin: 0in 0in 2.85pt 21pt; text-indent: -0.25in; vertical-align: middle;">
<!--[if !supportLists]--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVjmo2J7mOpShMAi0zzjGtZ_MG2aAHjgoq00hJfnyyJtvpzTLo1X4fgY4-8U7KZ8rnsvQy0spwoP2czn0js8OmCQYExMGqPiaqe-PFvHVK9rNm4Ii8UABYRciGOqcfRzkRMbuakJ6npLry/s1600/Triptych+to+6pages+6+%25281%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVjmo2J7mOpShMAi0zzjGtZ_MG2aAHjgoq00hJfnyyJtvpzTLo1X4fgY4-8U7KZ8rnsvQy0spwoP2czn0js8OmCQYExMGqPiaqe-PFvHVK9rNm4Ii8UABYRciGOqcfRzkRMbuakJ6npLry/s320/Triptych+to+6pages+6+%25281%2529.jpg" width="150" /></a><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-fareast-font-family: Calibri; mso-fareast-language: EL;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">πολύκεντρες <b>εικαστικές εγκαταστάσεις</b>, 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…<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="background: white; line-height: 13pt; margin: 0in 0in 2.85pt 21pt; text-indent: -0.25in; vertical-align: middle;">
<!--[if !supportLists]--><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-fareast-font-family: Calibri; mso-fareast-language: EL;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Σημειολογικές χαρτογραφήσεις </span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">του ελληνικού
φασματικού τοπίου.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="background: white; line-height: 13pt; margin: 0in 0in 2.85pt 21pt; text-indent: -0.25in; vertical-align: middle;">
<!--[if !supportLists]--><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-fareast-font-family: Calibri; mso-fareast-language: EL;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Γλωσσικά </span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">παιχνίδια βασισμένα στην αρχαία Ελληνική κωδικοποίηση
της Ελληνικής γλώσσας.</span><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="background: white; line-height: 13pt; margin: 0in 0in 2.85pt 21pt; text-indent: -0.25in; vertical-align: middle;">
<!--[if !supportLists]--><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri; mso-fareast-language: EL;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">Αγρο-τεχνο-ψυχοκοινωνικές δράσεις </span></b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">σε μυθικά φορτισμένες, πολιτισμικά παραμελημένες
περιοχές της Ελλάδας </span><a href="http://uraniasgardens.blot.gr/"><span lang="FR" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">http</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">://</span><span lang="FR" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">uraniasgardens</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">.</span><span lang="FR" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">blot</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">.</span><span lang="FR" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif;">gr</span></a><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">. </span><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoListParagraphCxSpLast" style="background: white; line-height: 13pt; margin: 0in 0in 2.85pt 21pt; text-indent: -0.25in; vertical-align: middle;">
<!--[if !supportLists]--><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri; mso-fareast-language: EL;">-<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">Αφηγηματικά άρθρα και δοκίμια</span></b><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;"> όπου επεξεργάζεται και συνδέει τις
εμπειρίες της με ακαδημαϊκές έρευνες.</span><b><span style="color: #3d596d; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
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<div class="MsoNormal" style="background: white; line-height: 13pt; margin-bottom: 2.85pt; vertical-align: middle;">
<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">Για το έργο της έχει ήδη βραβευτεί με το Αργυρό Μετάλλιο του Παν/μίου </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">Lucian Blaga </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">του Σιμπιού Ρουμανία 2007 και με Χρυσό Μετάλλιο από την </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">O</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">λυμπιακή </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">E</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">πιτροπή του Πεκίνου </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">Olympic Fine Arts</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;"> </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: Calibri, sans-serif;">2008<o:p></o:p></span></div>
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Μουσείο Σύγχρονης Τέχνης του Ιοενσού, συνέδριο </span><span lang="EN-US" style="background: white; color: #333333; font-family: "Calibri","sans-serif"; font-size: 9.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;">PAND</span><span style="background: white; color: #333333; font-family: "Calibri","sans-serif"; font-size: 9.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-hansi-theme-font: minor-latin;"> Συνάντηση των
Κόσμων, Φινλανδία 1990<o:p></o:p></span></div>
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καλλιτεχνών ΕΜΣΤ. Κωδικός εισαγωγής 1595. Δωρεά Ξαγοράρη.<o:p></o:p></span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-46377944709361486952016-09-04T20:58:00.001-07:002016-11-26T03:42:25.911-08:00Αυτό δεν είναι αυτό που φαίνεται να είναι. Τι είναι? This is not what it seems to be. What is it?<div dir="ltr" style="text-align: left;" trbidi="on">
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-65620332519908813962016-08-18T23:40:00.001-07:002017-03-08T05:20:06.429-08:00Cultural botanology, by PolyXene Kasda (art-based research on-the-make,continuously revised)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: right;">P. Kasda, Chrysalis2, Chaos Aghia Triada, Greece. Photo:S. Samios1990</td></tr>
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<b style="text-align: left;"><span lang="EN-US" style="font-family: "arial" , sans-serif;"> Uranias gardens, synopsis and the birth of a new project</span></b></div>
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<span style="font-size: xx-small;"><i><span lang="EN-AU" style="font-family: "calibri" , sans-serif;">“</span></i><i><span lang="EN-US" style="font-family: "calibri" , sans-serif;">At intervals,
the entangled n-dimensional flow of my project was freezing by my intercepting
observation and was recalibrated in the analogous time frame”.</span></i></span><span lang="EN-GB" style="font-family: "calibri" , sans-serif;"><span style="font-size: xx-small;">P. Kasda, </span></span><i><span lang="EN-US" style="font-family: "calibri" , sans-serif;"><span style="font-size: xx-small;">Mein poezie is
een reis in de geegtelidjke textuur vaan het land, 3000 Letters X, The Seven
Sleepers Leuvain 1994</span></span></i></div>
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<i><span style="font-family: "times" , "times new roman" , serif;">"For an elktikon hemar</span></i><i><span style="font-family: "times" , "times new roman" , serif;">* </span></i><i><span style="font-family: "times" , "times new roman" , serif;">of 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.</span></i></div>
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<i><span style="font-family: "times" , "times new roman" , serif;"> 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. </span></i><br />
<i><span style="font-family: "times" , "times new roman" , serif;">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</span></i><i><span style="font-family: "times" , "times new roman" , serif;">"anagnoristikon meidiama"*** the</span></i><i><span style="font-family: "times" , "times new roman" , serif;"> hermetic ancient symbols i was stumbling upon, during my parcours in the phasmatic topology of Greece...</span></i><br />
<i style="line-height: 17.6px;"><span style="font-family: "times" , "times new roman" , serif;">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..</span></i><br />
<i style="line-height: 17.6px;"><span style="font-family: "times" , "times new roman" , serif;">During this self-combustive process I kept on stumbling concretely on powerful abstract concepts, rediscovering them anew, </span></i><i><span style="font-family: "times" , "times new roman" , serif;">forepacing, at times, tech innovations and discoveries. </span></i><br />
<i style="line-height: 17.6px;"><span style="font-family: "times" , "times new roman" , serif;">By formulating my projects' praxes, in </span></i><i><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 17.6px;">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</span></span></i><i style="line-height: 17.6px;"><span style="font-family: "times" , "times new roman" , serif;">...</span></i><i style="font-family: times, "times new roman", serif;">". </i></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">*ελκτικόν ήμαρ: attractive time-chunk of nowness</span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">**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.</span></span></span></span></span><i><span style="font-family: "times" , "times new roman" , serif;"> </span></i><br />
<i><span style="font-family: "times" , "times new roman" , serif;">***</span></i><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><i>anagnoristikon meidiama:</i>reference to</span><span style="font-size: x-small;"> </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">a special type of knowledge through identification of the seeker with the sought,</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">****'</span></span></span></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">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"</span><br />
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;"><i><br /></i></span></span></span>
<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: normal;">*****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..</span></span></span><br />
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<b style="font-family: times, "times new roman", serif; font-size: x-small; line-height: normal;">Poly</b><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small; line-height: normal;">Xene</span><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small; line-height: normal;"><b> Kasda,</b><i> Metisse and the Heracleian Stone*****, or, the irresistible charm of real-life project-plotting (narrative essay on-the-make).</i></span><br />
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<span style="font-size: large;"><b style="line-height: 17.6px;">Uraniasgardens 2009-2016 projects*: the symfiliotic merging of actual /inner/ spectral space</b><b> </b></span><br />
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<b><span lang="EN-US" style="font-family: "arial" , sans-serif;">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 </span></b><b><span lang="EN-US" style="font-family: "verdana" , sans-serif;">outpacing the emerging psychosocial play states- </span></b><br />
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<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 9.5pt; line-height: 13.2pt;">Special attention was
given to </span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.6667px;">clues providing a psycho-anthropological synesthetic signature of each place</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 9.5pt; line-height: 13.2pt;"> :</span><br />
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<span lang="EN-US" style="background: white; color: #222222; font-family: "arial" , "sans-serif"; font-size: 9.5pt;">- the</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.6667px; line-height: normal;"> environment-subjectivity affective entanglement </span></div>
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<span lang="EN-US" style="color: #222222; font-family: "arial" , "sans-serif"; font-size: 9.5pt;">- the phasmatic affect of ancient relics on our
cognitive processes and </span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 9.5pt;">the possible restitution of
their ghost imprints that seem inseparable from our unconscious consciousness </span><br />
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<b style="background-color: transparent; line-height: 13.2pt;"><span lang="EN-US" style="font-family: "arial" , sans-serif; font-size: xx-small;">local benefits:</span></b><span lang="EN-US" style="background-color: transparent; font-family: inherit , serif; font-size: xx-small; line-height: 13.2pt;"> topological re-evaluations, myth- spectral and agro- space awareness, cross-cultural interchange, residents'creative involvement,<b><i> </i></b></span><span style="font-size: xx-small; line-height: 17.6px;">creation of permanent,</span><span style="background-color: transparent; font-size: xx-small; line-height: 13.2pt;">international polycentric art collections.</span></div>
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Sky, village/ network, for the Year of Astronomy</span></i></b><b><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">-2009</span></b><b><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">-</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGnD0Xt3RCkCPBDqxknV2ooJqNOq0sihjVJmJ4aDjZF1H2Soj0TWBmZSW5iD5Oon4mLoVQBNLx0a4In_gTZguIVncOIfG_pzUhzQ3bkicOF_L1bRczjaU77hOUE108YoOSeEfMH25x95ef/s1600/gergeriinauguration09.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: black;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGnD0Xt3RCkCPBDqxknV2ooJqNOq0sihjVJmJ4aDjZF1H2Soj0TWBmZSW5iD5Oon4mLoVQBNLx0a4In_gTZguIVncOIfG_pzUhzQ3bkicOF_L1bRczjaU77hOUE108YoOSeEfMH25x95ef/s200/gergeriinauguration09.bmp" /></span></a><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: xx-small;"> </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: xx-small;">overview</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: xx-small;"> </span><span lang="EN-US" style="line-height: 13.2pt;">polycentric
international art- constellation spread throughout the remote meteorite- showered
village Gergeri, Crete.</span><span lang="EN-US" style="line-height: 13.2pt;"> </span><br />
<span lang="EN-US" style="line-height: 13.2pt;">Crumbling traditional buildings, 17th c. watermills, elderly homes, abandoned old school were restored in one morning to this end. </span></div>
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<span style="line-height: 13.2pt;">Engagement of the
local youth, astrophysicists and shepherds.</span><br />
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<span style="line-height: 13.2pt;">O</span>bservation: 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.<br />
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).</div>
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<span lang="EN-US" style="font-size: 7.5pt;">Art co-curators Chrysa Vathiaanaki, Donatella Bisutti, Auspices Municipality
of Rouvas, now, Gortys</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span><br />
<span lang="EN-US" style="font-size: 7.5pt;">The dispersive installation was extended in Croisees d'Arts, Chateau London, France (c0-cur. K-Droz Paris)</span><br />
<span style="font-family: "times new roman" , serif; font-size: xx-small;"><br /></span><span style="font-family: "times new roman" , serif; font-size: xx-small;">relevant research-n</span><span style="font-family: "times new roman" , serif; font-size: xx-small;">arrative articles</span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, T<i>he
Gergerian Experience, </i>Artooth.gr articles</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
<span lang="EN-US" style="line-height: 13.2pt;">P. Kasda, <i>Gargling
Sky</i>, newspaper of the Greek Chamber of the Arts </span><span style="line-height: 13.2pt;">ΕΕΤΕ</span><span lang="EN-US" style="line-height: 13.2pt;">, nb.158</span><br />
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<span style="font-size: x-small;"><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span><span style="background-color: #f3f3f3; font-family: "georgia" , serif;">P. Kasda, <i>Γάργαρος Ουρανός </i>2009,
http://kasdapolyxene.blogspot.gr. 11/8/2011</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3KSozff2m55y5z5aTNVfx0o1u0jGmZ80MiyJEt4jAe3vExdkI_NoSVfIjrsTh_RdSYO2GBJX62ifIhPkZyV_rCnu4gft3_H6HIGCUpjVU7yjNr-54f67SKNWp3nD64OUHwlxmZX64Vbzy/s1600/pai1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3KSozff2m55y5z5aTNVfx0o1u0jGmZ80MiyJEt4jAe3vExdkI_NoSVfIjrsTh_RdSYO2GBJX62ifIhPkZyV_rCnu4gft3_H6HIGCUpjVU7yjNr-54f67SKNWp3nD64OUHwlxmZX64Vbzy/s200/pai1.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">from the Samothrace museum</span></td></tr>
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<span style="background-color: white;"><b><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">*</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Π</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">AI
-</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">2010-</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">:</span><span lang="EN-US"> Mythical foundation</span></i></b></span></div>
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<span style="background-color: white;"><b><span lang="EN-US"><span style="font-size: xx-small;">Trans-border,
transloci artworks and cultus performances on Aion as a Child /</span></span><span style="font-size: xx-small;"><i>Π</i><i><span lang="EN-US">AI</span></i><span lang="EN-US"> playing/</span><i>ΠΑΙΖΩΝ,</i></span></b></span><br />
<span style="background-color: white;"><b><span style="font-size: xx-small;"><i> </i></span></b></span><span style="font-size: xx-small;"><span style="background-color: white;"><b><span style="font-size: xx-small;"><span lang="EN-US"> inspired by Kasda's poetic narrative essay </span></span></b></span><b><span lang="EN-US" style="background: white; color: #666666; font-family: "trebuchet ms" , "sans-serif";">PAI, published in French, Flemish and Romanian by the Seven Sleepers Leuvain co-ed. Uni.Lucian Blaga Sibiu 1997</span></b></span><br />
<b><span lang="EN-US" style="background: white; color: #666666; font-family: "trebuchet ms" , "sans-serif"; font-size: x-small;"><br /></span></b>
<span style="font-size: xx-small;"><span lang="EN-US" style="line-height: 13.2pt;">The event was e</span><span style="line-height: 13.2pt;">xtended in Bulgaria, Thebes, Patmos, Athens (Technopolis), Lecce Italy (Primopianogallery)..</span></span><br />
and were enriched by the local Children' forest installation:"Leleki (stork), leleki come back". <span style="background-color: white;"></span><br />
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<span lang="EN-US" style="font-size: xx-small;">Org. Union of
the Cultural Associations of Evros gen. secretary Katerina Kaltsou, Alexandroupolis, Samothrace</span><br />
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<span style="font-size: x-small;"><span style="font-size: 7.5pt;">Site benefits:</span><b><i><span style="font-size: 10pt;"> </span></i></b><span style="font-size: 7.5pt;">Permanent<b><i> </i></b>international EPOFE art collection <i>ΠAI</i> in Alexandroupolis-Samothrace</span></span><br />
<span style="font-size: x-small;">Exhibited in the Natural History Museum of Alexandroupolis.</span><br />
<span style="font-size: x-small;"><span style="font-size: 7.5pt;">art -.co-curators Dores Saquegna (Primipiano Italy) and Pierre Chirouze (K-Droz Paris).</span></span><br />
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<span style="font-size: x-small;"><span lang="EN-US" style="font-size: 7.5pt;">P. Kasda, </span><span style="font-size: 7.5pt;"><a href="http://uraniasgardens.blogspot.gr/2010/10/pai-2010-c0ncept.html"><span lang="EN-US" style="color: #888888; mso-ansi-language: EN-US;">PAI 2010 concept</span></a></span><span lang="EN-US" style="font-size: 7.5pt;">,</span><b><span lang="EN-US" style="background: white; color: #666666; font-family: "trebuchet ms" , "sans-serif";">“The eon is a child playing, tossing {dice}; the kingdom is the Child’s”
Heraclites. Uraniasgardens 6.10.2010.</span></b></span><span lang="EN-US" style="font-size: 13.5pt;"><o:p></o:p></span><br />
<span style="font-size: x-small;"><b><span lang="EN-US" style="background: white; color: #666666; font-family: "trebuchet ms" , "sans-serif";">P. Kasda, PAI, the Seven Sleepers Leuvain co-ed. Uni.Lucian Blaga Sibiu 1997</span></b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0OFvUbFkuxIihOhJv-k9v2s3_UKEkGa4Kbur-c-aydGA0ltF_RVNIbVS42hpjFynJU76Gqjqirs_RjD9dtjZvIjmEzZ1BNzcB3EHIN-4bbTbwvZM6IArlQXrEqbzrmcEzi4H2O2plNDGY/s1600/Card2_Pai_V3%25282%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0OFvUbFkuxIihOhJv-k9v2s3_UKEkGa4Kbur-c-aydGA0ltF_RVNIbVS42hpjFynJU76Gqjqirs_RjD9dtjZvIjmEzZ1BNzcB3EHIN-4bbTbwvZM6IArlQXrEqbzrmcEzi4H2O2plNDGY/s200/Card2_Pai_V3%25282%2529.jpg" style="font-family: verdana, arial, sans-serif; font-size: 11.05px; line-height: 12.155px;" width="200" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX1mFe_Xs1-YzWdF-83nutONSLrMfcj5nzFAmdEbNfWEjrlDp50vdKUUxuPrFZNub2-S-czTAx09xlb_JeS7NLJ_-_V7gNDj1bEVpkKrXrLABdt32yFnD6brJ131YY1ZkL9Z68AoS91kh9/s1600/SampleCard2%25282%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX1mFe_Xs1-YzWdF-83nutONSLrMfcj5nzFAmdEbNfWEjrlDp50vdKUUxuPrFZNub2-S-czTAx09xlb_JeS7NLJ_-_V7gNDj1bEVpkKrXrLABdt32yFnD6brJ131YY1ZkL9Z68AoS91kh9/s200/SampleCard2%25282%2529.jpg" style="cursor: move;" width="200" /></a><span style="background-color: white;"><span style="background-color: white;"><b><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">*The
Samothrace Game -</span></i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">2011<i>-, </i> </span><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "times new roman" , serif;">To be and not to be. Aye, this is
the question!: </span><span lang="EN-US" style="font-family: "times new roman" , serif;"><o:p></o:p></span></i></b></span><span lang="EN-US" style="background-color: transparent;">Looking for </span><b style="background-color: transparent;"><i>Π</i></b><span lang="EN-US" style="background-color: transparent;"><i style="font-weight: bold;">AI (</i>the Fugitive Child) in the Kabeirian island and in one's inner being, </span><span lang="EN-US" style="background-color: transparent;">with the risky ambiguous guidance of Heraclitus' antinomic Fragments.</span></span></div>
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<b>Psycho-physical reality game in the "virtual space of spectrality"(Derrida), favoring archetypal potentization, spectral /actual space transpositions, oscillations and intricate states of mind.</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGhiKOUhJSnZZZdv0H7cDCgZvGAAk-0_yQO3683rdRMxJc7wP5VRxPU5RJx-xHUXhsRw9K5sOQCUcesPklpTUbO4uIU3GUR5Z0fnwX97Ik_ocItf3MKS1jLu9Ilwbh2kFvMJweQAj4MDrq/s1600/%25CE%25BA%25CE%25B1%25CE%25B4%25CE%25B5%25CE%25B9%25CF%2581%25CE%25BF%25CE%25B9%25CE%25B8%25CE%25B7%25CE%25B2%25CE%25B1+002.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div>
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The landmark-images were remotely teledictated to game- imager Antonis Papantoniou in Athens, by the local residents<b>'</b> 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.</div>
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<span lang="EN-US">A time-capsule was inserted inside the neolithic
Gate of the Sun.</span><br />
<span lang="EN-US">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.</span><br />
<span lang="EN-US"><br /></span>
<span lang="EN-US"> Kasda's basic concept was enriched by a game created and organized by <span style="line-height: 13.2pt;">IDEA; an emerging local cultural association of residents, which morphed itself to this end..</span></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Concept
of the treasure hunt Looking for PAI 2011</i>, </span><span style="font-size: 8pt;"><a href="http://uraniasgardens.blogspot.com/"><b><span lang="EN-US" style="color: blue; font-family: "" sans-serif "" , "serif"; mso-ansi-language: EN-US;">http://uraniasgardens.blogspot.com</span></b></a></span><span lang="EN-US" style="font-size: 8pt;"> 2011</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial" , sans-serif; font-size: 8pt;">P. Kasda, Map of the hidden treasure PAI 2011in
Samothrace. Ibid</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #999966; font-family: "georgia" , "serif"; font-size: 7.5pt;">P. Kasda, </span></b><b><span style="color: #999966; font-family: "georgia" , "serif"; font-size: 7.5pt;"><a href="http://polyxenekasda.blogspot.gr/2011/01/pai-2011-treasure-hunt-game-in.html"><span lang="EN-US" style="color: #999966; mso-ansi-language: EN-US;">Treasure-hunt cultural
game PAI 2011</span></a></span></b><b><span lang="EN-US" style="color: #999966; font-family: "georgia" , "serif"; font-size: 7.5pt;">..//polyxenekasda.blogspot.com 9/1/11</span></b><b><span lang="EN-US" style="color: #999966; font-family: "georgia" , "serif"; font-size: 13.5pt;"><o:p></o:p></span></b></div>
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<span lang="FR" style="font-family: "times new roman" , serif; font-size: 13.5pt;"> T </span><i style="font-family: arial, sans-serif;"><b>*Tu vas a Tuva? oueh je vais a Ithaca -2011</b></i><span style="font-family: "arial" , sans-serif;">-..</span></div>
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<span lang="EN-US" style="font-family: "arial" , sans-serif;"><span style="font-size: x-small;">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 <i>The Ithaca-Salento experiment</i></span></span><span style="font-family: "arial" , sans-serif; font-size: x-small;"> to be/not to be realized in the future.</span><i style="font-family: arial, sans-serif; font-size: small;"> ....</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgymYPz-T1eDs3av8lLvNVafuXt3EJsYPvhkPhVQ7pJYrYtLnQ35qurN1WMVkDNVIS5wb_WBr357l9Qt8nRw3FCw1Tn2e-WQC6VBPV7ma_drs9LdSvXFLO3LVMdMDcxAeXO9Oy3IIdnolqv/s1600/I15-71-warpedi.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgymYPz-T1eDs3av8lLvNVafuXt3EJsYPvhkPhVQ7pJYrYtLnQ35qurN1WMVkDNVIS5wb_WBr357l9Qt8nRw3FCw1Tn2e-WQC6VBPV7ma_drs9LdSvXFLO3LVMdMDcxAeXO9Oy3IIdnolqv/s200/I15-71-warpedi.jpg" width="200" /></a><span lang="EN-US" style="font-family: "arial" , sans-serif;">A</span><span lang="EN-US"> 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 <i><b>SEM, </b>or, that<b> Something
Essential Missing </b></i><i> that heroic conscient element engrailed in our human unconscious, retroactively charged with our human entelechy,</i></span><i> that makes its power felt through the merciless attraction of its own void.</i></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"> </span><b><span style="color: #999966; font-family: "georgia" , "serif"; font-size: 7.5pt;"><a href="http://polyxenekasda.blogspot.gr/2011/12/tu-vas-tuva.html"><span lang="FR" style="color: #999966; mso-ansi-language: FR;">Tu vas a Tuva?</span></a></span></b><b><span lang="FR" style="color: #999966; font-family: "georgia" , "serif"; font-size: 7.5pt;"> http://www.polyxenekasda.blogspot.com
27.12.11</span></b></div>
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<span lang="EN-US" style="background-color: white;"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;">*«</span><b><i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;">Πιθ΄</span></i></b><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;"> </span><b><i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;">Ελλέβορον</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;">”/</span></i></b></span><span lang="EN-US" style="line-height: normal;"> </span><span lang="EN-US" style="line-height: normal;"><i>Pith'Ellevoron / </i></span><span lang="EN-US" style="background-color: white; line-height: 13.2pt;"><b><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 115%;">Drink Helleborus -2014- Physis and Pharmakon- </span></i></b></span><b style="line-height: normal;">botanology and madness.</b><br />
<b><i><span lang="EN-US" style="background: white; color: #666666; font-family: "arial" , sans-serif;">Agricultural topology affect on our cognitive processes </span></i></b></div>
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<span style="background-color: #cccccc; font-size: x-small;"><i>"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 ".</i> P. Kasda (Project diary 2014).</span><br />
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<span style="font-size: x-small;"><i>"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)</i></span><br />
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<tr><td class="tr-caption" style="text-align: right;"><span style="font-size: xx-small;">M.Manieri, Antikyra 2014</span></td></tr>
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<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The interactive SAGA performances were scattered all-over the town of Antikyra, Boetia, Greece, shock cross-cultural encounters eliciting brain-storming reactions..</span><span lang="EN-US" style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Helleborus is a
local herb known for healing madness.</span><span lang="EN-US"> </span><br />
<span lang="EN-US"><i>Pith'Ellevoron</i> is
an ancient Greek saying meaning "drink a sedative, stop talking crazy". </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 7.5pt;">Org. Allotropia local popular academy- artistic co-curator: Primopianogallery Italy, under the auspices
of the Greek Ministry of Culture.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 7.5pt;">Site benefits:
Permanent art and agro collection in Allotropia museum.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 7.5pt;"><br /></span><span lang="EN-US" style="font-size: 10pt;">http://uraniasgardens.blogspot.gr/2014/02/a-seed-project-is-sprouting-in-Antikyra</span><br />
<span lang="EN-US" style="font-size: 10pt;">poly Kasda, .</span><span style="font-family: "times new roman" , serif; font-size: 13.5pt;"><a href="http://uraniasgardens.blogspot.gr/2014/02/a-seed-project-is-sprouting-in-antikyra.html"><span lang="EN-US" style="background: white; color: #888888; font-family: "" "calibri" "" , "serif"; font-size: 10.0pt;">http://uraniasgardens.blogspot.gr/search014PROJECT
Drink Helleborus /"</span><span style="background: white; color: #888888; font-family: "" "calibri" "" , "serif"; font-size: 10.0pt;">ΠΙΘ</span><span lang="EN-US" style="background: white; color: #888888; font-family: "" "calibri" "" , "serif"; font-size: 10.0pt;">' </span><span style="background: white; color: #888888; font-family: "" "calibri" "" , "serif"; font-size: 7.5pt;">ΕΛΛΕΒΟΡΟΝ</span><span lang="EN-US" style="background: white; color: #888888; font-family: "" "calibri" "" , "serif"; font-size: 7.5pt;">!"
(pith'elevoron) continuously re-edit</span></a></span></div>
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<span lang="EN-US" style="background: white; font-size: 7.5pt;">P. Kasda, Pith'Elevoron/
Drink Helleborus http://festival.culture.gr/2014/10/</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US"><b>*Sphinx 2015-16, The Hidden Thebes Festival on the contagious effect of spectral Thebes. </b>O</span><span style="background-color: white; font-family: "times new roman"; line-height: normal;">ntological entanglement of man/nature/myth, </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIWjzEFtcN4kVGOiYUE9QtXPa999Z9r5ikDU1Mya6TpsnuF0G_2GiWHc9BDAx-N_5hJRDSiFe1XnNfuDxD8u04PvfA-Ka0VpnoefzTXNx3NjccqNkTOb-igp4YeoJf4hw0BefaETcgSlAG/s1600/sphinxposter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIWjzEFtcN4kVGOiYUE9QtXPa999Z9r5ikDU1Mya6TpsnuF0G_2GiWHc9BDAx-N_5hJRDSiFe1XnNfuDxD8u04PvfA-Ka0VpnoefzTXNx3NjccqNkTOb-igp4YeoJf4hw0BefaETcgSlAG/s200/sphinxposter.jpg" width="200" /></a><span style="background-color: white; font-family: "times new roman";">the Riddle of the Sphinx, or, the</span><span style="background-color: white; font-family: "times new roman";"> potentized incubation of our latency- the haunting affective presence of </span><span style="background-color: white; font-family: "times new roman";"> stone-walled Thebes</span><span style="background-color: white; font-family: "times new roman";">.</span><br />
<span style="background-color: white; font-family: "times new roman";"><br /></span><span style="font-size: x-small;"><span style="background-color: white; font-family: "times new roman";">pattern-setters, general curators: </span> </span><span style="font-size: x-small;">Konstantin Angelou</span><span style="font-size: x-small;">, Poly Kasda</span></div>
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<span style="font-size: x-small;">artistic co-curators: Dores Saquegna (visual arts), Maria Frangi (theatre), Maria Cheetara (architecture)</span><br />
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<span style="font-weight: normal;"><span style="background-color: white; font-family: "times new roman";"><span style="font-size: x-small;">Auspices: Athens School of Fine Arts -</span></span><span style="background-color: white; font-family: "times new roman"; font-size: x-small;"> Greek Ministry of Culture.</span></span></h2>
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<span style="background-color: white; color: #888888; font-family: "calibri"; font-size: x-small;">P. Kasda, </span><a href="http://uraniasgardens.blogspot.gr/2015/02/project-sphinx-2015-unveiling-invisible.html" style="background-color: white; color: #888888; font-family: calibri; font-size: small; text-decoration: none;">PROJECT SPHINX 2015 unveiling invisible THEBES, Greece, continuously re-edited.</a><span style="background-color: white; color: #888888; font-family: "calibri"; font-size: x-small;">25.2.15</span><br />
<span style="background-color: white; color: #888888; font-family: "calibri"; font-size: x-small;">P. Kasda, <i>When that word swallowed me,</i> Sphinx Festival of Hidden Thebes co-ed.Poesia e Conoscenza Milan 2016</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHHzV-1D5EM_cBRvkrGzKd4AH-clmGKeOarUNFKmp3aByziE4UlK2AN5iazyHHmJMyIv1GcNBrq322YPMzcVP8OM12WhpvSYIuFjQJF7vb053OxK_VBojiOD2J-_8Kzok_Zw0sDmbLAG6F/s1600/Parisweb_edited-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHHzV-1D5EM_cBRvkrGzKd4AH-clmGKeOarUNFKmp3aByziE4UlK2AN5iazyHHmJMyIv1GcNBrq322YPMzcVP8OM12WhpvSYIuFjQJF7vb053OxK_VBojiOD2J-_8Kzok_Zw0sDmbLAG6F/s1600/Parisweb_edited-1.jpg" style="cursor: move;" /></a><span style="font-size: xx-small;"><span lang="EN-US">The Sphinx Hidden Thebes Festival was an outgrowth of </span><b><i>"Miorita, Melusina and the Sphinx</i>",</b> <span lang="EN-US">Kasda- Angelou telecommunications project </span>probing “mioritic”unconscious space (Lucian Blaga), digital deterritorialization and <b>the critical instability of the culturally uninformed model of hybrid Europe</b>, s<span lang="EN-US" style="line-height: 13.2pt;">elected by Arscenic French Association for the twin Capitals of Europe 2007..</span></span><br />
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<span style="font-size: x-small;">P. Kasda, MIORITA, MELUSINΕ και η Σφίγγα των Θηβών: Tinkering με τα στοιχεία de differentes cultures. http://uraniasgardens.blogspot.com 8.10.14</span></h3>
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<b><span lang="EN-US" style="color: #999966; font-family: "georgia" , serif; font-size: 7.5pt;">P. Kasda, </span></b><b><span style="color: #999966; font-family: "georgia" , serif; font-size: 7.5pt;"><span lang="EN-US" style="color: #999966;"><a href="http://polyxenekasda.blogspot.gr/2011/12/design-2011.html">Project Miorita, Melusina and the Sphinx of Thebes, //uraniasgardens 2007</a></span></span></b></h3>
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<span style="color: #333333; font-family: "verdana" , sans-serif; font-size: 7.5pt;">P. Kasda, topologie syncretique europeenne,2014, http://polyxenekasda.blogspot.com</span></h3>
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<span style="background-color: lime;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><b><span lang="EN-US" style="color: #333333; font-family: "arial" , "sans-serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-font-kerning: 0pt;">*Sphinx 2017 Kadmos looks for Europe. Europe looks for Kadmos </span></b><span lang="EN-US" style="color: #333333; font-family: "arial" , "sans-serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EL; mso-font-kerning: 0pt;">(under
preparation)<i> 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</i></span></span></span><i><span style="background-color: lime; color: #333333; font-family: "arial" , sans-serif; font-size: x-small;"> spacetime bubble</span><span style="background-color: lime; color: #333333; font-family: "arial" , sans-serif; font-size: x-small;"> in which our next community experiment will/will not be held.)</span></i></h3>
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<span style="background-color: lime; color: #333333; font-family: "arial" , sans-serif; font-size: x-small;">G</span><span style="background-color: lime; color: #333333; font-family: "verdana" , sans-serif; font-size: x-small;">eneral concept/ pattern-setting curators: Konstantin Angelou, Mariana Zikou, Poly Kasda. </span><span style="background-color: lime; color: #333333; font-family: "verdana" , sans-serif; font-size: x-small;">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.</span></h3>
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<span style="background-color: #cccccc; color: #333333; font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">"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. </span></span></h3>
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<b style="background-color: transparent; color: black; font-family: "times new roman"; font-size: medium;"><span style="font-family: "times new roman" , serif; font-size: large;">Myth/Network projects 1990-2009 underlying and sustaining the </span></b><b style="background-color: transparent; color: black; font-family: "times new roman"; font-size: medium;"><span style="font-family: "times new roman" , serif; font-size: large;">Uraniasgardens projects 2009-2016- :</span></b></h3>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: small;">- </span><i style="background-color: transparent; color: black; font-family: "times new roman"; font-size: medium; font-weight: bold;"> Code Lexomorphes, 1991- 2009 -2017-: </i><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: small; font-weight: bold;">the philosophical structure of Greek language.</span><i style="background-color: transparent; color: black; font-family: "times new roman"; font-size: medium; font-weight: bold;"> Greek words as mathematical entities. </i><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: small;">Speaking sculptures and cryptographic patterns</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: small;"> generated by the </span><span style="color: black; font-family: "times new roman"; font-size: small;"><span style="color: #333333; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="line-height: 17.68px;">n<b>umerical modeling of Greek words based on the Ancient Greek mathematical codification of the Greek alphabet</b></span></span></span></h3>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">P. Kasda, Lexomorphe ΑΝΘΡΩΠΟΣ</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0d4ZE4jl9XpLQhvxOVszKLP284InOYLACAllxj_S-RGlCSpqMBRS4RI2yOetXEOenOvdTzMaSSuBoyH7zHuOyTX6G-bT2iBsKbuHP0tgniKIghuyiuSA9LszwK1JBt_CXsO2THEiEB8K/s1600/30onoma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0d4ZE4jl9XpLQhvxOVszKLP284InOYLACAllxj_S-RGlCSpqMBRS4RI2yOetXEOenOvdTzMaSSuBoyH7zHuOyTX6G-bT2iBsKbuHP0tgniKIghuyiuSA9LszwK1JBt_CXsO2THEiEB8K/s320/30onoma.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">P. Kasda, A. Sitra. synthesis of Lexomorphes ΨΥΧΗ, ΟΝΟΜΑ, ΕΛΠΙΔΑ, ΑΝΘΡΩΠΟΣ</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjPo4-lasJVvsS23M7QSKR7W5b86rY0rA7kkFA4A1pkgvuevlS36OoGX5Qsnhw4wed7nTTBR6e-wtpbwp2WL1-s6p7FHGmwDl5AK-9dFeY2QyArAO7OLDBqCRY_87cjRMLtpPwTw_hdSJ/s1600/poly+images.04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjPo4-lasJVvsS23M7QSKR7W5b86rY0rA7kkFA4A1pkgvuevlS36OoGX5Qsnhw4wed7nTTBR6e-wtpbwp2WL1-s6p7FHGmwDl5AK-9dFeY2QyArAO7OLDBqCRY_87cjRMLtpPwTw_hdSJ/s400/poly+images.04.jpg" width="400" /></a></div>
participated in:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv4MEHTVuC98T_jY-ZYnbbXKeF5Ha88fgqGBTsscFKgdHErLmqw48_fU1WAa7gDXLYwfjCL_u8zfwk-lf3PBXrToA_Y2C1CsDMpozEAJOZW3rM_0Ri0ycMqTW3nDpiPooqCAX4fxXAq1Or/s1600/29roc.jpg" imageanchor="1" style="clear: right; float: right; font-size: medium; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv4MEHTVuC98T_jY-ZYnbbXKeF5Ha88fgqGBTsscFKgdHErLmqw48_fU1WAa7gDXLYwfjCL_u8zfwk-lf3PBXrToA_Y2C1CsDMpozEAJOZW3rM_0Ri0ycMqTW3nDpiPooqCAX4fxXAq1Or/s320/29roc.jpg" width="320" /></a><span style="font-size: xx-small;"><b><span style="font-family: "times new roman" , serif;"><span lang="en-US">-Structuralist exhibition </span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US"><i>Homage a Stazewski Concept/ Form, </i></span></span></b></span><b style="font-size: small;"><span style="font-family: "times new roman" , serif;"><span lang="en-US">Municipal Center of Athens 1991.</span></span></b></div>
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<span style="font-size: xx-small;"><b><span style="font-family: "times new roman" , serif;"><span lang="en-US"><span style="font-style: normal;">-Panhellenic Congress on Greek Language 2009</span></span></span><span style="font-family: "times new roman" , serif;"><span lang="en-US">, Old Parliament of Athens, org. Chamber of Fine Arts of Greece.</span></span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">-Bienale di Poesia di Alessandria, Italy</span></b><span style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;"> 2004-2008</span></span></div>
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<span style="color: navy; font-family: "arial" , "sans-serif"; font-size: x-small;"><b>-Uraniasgardens Congress for the International Year of Astronomy 2009</b>, Municipal Center of Athens </span></div>
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<b><span style="font-size: x-small;"><span lang="EN-US" style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">-Flags</span><span style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">, British Embassy of Beirut, </span><span lang="EN-US" style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">UNESCO</span><span style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">-</span><span lang="EN-US" style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;">MEADOWS-OFAA</span><span style="color: navy; font-family: "arial" , "sans-serif"; font-size: 7.5pt;"> 2012. Lexomorphes were proposed as a mathematical inter-space communication code </span></span></b><br />
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Related articles and essays:</div>
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<span lang="EN-AU" style="font-family: "calibri" , "sans-serif"; font-size: 8pt;">P. Kasda<i>, Code Lexomorphes, </i></span><span style="font-family: "arial" , sans-serif; font-size: xx-small;"><span lang="en-US"><i>the iconic dimension of Greek language</i></span></span><span style="font-family: "arial" , sans-serif; font-size: xx-small;">”</span><i style="font-family: calibri, sans-serif;">P</i><span style="font-family: "calibri" , sans-serif; font-size: 8pt;">oesia e Spiritualita review, Milan, Italy 2007.</span></div>
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<span lang="EN-GB" style="font-family: "calibri" , "sans-serif"; font-size: 8pt;">P. Kasda<i>, Chrysalis/Grail, Reflections of an Object of Truth, Verita e Dubbio </i></span><span lang="EN-GB" style="font-size: 8pt;">2004. XVII Bienale di Poesia di Alessandria,Joker, </span><span lang="EN-US" style="font-size: 8pt;">Italy </span><span lang="EN-GB" style="font-size: 8pt;">200</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "arial" , sans-serif;">P. Kasda,<i> </i></span><span style="font-family: "arial" , sans-serif;"><i>project Myth/network</i>,</span><span style="font-family: "arial" , sans-serif; font-style: normal;"> Τετάρτη Αποστολική, Municipal Pinacotheque of Athens1994-</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: xx-small;"><span lang="en-US"><i>Dedication to Polyxene Kasda,</i></span></span><span style="font-family: "arial" , sans-serif; font-size: xx-small;">Tyflomyga review, Athens 2003-</span><span style="font-family: "arial" , sans-serif; font-size: xx-small;"><span lang="el-GR"><i> </i></span></span></div>
<span style="color: navy;"><span style="font-family: "calibri" , sans-serif;"><span style="font-size: xx-small;">P. Kasda,<i> When that word swallowed me,</i> narrative essay Sphinx,-The Hidden Thebes Festiva/ poesia e conoscenza 2016</span></span></span><br />
<span style="color: navy; font-family: "calibri" , sans-serif; font-size: xx-small;"><i>Artificial Intelligence Professor needles Poly Kasda's Conscious Eye</i>, essay Southwiind /Amazon 2015</span><br />
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<span style="background-color: lime; font-family: "verdana" , sans-serif; font-size: x-small;">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).</span><br />
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semiotics and language games.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUGfNlrs2IwG8TcLtrcxXQWwIUBSjDqxdwo1Z13YkOMeIU5hB3NxCYoO6lHKqwNUnN9A_MGN3xCGsjqV_quQZ9oQsmygL_rKa3SQI2KoOx8fttqIvBSqnQE9hsMW9z5eSz5vmax56LBMO/s1600/artimap.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUGfNlrs2IwG8TcLtrcxXQWwIUBSjDqxdwo1Z13YkOMeIU5hB3NxCYoO6lHKqwNUnN9A_MGN3xCGsjqV_quQZ9oQsmygL_rKa3SQI2KoOx8fttqIvBSqnQE9hsMW9z5eSz5vmax56LBMO/s320/artimap.jpg" width="235" /></a><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;">Mythologically augmented, anti-historical parcours in mythical sites of Greece - graphisms and sets of instructions encouraging the participants'identification with apocalyptic symbols</span><span style="font-family: "times new roman" , serif;"> </span><span style="font-family: "times new roman" , serif;">condescendingly opening prosvassis to </span><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;"> 'ekstatic' noetic hyperspaces emerging in actual life, through the participants' consensual synesthetic engagement</span><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;">.</span></div>
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<span style="font-size: xx-small;"><span style="font-style: normal;"><span lang="EN-US" style="background-color: #cccccc; font-family: "arial" , sans-serif;"><i style="font-style: normal;">"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”.</i>P. Kasda, <i>When that word swallowed me,</i> Sphinx, the Hidden Thebes Festival editions 2016</span></span><span style="background-color: #cccccc; font-family: "arial" , sans-serif;">.</span></span><span style="font-family: "times new roman" , serif; font-size: small; font-style: normal;"><o:p></o:p></span><br />
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<span style="font-family: "times new roman" , serif; font-size: x-small;">Project-maps:</span><br />
<span style="font-family: "times new roman" , serif; font-size: x-small;"> -</span><i style="font-family: "times new roman", serif; font-size: small;">Tavrokathapsia,</i><span style="font-family: "times new roman" , serif; font-size: x-small;"> The Gate of Fire, crossing Crete 1994</span><br />
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;"><i>-Arcteia,</i> tracing Artemis (Artemeo means I AM), on the triangle linking Brauron Attica, Lykeon Mi. Arcadia, Icaria Nas..1996.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;">Realized under the auspices of the Municipal Radio of
Athens 9,84F.M, with the participation of the Biennial of Poetry of Alessandria Italy,</span><span style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;">Το</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;">uchstone poetry group for the XVth European
Poetry Festival (Brussels),<i> </i>the European Poetry Network (Belgium)<i>, </i>who
adopted the Maps as a new form of generative poetic expression.</span></div>
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<i style="background-color: lime;"><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;"><br /></span></i>
<i style="background-color: lime;"><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: x-small; line-height: 13.2pt;">"ancient symbols are seen as wormhole shortcuts in the fabric of spacetime </span><span style="font-family: "times new roman" , serif; font-size: x-small;"> condescendingly opening through anagnorisistic identification with the anonymous simulator of our reality game" </span></i><span style="background-color: lime;"><i style="font-family: times, "times new roman", serif; font-size: small;"> </i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">P. Kasda,</span><i style="font-family: times, "times new roman", serif; font-size: small;"> on the irresistible charm of real-life project-plotting </i><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">(essay on-the-make).</span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;">Relevant articles and essays:<br />
<br />
P. Kasda, <i>Pyrisporos. Art-Mythology-Informatics,</i> Greek
interdisciplinary hyper-essay, Aigokeros-Art, Athens 1994.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, </span><i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">Landscape of my Soul</span></i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">, <i>Poeti e Paesaggi,</i> XIV Biennale di Poesia di Alessandria,
Joker, Italy 2008.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda,<i> </i></span><i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">Poetry and Landscape</span></i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">, Echo of Faleron, Greek newspaper of Paleon Faleron, Athens 2008.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="FR" style="font-size: 8pt;">P. Kasda, <i>Ciel
et Terre, Poesia, Mito, Utopia </i>ed. VIIIth Biennale di Poesia di
Alessandria, Joker, Italy1996.</span><span lang="FR" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="FR" style="font-size: 8pt;">P. Kasda, <i>I</i></span><i><span style="font-size: 8pt;">η</span></i><i><span lang="FR" style="font-size: 8pt;">dicibili e Ineffabile,VIII Bienale di Poesia di
Alessandria, Millenium writers, Joker, Italy 1996</span></i><span lang="FR" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Taurokathapsia,</i>Touchstone
Coed. Seven Sleepers 1994.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i> </i></span><i><span style="font-size: 8pt;">Μ</span></i><i><span lang="EN-US" style="font-size: 8pt;">yth/ Network 5</span></i><span lang="EN-US" style="font-size: 8pt;">, ARTI, 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Myth/
Network 5: The Gate of Fire, </i>Euphorion Transilvania, VI, n.
55.56.57. </span><span lang="FR" style="font-size: 8pt;">Sibiu, Romania, 1995.</span><span lang="FR" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="FR" style="font-size: 8pt;">P. Kasda, <i>Arkteia,
on the threshold of time,</i> <i>Tradition et Modernite dans l'Ancien et
le Nouveau Monde,</i> Leuvain Les Sept Dormants n4 coed. </span><span lang="EN-US" style="font-size: 8pt;">Uni. Lucian Blaga
press1996.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Progetto
Myth/ Network 1-5,</i> La Clessidra n.1, Joker, Italy 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="FR" style="font-size: 8pt;">P. Kasda, <i>Cer
si pamant</i>, Transilvania 1-2-3, Cultura Nationala, Romania 1996.</span><span lang="FR" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Puterea
elementului mic/ </i></span><i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">Power of the
Small, </span></i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 8pt;">translated by M. Ivanescu, La
Tribuna de Sibiu1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Progetto
Myth/Network 6 : Sulla soglia del tempo, </i>La Clessidra n2/1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Myth/
Network 5: The Gate of Fire, </i>Euphorion Transilvania, VI, n. 55-57,
Sibiu, Romania 1995 </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda,<i> Progetto
Myth/ Network 1-5,</i> La Clessidra n.1/ Joker, Italy 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, </span><i><span style="font-size: 8pt;">Μ</span></i><i><span lang="EN-US" style="font-size: 8pt;">yth/Network</span></i><span lang="EN-US" style="font-size: 8pt;">, International bac review of
Costeas Geitonas Schools, Athens 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Where
is the Village going?</i> Arcas, Greek newspaper of Arcadia, Greece 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Mein
poezie is een reis in de geegtelidjke textuur vaan het land</i>, 3000 Letters X,
The Seven Sleepers Leuvain 1994</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Taurokathapsia
Mythologically augmented Route Map across the island of Crete, </i></span><i><span lang="EN-US" style="background: white; font-family: "times new roman" , serif; font-size: 8pt;">Landscape</span></i><i><span lang="EN-US" style="background: white; font-size: 8pt;"> </span></i><i><span lang="EN-US" style="font-size: 8pt;">semiotics</span></i><span lang="EN-US" style="font-size: 8pt;">, Touchstone
co-ed. The Seven Sleepers 1994</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;"><span style="font-size: 7.5pt;">Project Myth/Network 1990-2011, </span><span style="font-size: 10px;">European</span><span style="font-size: 7.5pt;"> heritage
integration in modern perception </span></span></i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;">http:PolyxeneKasda.blogspot.com</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #333333; line-height: 17.68px;"><span lang="en-US" style="font-family: "courier new" , "courier" , monospace;"><i><b><span style="font-family: "courier new" , "courier" , monospace;">- </span><span style="font-family: inherit;">PXK Route, global fossil touching down across the globe 2004-2017-:</span></b><span style="font-family: inherit;">overview </span></i></span></span></span><span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #333333; line-height: 17.68px;"><span lang="en-US" style="font-family: inherit;"><span style="font-family: "courier new" , "courier" , monospace;">i</span><span style="font-family: "courier new" , "courier" , monospace;">nstallation made with my self-devised material PXK, </span><span style="font-family: "courier new" , "courier" , monospace;">anchored in</span></span></span></span></span><span style="font-family: inherit;"><span style="font-family: "courier new" , "courier" , monospace;"><span lang="EN-US" style="color: #333333; line-height: 19.2pt;"> 25 world loci, often through my participation in big events like </span></span><span lang="EN-GB" style="color: #333333; line-height: 19.2pt;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: x-small;">Athens Olympics 2004, the XVII Βiennale di Poesia di Alessa</span></span><span style="font-size: x-small;"><span style="font-family: "courier new" , "courier" , monospace;">ndria Italy 2004, the 2nd Biennial of Beijing 2005, the 4th Biennial of Tashkent 2007, </span><i style="font-family: "courier new", courier, monospace;">Nuit Blanche</i><span style="font-family: "courier new" , "courier" , monospace;"> Paris 2007...</span></span></span></span></span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><span lang="EN-GB" style="color: #333333; font-family: "times" , "times new roman" , serif; font-size: x-small; line-height: 19.2pt;"><span lang="EN-US" style="line-height: 18.4px;"> </span><span lang="EN-US" style="line-height: 18.4px;"><span style="font-family: "courier new" , "courier" , monospace;">PXK Route represented Greece in the Beijing Biennial Olympic conference 2008 and was awarded the Olympic Fine Arts Golden medal Beijing 2008.</span></span></span></span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><span lang="EN-GB" style="color: #333333; font-family: "times" , "times new roman" , serif; font-size: x-small; line-height: 19.2pt;"><span lang="EN-US" style="line-height: 18.4px;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span></span></span>
<span style="font-family: "courier new" , "courier" , monospace;"><span lang="EN-GB" style="color: #333333; font-family: "times" , "times new roman" , serif; font-size: x-small; line-height: 19.2pt;"><span lang="EN-US" style="line-height: 18.4px;"><span style="font-family: "courier new" , "courier" , monospace;"><i>"PXK stands for my skin left in the process of the project;s realization while assimilating diverse cultures" Ibid</i></span></span></span></span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><span lang="EN-GB" style="color: #333333; line-height: 19.2pt;"><span lang="EN-US" style="line-height: 18.4px;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span></span></span></div>
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<span style="background-color: white;"><span lang="EN-US" style="font-family: "times new roman" , serif;"> </span><b><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "times new roman" , serif;">- Home/ Network </span></i></b><b><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "times new roman" , serif;">-1995-1998- : broadening the definition of home. </span></b></span><b><span lang="EN-US" style="font-family: "times new roman" , serif;">Neighborhood acoustic-visual installation on the expansive dynamics of
intimate territories</span></b><span lang="EN-US" style="font-family: "times new roman" , serif;">. <b>Odonymic affective resonance and</b> i<b>nter-balcony acoustic happening; a magically activated residents' instinctive connectedness..</b></span><br />
<span lang="EN-US" style="background-color: white; font-family: "times new roman" , serif; font-size: x-small;"> </span><span lang="EN-US" style="background-color: white; font-family: "times new roman" , serif; font-size: x-small;">Municipality of Pale</span><span lang="EN-US" style="background-color: white; font-family: "times new roman" , serif; font-size: x-small;">on Faleron, Athens.</span><br />
<span lang="EN-US" style="background-color: white; font-family: "times new roman" , serif; font-size: x-small;"><br /></span>
<i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;"><br /></span></i>
<span style="font-size: x-small;"><i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;">P. Kasda, Casa/ Retea, Home/Network</span></i><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 7.5pt;">, Transilvania 1-2, Sibiu, Romania 1995, translated in Romanian from French by poet
Mircae Ivanescu.</span></span></div>
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<span lang="EN-US" style="background: white; color: #333333; font-size: 11pt;"><b><span style="font-family: "times new roman";">- Doodling interludes 1985-2016,</span><span style="font-family: "courier new";"> </span></b></span><span lang="EN-US" style="background: white; color: #333333; font-family: "times new roman"; font-size: 11pt;">perturbations of a probabilistic</span><span lang="EN-US" style="background: white; color: #333333; font-family: "times new roman"; font-size: 11pt;"> 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 </span><span lang="EN-US" style="color: #333333; font-family: "times new roman"; font-size: 11pt;">13 cultural </span><span style="color: #333333; font-family: "times new roman"; font-size: 11pt;">events in 7 countries ( 3</span><sup style="color: #333333; font-family: "times new roman";">rd</sup><span style="color: #333333; font-family: "times new roman"; font-size: 11pt;"> Beijing Biennial 2008, DESIGN House of Cyprus Athens 2009, Munster Night of Museums, Germany 2014, et al..).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmbSi22mUrZG5S9v2si3YZ-fBU_dEUAsg45OvHQWzX6y37thyAHSquyQRCE5seiQBoCo1pYWaAmDd0dnzaa4mUt8bzis0LW6ugjzyeQMvt1_C1zLGM_IGF5IQpgJBI4mnZMojrEN63APU/s1600/poly+images.05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmbSi22mUrZG5S9v2si3YZ-fBU_dEUAsg45OvHQWzX6y37thyAHSquyQRCE5seiQBoCo1pYWaAmDd0dnzaa4mUt8bzis0LW6ugjzyeQMvt1_C1zLGM_IGF5IQpgJBI4mnZMojrEN63APU/s400/poly+images.05.jpg" width="400" /></a></div>
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<b>- Fugue, or, The Gate of Love 1996-1998-2005: overview </b><b>monumental Fibonacci </b><b>structure variations </b><b>anchored in </b><b>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. </b>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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtNHk9P6AdaKKtauIUBqRHcdW6ovGXgPJHXR9kl5fZK2xDlFwbY9xGc6tCdm9JPWQ7S7tGpNg6kzwbGTkE_9j1aoHcAC6Rw237DdgO-F3MfyLAOOVMUwof6EVshq7Z1Lkg56yRDKhyphenhyphenti7H/s1600/poly+images.03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtNHk9P6AdaKKtauIUBqRHcdW6ovGXgPJHXR9kl5fZK2xDlFwbY9xGc6tCdm9JPWQ7S7tGpNg6kzwbGTkE_9j1aoHcAC6Rw237DdgO-F3MfyLAOOVMUwof6EVshq7Z1Lkg56yRDKhyphenhyphenti7H/s400/poly+images.03.jpg" width="400" /></a></div>
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<span style="background-color: white;"><b><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "times new roman" , serif;">- <i>Chrysalis</i> -1990-1991-</span></b><span lang="EN-US" style="font-family: "times new roman" , serif;">: restoring the human need for a threshold ritual when hit by</span></span><span style="background-color: white; font-family: "times new roman" , serif;"> the rising Zeitgeist wave, or, </span><span style="background-color: white; font-family: "times new roman" , serif;">"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).</span><br />
<span style="background-color: white; font-family: "times new roman" , serif;"><b>When </b></span><b><span lang="EN-US">the Atlas was turned into an interactive web and the object spirited away into a vibrational motif which turned into music, </span><span style="line-height: 13.2pt;"><span lang="EN-US" style="font-size: 8pt;">without the use of the internet technologies which in 1990 were still widely unknown.</span></span></b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlG4fxNhPQQsG8u9vTV-td1r5sBWngfy-A1bph0ybI6kC8zjEKvPCgS16arSvORONW7K2zJU5Es8INOhizj4WZkllbubCDHQ1zd7fHzQLsrhxg-CY7Ok_A8z90vgoj8gZPLV1yj35D2Wj/s1600/arti.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlG4fxNhPQQsG8u9vTV-td1r5sBWngfy-A1bph0ybI6kC8zjEKvPCgS16arSvORONW7K2zJU5Es8INOhizj4WZkllbubCDHQ1zd7fHzQLsrhxg-CY7Ok_A8z90vgoj8gZPLV1yj35D2Wj/s400/arti.jpg" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlRJIS-CMoeH6IhtWiKEjMdmiau32eL6_apcbuWSids-A7XqPtLzNlvR0PEltHrZ6N8ky-fGY9skqnyNiCsOXYJTcr3A1a6na_OeSah_HjHHB8U2Lateut6lgH5uwEiYR3ikBvKnPwAKf/s1600/lacmornosperformance90.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlRJIS-CMoeH6IhtWiKEjMdmiau32eL6_apcbuWSids-A7XqPtLzNlvR0PEltHrZ6N8ky-fGY9skqnyNiCsOXYJTcr3A1a6na_OeSah_HjHHB8U2Lateut6lgH5uwEiYR3ikBvKnPwAKf/s200/lacmornosperformance90.jpg" width="131" /></a><span style="background-color: white;"><span lang="EN-US" style="font-family: "times new roman" , serif;"><b><o:p></o:p></b></span></span><span style="font-family: "times new roman" , serif; line-height: 13.2pt;">Performative threshold ritual on the plinth emerging from the receding Lake of Mornos, Greece. Expansion of the resulting</span><i style="font-family: "times new roman", serif; line-height: 13.2pt;"> </i><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;">biodegradable installation of mud sculptures </span><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;">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 interact</span><span style="font-family: "times new roman" , serif; line-height: 13.2pt;">ο</span><span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 13.2pt;">rs' creative time-lapse arrows, echoing contemporary trendy data maps.</span><br />
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 9pt;">The<b><i> polycentric interactors' documentation </i></b>was<b><i> </i></b>augmented by a <b><i>UCT world -on- the- make libation 15-2-1991,</i></b> in the <b>acoustic structure </b>dictated by the algorithm of the word </span><span style="font-family: "times new roman" , serif; font-size: 9pt;">ΧΡΥΣΑΛΛΙΣ</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 9pt;"> performed by </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: xx-small;">SIDAS </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 9pt;">musical group dispersed in the crowd.</span><br />
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<b><span lang="EN-US" style="background: white; font-size: 8pt;"> Narrative-articles springing from the above sub-project:</span></b></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda,<i>The Silenziosi and Project Myth/Network 1990-2005 in Art-Act,</i> Tyflomyga
revue, December. 2005. (Greek)</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda<i>, Project: Myth/Network 1990-1994: Revival of cosmological
Memory in our spacetime redefinition, </i>Tetarti Apostoliki, Pinacotheque
of the Municipality of Athens catalog, T.E.E. 1994.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda<i>, “Logos”</i>, ENOPE Center of Arts and Sciences,
booklet 2/11/1992.(Greek)</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda<i>, Sky inside, sky outside, </i>Emvolimon magazine
nb.8, Aspra Spitia Boetia, Greece 1990.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>Progetto
Myth/Network 1-5,</i> La Clessidra1, Jo</span><span lang="EN-US" style="font-family: "arial" , sans-serif; font-size: 8pt;">ker, magazine, Italy 1995.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda, <i>The
Network,</i> Govostis ed. 1991.</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-size: 8pt;">Dedication to
Polyxene Kasda, Project Myth/Network</span></i><span lang="EN-US" style="font-size: 8pt;"> interview, Tyflomyga,
September, Athens 2003.(Greek)</span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda<i>,
Project Myth/Network 1990-1995,</i> TV documentary by Makis Faros, production Icona, </span></div>
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<span lang="EN-US" style="font-size: 8pt;">P. Kasda<i>,
Chrysalii, a mythological experience, Politistiki ekfrassi/ </i>Cultural
Expression journal, interview, Athens 1991.(Greek)</span></div>
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<span style="font-size: 10.6667px;">http://uraniasgardens.blogspot.gr/2009/01/chrysalis-chronicle.html, </span><br />
<span style="font-size: 10.6667px;">Threshold performance /Global installation by Polyxene Kasda in 1990 (Ibid).</span><br />
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<span style="background-color: cyan;"><b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 10.0pt;"><i>the above
sub-projects are all facets of hyper-project Myth/Network </i></span></b><b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 10.0pt;"><i>-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.</i></span></b></span><br />
<span style="background-color: cyan;"><b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 10.0pt;"><o:p></o:p></span></b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK-FX3yiNcpEPsIHJQB92PZHzgH0afnCZUrr64TF2H5dFqKEU0q_6QNHRfLr6zN1dPl101N_Kvt3uh-DbyGmOCqz0uJahmYT93zx3gzDu-qhpU0_NaN7peMrAVzc4om9blHLH8BDNM-Sy8/s1600/poly+images.02.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK-FX3yiNcpEPsIHJQB92PZHzgH0afnCZUrr64TF2H5dFqKEU0q_6QNHRfLr6zN1dPl101N_Kvt3uh-DbyGmOCqz0uJahmYT93zx3gzDu-qhpU0_NaN7peMrAVzc4om9blHLH8BDNM-Sy8/s400/poly+images.02.jpg" width="400" /></a><br />
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<span style="background-color: red;"><b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">Project Myth/Network was launched in the Museum of
Modern Art</span></b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"> <b>of Joensuu Finland, PAND Meeting of the
Worlds conference 1990.</b><o:p></o:p></span></span></div>
<b><span lang="EN-US" style="background-color: red; color: #333333; font-family: "calibri" , "sans-serif";">Archives:<i> Project Myth/Network: </i>emst.gr/gr/collections
National Museum of Modern Art archives code 1595. Donation: Xagoraris 1991.</span></b><br />
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<b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">They wrote:</span></b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">"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".</span></i><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGh7ezgMw_hKfeyWiTJKbHHHWk5fllmxtPT1ELykGMUyLzgUIYhfRAXOYGXMu6JQL6cODlKZZUTUMptOz530DuSr0vR1Snp3zddjFEDwgbo7exb5e_1GgiEb1UyX77-6w1C1JDOVJ7NlK/s1600/poly+images.11.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGh7ezgMw_hKfeyWiTJKbHHHWk5fllmxtPT1ELykGMUyLzgUIYhfRAXOYGXMu6JQL6cODlKZZUTUMptOz530DuSr0vR1Snp3zddjFEDwgbo7exb5e_1GgiEb1UyX77-6w1C1JDOVJ7NlK/s400/poly+images.11.jpg" width="400" /></a><b><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Mariana Ziku</span></b><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">, art historian,<i> <b>Under-determination in
poly Kasda's work,</b></i> Stoa tou Vivliou, 2/6/2016 Athens</span><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">"<i>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"</i><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">Dr. Yannis Almyrandis</span></b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">, Democritus
institute of bioscience research and applications,<i> <b>Over-determination
in poly kasda’s work,</b></i> 2/6 Stoa tou Vivliou Athens <o:p></o:p></span></div>
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<i><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">"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".</span></i><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Dr. Yael Navaro-Yashin </span></b><span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">2010, anthropologist, essayist, senior
university Lecturer, recommendation for EN, Cambridge 2010.</span><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">“<i>In Kasda's projects original and unpredictable
social “language games” are set up and left to evolve creating a multitude of
narratives”.</i></span><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Dr. John Kontos,</span></b><i><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;"> Artificial
Intelligence Professor J</span></i><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">ohn Kontos <i>needles Poly Kasda's
Conscious Eye”, </i></span><i style="color: #333333; font-family: calibri, sans-serif; font-size: 14.6667px;">Notio</i><i style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt;">sAnemos/</i><span style="color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;">South Wind/Amazon 2015.</span><br />
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<i><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">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”.</span></i></div>
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<b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;">Donatella Bisutti,</span></b><span lang="EN-US" style="font-family: "calibri" , sans-serif; font-size: 11pt;"> poet,
writer, editor,<i> </i>“<i>Polyxene Kasda Myth/Network”</i>, La Clessidra
1/1995, Joker, Italy</span><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">"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”.</span></i></div>
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<b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Elzbieta Koscielak</span></b><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">, </span><span style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Α</span><span lang="EN-US" style="color: #333333; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">ICA
art critic, “<i>Myth/Network: The vision of an open system in Art</i>”, <i>The
Network,, </i>Govostis, Athens 3/2/1991.<o:p></o:p></span><br />
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<i><span lang="EN-GB" style="font-family: "calibri" , sans-serif; line-height: 110%;">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". <o:p></o:p></span></i></div>
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<b><span lang="EN-GB" style="font-family: "calibri" , sans-serif; line-height: 110%;">Dores Sacquegna</span></b><span lang="EN-GB" style="font-family: "calibri" , sans-serif; line-height: 110%;">, art-curator,
gallery director,</span><span lang="EN-GB" style="font-family: "calibri" , sans-serif; line-height: 110%;"> </span><i><span lang="EN-US" style="font-family: "calibri" , sans-serif; line-height: 110%;">Celestial
Fragments</span></i><span lang="EN-US" style="font-family: "calibri" , sans-serif; line-height: 110%;">, Primopianogallery, Lecce, Italy. <span style="font-size: 8pt;"><o:p></o:p></span></span></div>
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“<i>She</i> <i>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”.</i></div>
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<b><span lang="EN-AU" style="line-height: 110%;">Victor Ivanovici</span></b><span lang="EN-AU" style="line-height: 110%;">, </span><span lang="EN-AU" style="line-height: 110%;">writer, essayist, literary critic, Athens 2005.</span><br />
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<span lang="EN-AU" style="line-height: 110%;">Polyxene Kasda is IAA UNESCO artist, studied Chemistry-Physics in A.U.C Cairo, graduated in Psychology-Sociology in A.C.G. Athens. </span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-72599658756587191902016-07-16T04:01:00.000-07:002017-01-29T05:21:48.572-08:00Χιτών Άπειρος (Chiton Apeiros), Polyxene's depotentization, cloak,210Χ150cm,.PXK 2016.<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYolpqR7DPGFh-mACz3u2lQR_YrOuDF6334KH3Ppwt1oInjQVya0nL2kVHiyPCS7H4ioHZr56W20MKgtnlB9ILrrYSwg1jrJEE-Kx9C-mQ8RwH8jFWtFj9OQwwFxvNZwg0a-Og8kJPuJcS/s1600/d%25C3%25A9tour%25C3%25A9+plan%252C+pxk+savano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYolpqR7DPGFh-mACz3u2lQR_YrOuDF6334KH3Ppwt1oInjQVya0nL2kVHiyPCS7H4ioHZr56W20MKgtnlB9ILrrYSwg1jrJEE-Kx9C-mQ8RwH8jFWtFj9OQwwFxvNZwg0a-Og8kJPuJcS/s640/d%25C3%25A9tour%25C3%25A9+plan%252C+pxk+savano.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Polyxene Kasda, XITΩΝ ΑΠΕΙΡΟΣ 210Χ150 cm. PXK extensions on space blanket, 2016</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHEuWD1HWJTJ_JvbphhferKdSxiBnKreQICgd-qBW8ERJyCJQrbOTjleIoAsR7IFEZnbpQYtYM8EaFuP21QbZaTW7pWcwYfevgu4eufY9Q8vQMzL3LgP1EJrK2vi4HR5chwWZHWetBVUoF/s1600/d%25C3%25A9tour%25C3%25A9pxktapis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHEuWD1HWJTJ_JvbphhferKdSxiBnKreQICgd-qBW8ERJyCJQrbOTjleIoAsR7IFEZnbpQYtYM8EaFuP21QbZaTW7pWcwYfevgu4eufY9Q8vQMzL3LgP1EJrK2vi4HR5chwWZHWetBVUoF/s400/d%25C3%25A9tour%25C3%25A9pxktapis.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">archetypal depotentization</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMiPqU8WA6hovNg75aHs_la87ygCPXKS4Fx1qkPE_0dtjzpQiD1CsbOQujNisCvqRSNbOxgB9SsDK9iQPiNh51Baw0bnX-rZs3e-sS6Zyi7mQauCGqucvqxmhkPalmcGpmZg9KXhxMxwS/s1600/lumi%25C3%25A8re+crue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMiPqU8WA6hovNg75aHs_la87ygCPXKS4Fx1qkPE_0dtjzpQiD1CsbOQujNisCvqRSNbOxgB9SsDK9iQPiNh51Baw0bnX-rZs3e-sS6Zyi7mQauCGqucvqxmhkPalmcGpmZg9KXhxMxwS/s400/lumi%25C3%25A8re+crue.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Polyxene being wrapped in the sacrificial in Chiton Apeiros, PXK on kife-saver 210X150cm. Photo. Pierre Chirouze 2016 </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrzdVrVO3TlfTgm6Hv34_7ouycqoXAvyPz1sn_BLbWw7jc0SSqyN6IOEmTnFCJ4hwk69vFHj7jS-sI1PkQZdQuzzJ7FtRP_Dwf2XRFzKkLVIx_owiucQEq-mYN-TM6ND271P-nUpjNgiH/s1600/polyxene+chitonapeirosTyrrhenian+amphora+Timiades+c.a.+570-560+British+museum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrzdVrVO3TlfTgm6Hv34_7ouycqoXAvyPz1sn_BLbWw7jc0SSqyN6IOEmTnFCJ4hwk69vFHj7jS-sI1PkQZdQuzzJ7FtRP_Dwf2XRFzKkLVIx_owiucQEq-mYN-TM6ND271P-nUpjNgiH/s640/polyxene+chitonapeirosTyrrhenian+amphora+Timiades+c.a.+570-560+British+museum.jpg" width="640" /></a></div>
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Polyxene's sacrifice Tyrrhenian amphora, Timiades 570-560 a.c. British museum</div>
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Polyxene is wrapped in Chiton Apeiros/ endless robe (Sofoklis 426R.)</div>
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<h2>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small; font-weight: normal;"><span style="background-color: white;"><span style="font-family: "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;"><span lang="en-GB"><i><span style="font-size: xx-small;">-</span> Chiton Apeiros is the last piece of Kasda's global fossil installation PXK Route</i></span></span></span><span style="font-family: "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;"><span lang="en-GB"><span style="font-style: normal;"> </span></span></span></span><span style="font-family: "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;"><span lang="en-GB"><i>-</i></span></span></span><span style="font-family: "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;"><span lang="en-GB">2004-2014-</span></span></span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: x-small;"> anchored in more than 25 international cultural events,</span><span style="font-size: xx-small;"> like:</span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"> </span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;">the PXK Chrysalis monument in the Athens </span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;">Olympics 2004, the XVII Βiennale di Poesia di Alessandria, Italy 2004, the 2nd Biennale of Beijing 2005, the Syria panhellenic festival FMC Damascus, Aleppo Syria 2006, the 4rth Biennale of Tashkent 2007, </span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><span lang="en-GB"><i>Nuit Blanche</i></span></span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;">, Anvers-aux-Abesses, Place de l' Europe Paris 2007, the Olympic Fine Arts of Beijing 2008, </span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><span lang="en-GB"><i>DESIGN</i></span></span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><i> </i></span></span><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;">2012 Municipal Pinacotheque of Athens.</span></span></span></h2>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="text-align: center;"><span style="font-size: xx-small;">PXK ROUTE represented Greece in the congress on Olympism of the 3</span></span><sup style="text-align: center;"><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;"><span lang="en-GB">rd</span></span></span></sup><span style="text-align: center;"><span style="font-size: xx-small;"> Biennale of </span></span><span style="text-align: center;">Beijing 2008 </span><span style="text-align: center;">and was awarded the Olympic Fine Arts of Beijing Golden Medal 2008.</span></span></h2>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-9237936325144306922016-07-09T00:18:00.000-07:002018-11-08T01:39:26.567-08:00Ο Υπερπροσδιορισμός στο έργο της Πόλυς Κασδά, Στοά του Βιβλίου 2/6/2016<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><b style="text-align: center;"><i><span style="font-size: 18.0pt; mso-ansi-language: EL;">Ο ΥΠΕΡΠΡΟΣΔΙΟΡΙΣΜΌΣ ΣΤΟ ΈΡΓΟ ΤΗΣ ΠΌΛΥΣ ΚΑΣΔΆ</span></i></b><br />
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<b><span style="font-size: 10.0pt; mso-ansi-language: EL;">Γιάννης Αλμυράντης<o:p></o:p></span></b></div>
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<b><span style="font-size: 10.0pt; mso-ansi-language: EL;">Ινστιτούτο Βιοεπιστημών & Εφαρμογών, ΕΚΕΦΕ «Δημόκριτος»<o:p></o:p></span></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span style="font-size: 14pt;"> </span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Υπερπροσδιορισμό (</span><span lang="EN-US" style="font-size: 14.0pt;">overdetermination</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">) συνήθως ονομάζουν την παραγωγή ενός αποτελέσματος από
περισσότερες από μία αιτίες – αν και καθεμία από αυτές θα αρκούσε για να δώσει
το ίδιο αποτέλεσμα – και ακόμη
περισσότερο, ως εάν μεταξύ τους αυτές οι αιτιακές γραμμές, αν και ασυσχέτιστες,
να έχουν μια συνάφεια, μια ‘κρυφή συνεννόηση’ που διαφεύγει από τη δική μας
αντίληψη. Αυτές οι συγκλίνουσες γραμμές, που πιθανόν είναι παρούσες συχνότερα
απ’ ότι τις πιάνει το μάτι, φαίνεται να δίνουν στη ζωή μας μια αίσθηση <i>συνεκτικότητας</i></span><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 14.0pt;">⋅</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> έτσι όταν μια
τελευταία ψηφίδα έρχεται σε ένα παζλ να λέμε συχνά ‘αυτό δεν θα μπορούσε παρά
να ήταν έτσι’, ή ακόμα και να την περιμένουμε αυτήν την ψηφίδα από πριν. Σαν
εκείνο το ‘σοφοί δε προσιόντων’ πού-και-πού να καταδέχεται να κάνει αισθητή την
παρουσία του στον καθένα μας, για να του δείξει ένα βάθος του κόσμου που δεν θα
το φανταζόμασταν πιο πριν. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Το έργο της Πόλυς Κασδά βρίθει στοιχείων
υπερπροσδιορισμού. Ακολουθώντας την πένα της αλλά και τους εικαστικούς της
πειραματισμούς, τα έργα της τα ίδια αλλά και τα μοτίβα που διαγράφει με τα δικά
της έργα και αυτά των φίλων της, φαίνεται (και είναι) σαν να έχει την ιδιότητα
να ανακαλύπτει δυναμικές γραμμές νοήματος που συγκλίνουν και παράγουν νέες και
νέες σημασίες με την αλληλεπίδρασή τους: ‘<i>Μύθος
Δίκτυο</i>’, με τις Χρυσαλλίδες της να επαναμαγεύουν τον κόσμο στα πέρατά του, ‘<i>Κήποι της Ουρανίας</i>’, όπου από μια
επετειακή αφορμή ξεκινάει μια σειρά καλλιτεχνικών γεγονότων που σχεδιάζονται
και εκτελούνται ‘εκ των ενόντων’, ένα χωριό στην Κρήτη που γίνεται ολόκληρο ένα
μουσείο και εκθετήριο έργων τέχνης και πολλά άλλα…<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXPwjdjidF5F4aypT7V1MulYdZAi7HFHvyL6NRH4z8BHg4jCWJXl2Eim7iBl4mHaanfk__2h7cgwb4UNt3wJAO6IuCjaG6TSq-P_BYj0k0Qi7fQcD5gvWHH0rNE-gOsxWGglyONVKcBwd7/s1600/mornosinstallationchrysalides90.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXPwjdjidF5F4aypT7V1MulYdZAi7HFHvyL6NRH4z8BHg4jCWJXl2Eim7iBl4mHaanfk__2h7cgwb4UNt3wJAO6IuCjaG6TSq-P_BYj0k0Qi7fQcD5gvWHH0rNE-gOsxWGglyONVKcBwd7/s400/mornosinstallationchrysalides90.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Πόλυ Κασδά, εγκατάσταση Χρυσαλλίδες στο βυθό της Λίμνης του Μόρνου 1990. Φωτο Στέφανος Σάμιος</td></tr>
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<o:p></o:p></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJv7CTnnR8lcQfFLGUdcUuSqEKEj8yE45lA3fudeSWe2wsondj4hyKMJ9kX0JDqhGnohFPRUOo952ZSq5_vZOeI927gmUdwYhyphenhyphen-mxkYKIEc5TfRjWc3y4reS2RiPNotBhBN39Fndt4LKG/s1600/%25CE%25A7%25CF%2581%25CF%2585%25CF%2583%25CE%25B1%25CE%25BB%25CE%25BB%25CE%25AF%25CF%2582+%25CE%25B5%25CE%25B3%25CE%25BA%25CE%25B1%25CF%2584%25CE%25AC%25CF%2583%25CF%2584%25CE%25B1%25CF%2583%25CE%25B7%252C+%25CE%25A7%25CE%25AC%25CE%25BF%25CF%2582%252C+1990.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJv7CTnnR8lcQfFLGUdcUuSqEKEj8yE45lA3fudeSWe2wsondj4hyKMJ9kX0JDqhGnohFPRUOo952ZSq5_vZOeI927gmUdwYhyphenhyphen-mxkYKIEc5TfRjWc3y4reS2RiPNotBhBN39Fndt4LKG/s400/%25CE%25A7%25CF%2581%25CF%2585%25CF%2583%25CE%25B1%25CE%25BB%25CE%25BB%25CE%25AF%25CF%2582+%25CE%25B5%25CE%25B3%25CE%25BA%25CE%25B1%25CF%2584%25CE%25AC%25CF%2583%25CF%2584%25CE%25B1%25CF%2583%25CE%25B7%252C+%25CE%25A7%25CE%25AC%25CE%25BF%25CF%2582%252C+1990.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Π΄λυ Κασδά, εγκατάσταση Χρυσαλλίδες 2 στο Χάος Αγίας Τριάδας. φωτο Στέφανος Σάμιος 1990 </td></tr>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Όπως κάθε τίτλος και ο παρών θα αυτοδιαψευσθεί στη
συνέχεια, μια και εδώ θα μπορέσω να επισημάνω μερικές μόνο αφορμές για την
αναζήτηση σύγκλισης σημασιών και αιτίων στο ‘<i>Συνειδητό Μάτι</i>’ της Πόλυς Κασδά, στην ‘νέα του ενσάρκωση’ στο κοινό
τους πόνημα με τον φίλο και συνάδελφο Γιάννη Κόντο, και να κάνω μόνο διάσπαρτες
αναφορές στο υπόλοιπο έργο της. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Η σύγχρονη τέχνη λοιπόν, όπως καίρια η Πόλυ υπογραμμίζει,
ακολουθεί μια εσωτερική εξέλιξη που την οδηγεί από την στροφή της αναγεννησιακής
τέχνης προς τον εξωτερικό κόσμο, με την προοπτική και την ρεαλιστική
αναπαράσταση, στους πειραματισμούς του 20 αιώνα (και λίγο πριν), όπου το
ενδιαφέρον από τον ‘έξω κόσμο’ μεταφέρεται στο υποκείμενο, στον τρόπο πρόσληψης
της πραγματικότητας, στις λανθάνουσες δυνατότητες του παρατηρητή</span><span lang="EN-US" style="font-family: "arial unicode ms" , "sans-serif"; font-size: 14.0pt;">⋅</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> σε μια τέχνη που όπως γράφει: ‘υλοποιεί το αόρατο’. Σ΄ αυτή τη γραμμή
σκέψης βρίσκουμε και ένα βιβλίο που γράφεται δώδεκα χρόνια μετά το ‘<i>Συνειδητό
Μάτι</i>’, το ‘<i>Αϊνστάιν – Πικάσο</i>’ του
</span><span lang="EN-US" style="font-size: 14.0pt;">Arthur</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">I</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">. </span><span lang="EN-US" style="font-size: 14.0pt;">Miller</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> [1], όπου ο συγγραφέας
αναπτύσσει πολλά από τα σημεία που η Πόλυ έχει αναφέρει, και άλλα βέβαια, γύρω
από την ανάδυση της νεωτερικότητας σ’ εκείνα τα κρίσιμα χρόνια στη αρχή του 20<sup>ου</sup>
αιώνα. <o:p></o:p></span></div>
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<span style="font-size: 14pt;">Βλέπουμε ότι, ενώ ο Πικάσο ακολουθεί την εσωτερική του
εξέλιξη μέχρι να συνθέσει το έργο του που εγκαινιάζει την ‘νέα εποχή’ στην ζωγραφική
του (και στη ζωγραφική γενικά), τις ‘</span><i style="font-size: 14pt;">Δεσποινίδες
της Αβινιόν</i><span style="font-size: 14pt;">’, και ο Αϊνστάιν την δική του εσωτερική πορεία για την
διατύπωση της θεωρίας της ειδικής σχετικότητας, γεγονότα που συμβαίνουν σχεδόν
ταυτόχρονα, οι αυτόνομες πορείες τους εμφανίζουν μια τέτοια σύγκλιση που οι
μελετητές της εποχής την παρατήρησαν σχεδόν αμέσως, καθώς αμφότεροι, συγχρόνως,
αναδεικνύουν την σχετικότητα του μέχρι τότε θεωρούμενου απόλυτου χώρου, και
στρέφουν την προσοχή τους στο ρόλο του παρατηρητή.</span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Δεν είναι αυτή η πρώτη φορά που η τέχνη και η επιστήμη
έχουν συγκλίνει στο τι στοχεύουν σε μια δεδομένη ιστορική στιγμή, αλλά και στο
τι μέσα χρησιμοποιούν για να το πετύχουν. Ο </span><span lang="EN-US" style="font-size: 14.0pt;">Monet</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> όπως υπογραμμίζει η Πόλυ, κάνει σειρά πινάκων όπου αναπαριστά τον
καθεδρικό της </span><span lang="EN-US" style="font-size: 14.0pt;">R</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">ouen διαφορετικές ώρες, με
διαφορετικούς φωτισμούς, κάνοντας το κτήριο να διαφέρει κάθε φορά, ανάλογα με
την ώρα και την γωνία απ’ όπου το βλέπουμε. Αυτό το κάνει λίγα χρόνια μετά από
την ανακάλυψη του ηλεκτρομαγνητισμού από τον Maxwell και λίγα χρόνια πριν από
την θεωρία της σχετικότητας, δύο σημεία καμπής για την σχετικοποίηση της
φυσικής μας αντίληψης για τον κόσμο. <o:p></o:p></span></div>
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<st1:city w:st="on"><st1:place w:st="on"><i><span lang="EN" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Rouen</span></i></st1:place></st1:city><i><span lang="EN" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 12.0pt;"> Cathedral</span></i><span class="apple-converted-space"><i><span lang="EN" style="color: maroon; font-family: "arial" , "sans-serif"; mso-ansi-language: EN; mso-bidi-font-weight: normal;"> </span></i></span><i><span lang="EN" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">(Monet series)</span></i></h1>
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<b><i><span lang="EN-US" style="background: white; color: maroon; font-family: "arial" , "sans-serif";">From
Seurat's painting The Circus<o:p></o:p></span></i></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Σύγκλιση ανάμεσα στις αισθητικές αναζητήσεις και τις
ανακαλύψεις της φυσικής έχουμε και με τον πουαντιγισμό του Seurat (κι αυτός
αναφέρεται στο ‘<i>Συνειδητό Μάτι</i>’) όπου
το φως και το χρώμα παρίστανται με σημεία και την αναβίωση λίγα χρόνια αργότερα
από τον Πλανκ και τον Αϊνστάιν της σωματιδιακής θεωρίας για το φως. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Στις παραπάνω περιπτώσεις, και σε πολλές ακόμα που μπορεί
να αλιεύσει κανείς στην ιστορία της σύγχρονης τέχνης, η σύγκλιση δεν μπορεί να
αποδοθεί σε (τουλάχιστον ευθύ) επηρεασμό, ενώ ο κανόνας είναι ότι πρώτα
εμφανίζεται η νέα ιδέα στην τέχνη και μετά η επιστήμη οδηγείται σε κάτι
ανάλογο…<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Στο ‘<i>Συνειδητό Μάτι</i>’
η Πόλυ Κασδά δίνει ιδιαίτερη έμφαση στην εμφάνιση και ανάπτυξη του κυβισμού,
και του ‘συνθετικού κυβισμού’ όπου στο εικαστικό έργο προστίθενται ένθετα
αντικείμενα: κομμάτια από εφημερίδες, κορδόνια, εισιτήρια… Η Πόλυ γράφει: ‘ο
συνθετικός κυβισμός μας δίνει μια μη-εξειδικευμένη, προεπιστημονική άποψη του
κόσμου’.<o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 8.0pt;">Pablo
Picasso, <span class="dates">1913</span><o:p></o:p></span></i></b></div>
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<b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 8.0pt;"><a href="http://www.tate.org.uk/art/artworks/picasso-bottle-of-vieux-marc-glass-guitar-and-newspaper-t00414"><span class="title"><span style="color: maroon; text-decoration: none;">Bottle of Vieux Marc, Glass, Guitar and Newspaper</span></span><span class="apple-converted-space"><span style="color: maroon; text-decoration: none;"> </span></span></a><o:p></o:p></span></i></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ο ζωγράφος δεν διστάζει να ‘μαστορέψει’ ένα δικό του
κόσμο, όπως τα παιδιά στα αυτοσχέδια κουκλόσπιτά τους. Όσο πιο αυτοσχέδια τόσο
πιο μαγικά και λυτρωτικά. Όπως ο </span><span lang="EN-US" style="font-size: 14.0pt;">C</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">.</span><span lang="EN-US" style="font-size: 14.0pt;">G</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">.</span><span lang="EN-US" style="font-size: 14.0pt;">Jung</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> που ως παιδί είχε βρει την
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από ξύλο, βάζοντας τον σε μια κασετίνα και κρύβοντάς τον στη σοφίτα [2]. Και
μεγαλύτερος, ως ψυχοθεραπευτής και αυτό-θεραπευόμενος, έφτιαχνε τις κατασκευές
του από χαλίκια και πέτρα, όπου πρόβαλε εκεί μορφές από το ασυνείδητο και το
ίδιο σύστηνε και στους ασθενείς του. Και φυσικά, οι μάγοι όλων των εποχών! Που
φτιάχνοντας μικρά εγκόλπια – φωλιές για αντικείμενα και για το ψυχικό φορτίο
που αυτά φέρουν, επιχειρούν να επιδράσουν στον ίδιο τον κόσμο και να αλλάξουν
τη ροή του. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Μέσα από τον συντονισμό του μικρού και του μεγάλου, του
μέρους και του όλου, με ένα τρόπο που η μια του όψη μοιάζει αιτιώδης αλλά η
άλλη είναι υπερπροσδιορισμένη: η μαγική επίκληση ζητά (χωρίς να επιδρά) να
συγκλίνει ο κόσμος με το μαγικό όνειρο. Στα μουσεία μας, συχνά συναντάμε
ευρήματα από τάφους, όπου, τυλιγμένα σε μολύβδινα φύλα στα οποία έχουν χαραχθεί
αποσπάσματα επωδών, βρίσκονται εκείνα τα
θραύσματα του κόσμου μας με τα οποία ο ‘μάγος’ έχει συνθέσει το μοντέλο
της επιθυμίας του, με το οποίο περιμένει να συγκλίνει (ή να το υπακούσει) ο
κόσμος…<o:p></o:p></span></div>
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<span class="apple-converted-space"><i><span lang="EN-US" style="background: rgb(199, 198, 177);"> </span></i></span><i><span style="background: rgb(199, 198, 177);">Ο κατάδεσμος τής Πέλλας, μια κατάρα τού 4<sup>ου</sup></span><span class="apple-converted-space"><span lang="EN-US" style="background: rgb(199, 198, 177);"> </span></span></i><i><span style="background: rgb(199, 198, 177);">ή 3<sup>ου</sup></span><span class="apple-converted-space"><span lang="EN-US" style="background: rgb(199, 198, 177);"> </span></span></i><i><span style="background: rgb(199, 198, 177);">αι. π.Χ., είναι
ερωτική μαγική επωδός από μια γυναίκα, πιθανώς ονόματι Δαγίνα, τής οποίας ο
εραστής, Διονυσοφών, επρόκειτο να νυμφευθεί τη Θετίμα. Επικαλείται τούς
δαίμονες να μεταστρέψουν τον Διονυσοφώντα να παντρευτεί εκείνην αντί της
Θετίμας και ποτέ να μην παντρευτεί άλλη γυναίκα εκτός αν η ίδια ξετυλίξει τον
κατάδεσμο.</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;"><o:p></o:p></span></div>
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<i><span style="background: rgb(199, 198, 177);">Διπλωμένος κατάδεσμος από την Άκανθο
Χαλκιδικής</span><span class="apple-converted-space"><span lang="EN-US" style="background: rgb(199, 198, 177);"> </span></span></i><i><span style="background: rgb(199, 198, 177);">με ένα καρφί να τον
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Η Πόλυ Κασδά αναφέρει σε σχέση με την εικόνα του κόσμου
που εκφράζει ο συνθετικός κυβισμός την άποψη του Claude Lévi-Strauss ότι σε
αντιστοιχία με την ‘<i>επιστημονική’</i> και
τη ‘<i>μυθική’</i> γνώση του κόσμου
βρίσκονται οι ιδιότητες του ‘<i>μηχανικού</i>’
και του ‘<i>μάστορα</i>’. Ο σύγχρονος εικαστικός,
ο παραδοσιακός μάγος, αλλά και ο καθένας από μας ως παιδιά, και σε μια όψη της
ύπαρξής μας συνεχώς, επιχειρούμε αυτό το
μαστόρεμα του κόσμου μέσα από την ενεργητική φαντασία, και τη προσήλωση στη
δυναμική που φέρουν οι ‘μορφές’. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ο Αριστοτέλης όριζε τις αιτίες ως τεσσάρων ειδών: <b><i><span style="color: maroon;">το υλικό αίτιο</span></i></b> (την ύλη που εμπλέκεται στο
φαινόμενο), <b><i><span style="color: maroon;">το ποιητικό αίτιο</span></i></b> (ποιος – ποια
δυναμική το προκαλεί), <b><i><span style="color: maroon;">το ειδικό αίτιο</span></i></b>
(την αιτιώδη συσχέτιση που προκαλεί η μορφή [είδος στα αρχαία ελληνικά] – θα
λέγαμε πρόκειται για ένα ‘<i>μορφικό αίτιο</i>’),
και <b><i><span style="color: maroon;">το τελικό αίτιο</span></i></b> (αυτό που το ορίζει κάποιος
‘<i>σκοπός</i>’). Ενώ οι δύο πρώτες έχουν
επιβιώσει στην σύγχρονη επιστημονική αντίληψη, αντίστοιχη θέση δεν υπάρχει για
τις δύο επόμενες. Και ενώ το τελικό αίτιο συνδέεται συνήθως με την παραδοχή ή
μη ενός Θεού Δημιουργού, το ειδικό (μορφικό) αίτιο αντιμετωπίζεται από την
θετικιστική επιστήμη (ακόμη και στην αγνόηση ή την απόρριψή του) με αμηχανία.
Μη επιχειρώντας μια συστηματική ιχνηλασία την πορείας που αυτή η ιδέα διέγραψε
στον προεπιστημονικό κόσμο αλλά και αργότερα (π.χ. στο ρομαντισμό ως φιλοσοφικό
ρεύμα), ακόμη και ως εφαλτήριο για νέες
επιστημονικές ανακαλύψεις [3] θα σταθούμε για λίγο στην θεωρία ενός
σύγχρονου βιολόγου, του </span><span lang="EN-US" style="font-size: 14.0pt;">Rupert</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">Sheldrake</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">. Αυτός, βασισμένος σε πλήθος στοιχείων τόσο από
την βιολογία και την εξέλιξη όσο και από την ηθολογία των ζώων, την λαογραφία
και την κοινωνιολογία, διατύπωσε την παράδοξη για την κρατούσα αντίληψη περί
αιτιότητας, αλλά ελέγξιμη μέσω πειραματισμού άποψη, ότι <i>“κάθε μορφή που έχει αναπτυχθεί μέσα από φυσικές,βιολογικές,
συμπεριφορικές ή άλλες διαδικασίες θα οδηγήσει στην αύξηση της πιθανότητας αυτή
η μορφή να επαναληφθεί όταν υπάρξουν οι κατάλληλες προϋποθέσεις”</i>. Ο </span><span lang="EN-US" style="font-size: 14.0pt;">Sheldrake</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> ονόμασε την αρχή αυτή <i>μορφικό συντονισμό</i> (</span><span lang="EN-US" style="font-size: 14.0pt;">morphic</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">resonance</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">). Πρόκειται για μια σύγκλιση αποτελεσμάτων σε
διαδοχές απομακρυσμένων μεταξύ τους γεγονότων, όπου μια μορφή / φόρμα, άπαξ και
διαμορφώθηκε θα προκαλέσει μια άλλη αντίστοιχη να συγκλίνει μ’ αυτήν, ή θα
συνεξελιχθούν σε σύγκλιση που δεν θα εξηγείται στη βάση μόνον των κοινών τους
εξωτερικών παραγόντων. Στην εικόνα που ακολουθεί [4] βλέπουμε ‘αντίστοιχα’
ζωικά είδη που ανήκουν στους δύο μεγάλους κλάδους των θηλαστικών: αμνιωτά και
μαρσιποφόρα, που θεωρείται ότι απέκλιναν από τον κοινό πρωτοθηλαστικό πρόγονο
εδώ και περίπου 120 εκατομμύρια χρόνια πριν. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ενώ λοιπόν αυτά αναπτύχθηκαν σε απομόνωση (σε
διαφορετικές ηπείρους) εμφανίζονται σήμερα συχνά ως ‘ομόλογα’ είδη, με βαθμό
ομοιότητας που, κατά τον </span><span lang="EN-US" style="font-size: 14.0pt;">Sheldrake</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> τουλάχιστον, δεν μπορεί να
αποδοθεί μόνον στην αναλογία ανάμεσα στα δύο οικοσυστήματα. Κατά τη θεωρία του
μορφικού συντονισμού, οι συνεξελισσόμενοι ζωικοί πληθυσμοί εμφανίζουν μια μη αιτιώδη
(με την συνήθη έννοια της αιτιακής σχέσης) αλληλεπίδραση που βασίζεται σε
σύγκλιση των <b><i>μορφών</i></b>. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Είναι έξω από τους σκοπούς αυτής της παρουσίασης μια
διεξοδική μελέτη των επιχειρημάτων γύρω από τις απόψεις του </span><span lang="EN-US" style="font-size: 14.0pt;">Sheldrake</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">. Να σημειώσουμε μόνο ότι έχουν ανακοινωθεί
αποτελέσματα πειραμάτων όπου οι ιδέες του φαίνεται να επαληθεύονται
εντυπωσιακά. Εδώ επιλέξαμε αυτό το παράδειγμα, παρ’ όλο που είναι μόνον
ενδεικτικό, χάρη στην απλότητά του και την συνάφεια με αυτό που κυρίως θέλουμε
να πούμε: Το ενδεχόμενο οι μορφές καθ’ εαυτές να αναπτύσσουν μια ιδιαίτερη
δυναμική, σαν μια ‘εναλλακτική αιτιότητα’. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Θα θέλαμε να επανέλθουμε στην έκφραση που παρέθεσε η Πόλυ
Κασδά, αυτήν που αντιπαραβάλει τον <i>μηχανικό</i>
με τον <i>μάστορα</i>. Αυτή τη φορά όμως θα
την θυμηθούμε όπως την διετύπωσε όχι ο Lévi-Strauss αλλά ένα άλλος πολύ
σημαντικός επιστήμονας, ο </span><span lang="EN-US" style="font-size: 14.0pt;">Francois</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">Jacob</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">, κορυφαίος βιολόγος και βραβείο Νόμπελ, που είπε ότι η
εξέλιξη δουλεύει λιγότερο ως μηχανικός και περισσότερο ως ‘μάστορας’, μέσω
μαστορέματος, </span><span lang="EN-US" style="font-size: 14pt;">bricolage</span><span style="font-size: 14pt;"> (</span><span lang="EN-US" style="font-size: 14pt;">tinkering</span><span style="font-size: 14pt;">). Είναι εξαιρετικά
ενδιαφέρον το ότι τα δύο αυτά σημαντικά πνεύματα, από δύο διαφορετικούς τομείς,
διέγνωσαν τη σημασία και τη δυναμική του ‘</span><span lang="EN-US" style="font-size: 14pt;">tinkering</span><span style="font-size: 14pt;">’. Τ</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">ο ‘μαστόρεμα’ που εισηγείται ο </span><span lang="EN-US" style="font-size: 14.0pt;">Jacob</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> περιορίζεται βεβαίως αποκλειστικά στο πλαίσιο της
ορθόδοξης εξελικτικής θεωρίας. Αν όμως το δούμε στο πνεύμα του </span><span lang="EN-US" style="font-size: 14.0pt;">Sheldrake</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">, οδηγούμαστε στο ενδεχόμενο ότι το μαστόρεμα μπορεί
να περιλαμβάνει και την σύγκλιση με την ήδη υπάρχουσα ‘κοσμική’, συνολική
εμπειρία. Ότι πέραν από τη μηχανιστική αιτιοκρατία, σίγουρα πατώντας ‘με το ένα
πόδι’ σ</span><span style="font-family: "courier new"; mso-ansi-language: EL;">’</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> αυτήν αλλά όχι <i>μόνον</i> σ’ αυτήν, ο κόσμος διαμορφώνεται <i>ως εν όλον</i>, όπου τα μέρη του συνδιαμορφώνονται,
όχι μόνον χάρη στην κλασική, αιτιώδη αλληλεπίδραση, αλλά και χάρη στην <i>υπερπροσδιορισμένη</i> φύση του. Μέσω της
σύγκλισης των μορφών. Κόσμου που οι μεσαιωνικοί τον αποκαλούσαν ‘</span><i><span lang="EN-US" style="font-size: 14.0pt;">unus</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">mundus</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;">’ και τον αναπαριστούσαν ως Ουροβόρο Όφι (κι αυτός
παρών στο έργο της Πόλυς, ελλοχεύει στην σελίδα 72 του ‘<i>Πυρίσπορου’</i>, του άλλου της πονήματος).<o:p></o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4-pEX3ESJYPhLcr0f15F9hTUDUJ8RdIc6Ke2vkcXmi82coMl-wOi2FGeRVxsZTFOy_wVbhYaQRomG3OCCvcNVdhKIaVTAst0YnNBdNFcyBwIJXZrJPzDv3BlTGTHkwJT6WhXumEsCyHo_/s1600/a12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4-pEX3ESJYPhLcr0f15F9hTUDUJ8RdIc6Ke2vkcXmi82coMl-wOi2FGeRVxsZTFOy_wVbhYaQRomG3OCCvcNVdhKIaVTAst0YnNBdNFcyBwIJXZrJPzDv3BlTGTHkwJT6WhXumEsCyHo_/s320/a12.jpg" width="320" /></a><br />
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Σε αυτό το πήγαινε-έλα που δεν φαίνεται να έχει τέλος,
επ΄ αφορμή του έργου της Πόλυς, ας έρθουμε μια φορά ακόμη στον Lévi-Strauss και
στην κορυφαία μεθοδολογική συνεισφορά
του, την επινόηση και την εισαγωγή του δομισμού στη μελέτη των γλωσσών και των
σχέσεων συγγένειας στις πρωτόγονες κοινωνίες. Αυτή η μεθοδολογία, που έχει για
μισό αιώνα προσφέρει τα μέγιστα στην γνώση μας για πλευρές των ανθρώπινων
κοινωνιών που μέχρι τότε ξέφευγαν της κατανόησής μας είναι ουσιαστικά <i>μια χαλάρωση της απαίτησης για αιτιώδη κατανόηση</i>, σε ορισμένες
περιπτώσεις. Εισάγει ένα τρόπο κατανόησης ‘<i>κατ</i></span><i><span style="font-family: "courier new"; mso-ansi-language: EL;">’</span></i><i><span style="font-size: 14.0pt; mso-ansi-language: EL;"> αναλογίαν</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;">’: Όταν ένα μοτίβο σχέσεων
αναδεικνύεται σε μία κοινωνία ή εντοπίζεται στο εσωτερικό ενός μύθου, εάν ένα
ανάλογο μοτίβο υφίσταται σε μία άλλη περίπτωση όπου όμως κάποιοι κόμβοι λείπουν,
αυτοί κατά το δομισμό μπορεί στη δεύτερη περίπτωση να υποτεθούν. Στην
πλειοψηφία των περιπτώσεων όπου αυτό το σχήμα εφαρμόστηκε, οι αρχικά
‘υποθετικοί’ κόμβοι πρόσφεραν ένα επίπεδο κατανόησης που με άλλες μεθοδολογίες
θα ήταν απρόσιτο. Εδώ ξαναβρίσκουμε μέσα στη νεωτερικότητα ένα σχήμα συγγενές
με το Ερμητικό ‘<i>ως εν τοις άνω ούτω και
εν τοις κάτω</i>’ που ίσχυε κατά την ύστερη αρχαιότητα και το μεσαίωνα,
θεμελιωμένο όχι μόνον βάσει αιτιώδους συσχέτισης αλλά και αναλογιών και
‘συγγενειών΄. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Αν και αυτός ο τρόπος σκέψης ανιχνεύεται και στο ‘<i>Συνειδητό Μάτι</i>’, Η Πόλυ Κασδά, με τις
δυνατότητες που της δίνει η καλλιτεχνική της ιδιότητα (ή οι καλλιτεχνικές της
ιδιότητες αν θέλετε) τον επαναλαμβάνει πολύ εντονότερα στον ‘<i>Πυρίσπορο</i>’ και ξαναβλέπουμε τον ίδιο
τρόπο σκέψης και στο πλέον πρόσφατό της ‘<i>Όταν
με κατάπιε εκείνη η λέξη’</i>. Εκεί, αποκαλεί με τον δικό της, συνοπτικό και
απολύτως προσφυή όρο: ‘</span><i><span lang="EN-US" style="font-size: 14.0pt;">something</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">essential</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">missing</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;">’ αυτό που εδώ με πολλά λόγια και αναμφίβολη
δυσκολία προσπαθούμε να περι-γράψουμε. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Αν και τον υπερπροσδιορισμό, τον οποίο διαλέξαμε ως οδηγό
μίτο σ’ αυτή τη διαδρομή στο έργο της Πόλυς Κασδά, τον εντοπίζουμε περισσότερο
σε ερμηνείες και σε εξηγητικά σχήματα όπως αυτά που συνοπτικά αναφέραμε: στην
τέχνη, στην ανθρωπολογία και σε σχήματα από το χώρο του μύθου, μια ανάλογη
‘παραδοξότητα’ στη αιτιώδη δομή του κόσμου πιθανόν να συνιστούν τα φαινόμενα
που συνολικά αναφέρονται ως <i>Υπεραισθητή Αντίληψη</i>,
</span><i><span lang="EN-US" style="font-size: 14.0pt;">Extrasensory</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">Perception</span></i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span style="font-size: 14.0pt; mso-ansi-language: EL;">(</span><span lang="EN-US" style="font-size: 14.0pt;">ESP</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">). <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Στην νέα σύνθεση, στη βάση της τεχνητής νοημοσύνης από
τον Γιάννη Κόντο, του ‘</span><span lang="EN-US" style="font-size: 14.0pt;">needled</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">’ </span><i><span lang="EN-US" style="font-size: 14.0pt;">conscious</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">eye</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;">, συναντάμε εκτενή αναφορά στον Alan Turing, κορυφαία μορφή των πεδίων της μαθηματικής λογικής, της
θεωρίας των αλγορίθμων και των υπολογιστών, συχνά πιο γνωστό για το ρόλο του
στο σπάσιμο του κώδικα κρυπτογραφίας των Γερμανών στον Β’ Π.Π. με τη συσκευή ‘</span><span lang="EN-US" style="font-size: 14.0pt;">Enigma</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">’, αλλά και για την τραγική προσωπική του ιστορία. <o:p></o:p></span></div>
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<b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Alan
Turing<o:p></o:p></span></i></b></div>
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<b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;">The</span></i></b><b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;"> </span></i></b><b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;">enigma</span></i></b><b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;"> </span></i></b><b><i><span lang="EN-US" style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;">machine</span></i></b><b><i><span style="color: maroon; font-family: "arial" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></i></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ο Alan Turing λοιπόν, που την πνευματική του ρωμαλεότητα
δεν μπορεί να αμφισβητήσει κανείς, και που ποτέ δεν είχε κάποια ιδιαίτερη
ενασχόληση στο πεδίο της παραψυχολογικής έρευνας, έγραψε τις παρακάτω γραμμές
όσον αφορά την ύπαρξη της </span><span lang="EN-US" style="font-size: 14.0pt;">ESP</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">. Τις μεταφέρουμε εδώ, πρόχειρα μεταφρασμένες,
από μια συλλογή κειμένων που συνέλεξαν δύο σημαντικοί επιστήμονες,
λογικομαθηματικοί και εκλαικευτές, εγνωσμένα σκεπτικιστές απέναντι στο ‘μεταφυσικό’
που όμως δεν λογόκριναν τον κορυφαίο συνάδελφο τους. Το βιβλίο σχεδόν
μοιράζεται τον τίτλο του βιβλίου της Πόλυς. Λέγεται ‘</span><span lang="EN-US" style="font-size: 14.0pt;">The</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">mind</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">’</span><span lang="EN-US" style="font-size: 14.0pt;">s</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 14.0pt;">I</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">’ [5], σε ένα λογοπαίγνιο από
αυτά που οι επιστήμονες αυτών των κλάδων τόσο αγαπούν. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">Απόσπασμα</span><span style="font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;"> </span><span style="font-size: 14.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">από</span><span style="font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;"> </span><span style="font-size: 14.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">το</span><span lang="EN-GB" style="font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">: ‘</span><b><span lang="EN-US" style="font-family: "courier new"; font-size: 14.0pt;">Computing
Machinery And Intelligence</span></b><span lang="EN-GB" style="font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">’</span><b><span lang="EN-GB" style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">του</span><span style="font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;"> </span><b><span lang="EN-US" style="font-family: "courier new"; font-size: 14.0pt;">A</span></b><b><span lang="EN-GB" style="font-family: "courier new"; font-size: 14.0pt;">.</span></b><b><span lang="EN-US" style="font-family: "courier new"; font-size: 14.0pt;">M</span></b><b><span lang="EN-GB" style="font-family: "courier new"; font-size: 14.0pt;">.</span></b><b><span lang="EN-US" style="font-family: "courier new"; font-size: 14.0pt;">TURING</span></b><b><span lang="EN-GB" style="font-family: "courier new"; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<span lang="EN-GB" style="color: navy; font-size: 13.0pt;"> ….. </span><span style="color: navy; font-size: 13.0pt;">Θεωρώ ότι
ο αναγνώστης είναι εξοικειωμένος με την έννοια της Εξωαισθητηριακής Αντίληψης,
και την σημασία των τεσσάρων κατηγοριών που περιλαμβάνει: Τηλεπάθεια, Διόραση,
Πρόγνωση, και Ψυχοκίνηση. Αυτά τα ενοχλητικά φαινόμενα φαίνεται να υπονομεύουν
όλες τις καθιερωμένες επιστημονικές απόψεις μας. Πόσο θα θέλαμε να τα
απορρίψουμε! Δυστυχώς η στατιστική μαρτυρία είναι συντριπτικά υπέρ, τουλάχιστον
της τηλεπάθειας. Είναι πολύ δύσκολο να διευθετήσει κανείς τις ιδέες του ώστε να
περιλάβουν αυτά τα νέα δεδομένα. … Η βεβαιότητα ότι τα σώματα κινούνται απλά
σύμφωνα με τους γνωστούς νόμους της φυσικής μαζί με μερικούς επιπλέον, που δεν
έχουν ακόμη ανακαλυφθεί αλλά που θα είναι ανάλογοι των γνωστών, θα είναι από τις
πρώτες που θα εκλείψουν...</span><b><span style="color: navy; font-family: "courier new"; font-size: 13.0pt;"><o:p></o:p></span></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">Αφού λοιπόν ο </span><span style="font-size: 14.0pt; mso-ansi-language: EL;">Alan Turing μας το επιτρέπει, θα επωφεληθούμε να πούμε
δυο λόγια για το αν και κατά πόσον η </span><span lang="EN-US" style="font-size: 14.0pt;">ESP</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> είναι
κάτι που μπορεί να ενταχθεί στο εξηγητικό μοντέλο μας για τον κόσμο, το
επικρατούν ‘Επιστημολογικό Παράδειγμα’ χρησιμοποιώντας τον όρο που εισήγαγε ο </span><span lang="EN-US" style="font-size: 14.0pt;">T</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">.</span><span lang="EN-US" style="font-size: 14.0pt;">S</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">.</span><span lang="EN-US" style="font-size: 14.0pt;">Kuhn</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> ή αν, όπως αντίθετα ο ίδιος ο Turing εκτιμούσε, <i>είναι αναπόφευκτο να οδηγήσει σε αλλαγές στα θεμέλια της κοσμοαντίληψής
μας</i>, κάνοντας το υπερπροσδιορισμό όχι μόνον κατηγορία της ψυχολογίας ή των
ανθρωπιστικών επιστημών αλλά εξίσου καταστατική έννοια της μελέτης του φυσικού
(ή καλύτερα του αδιαίρετου, συνολικού) κόσμου. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Τα
πράγματα θα ήσαν απλά αν τα φαινόμενα </span><span lang="EN-US" style="font-size: 14.0pt;">ESP</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">
μπορούσαν να ερμηνευθούν ως επικοινωνία πομπού – δέκτη μεταξύ δύο εγκεφάλων.
Μπορεί όμως να είναι έτσι; Αυτό είναι εξαιρετικά αμφίβολο. Σε πείραμα που έχει
επανειλημμένα αναφερθεί ότι είχαν κάνει οι Σοβιετικοί [6], το εγκεφαλογράφημα
κουνέλας έδινε κορυφές όταν σκότωναν τα κουνελάκια της χιλιάδες μίλια μακριά,
ενώ η ίδια ήταν σε υποβρύχιο σε κατάδυση, σε ένα φυσικό κλωβό Φαρανταίη αδιαπέραστο από κάθε
συνήθη τύπο Η/Μ ακτινοβολίας. Σε πείραμα μεταφοράς εικόνων που έκαναν στο
Ινστιτούτο Στάνφορντ και δημοσιεύτηκε στο </span><span lang="EN-US" style="font-size: 14.0pt;">Nature</span><span style="font-size: 14.0pt; mso-ansi-language: EL;"> [7] ο διαισθητικός που ζωγράφιζε εικόνες, που τυχαία επιλέγονταν και τις
κοιτούσε ‘στέλνοντάς’ του τες ένα μέλος της επιστημονικής ομάδας, ήταν
κλεισμένος σε θάλαμο θωρακισμένο έναντι κάθε γνωστής ακτινοβολίας.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;"><br />Τέλος,
στα πειράματα πρόβλεψης καρτών, οι πειραματιστές προβλέπουν κάρτες από
‘τράπουλες’ που έχουν διαταχθεί τυχαία και κανένα μάτι δεν τις έχει δει πριν.
Άρα κανένα μοντέλο πομπού – δέκτη δεν μπορεί να εφαρμοστεί εδώ. <o:p></o:p></span></div>
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<b><i><span style="color: maroon; mso-ansi-language: EL;">Τυπικές κάρτες </span></i><span lang="EN-US" style="color: maroon;">Zener</span></b><b><i><span style="color: maroon; mso-ansi-language: EL;"> που χρησιμοποιήθηκαν στα πειράματα
που άρχισε ο J. B. Rhine που θεμελίωσε το ερευνητικό πεδίο της Παραψυχολογίας,
αρχικά στο πανεπιστήμιο του </span><span lang="EN-US" style="color: maroon;">Duke</span></i></b><b><i><span style="color: maroon; mso-ansi-language: EL;">, και που εξέδωσε την Journal of
Parapsychology</span></i></b></div>
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<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ίσως
λοιπόν τα φαινόμενα του πεδίου της </span><span lang="EN-US" style="font-size: 14.0pt;">ESP</span><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span style="font-size: 14.0pt; mso-ansi-language: EL;">να μας ανοίγουν
το δρόμο για την κατανόηση μιας άλλης θεμελιώδους όψης του κόσμου, και γι αυτό
ακριβώς ο Turing διέβλεπε το πόσο ανατρεπτική ήταν η υπέρ τους ετυμηγορία της
στατιστικής. Να είναι δηλαδή κι αυτά έκφραση του ‘</span><i><span lang="EN-US" style="font-size: 14.0pt;">unus</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">mundus</span></i><span style="font-size: 14.0pt; mso-ansi-language: EL;">’, όπου όταν συμβαίνουν δεν έχουμε εκπομπή και
λήψη σήματος, αλλά ο κόσμος για μια στιγμή συμπεριφέρεται ως ‘όλον’ όπου κάποιο
μέρος του είναι σε επαφή κατά κάποιον τρόπο με κάποιο άλλο, χωρίς σε αυτό το
επίπεδο να μεσολαβεί απόσταση.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyM4OIJMGTac3JyS7hOKF8wwyl7blT0GsupS3CWPr_p7d3N2EYQuAmqiln6RKAKUcPsD0OsrXAwlTtRDz04_3OL21RgFsRxcihzUM_SP-K5Boagy4PycrofMkBHBsCEZ8Zr0veiLe_or2d/s1600/a19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyM4OIJMGTac3JyS7hOKF8wwyl7blT0GsupS3CWPr_p7d3N2EYQuAmqiln6RKAKUcPsD0OsrXAwlTtRDz04_3OL21RgFsRxcihzUM_SP-K5Boagy4PycrofMkBHBsCEZ8Zr0veiLe_or2d/s1600/a19.png" /></a></div>
<span style="font-size: 14.0pt; mso-ansi-language: EL;">Ας
κλείσουμε αυτή την αναφορά στο έργο της Πόλυς Κασδά εδώ, με τη βεβαιότητα ότι
κατορθώνει με ένα ‘<i>προεπιστημονικό</i>’
τρόπο, τον τρόπο των Παράκελσου και
Λεονάρντο, του Μάγου-Γιατρού και του </span><i><span lang="EN-US" style="font-size: 14.0pt;">Homo</span></i><i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span></i><i><span lang="EN-US" style="font-size: 14.0pt;">Universalis</span></i><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EL;"> </span><span style="font-size: 14.0pt; mso-ansi-language: EL;">να συνδέει το απτό με το άπιαστο (το ‘</span><span lang="EN-US" style="font-size: 14.0pt;">intangible</span><span style="font-size: 14.0pt; mso-ansi-language: EL;">’) και να εμφανίζει μπροστά μας αόρατες δυναμικές
γραμμές που δίνουν στον κόσμο μας λίγο περισσότερο νόημα.<o:p></o:p></span></div>
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<b>ΒΙΒΛΙΟΓΡΑΦΙΚΈΣ
ΑΝΑΦΟΡΈΣ<o:p></o:p></b></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">[1].- </span><span lang="EN-US" style="font-size: 11.0pt;">Arthur</span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 11.0pt;">I</span><span style="font-size: 11.0pt; mso-ansi-language: EL;">. </span><span lang="EN-US" style="font-size: 11.0pt;">Miller</span><span style="font-size: 11.0pt; mso-ansi-language: EL;">. <i>Αϊνστάιν
– Πικάσο</i>, εκδόσεις Τραυλός, 2002. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">[2].- </span><span lang="EN-US" style="font-size: 11.0pt;">Carl</span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 11.0pt;">Gustav</span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EL;"> </span><span lang="EN-US" style="font-size: 11.0pt;">Jung</span><span style="font-size: 11.0pt; mso-ansi-language: EL;">. <i>Αναμνήσεις Σκέψεις Όνειρα</i>, εκδόσεις Σπαγειρία, 1992. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">[3].- </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">Pierre</span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;"> </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">Thuiller</span><span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">. Η εκδίκηση των μαγισσών – Ο ανορθολογισμός και η επιστημονική σκέψη,
εκδόσεις </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">Leader</span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;"> </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">Books</span><span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">, 2005. Η αναφορά μας στο κείμενο σχετίζεται με την σημασία για τον
σχεδιασμό του ομώνυμου πειράματος από τον </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">Oersted</span><span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;"> των φιλοσοφικών του αντιλήψεων, μια ποιητική σύλληψη για το ενιαίο του
κόσμου, καθώς ήταν βαθιά επηρεασμένος από την ρομαντική φιλοσοφία της εποχής
του. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">[4].- Rupert Sheldrake. </span><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">The presence of the past, HarperCollinsPublishers, 1988.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">[5].- Douglas R. Hofstadter Daniel C. Dennett. </span><i><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: CourierNewPSMT;">The
Mind's I: Fantasies And Reflections On </span></i><i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">Self & Soul</span></i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">, Bantam Books, 1982. </span><span style="font-size: 11.0pt; mso-ansi-language: EL; mso-bidi-font-family: CourierNewPSMT;">Κυκλοφορεί και στα Ελληνικά, με τίτλο ‘Το
Εγώ της Νόησης’, εκδόσεις Κάτοπτρο, σε μετάφραση της Μυρτώς Αντονοπούλου. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">[6].- Sheila Ostrander, Lynn Schroeder.
<i>Psychic Discoveries Behind the Iron
Curtain</i>. Prentice Hall Trade, 1984.</span><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;"> <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">[7].-</span><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: CourierNewPSMT;">R.Targ & H.Puthoff. Information transmission under conditions of
sensory shielding.</span><span lang="EN-GB" style="font-family: "verdana" , "sans-serif"; font-size: 11.0pt;"> </span><i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">Nature</span></i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">, <b>251</b>, 602-607, 1974. </span><span style="font-size: 11.0pt; mso-ansi-language: EL;"> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgRG9_qxMxXMtk0RkVCprflRQjGs8pjePD-y81heU4GXQEOmk8v0w8i4XkpbogdSLlG6j9jvAnN7z2KqFldQ2Is8PmtFSKXJv8Hh9Po_M9aB1Jc4MfvUd35X4HJIUxVndHAd-wnvQ3Z3dh/s1600/LEXH+GR_exofillo+cover+spread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgRG9_qxMxXMtk0RkVCprflRQjGs8pjePD-y81heU4GXQEOmk8v0w8i4XkpbogdSLlG6j9jvAnN7z2KqFldQ2Is8PmtFSKXJv8Hh9Po_M9aB1Jc4MfvUd35X4HJIUxVndHAd-wnvQ3Z3dh/s320/LEXH+GR_exofillo+cover+spread.jpg" width="320" /></a></div>
<span style="font-size: 11pt; text-align: left;">Το αφήγημα της Πόλυ Κασδά,</span><span style="font-size: 14.6667px; text-align: left;">'όταν με κατάπιε εκείνη η λέξη'</span><span style="font-size: 14.6667px; text-align: left;"> </span><span style="font-size: 11pt; text-align: left;">διατείθεται στο βιβλιοπωλείο Επί Λέξει, Ακαδημίας 32 και Λυκαβηττού, Αθήνα.</span><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-30786088283457339922016-06-08T02:13:00.000-07:002018-03-13T23:56:06.711-07:00Ο υπο-προσδιορισμός στο έργο της Πολυξένης Κασδά<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG-Vviiqi_Acz3EThqUQz8n8q_CmAwAc49L_1Yo2V5OcYXCV1u9p52X5XLSWOsEQzFyeqCQrCl7uq8fnKS85lOy4l_5gQjJY6Qmxnf6zTJGgriDZRxRNnz1jQkIJIs3-Vv1erFvzfHDnAc/s1600/LEXH+GR_exofillo+cover+spread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG-Vviiqi_Acz3EThqUQz8n8q_CmAwAc49L_1Yo2V5OcYXCV1u9p52X5XLSWOsEQzFyeqCQrCl7uq8fnKS85lOy4l_5gQjJY6Qmxnf6zTJGgriDZRxRNnz1jQkIJIs3-Vv1erFvzfHDnAc/s640/LEXH+GR_exofillo+cover+spread.jpg" width="640" /></a></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;"><b>Ο
υπο-προσδιορισμός στο έργο της Πολυξένης Κασδά<o:p></o:p></b></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;"><b>Εισήγηση της ιστορικού τέχνης Μαριάνας Ζήκου, Στοά του Βιβλίου, 2/6/2016</b></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Θα
προσπαθήσω να παραθέσω κάποιες σκέψεις για το γραπτό έργο της Πόλυς Κασδά σε
σχέση με ένα από τα πρώτα της βιβλία 'το συνειδητό μάτι' και το πιο πρόσφατο
'όταν με κατάπιε εκείνη η λέξη'. Θα τα συνδέσω με μια επιστημολογική έννοια και
με μια αλληγορία.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Ο κ.
Αλμυράντης έκανε μόλις μια πολύ ενδιαφέρουσα προσέγγιση εκκινώντας από τη λέξη
που χρησιμοποίησε στον τίτλο της παρουσίασής του, μίλησε για τον
υπερ-προσδιορισμό στο έργο της Πόλυς Κασδά. </span><span lang="EN-US" style="font-size: 11.0pt;">M</span><span style="font-size: 11.0pt; mso-ansi-language: EL;">ου έδωσε έτσι την ιδέα να αναπτύξω κι εγώ αυτή την έννοια προς μια
διαφορετική κατεύθυνση όμως, προς το αντώνυμό της, να μιλήσω δηλαδή για τον
υπο-προσδιορισμό στο έργο της Κασδά.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Εκκινώντας
από τη δυναμική αυτού του προθήματος, το υπο-, ο υπο-προσδιορισμός στα πλαίσια
αυτής της παρουσίασης χρησιμοποιείται με διπλη ερμηνεία.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Από τη
μία ο υπο-προσδιορισμός είναι μια επιστημολογική έννοια, η οποία αμφισβητεί τη
μονοσήμαντη προσέγγιση της εμπειρίας. Θεωρείται αδύνατο δηλαδή η εμπειρία να
ερμηνευθεί ολοκληρωτικά μέσα από κάποιο αξίωμα. Αυτή η σκέψη αντανακλάται στα
θεωρήματα μη πληρότητας του Γκέντελ και επεκτείνεται στον φιλοσοφικό όρο του
Ντεριντά, την αποδόμηση, που αναφέρεται στο άπειρο της γλωσσικής εμπειρίας αλλά
και στο αδιέξοδο του νοήματος.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Ο
υπο-προσδιορισμός υπό αυτή την έννοια εγγράφεται στο έργο της Πόλυς Κασδά ως
διάσπαρτα ίχνη από γλώσσα, αντικείμενα, επιτελέσεις, συνευρέσεις, και άλλες
αποτυπώσεις όπως τηλεοπτικές εκπομπές, κτίρια και νέα μέσα, τα οποία
συναρμολογημένα πότε αποκαλύπτουν και πότε επικαλύπτουν τον πυρήνα της σκέψης
της. Έναν πυρήνα που έλκει σε τροχιά επιστημονικές θεωρίες της υπολογιστικής
και γνωσιακής επιστήμης και μαζί τη φιλοσοφική και εφαρμοσμένη διάσταση της εμπειρίας.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">'Το
συνειδητό μάτι' λοιπόν, από τα πρώτα βιβλία της Πόλυς Κασδά, θα έλεγα ότι
συνδέεται με την πρώτη ερμηνεία του υπο-προσδιορισμού, την επιστημολογική. Η
Πόλυ Κασδά ξεκινά μια πρωτότυπη και συστηματική εξερεύνηση της ανθρώπινης
εμπειρίας και των διανοητικών διαδικασιών που βρίσκονται πίσω από τα έργα των
καλλιτεχνών και τα καλλιτεχνικά κινήματα του 20ου αιώνα. Χρησιμοποιεί το
ανθρώπινο μάτι σαν διεπαφή, το μάτι γίνεται ένα σχεδόν μηχανικό
εξάρτημα-εργαλείο, το οποίο δημιουργεί έναν δίαυλο μεταξύ της εσωτερικής
πραγματικότητας και της εξωτερικής τοπολογίας.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Το βιβλίο
ξεκινάει με δύο ερωτήσεις <i>“τι έπαθαν λοιπόν πολλοί καλλιτέχνες και
σταμάτησαν να ζωγραφίζουν; Τι κρύβεται πίσω από αυτήν τη σιωπή που πήρε τόσες
παράξενες μορφές;”</i> Σε αυτά τα ερωτήματα η Πόλυ Κασδά δημιουργεί θεωρητικούς
σχηματισμούς, πολύ γόνιμους, αντιστοιχώντας επιστημονικές θεωρίες και
τεχνολογίες με καλλιτεχνικές μεθόδους και τη φιλοσοφική γνώση.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Ήδη όμως
στο προοίμιο του βιβλίου θίγει λακωνικά το ζήτημα του υπο-προσδιορισμού,
γράφοντας: <i>“Αυτό το δοκίμιο πάνω στη φύση της σύγχρονης τέχνης και της
όρασης είναι μόνο η κορυφή του παγόβουνου”</i>. Στις τελευταίες σελίδες του
βιβλίου περιγράφει ήδη την κατάλυση της ασφάλειας, την αποσάρθρωση των
συμβατικών δομών και μαζί την απόσυρση των λέξεων.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Οι
παρατηρήσεις αυτές ανοίγουν ήδη το δρόμο στη δεύτερη ερμηνεία του
υπό-προσδιορισμού, σε μια δημιουργική-εμπειρική προέκταση του όρου, που μπορεί
να συνδεθεί με το νέο βιβλίο της Πόλυς Κασδά 'όταν με κατάπιε εκείνη η λέξη'.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Το βιβλίο
μάς εισάγει σε μια αγριευτική εξερεύνηση σε ό,τι βρίσκεται υπό, κάτω από την
επικράτεια του ορατού και της καθησυχαστικής σημειολογίας, στα ανεικονικά πεδία
της καλλιτεχνικής εμπειρίας, της αμφισημίας, της κατάλυσης του υποκειμένου και
τελικά της κατάλυσης του ίδιου του κειμένου σε υπό-κείμενα, σε λέξεις-σύμβολα
που περικλείουν συμπυκνωμένους ανοίκειους κόσμους, για να καταλυθούν και οι
λέξεις με τη σειρά τους σε γλύφους, στη μικρότερη μονάδα διάσπασης της γλώσσας,
να γίνουν αντικείμενα και αντί-κείμενα, μη-κείμενα, σε ένα ταξίδι καταβύθισης
στα υποστρώματα της γλώσσας, στους υποθαλάμους της εμπειρίας και στους
υπό-λογισμούς της αντίληψης.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Έτσι
ξεκινά λοιπόν η μεγάλη βουτιά, ένας επίμονος αναστοχασμός προς τον πυρήνα της
εμπειρίας που περιγράφεται στο 'όταν με κατάπιε εκείνη η λέξη'. Εκεί η Πόλυ
Κασδά παρατηρεί για 'το συνειδητό μάτι', το άλλο της βιβλίο: <i>“μετά την
έκδοση είχα μείνει πάλι με την δίψα του ανικανοποίητου: Αυτό το κάτι το
ουσιαστικό που λείπει”</i>.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Η πορεία
των επόμενων 25 χρόνων θα γινόταν ακριβώς αυτό, ο τόπος ανάδυσης του
παγόβουνου, του ουσιαστικού, μια τρομερή καταβύθιση στον πυρήνα της γνώσης και
της εμπειρίας. Μια εξερεύνηση τόσο τολμηρή, επίμονη και παραγωγική, που συχνά
προλαμβάνει τις εξελίξεις στην τεχνολογία και τη γνωσιακή επιστήμη, όπως μέσα
από την πρότασή της Μύθος/Δίκτυο, όπου συνθέτει μια ιδεογραφία του διαδικτύου
πριν αυτό εμφανιστεί.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Παράλληλα
όμως, οι εξερευνήσεις στην άλλη όψη της λογικής, στο σκοτάδι της εμπειρίας και
του αποδομημένου νοήματος, έχουν και τον αντίκτυπό τους. Στο 'όταν με κατάπιε
εκείνη η λέξη' αποκαλύπτει ότι τολμώντας τότε να δημοσιεύσει το δοκίμιό της
'Πυρίσπορος', τρόμαξε και έχασε το κοινό που είχε κερδίσει με 'το συνειδητό
μάτι'.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Καθώς
συνεχίζει την έρευνά της στη φιλοσοφική διάσταση του υπολογιστή και στη
γνωσιακή επιστήμη, το φαντασιακό της που προλαμβάνει τις νέες ανακαλύψεις, την
αφήνει ενίοτε χωρίς επιστημονικά εργαλεία. Καταφεύγει τότε σε επιστημονικοφανή
αξιώματα και στοιχεία, κάποια από τα οποία τεκμηριώνονται στη συνέχεια και
γίνονται αποδεκτές επιστημονικές θεωρίες, ενώ άλλα ακροβατούν ακόμα και ίσως
για πάντα ανάμεσα στο εξωλογικό, την αλχημεία και το μύθο. Δε θα τα αποποιηθεί
σαν χρήσιμα εργαλεία, λέγοντας χαρακτηριστικά: <i>“Όμως, πώς αλλιώς; Αυτά που
βλέπει απευθείας η ψυχή, διανοητικά εκφράζονται σα μια απουσία από όπου οι
λέξεις επιστρέφουν τρελαμένες”</i>.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Από εκεί
και έπειτα, αν και η δημιουργική και ερευνητική της πορεία συνεχίζεται
εντατικά, θα αρχίσει συνειδητά και μεθοδικά να υποκρύπτει την πραγματική τους
διάσταση. Στον 'όταν με κατάπιε εκείνη η λέξη' η ίδια θα αναφερθεί στη
δημιουργία ενός 'αυτοτροφοδοτούμενου καταφυγίου' το οποίο παίρνει τη μορφή ενός
μάλλινου κουκουλιού: <i>“...άρχισα,” </i>γράφει,<i> “να πλέκω γύρω μου μια
κουβέρτα, χωρίς τέλος, ούτε αρχή. Το πλεκτό μεγάλωνε πόντο πόντο πέρα από τον
εαυτό του, υψωνόταν πάνω στους τοίχους και κύρτωνε σαν αψιδωτό κύμα
σαβανώνοντας με μέσα σε ένα μάλλινο κουκούλι σε μέγεθος δωματίου”</i>.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Αυτή η
ερμητική κατασκευή μπορεί να βρει το αντίστοιχό της σε μια αρχιτεκτονική
αλληγορία, το Κτίσμα του Κάφκα, το τελευταίο του κείμενο πριν πεθάνει που
έμεινε και ημιτελές. Το καφκικό κτίσμα μπορεί να ερμηνευθεί ως η συγκλονιστική
προσπάθεια ενός ατόμου να διαφυλάξει την ασφάλεια και ακεραιότητά του, όταν
τολμά να αποκαλύψει το έρεβος της ατομικής του εμπειρίας.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Σαν σε
διαλογική σχέση με το πλάσμα του καφκικού κτίσματος στη λαβυρινθώδη του υπόγεια
κατασκευή, η Πόλυ Κασδά γράφει: <i>“Είχα μάθει να προστατεύω το πείραμά μου από
τα ανεξέταστα βλέμματα, κρύβοντας την πραγματική του διάσταση πίσω από λόγια
σοβαροφανή και ευκολοχώνευτα. Ήμουν συνεχώς σε επιφυλακή μη μου χαλάσει κάτι
και δεν προλάβω να δω που θα με πάει αυτή η περιπέτεια. Μια σαρκαστική
αμφιβολία να κατάφερνε να σφηνωθεί στο μαγικό μου οικοδόμημα και όλα θα
κατέρρεαν μέσα στον εαυτό τους”</i>.</span><o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Η
αποκάλυψη αυτής της τόσο εύθραυστης και ενδόμυχης παραδοχής, και παράλληλα η
ασυμβίβαστη αποφασιστικότητα να συνεχίσει την καταβύθιση, αποδεικνύονται
οι ακρογωνιαίοι λίθοι για τη δημιουργία του αλληγορικού βιωματικού αφηγήματός
της 'όταν με κατάπιε εκείνη η λέξη' και μαζί, η συμβολική κατάλυση του καφκικού
καταφυγίου.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">Το
αλληγορικό αυτό αφήγημα λοιπόν, αποτελεί μια επιτομή για την έννοια της
εμπειρίας και του φαντασιακού μέσα από την καλλιτεχνική έρευνα· ένα κάλεσμα για
να τολμήσουμε να αναδύσουμε κι εμείς μαζί τις αχαρτογράφητες διαστάσεις της
νόησής μας. Το 'συνειδητό μάτι' συνεχίζει την αναζήτησή του στις πιο
ασύλληπτες, αμφιλεγόμενες και ενδο-πραγματικές διαστάσεις της ύπαρξής του.<o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-ansi-language: EL;">25.5.2016 Αθήνα</span><br />
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<span style="font-size: 11pt; text-align: left;">Το αφήγημα της Πόλυ Κασδά,</span><span style="font-size: 14.6667px; text-align: left;">'όταν με κατάπιε εκείνη η λέξη'</span><span style="font-size: 14.6667px; text-align: left;"> </span><br />
<span style="font-size: 11pt; text-align: left;"> διατείθεται στο βιβλιοπωλείο Επί Λέξει, Ακαδημίας 32 και Λυκαβηττού, Αθήνα</span><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-90490973190286123652016-05-22T22:12:00.001-07:002019-03-18T09:44:15.179-07:00 The under-determination in Polyxene Kasda’s work<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US"><b><br /></b></span></div>
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<span lang="EN-US"><b>The under-determination in Polyxene Kasda’s work</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">by<b> Mariana Zikou</b>, art historian, Stoa tou Vivliou 2/6/2016 Athens</span></div>
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<br /></div>
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<span lang="EN-US">I will try to develop some thoughts on the
writings of Poly Kasda in relation to one of her first books 'The Conscious
Eye' and her latest one 'When that word swallowed me'. The two will be linked
with an epistemological concept, the 'under-determination' and an allegory, the
Kafkaesque Burrow.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Dr. Yannis Almyrantis presented an intriguing
approach with his essay “The over-determination in Poly Kasda’s work”. The
present essay reflects on its antithetical term, the 'under-determination' in
Kasda’s work.<o:p></o:p></span></div>
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<span lang="EN-US">Within the frame of this presentation
‘under-determination’ is used with a double interpretation, employing the
prefix under- (in greek hypo-):<o:p></o:p></span></div>
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<span lang="EN-US">On one hand, under-determination is an
epistemological concept which challenges the univocal approach of experience.
In this sense, it is considered impossible for an experience to be fully
interpreted through a single axiom. This thinking is reflected in Gödel's
incompleteness theorem and can be extended to Derrida's philosophical term of
‘deconstruction’, which refers to the infinite experience of language, but also
to the impasse of its meaning.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Under-determination is transcribed in the work of
Poly Kasda as scattered traces of language, objects, performances, gatherings,
as well as other manifestations like TV shows, buildings and new media, 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.<o:p></o:p></span></div>
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<span lang="EN-US">'The Conscious Eye', one of the first books of
Poly Kasda, is associated with the epistemological interpretation of
under-determination. Poly Kasda initiates a genuine and systematic exploration
of the human experience and the cognitive processes that transpire the works of
artists and the artistic movements of the 20th century. The human eye is used
as an interface, the eye becomes a quasi-mechanical component tool which
creates a tube between the inner and outer reality topology.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The book starts with two questions 'So what
happened to many artists and they stopped painting? What lies behind this
silence that took so many strange forms?' To these questions Poly Kasda creates
insightful conceptions, linking scientific theories and technologies with
artistic methods and the philosophical discourse.<o:p></o:p></span></div>
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<span lang="EN-US">However, in the preamble of the book she already
shows her awareness of under-determination: 'This essay on the essence of
contemporary art and visual perception is just the tip of the iceberg'. In the
last pages of the book, she outlines the collapse of certainty, the decay of
conventional structures and with it, the withdrawal of words.<o:p></o:p></span></div>
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<span lang="EN-US">These comments lead the way to the second
interpretation of the term under-determination, into the creative-experiential
extension of the term, which can be connected to Poly Kasda’s new book 'When
that word swallowed me'.<o:p></o:p></span></div>
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<span lang="EN-US">The book is ushering us in a wild exploration
into what is under, below the territory of the visible and of the reassuring
semiology, into the aniconic fields of artistic experience and ambiguity, of
the collapse of the subject and ultimately the collapse of the text into
sub-texts, in word-symbols that burst further into glyphs, into the smallest
cracking units of language, to become objects and anti-texts, no-texts,
precipitated in a submersive trip into the substrates of language, the
hypothalamus of experience and into the sub-liminal of perception.<o:p></o:p></span></div>
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<span lang="EN-US">The deep dive begins; a persistent recollection
towards the core of the experience described in 'When that word swallowed me',
in which she notes: 'After the completion of The Conscious Eye, I was left
again with this Something Essential Missing, this SEM sensation'.<o:p></o:p></span></div>
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<span lang="EN-US">The course of the next 25 years would open up the
topoi for the emergence of the iceberg, an intense immersion to the core of
cognition and experience. A striking, persistent and productive exploration
which often anticipates the developments in technology and cognitive science,
such as through her artistic project Myth/Network, where Kasda composes an
ideography of the web before its spreading.<o:p></o:p></span></div>
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<span lang="EN-US">At the same time, these explorations in the other
side of reasoning, in the twilight of experience and of deconstructed meaning,
had their impact. In 'When that word swallowed me', Kasda reveals that her
essay 'Pyrisporos' which followed 'The Conscious Eye', disturbed and chased
away the audience she had gained with the latter.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">As she continues her research into the
philosophical discourse of computational and cognitive science, her visionary
leaves her at times without applied scientific and theoretic tools. She then
resorts to alleged scientific axioms and data, some of which evolve later as
validated concepts, while others swing for now and maybe forever between the
exo-logical, the alchemy and the myth. Kasda will not renounce them as useful
tools, stating: 'But is there any other way? Those fantastic things that are
directly seen by the soul are formulated by the intellect as an absence; a
dense omission from which words return baffled'.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">From then on, although her creative and
exploratory course continue intensively, she will start consciously and
methodically concealing their true essence. In 'When that word swallowed me’,
she confesses the creation of a 'self-sustaining shelter' which takes the form
of a woolen cocoon: '...I started knitting around me a borderless blanket. It
was gradually growing from inside itself, mounting on the walls, towering above
me like a wave swallowing me in its cocoon-like embrace'.<o:p></o:p></span></div>
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<span lang="EN-US">This hermetic structure can find its counterpart
in an allegorical architecture, the Burrow of Kafka, one of his last texts that
remained unfinished. The Kafkaesque edifice can be interpreted as the agitated
strive of an individual to safeguard her safety and integrity, when disclosing
the erebus of one's own personal experience.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">As if in a discoursive relationship with the
Kafkaesque creature residing in its underground dark maze construction, Poly
Kasda writes: 'On the ordinary level I was protecting my delicate experiment
from the unexamined eyes, shielding it behind palatable, easy to digest
descriptions. I knew that if it were contaminated by doubt, the whole structure
would crumble…'.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">This fragile and intimate revelation, along with
her uncompromising determination to continue sinking in the profound substrates
of the inner self, destined to be the cornerstones for the creation of her
allegorical biomatic narrative 'When that word swallowed me' and ultimately,
the symbolic collapse of her Kafkaesque shelter.<o:p></o:p></span></div>
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<span lang="EN-US">Kasda's short autofiction marks an epitome
of the research in the profound and unfathomed realms of human experience and
imaginary through artistic practice; a possible invitation also for us, to
challenge the emergence of our own minds' uncharted topoi. The 'Conscious Eye'
continues its quest into the most elusive, controversial and intra-real
dimensions of its existence.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Athens 19.7.2016</span><br />
<span lang="EN-US"><br /></span>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-44989288052173425202016-05-13T01:27:00.001-07:002016-08-30T01:02:32.578-07:00Τεχνητή Νοημοσύνη, αντι-Τέχνη, Συνείδηση, 2-6-2016, Στοά του Βιβλίου, στις 8 το βράδυ <div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal">
ΠΕΡΙΛΗΨΗ-ΕΙΣΑΓΩΓΗ.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<b><span style="font-size: 10.5pt; mso-bidi-font-family: Arial;">Ο Καθηγητής
της Τεχνητής Νοημοσύνης Ιωάννης Κόντος βελονίζει το Συνειδητό Μάτι της Πόλυς
Κασδά.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br />
Το παρόν βιβλίο είναι το αποτέλεσμα ενός κοινού εγχειρήματος του Καθηγητή
Τεχνητής Νοημοσύνης Ιωάννη Κόντου και της διεθνούς καλλιτέχνιδος και συγγραφέως
Πολυξένης Κασδά.<o:p></o:p></div>
<div class="MsoNormal">
Το βιβλίο προσφέρει
μια εισαγωγή και έναν οδηγό σε πρόσφατη επιστημονική και τεχνολογική
βιβλιογραφία για μια σειρά θεμάτων που αναφέρονται σε παλαιότερο βιβλίο της κας
Κασδά με τίτλο «Το Συνειδητό Μάτι", που δημοσιεύθηκε στην Ελληνική στην
Αθήνα, το 1988.<o:p></o:p></div>
<div class="MsoNormal">
Το βιβλίο της κας
Κασδά με τον υπότιτλο
«Αντίληψη-Τέχνη-Πληροφορική», βασίστηκε στην αντίληψη της ενδοσκοπικής κατάστασης του νου των
καλλιτεχνών του εικοστού αιώνα, καθώς η προσοχή τους μετατοπίστηκε από το
αντικείμενο της τέχνης τους προς τις
ίδιες τις νοητικές τους λειτουργίες.<o:p></o:p></div>
<div class="MsoNormal">
Η θέση της αυτή
ενισχύθηκε εν μέρει από τις αναφορές της στην τότε αναδυόμενη τεχνολογία της
Τεχνητής Νοημοσύνης ως ένα εργαλείο ενδοσκόπησης..<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Στο παρόν βιβλίο ο
καθηγητής Κόντος, ο οποίος είχε γράψει ένα εισαγωγικό σημείωμα στην πρώτη
έκδοση του βιβλίου «Το Συνειδητό Μάτι» τότε, το αναζωογονεί τώρα συνδέοντάς το
με πρόσφατες μελέτες στον τομέα της Τεχνητής Νοημοσύνης και ειδικότερα στον
υποτομέα της Μηχανικής Συνείδησης, μιας τεχνολογίας εμπνευσμένης από την
ανθρώπινη συνείδηση.<o:p></o:p></div>
<div class="MsoNormal">
Η σύνδεση των δύο
κειμένων γίνεται με «Βελονισμό». Με τον όρο «Βελονισμό» αναφερόμαστε στην
σύνδεση ορισμένων περικοπών από ”Το Συνειδητό Μάτι» με κεφάλαια του κ. Κόντου
που ονομάζονται "Βελόνες" (“<span lang="EN-US">Needles</span>”) και τα οποία παρέχουν μία σύντομη εισαγωγή και αναφορές κυρίως σε
πρόσφατες επιστημονικές έρευνες και προσωπικές σημειώσεις σχετικές με το
περιεχόμενο της κάθε περικοπής.<o:p></o:p></div>
<div class="MsoNormal">
Οι
"Βελόνες" του κ. Κόντου παρουσιάζονται στο Μέρος Α και μια αγγλική
προσαρμογή του Συνειδητού Ματιού της κας Κασδά στο Μέρος B.<o:p></o:p></div>
<div class="MsoNormal">
Οι επιλεγμένες από τον καθηγητή Κόντο
περικοπές του κειμένου της Κασδά<o:p></o:p></div>
<div class="MsoNormal">
αναπαράγονται με πλάγια κλίση και με ένα χέρι
που κρατά βελόνα και δείχνει τον αριθμό της σελίδας στην οποία αναφέρονται οι
εν λόγω περικοπές που θα υποστούν το “βελονισμό”.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Μερικά από τα
σχέδια της κας Κασδά που ονομάζονται «Λεξομορφές» χρησιμοποιούνται για να
«μετα-βελονίσουν" κάποιες "Βελόνες" του κ. Κόντου προσθέτοντας
ένα παιχνιδιάρικο, εικονογραφικό σχόλιο στο κείμενό του. Οι «Λεξομορφές» είναι γεωμετρικά
σχήματα που δημιουργούνται από την αριθμητική προσομοίωση ελληνικών λέξεων με
βάση την αρχαία ελληνική αριθμητική κωδικοποίηση.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
ΠΕΡΙΛΗΨΗ ΠΕΡΙΛΗΨΗΣ<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 10.5pt;">Ο Καθηγητής της Τεχνητής
Νοημοσύνης Ιωάννης Κόντος βελονίζει το Συνειδητό Μάτι της Πόλυς Κασδά.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Τον Φεβρουάριο του
2013, μετά σχεδόν από 29 χρόνια φιλίας και πνευματικών ανταλλαγών ο κ. Κόντος
πρότεινε στην Πολυξένη Κασδά τον "Βελονισμό " του βιβλίου της του
1988 με πρόσφατα αποτελέσματα της έρευνας στην ΤΝ.<o:p></o:p></div>
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Η έννοια του "βελονισμού του
βιβλίου" προέκυψε από το γεγονός ότι πολλές ιδέες που περιλαμβάνονται στο
"Συνειδητό Μάτι" ήταν αξιοσημείωτα σε μια διορατικότητα σχεδόν
“Πυθιακής” σύλληψης.<o:p></o:p></div>
<br />
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Διαβάζοντας το
βιβλίο και πάλι είκοσι πέντε χρόνια μετά την πρώτη δημοσίευσή του ο κ. Κόντος
εντόπισε δεκαεπτά «σημεία βελονισμού» στα οποία θα ήταν σε θέση να εισάγει
αντίστοιχες επιστημονικές ή τεχνολογικές «βελόνες». Οι "βελόνες"
αυτές γράφτηκαν κατά την περίοδο από τον Φεβρουάριο 2013 έως τον Φεβρουάριο
2015 και παρουσιάζονται μαζί με την πρόσφατη αγγλική έκδοση του
"Συνειδητού Ματιού". <o:p></o:p></div>
<br />
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<i>"Όλα
ξεκίνησαν με Το Συνειδητό Μάτι το μικρό μου δοκίμιο που δημοσιεύτηκε το 1988
και που στηριζόταν σε μια διαισθητική μου εμπειρία που αναγνώρισα, κατόπιν,
απεικονισμένη στον πρώιμο Κυβισμό του Πικάσο και του Μπρακ στις αρχές του 20ου
αιώνα και εκβαθυμένη στα κινήματα της μοντέρνας τέχνης που ακολούθησαν. <o:p></o:p></i></div>
<div class="MsoNormal">
<i>Αφορούσε
την συνειδησιακή μετάθεση της αντίληψης μας από το "βλέπω έναν κόσμο εκεί
έξω" στο "βλέπω τον εαυτό μου να βλέπει τον κόσμο", "σκέπτομαι το εαυτό μου να σκέπτεται τον κόσμο". Αυτή η στροφή "από τα
φαινόμενα στους ίδιους τους μηχανισμούς της αντίληψης" (Τσόμσκυ), διαμόρφωσε
τον "Eπαναστατημένο 'Aνθρωπο" της δεκαετίας του 50. Είναι μια ενδοσκοπική στάση
ζωής που ξεσκεπάζει το εννοιολογικό και δομικό υπόστρωμα της όρασης και που μας κάνει να
αμφισβητούμε τα ‘δεδομένα’.<o:p></o:p></i><br />
<i style="color: #424242; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2px;"></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidmRtpyHgI5NZaBg-HjPcKvXQjSBzZgUL7ksKOIq-lMlZdfmoS5CjeM19XbaUEZbWN9obbPiefuvahe3-ZNXU001gT9ubynrwbm3wD6vKdKJfBfFfOfd58gM-C8iXY9aAU9TKBKhWgFas/s1600/%25CE%25A4%25CE%259F+%25CE%25A3%25CE%25A5%25CE%259D%25CE%2595%25CE%2599%25CE%2594%25CE%2597%25CE%25A4%25CE%259F+%25CE%259C%25CE%2591%25CE%25A4%25CE%2599.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidmRtpyHgI5NZaBg-HjPcKvXQjSBzZgUL7ksKOIq-lMlZdfmoS5CjeM19XbaUEZbWN9obbPiefuvahe3-ZNXU001gT9ubynrwbm3wD6vKdKJfBfFfOfd58gM-C8iXY9aAU9TKBKhWgFas/s320/%25CE%25A4%25CE%259F+%25CE%25A3%25CE%25A5%25CE%259D%25CE%2595%25CE%2599%25CE%2594%25CE%2597%25CE%25A4%25CE%259F+%25CE%259C%25CE%2591%25CE%25A4%25CE%2599.jpg" width="217" /></a></div>
</div>
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<i>Στο βιβλίο
είχα κάνει πολλές αναφορές στην αναδυόμενη τότε επιστήμη της Τεχνητής
Νοημοσύνης σαν εργαλείο ενδοσκόπησης, που εξωτερικεύοντας τις μηχανικές
λειτουργίες της σκέψης, μας αποδεσμεύει από αυτές καθώς συνειδητοποιούμε όλο
και βαθύτερα επίπεδα του νου.<o:p></o:p></i></div>
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<i>Τότε, το
1985, κάνοντας την έρευνα για το ντοκιμαντέρ
Οι Περιπέτειες του Ματιού για την
ΕΡΤ, σε σκηνοθεσία Μάρκου Γκαστίν, συνάντησα τον καθηγητή της Τ.Ν. Γιάννη
Κόντο μέσα στην καρδιά του τεράστιου υπολογιστή που τότε έπιανε ολόκληρη
αίθουσα στο Δημόκριτο. Το 1988 ο Γ. Κόντος προλόγισε και το βιβλίο μου Το Συνειδητό
Μάτι που ακολούθησε το ντοκιμαντερ. <o:p></o:p></i></div>
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<i>Πριν δύο χρόνια, 1/4 του αιώνα μετά, ο Γ. Κόντος μου
ζήτησε να το μεταφράσω στα αγγλικά γιατί ήθελε να το ‘βελονιάσει’ με τις
έρευνες που έγιναν στην Τ.Ν. στα χρόνια
που μεσολάβησαν. Ακολούθησε ένα ήμαρ δυο χρόνων πλούσιο σε ατέλειωτους
τηλεδιαλόγους για την νοημοσύνη και την συνείδηση, που κατέληξε στη δημοσίευση του αγγλικού
βιβλίου με τίτλο "Ο Καθηγητής της
Τεχνητής Νοημοσύνης Γιάννης Κόντος 'βελονιάζει' το Συνειδητό Μάτι της Πόλυς
Κασδά".<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Παράλληλα,
άρχισα να γράφω ένα αφήγημα με θέμα αυτά που πέρασα κι εγώ αυτά τα τελευταία 25
χρόνια που μεσολάβησαν, καθώς η εν λόγω ενδοσκοπική στάση με είχε βυθίσει σε
όλο και πιο αβυσσαλέα στρώματα της συνείδησης, στα αρχέτυπα πεδία του Παιδιού
(Κ. Γιούνγκ).<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Το αποτέλεσμα
είναι ένα αλληγορικό αφήγημα που διαδραματίζεται στο ενδιάμεσο του λειτουργικού
μη-χρόνου και του συμβατικού χρόνου, με πρωταγωνιστή τον Άλφι, το ‘μόνιμο
κάτοικο του Χάους’. Είναι ένα υπαρκτό πρόσωπο που είχε βελονιάσει Το Συνειδητό Μάτι το 1990 με πληροφορίες "Κοσμικής Νόησης'. Είναι ένα παραμύθι που είναι πέρα για πέρα αληθινό.</i><o:p></o:p></div>
<div class="MsoNormal">
<i>Ελπίζω να το χαρείτε."</i></div>
<div class="MsoNormal">
<i>Πολυξένη Κασδά.</i></div>
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<br /></div>
</div>
Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-85173526424183259692016-04-01T03:01:00.002-07:002016-11-22T22:37:45.641-08:00Artificial Intelligence Professor John Kontos "needles" Poly Kasda's Conscious Eye excerpt from the preface<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 14pt;"><span style="color: #1155cc; font-family: "calibri"; font-size: x-small;"><a href="http://www.amazon.com/Artificial-Intelligence-Needles-Conscious-Eye/dp/9609511287" style="color: #1155cc;" target="_blank">http://www.amazon.com/<wbr></wbr>Artificial-Intelligence-<wbr></wbr>Needles-Conscious-Eye/dp/<wbr></wbr>9609511287</a></span></span></div>
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<span style="color: #111111; font-size: 14pt;"><span style="font-family: "arial"; font-size: x-small;">Customer Review by Dr David Gamez</span></span></h2>
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<span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;"><a href="https://www.blogger.com/null" style="color: #222222;"><span style="font-family: "calibri" , sans-serif; font-size: x-small;">4.0 out of 5 stars</span></a></span></div>
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<span style="color: #111111; font-family: "arial";"><span style="font-size: x-small;">Customer Reviews</span></span></div>
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<span style="color: #111111; font-family: "arial" , sans-serif; font-size: x-small;"><a href="http://www.amazon.com/review/R2NHDN5DB2JUUQ/ref=cm_cr_dp_title?ie=UTF8&ASIN=9609511287&channel=detail-glance&nodeID=283155&store=books" style="color: #1155cc;" target="_blank" title="4.0 out of 5 stars"><i><span style="color: #0066c0; text-decoration: none;">4.0 out of 5 stars</span></i></a><a href="http://www.amazon.com/review/R2NHDN5DB2JUUQ/ref=cm_cr_dp_title?ie=UTF8&ASIN=9609511287&channel=detail-glance&nodeID=283155&store=books" style="color: #1155cc;" target="_blank"><span style="color: #0066c0; text-decoration: none;">An interesting read and I really liked the book's unusual structure.</span></a></span></div>
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<span style="font-size: x-small;"><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;">By </span><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;"><a href="http://www.amazon.com/gp/pdp/profile/ARVKPSXVAYDOJ/ref=cm_cr_dp_pdp" style="color: #1155cc;" target="_blank"><span style="font-family: "calibri" , sans-serif;">Amazon Customer</span></a> </span><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;">on March 24, 2016</span></span></div>
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<span style="color: #111111; font-family: "arial" , sans-serif; font-size: x-small;">Kasda's Conscious Eye is an engrossing discussion of the move towards cognitive content in art. Kontos 'needles' key paragraphs of Kasda's text with discussions of contemporary work in artificial intelligence.<br /><br />Well worth a read if you want to find out more about art, artificial intelligence and the relationship between them.</span></div>
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<span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;">ARTIFICIAL INTELLIGENCE PROFESSOR JOHN KONTOS NEEDLES POLY KASDA'S CONSCIOUS EYE.</span><br />
<span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;"><span style="font-size: 18.6667px;">Excerpt from THE PREFACE</span></span><br />
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<span style="color: #111111; font-family: "arial" , sans-serif; font-size: 14pt;">The present book is the result of a joint project of Artificial Intelligence Prof. John Kontos and international art</span><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 18.6667px;">ist and author Poly Kasda. It offers a guide to recent scientific and technological literature for a number of topics mentioned in Kasda's older book The Conscious Eye (Aigokeros ed. Athens 1988). The present book could be useful for students in the fields of A. I., Art and Psychology.</span></div>
<div style="font-family: helveticaneue, "helvetica neue", helvetica, arial, "lucida grande", sans-serif;">
<span style="color: #111111; font-family: "arial" , sans-serif; font-size: 18.6667px;">Kasda's book, subtitled Perception-Art-Informatics was based on her insight into the introspect</span><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 18.6667px;">ive state of mind of 20thc. artists as they shifted their attention from the object of art to the function of their own mind. Her thesis was partly supported by references to the then rising technology of A. I. as a tool of introspection. </span></div>
<span style="color: #111111; font-family: "arial" , sans-serif;"><span style="font-size: 18.6667px;">In the present book, Prof. John Kontos who had written an introductory note to the first edition of The Conscious Eye is rejuvenating this old, but still young text, by lifting it with a set of 'needlings'; injections that connect it with recent studies in the field of A.I. and particularly of Machine Consciousness; a technology inspired by human consciousness and introspection leading to the implementation of what he calls "autoendoscopic "systems..</span></span><br />
<span style="color: #111111; font-family: "arial" , sans-serif;"><span style="font-size: 18.6667px;"><br /></span></span>
<span style="color: #111111; font-family: "arial" , sans-serif;"><span style="font-size: 18.6667px;">Kontos' Needles are gathered in part A and </span></span><span style="color: #111111; font-family: "arial" , sans-serif; font-size: 18.6667px;">an English adaptation of Poly Kasda's The Conscious Eye is in part B. </span><br />
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">CONTENTS:<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Preface and Introduction by John Kontos<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Twixt the cup and the lip. Introduction by
Poly Kasda <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Part A Needles by John Kontos <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1. Artificial Intelligence 2. The Turing
Test 3. Introspection,"Machine Consciousness" and
"Autoendoscopic Systems" 4. Gestalt 5. Conceptual Maps 6. The Chair <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">7. Artificial Vision in Technology and Art
8. Sartre's La Nausee 9. Tinkering 10.Metaphor 11.Metacognitive Instruction 12.
Creativity 13. Artificial or Computational Creativity 14. Computational Scientific
Discovery and Innovation <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">15.Computational Creativity in Poetry, Art
and Music 16. Automatic Analysis of Diegesis 17. Automatic Synthesis of
Diegesis <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Part B The Conscious Eye by Poly Kasda <o:p></o:p></span><br />
<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Twixt the lip and the cup epilogue by Poly Kasda</span></div>
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<span lang="EN-GB" style="color: #333333; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Joint Epilogue by Poly Kasda and John Kontos <o:p></o:p></span></div>
<span style="color: #333333; font-family: "arial" , sans-serif; font-size: 12pt;">CV of P. Kasda and CV of J. Kontos </span><br />
<span style="color: #333333; font-family: "arial" , sans-serif; font-size: 12pt;"><br /></span>
<span style="color: #333333; font-family: "arial" , sans-serif; font-size: 12pt;">What others say:</span><br />
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<span lang="EN-US" style="color: #222222; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">“Kontos joined forces with Poly Kasda, an artist who studied “the
self-combustive frenzy of 20th century art.” Her 1985 booklet, “The Conscious
Eye,” foresaw developments in artificial intelligence. Kasda noticed painters
in the twentieth century were obsessed with introspection: paying more
attention to the workings of their minds than the products of their art.
Introspection was also in the background of the rising computer programs in
artificial intelligence. So Kontos grasped the ingenuity of Kasda and expanded
it into this broad understanding of what artificial intelligence is all about.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">Kontos included a
translation from the Greek of Kasda’s the “Conscious Eye” into this book, one
text seeding and illuminating the other. Indeed, Kontos updates and rejuvenates
the insights of Kasda, and, in this innovation, creates an exciting, timely, refreshing,
and fascinating history of artificial intelligence - of what it could have
become.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-family: "calibri" , "sans-serif"; font-size: 11.0pt;">I recommend Kontos’ and
Kasda’s book. It is a timely, sophisticated, philosophical, and honest account
of artificial intelligence, a problematic endeavor of great potential and grave
risk”. Evaggelos Vallianatos, Computer engineering and propaganda/the
Huffington Post, US. 11/15/2016<span style="font-size: 11pt;"><o:p></o:p></span></span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-77589700895938025202015-08-05T00:52:00.001-07:002015-08-05T00:52:53.309-07:00Rencontre avec les illustrateurs de Among the Stars !<div dir="ltr" style="text-align: left;" trbidi="on">
<img height="250" src="http://ludovox.fr/wp-content/uploads/2015/07/bannerATS_900p3001.png" width="500" /> <span class="post_format theme_accent_bg icon-doc-text"></span>
<span class="post_category theme_accent_bg"> </span><br />
<span class="post_category theme_accent_bg">Interview</span>
<br />
<div class="post_info post_info_top theme_info">
Posté <span class="post_date theme_text date updated" content="2015-07-28" itemprop="datePublished">il y a 8 jours</span>
<span class="post_author">par <span class="vcard author" itemprop="author"><a class="post_author fn" href="http://ludovox.fr/members/zuton/" rel="author">Zuton</a></span></span>
<span class="post_cats">dans les <a class="cat_link" href="http://ludovox.fr/category/interview/">Interview</a> </span>
<span class="post_comments"><a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/"><span class="comments_icon theme_info icon-eye"></span><span class="comments_number">463</span></a></span>
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<div class="title_area">
<h1 class="post_title theme_title entry-title" itemprop="name">
Rencontre avec les illustrateurs de Among the Stars !</h1>
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Lorsque je découvre le jeu de cartes <span style="color: black;"><em>Among The stars</em>, </span>je
tombe tout de suite sous le charme de l’univers du jeu et les belles
illustrations n’y sont pas étrangères. Après quelques parties
enthousiasmantes, j’ai pensé que le jeu était trop méconnu dans nos
contrées et qu’il méritait donc un coup de projecteur en réalisant sa
présentation à travers <a href="http://ludovox.fr/among-the-stars-le-plagiat-spatial-de-7wonders-depasse-t-il-loriginal/">un Just Played.</a><br />
Durant cet exercice, je me suis intéressé de plus près au design
graphique du jeu et j’ai ainsi atterri sur les blogs de chacun des deux
illustrateurs, <span style="color: navy;"><strong>Odysseas Stamoglou</strong></span> et <span style="color: navy;"><strong>Antonis Papantoniou</strong></span>.
Ils m’ont vraiment bluffé par la qualité de leur travail graphique que
j’ai souhaité mieux comprendre et mettre en valeur dans un nouvel
article spécifique, curieux de connaître leurs influences.<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/cards.jpg" rel="prettyPhoto[slideshow]"><img alt="cards" class="aligncenter wp-image-94662" height="199" src="http://ludovox.fr/wp-content/uploads/2015/03/cards.jpg" width="600" /></a><br />
L’idée d’une interview croisée de chacun d’entre eux a pris forme au
fil d’échanges mail sympathiques, et ils ont tous les deux gentiment
accepté de m’accorder un peu de temps dans leur agenda surchargé (c’est
qu’ils sont tous les deux bien pris en illustrant actuellement plusieurs
jeux). Ils répondent donc chacun de leur côté aux mêmes questions.<br />
Je partage ainsi la présentation des deux illustrateurs de <em>Among The Stars</em>
sous la forme d’une interview dans laquelle vous en apprendrez un peu
plus sur leur parcours d’illustrateur, leurs techniques graphiques et
leurs sources d’inspiration.<br />
<span style="color: black;">Odysseas Stamoglou et Antonis Papantoniou on</span>t
coopéré de façon étroite avec également l’auteur et les autres
développeurs de la saga pour réussir à créer un univers futuriste
original aux couleurs flamboyantes et de toute beauté.<br />
En fin d’article se trouve un clin d’œil inévitable sur l’historique du jeu par son auteur lui-même, <span style="color: navy;"><strong>Vangelis Bagiartakis</strong></span>, qui en dévoilant l’origine du jeu devrait vous surprendre…<br />
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<h5 class="sc_toggles_title">
<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>INTERVIEW D'ODYSSEAS STAMOGLOU</a></h5>
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<h5 class="sc_toggles_title">
<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>LUDOGRAPHIE D'ODYSSEAS STAMOGLOU</a></h5>
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<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>INTERVIEW D'ANTONIS PAPANTONIOU</a></h5>
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<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/banner-Antonis-900p300.jpg" rel="prettyPhoto[slideshow]"><img alt="banner Antonis 900p300" class="aligncenter size-full wp-image-94680" height="300" src="http://ludovox.fr/wp-content/uploads/2015/03/banner-Antonis-900p300.jpg" width="897" /></a><br />
<strong><a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/Personal-Photo.jpg" rel="prettyPhoto[slideshow]"><img alt="Personal Photo" class="alignright wp-image-94681 size-thumbnail" height="150" src="http://ludovox.fr/wp-content/uploads/2015/03/Personal-Photo-150x150.jpg" style="margin-left: 15px; margin-right: 15px;" width="150" /></a><span style="color: navy;">Bonjour Antonis, pourrais-tu te présenter en quelques mots ?</span> </strong><br />
Je m’appelle <span style="color: navy;"><strong><em>Antonis Papantoniou</em></strong></span>
et suis un illustrateur pour jeux vivant à Athènes en Grèce. Bien que
j’aie étudié la peinture traditionnelle, je prends plaisir à apprendre
les nouvelles technologies et les appliquer dans mon processus
d’illustration.<br />
<br />
<span style="color: navy;"><strong>Est-ce que tu dessines exclusivement dans le cadre professionnel ou plutôt loisir ?</strong></span><br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/008-AMONG-the-STARS_905.jpg" rel="prettyPhoto[slideshow]"><img alt="008-AMONG-the-STARS_905" class="alignleft wp-image-94682 size-medium" height="300" src="http://ludovox.fr/wp-content/uploads/2015/03/008-AMONG-the-STARS_905-300x300.jpg" style="margin-left: 20px; margin-right: 20px;" width="300" /></a>Je
crée les graphismes pour des jeux de plateau et des jeux vidéos de
façon professionnelle. « Dessiner » n’est pas le terme exact, puisque ma
méthode de création d’images implique pas mal de sculpture et de
modélisation 3D.<br />
En gros, je suis un infographiste professionnel. Je réalise des graphismes exclusivement pour le monde des jeux depuis 2008.<br />
<br />
<span style="color: navy;"><strong>Quels thèmes aimes-tu aborder dans ton travail d’illustrateur ?</strong></span><br />
<strong> </strong>Enfant, j’étais beaucoup influencé par les jeux de
rôle, les BD de super-héros, la mythologie ainsi que les jeux vidéos et
films de science-fiction. Cette passion m’a motivé pour étudier en
premier lieu les illustrations. Donc j’ai réellement adoré travailler
dans les thème fantasy et SF. Mais j’apprécie aussi énormément les arts
martiaux. Mon thème favori serait donc celui qui parviendrait à combiner
le fantasy, la science-fiction et le kung-fu.<br />
<br />
<span style="color: navy;"><strong>Est-ce que tu t’inspires d’autres illustrateurs et as-tu un artiste modèle ?</strong></span><br />
La liste des artistes qui m’inspirent grandit tous les jours. Je suis
plus d’une centaine d’artistes à travers divers forums comme : Feng
Zhu, Ben Mauro, Joe Madureira, Naiades, Marco Djurdjevic, Kekai Kotaki,
Aleksi Briclot, Sandara, Stanley Lau, Svetlin Velinov, Lius Lasahido,
Ludovic Mouliere, pour n’en citer que quelques uns !<br />
Quelques artistes qui m’inspirent sont aussi un modèle pour mon
parcours artistique grâce à leur créativité, leur innovation, leur
étique de travail et le partage de leur connaissances. Les deux artistes
que j’admire le plus et considère comme modèles sont <a href="https://www.youtube.com/user/scottrobertsondesign" target="_blank">Scott Robertson </a>et Feng Zhu.<br />
<br />
<strong><a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/pic979376_md.jpg" rel="prettyPhoto[slideshow]"><img alt="pic979376_md" class="alignleft wp-image-94683 size-thumbnail" height="150" src="http://ludovox.fr/wp-content/uploads/2015/03/pic979376_md-150x150.jpg" style="margin: 15px;" width="150" /></a><span style="color: navy;">Comment es-tu entré dans le monde des jeux de société ? Quels ont été tes premiers projets dans ce domaine</span></strong><span style="color: navy;"><strong> ?</strong></span><br />
Je suis rentré initialement dans le monde des jeux de plateau en tant
que joueur passionné. Comme toute chose pour laquelle je me passionne,
cet engouement s’est invité dans mon domaine artistique et j’ai alors
commencé à créer mes propres graphismes customisés pour les jeux
auxquels je jouais. C’est durant cette période que <span style="color: navy;"><strong>K. Kokkinis</strong></span>, fondateur de <span style="color: navy;"><strong>Artipia Games</strong></span>, a conçu son premier jeu, <em><a href="http://ludovox.fr/lejeu/drum-roll-4461/" target="_blank" title="Fiche du jeu Drumroll">DrumRoll</a>,</em> me demandant de l’illustrer.<br />
Le jeu est devenu populaire à Essen 2011 en élargissant ma vision en
tant qu’illustrateur de jeux et m’apportant de nouveaux clients. Mon
travail graphique sur <em>DrumRoll </em>a été clairement mon ticket d’entrée en tant qu’illustrateur professionnel dans le monde des jeux de société.<br />
<br />
<span style="color: navy;"><strong>Quels ont été tes projets </strong><strong>graphiques avant <em>Among The Stars</em></strong><strong> ?</strong></span><br />
<em><a href="http://ludovox.fr/lejeu/drum-roll-4461/" target="_blank" title="Fiche du jeu Drumroll">DrumRoll</a> </em>fut mon premier projet qui a été suivi par <em><a href="http://ludovox.fr/lejeu/briefcase-4938/" target="_blank" title="Fiche du jeu Briefcase">Briefcase</a> </em>(<span style="color: navy;"><strong>Artipia Games</strong>)</span>, et <em>Fallen City of Karez</em> (<strong><span style="color: navy;">Golden Egg Games</span></strong>). J’ai aussi illustré <em><span style="color: navy;">Archon</span> </em>et <em><a href="http://ludovox.fr/lejeu/shadows-over-the-empire-6285/" target="_blank" title="Fiche de jeu Shadows over the Empire">Shadows over the Empire</a> </em>juste avant mon travail graphique pour l’univers de <em>Among The Stars.</em><br />
<br />
<strong><a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/011-AMONG-the-STARS_905.jpg" rel="prettyPhoto[slideshow]"><img alt="011-AMONG-the-STARS_905" class="alignright wp-image-94684 size-medium" height="300" src="http://ludovox.fr/wp-content/uploads/2015/03/011-AMONG-the-STARS_905-300x300.jpg" style="margin-left: 20px; margin-right: 20px;" width="300" /></a><span style="color: navy;">Comment es-tu entré dans le </span></strong><span style="color: navy;"><strong>projet <em>ATS</em> et quelles sont tes relations avec l’éditeur Artipia Games ?</strong></span><br />
Mes relations avec <span style="color: navy;"><strong>Artipia Games</strong></span> sont un peu spéciales puisque le patron, <strong><span style="color: navy;">Konstantinos Kokkini</span>s</strong>,
est aussi mon meilleur ami. Il connaissait ma passion pour les
graphismes de science-fiction et comme il était satisfait de mes travaux
sur <strong><em><span style="color: navy;">Drumroll</span> </em></strong>et <strong><em><span style="color: navy;">Archon</span></em></strong>, réaliser les illustrations d’<em>ATS</em> était la suite logique.<br />
<br />
<span style="color: navy;"><strong>Quel a été ton sentiment quand tu as découvert les mécanismes et l’univers du jeu pour la première fois ?</strong></span><br />
Je pense qu’<em>ATS</em> possède une mécanique géniale dans un thème
fort. Incarner un alien et dessiner des stations modulaires spatiales
m’ont super enthousiasmé. J’ai vraiment adoré le développement visuel de
cet univers par sa liberté de représentation, la variété des
personnages, des environnements et de la technologie qu’il déploie.<strong> </strong><br />
<br />
<span style="color: navy;"><strong>Comment as-tu créé l’univers graphique d’<em>ATS </em>? T’es-tu inspiré d’autres œuvres existantes de SF (livre, BD, film…) ?</strong></span><br />
<em>ATS</em> représente un vaste univers pourvu de plein d’influences SF. Évidemment, le développement visuel est en partie influencé par <em>Star Wars</em> mais la principale influence pour mes graphismes provient de la BD <em>Sillage </em>de
Jean-David Morvan et Philippe Buchet. Celle-ci met en scène une grande
variété de races aliens formant un convoi spatial à la recherche de
technologie et de ressources…<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/sillage.png" rel="prettyPhoto[slideshow]"><img alt="sillage" class="aligncenter size-medium wp-image-94685" height="153" src="http://ludovox.fr/wp-content/uploads/2015/03/sillage-300x153.png" width="300" /></a><br />
<span style="color: navy;"><strong>Comment vous êtes-vous réparti
le travail graphique avec Odysseas ? Comment s’est déroulée ta
coopération avec lui et les autres concepteurs du jeu ?</strong></span><br />
Le projet <em>ATS</em> dépeint beaucoup de peuples et technologie
alien. La première étape fut de créer un aspect visuel spécifique pour
chaque race aux caractéristiques physiques et technologiques diverses.
Ce processus de conception a engendré une librairie de dessins
utilisables pour le design des cartes. Pour les races, le concept
général a été créé par Odysseas. Puis j’ai repris les croquis en
réinterprétant les peuples alien afin de constituer leurs multiples
illustrations finales. Pour les stations spatiales et les technologies
alien, Odysseas et moi avons travaillé sur les mêmes paramètres mais en
utilisant des processus différents pour aboutir aux illustrations
finales. Son style est le dessin classique tandis que le mien inclut de
la sculpture 3D, de la modélisation et de superposition d’images.<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/001-Alliance-High-Coulcil_9051.jpg" rel="prettyPhoto[slideshow]"><img alt="001-Alliance-High-Coulcil_905" class="aligncenter wp-image-94686" height="280" src="http://ludovox.fr/wp-content/uploads/2015/03/001-Alliance-High-Coulcil_9051.jpg" width="600" /></a><br />
<span style="color: navy;"><strong>Pourrais-tu expliquer comment tu as créé l’univers d’<em>ATS</em> ? Quel a été le processus de dessin et les outils que tu as utilisés ?</strong></span><br />
Le travail graphique sur <em>ATS</em> est énorme. Cela signifie que
j’ai dû créer plus de cent illustrations de cartes. Donc la première
étape fut de concevoir une bibliothèque d’éléments 3D qui pouvaient être
recyclés et réutilisés tout au long du projet.<br />
Ces éléments sont constitués d’architectures futuristes, de
vaisseaux, de dessins d’alien, de machines, etc… J’ai créé toutes ces
images dans un logiciel 3D, Zbrush . J’ai ensuite utilisé tous ces
éléments pour composer des scènes élargies.<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/Process-all.jpg" rel="prettyPhoto[slideshow]"><img alt="Process all" class="aligncenter wp-image-94687" height="650" src="http://ludovox.fr/wp-content/uploads/2015/03/Process-all-787x1024.jpg" width="500" /></a><br />
Quand une composition 3D était effectuée, je l’envoyais à Konstantinos sous Skype pour approbation.<br />
L’étape suivante était la lumière et la mise en scène dans Zbrush.
Puis j’utilisais le rendu de l’image comme base pour la coloriser dans
Photoshop.<br />
<br />
<span style="color: navy;"><strong>Si tu devais conserver une seule illustration conçue pour ATS, celle dont tu es la plus fière : laquelle choisirais-tu ?</strong></span><br />
J’aime la plupart des illustrations du jeu mais si je devais en
mettre en avant une serait la double carte « environnement artificiel »
ci-dessous.<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/Favorite-Image.jpg" rel="prettyPhoto[slideshow]"><img alt="Favorite Image" class="aligncenter wp-image-94688" height="250" src="http://ludovox.fr/wp-content/uploads/2015/03/Favorite-Image-1024x426.jpg" width="600" /></a><br />
<span style="color: navy;"><strong>Quelles ont été tes premières impressions quand tu as reçu les éléments matériels finaux du jeu ? As-tu déjà joué au jeu ?</strong></span><br />
J’étais ravi de recevoir le produit final. Je trouve d’ailleurs que
mes illustrations ont un bien meilleur rendu graphique sur les cartes
que sur l’écran de mon ordinateur. <em>ATS</em> est l’un de mes jeux
favoris auquel je joue beaucoup, mais pas avec mon exemplaire que je
conserve comme une pièce unique de mon portfolio <img alt=":)" class="wp-smiley" src="http://ludovox.fr/wp-includes/images/smilies/icon_smile.gif?6905cb" /><br />
<br />
<span style="color: navy;"><strong>Es-tu également un joueur de cartes ou jeu de plateau ? Quels sont tes jeux favoris ?</strong></span><br />
Je suis un grand fan de jeux de société ! Je joue aux jeux de plateau depuis l’école élémentaire et je n’ai jamais arrêté.<br />
Les jeux de carte comme <em><a href="http://ludovox.fr/lejeu/magic-lassemblee-2569/" target="_blank" title="Fiche du jeu Magic l'assemblée">Magic : l’assemblée</a> </em>ont eu un fort impact sur moi et m’ont donné l’inspiration de suivre une carrière dans la voie d’illustrateur de jeux.<br />
J’ai plein de jeux favoris mais mes goûts ludiques sont souvent
biaisés par l’attirance de leur côté graphique. Cela signifie que si
l’aspect graphique d’un jeu m’attire, il rentre directement dans ma
liste préférentielle même si les mécanismes de jeu sont mauvais.<br />
Voici la liste de certains de mes jeux favoris (hormis ceux que j’ai illustrés) :<em><a href="http://ludovox.fr/lejeu/summoner-wars-master-set-6827/" target="_blank" title="Fiche du jeu Summoner Wars"> Summoner Wars</a>, <a href="http://ludovox.fr/lejeu/star-realms/" target="_blank" title="Fiche du jeu Star Realms">Star Realms</a></em>, <em><a href="http://ludovox.fr/lejeu/king-of-tokyo-3351/" target="_blank" title="Fiche du jeu King of Tokyo">King of Tokyo</a></em>, <a href="http://ludovox.fr/lejeu/cyclades-2823/" target="_blank" title="Fiche du jeu Cyclades"><em>Cyclades</em> </a>(avec l’<span class="glossaryLink " data-tooltip="<p> Produit rajoutant du contenu à un jeu sous forme de variantes ou d'éléments supplémentaires.</p>">extension</span> <em><a href="http://ludovox.fr/lejeu/cyclades-hades-4427/" target="_blank">Hadès</a> </em>ou <em><a href="http://ludovox.fr/lejeu/cyclades-titans-6980/http://" target="_blank">Titan</a></em>) et <em><a href="http://ludovox.fr/lejeu/rencontre-cosmique-4667/" target="_blank" title="Fiche du jeu Rencontre cosmique">Rencontre Cosmique</a>.</em><br />
<br />
<span style="color: navy;"><strong>Quels sont les projets sur lesquels tu travailles actuellement et dans les prochains mois ?</strong></span><br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/ALIENS-001_900.jpg" rel="prettyPhoto[slideshow]"><img alt="ALIENS-001_900" class="alignleft wp-image-94690 size-medium" height="300" src="http://ludovox.fr/wp-content/uploads/2015/03/ALIENS-001_900-273x300.jpg" style="margin: 15px;" width="273" /></a><br />
Je travaille actuellement sur deux projets très prenants. Le premier est un jeu de plateau de miniature intitulé <em><a href="http://ludovox.fr/lejeu/project-elite/" target="_blank" title="Fiche du jeu Project Elite">Project: Elite</a> </em>chez <span style="color: navy;"><strong>Artipia Games</strong> </span>et <span style="color: navy;"><strong>DrawLab Entertainment</strong></span> dans lequel j’effectue les sculptures de tous les soldats des créatures alien et des humains.<br />
Ce jeu est très dynamique et vivant, et je suis certain qu’il deviendra un gros succès de 2015-2016.<br />
Plus d’infos sur le projet via la fiche du jeu ou <a href="https://www.kickstarter.com/projects/241478362/project-elite/description">le site de lancement Kickstarter</a> dont la campagne s’est achevée il y a quelques mois.<br />
<br />
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<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/MURDEROUS-NECROMANCER_900-EPIC.jpg" rel="prettyPhoto[slideshow]"><img alt="MURDEROUS-NECROMANCER_900 EPIC" class="wp-image-94691 size-medium" height="251" src="http://ludovox.fr/wp-content/uploads/2015/03/MURDEROUS-NECROMANCER_900-EPIC-300x251.jpg" style="margin: 15px;" width="300" /></a><div class="wp-caption-text">
Epic : le nécromancien</div>
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L’autre projet concerne un jeu de carte intitulé<strong> </strong><a href="http://ludovox.fr/lejeu/epic-card-game/" target="_blank" title="Fiche du jeu Epic"><em>Epic</em></a><strong>,</strong> par les auteurs de <em><a href="http://ludovox.fr/lejeu/star-realms/" target="_blank" title="Fiche du jeu Star Realms">Star Realms</a> </em>et édité chez <span style="color: navy;"><strong><em>White Wizard Games</em></strong></span> dans lequel je réalise un travail d’illustrateur.<br />
Il s’agit d’un jeu de cartes dans un univers type fantasy et je crois
aussi qu’il sera très plébiscité pour le prochain salon d’Essen. Plus
d’infos sur le projet via la fiche du jeu ou <a href="https://www.kickstarter.com/projects/1172937197/epic-card-game/description" target="_blank">le site de lancement Kickstarter</a> dont la campagne s’est achevée en Mai 2015.<br />
<span style="color: navy;"><strong>Où peut-on trouver un résumé de tes travaux sur la toile ?</strong></span><br />
Plus d’infos concernant mon travail graphique est consultable sur mon <a href="http://gameimager.com/" target="_blank" title="Blog Antonis Papantoniou">blog </a>et <a href="https://www.facebook.com/antonis.papantoniou.507" target="_blank" title="Compte FB Antonis Papantoniou">mon compte FB</a>.<br />
<span style="color: navy;"><strong>Merci Antonis pour cet interview !</strong></span><br />
A noter que le blog d’Antonis comporte <a href="http://gameimager.com/Among-the-Stars-Step-by-Step">une section très intéressante</a> décrivant en détails et de façon illustrée la création d’une illustration, étapes par étapes.<br />
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<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>LUDOGRAPHIE D'ANTONIS PAPANTONIOU</a></h5>
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<h5 class="sc_toggles_title">
<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>VANGELIS BAGIARTAKIS : DU CAMP SCOUT AUX ÉTOILES DE LA GALAXIE !</a></h5>
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<div class="sc_toggles_item even">
<h5 class="sc_toggles_title">
<a href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="sc_toggles_icon"></span>LUDOGRAPHIE DE VANGELIS BAGIARTAKIS</a></h5>
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<h2>
LE MOT DE LA FIN</h2>
Le travail des deux illustrateurs a donc été colossal et de qualité
pour enrichir le jeu et ses nombreuses extensions, sans compter le <span class="glossaryLink " data-tooltip="<p>Stand-alone signifie "autonome", il s'agit d'un jeu qui ne nécessite pas de boite additionnelle pour être joué. </p>">stand-alone</span> qui reprend le même univers : <a href="http://ludovox.fr/lejeu/new-dawn-6552/" target="_blank" title="Fiche du jeu New Dawn"><em><span style="color: navy;">New Dawn.</span></em></a><br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/003-b-spaceport_9051.jpg" rel="prettyPhoto[slideshow]"><img alt="003-b-spaceport_905" class="aligncenter wp-image-94695" height="280" src="http://ludovox.fr/wp-content/uploads/2015/03/003-b-spaceport_9051.jpg" width="600" /></a><br />
A travers leur interview décrivant leurs techniques de dessin et leur
production, on se rend bien compte que le style graphique est différent
pour les deux illustrateurs : Odysseas réalise des illustrations plus
épurées alors que celles d’Antonis sont plus détaillées, un complément
qui apporte de la diversité aux nombreuses cartes du jeu. Leur points
communs sont nombreux : ils sont tous les deux passionnés par le thème
SF et se sont focalisés dans le but de servir l’univers SF du jeu de la
manière la plus réaliste et cohérente possible.<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/07/among-the-stras.jpg" rel="prettyPhoto[slideshow]"><img alt="among the stras" class="aligncenter wp-image-94704" height="338" src="http://ludovox.fr/wp-content/uploads/2015/07/among-the-stras.jpg" width="600" /></a><br />
Le style graphique des illustrateurs est d’ailleurs maintenant très
reconnaissable du premier coup d’œil à la pochette d’autres jeux passés (<em>Drumroll, Archon, Versailles</em>…) ou à venir (<em>Epic, Project:</em> <em>Elite</em>), à l’instar d’autres illustrateurs de renom : <span style="color: navy;"><strong>Michael Menzel</strong></span> (<em>Andor, Bruges, Cuba, L’age de pierre</em>), <strong><span style="color: navy;">Dennis Lohausen</span></strong> (<em>Descendance, El Gaucho, Les voyages de Marco Polo</em>),<strong><span style="color: navy;"> Pierô</span> </strong>(<em>Ghost Stories, Mr Jack, Dice Town</em>) ou encore <strong><span style="color: navy;">Vincent Dutrait</span></strong>
(Augustus, Lewis & Clark, New York 1901,Discoveries) pour ne citer
qu’eux quatre dont l’excellent travail graphique mériterait bien aussi
un coup de projecteur…<br />
<a class="inited" href="http://ludovox.fr/wp-content/uploads/2015/03/pic1545796_md.jpg" rel="prettyPhoto[slideshow]"><img alt="pic1545796_md" class="aligncenter size-medium wp-image-94696" height="187" src="http://ludovox.fr/wp-content/uploads/2015/03/pic1545796_md-300x187.jpg" width="300" /></a><br />
On parle beaucoup en ce moment de la faillite du système économique
grecque et cela fait du bien d’évoquer des éléments positifs de ce pays,
actif du côté des auteurs et des illustrateurs de jeux, avec en fer de
lance l’éditeur <span style="color: navy;"><strong><em>Artipia Games</em></strong> </span>qui propose toujours des nouveautés intéressantes.<br />
Souhaitons leurs le succès pour les futurs jeux sur lesquels
travaillent Odysseas et Antonis et qu’ils continuent à nous transporter
dans des mondes parallèles imaginaires à travers leurs belles
illustrations…<br />
<a class="share-item" data-count="facebook" href="http://ludovox.fr/rencontre-avec-les-illustrateurs-de-among-the-stars/#"><span class="share-counter"></span></a></div>
Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-65903683122527512622015-07-26T01:22:00.000-07:002016-11-22T21:37:08.391-08:00Artificial Intelligence Prof. needles The Conscious Eye ( a short chronicle by Poly Kasda).<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span lang="EN-US"><b><br /></b></span></i>
<i><span lang="EN-US"><b><br /></b></span></i><br />
<i><span lang="EN-US"><b>Artificial Intelligence Prof. John Kontos “Needles”
Poly Kasda’s Conscious Eye.<o:p></o:p></b></span></i></div>
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<span lang="EN-US"><b>Perception-Consciousness-Diegesis-Discovery-Creativity<o:p></o:p></b></span></div>
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<span lang="EN-AU">"What was the nature of this compulsive tide that
pushed XXc. artists in a self-cancellation frenzy, leaving behind a dilapidated
mental space and the labyrinthine traces of an unsatiated question mark?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvzr8Ny8WwuAccuEACFhvgrcUD1xMLawqYSsMlr0pbqRPqqoIQAV0MNdxnWFS-z7KvBvnnhYpRsUyXaO6KQLb-f9Fda3QimYauHVSByeCNpQLSAIJhyphenhyphen5PYFOu92UhYj_FAhE-rTH08SFN/s1600/%25CE%25A4%25CE%259F+%25CE%25A3%25CE%25A5%25CE%259D%25CE%2595%25CE%2599%25CE%2594%25CE%2597%25CE%25A4%25CE%259F+%25CE%259C%25CE%2591%25CE%25A4%25CE%2599.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvzr8Ny8WwuAccuEACFhvgrcUD1xMLawqYSsMlr0pbqRPqqoIQAV0MNdxnWFS-z7KvBvnnhYpRsUyXaO6KQLb-f9Fda3QimYauHVSByeCNpQLSAIJhyphenhyphen5PYFOu92UhYj_FAhE-rTH08SFN/s200/%25CE%25A4%25CE%259F+%25CE%25A3%25CE%25A5%25CE%259D%25CE%2595%25CE%2599%25CE%2594%25CE%2597%25CE%25A4%25CE%259F+%25CE%259C%25CE%2591%25CE%25A4%25CE%2599.jpg" width="136" /></a><span lang="EN-AU"> </span><span lang="EN-US">This was the
question I was persistently raising throughout <i>The Conscious Eye, </i>Aigokeros 1988, </span><span lang="EN-AU">a cross-disciplinary essay dealing with an eye that sees itself seeing,
that thinks itself thinking, as it undergoes the crisis of self- consciousness
that sealed the arts and sciences of the 20<sup>th</sup>c; an introspective
attitude which revealed the linguistic-cognitive scaffold of vision and
triggered modern crisis, mining with autognostic explosives our certainties;</span><span lang="EN-US"> a cognitive revolution that shifted our
attention from behavioral phenomena to their inner mechanisms.</span></div>
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<span lang="EN-US"><o:p></o:p></span></div>
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In that book i had made
several references to the then rising science of A.I. as an
introspective, philosophical tool, which, by externalizing the mechanistic
aspects of our thinking helps us realize other ways of thinking; an
obsession that drove me to anchor my insight on the then (1985) ongoing academic
research applications in Prof. Seymour Papert’s A.I. department at the MIT. </div>
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<span lang="EN-US">M</span><span lang="EN-US">y research was documented
in my narrative documentary <i>The Adventures of the Eye</i></span><span lang="EN-US">, with documentarist Marco Gastine for the Greek
national TV 1986. During the shootings, I met A.I.Prof. John Kontos who foreworded
my essay <i>The Conscious Eye, Perception-Art-Informatics</i> that
followed the documentary.</span></div>
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<span lang="EN-US">Two years ago, after the lapse of a
quarter of a century, Dr. John Kontos asked me to translate <i>The Conscious Eye</i> in English since he
wished to ‘needle’ my old text with fresh information from the recent
research developments in the field of Artificial Intelligence, Machine Consciousness and creativity, during the elapsing 25 years.<o:p></o:p></span></div>
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<span lang="EN-US"> A
chunk or two years heavy with endless discussions on the nature of Intelligence
and Consciousness followed this call. It resulted in the publication of our
English book<i>: <b>Artificial Intelligence
Prof. John Kontos “Needles” Poly Kasda’s Conscious Eye, </b></i>southwind/notiosanemos
ed.2015<i>.<o:p></o:p></i></span></div>
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<span lang="EN-US">In the meantime I started writing a narrative chronicle revealing the psychic experience underlying and sustaining my own self-combustive <i><b>project Myth/Network </b></i></span>during this elapsing chunk of 25 years: a self-reflexive speculation that resulted in the
publication of my allegoric narrative <b><i>When
that Word swallowed me</i>.</b> Its protagonist is Alfie “the perpetual resident of
chaos”; a real persona with transcendental
coordinates…".</div>
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<span lang="EN-US">PolyXene Kasda <o:p></o:p></span></div>
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<span lang="EN-US">Both books<i> Artificial Intelligence Prof. John Kontos “Needles” Poly Kasda’s
Conscious Eye </i>and<i> When that Word
swallowed me </i>were presented in the Stoa tou Vivliou Athens 2.6.2016<i><o:p></o:p></i></span></div>
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<a data-saferedirecturl="https://www.google.com/url?hl=el&q=http://www.ert.gr/nea-ekdosi-apo-notio-anemo-gia-ti-schesi-technitis-noimosynis-technis/&source=gmail&ust=1464430966973000&usg=AFQjCNH_Muji_QtwiluMlyjiwnwErMMJUw" href="http://www.ert.gr/nea-ekdosi-apo-notio-anemo-gia-ti-schesi-technitis-noimosynis-technis/" style="background-color: white; color: #1155cc; font-family: helveticaneue, "helvetica neue", helvetica, arial, "lucida grande", sans-serif; font-size: 14px;" target="_blank">Nέα έκδοση από το "Νότιο Άνεμο" για τη σχέση τεχνητής νοημοσύνης & τέχνης - ert.gr</a><br />
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<span lang="EN-US">Commentators:<o:p></o:p></span></div>
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<span lang="EN-US"><b>Dr. Harry Meletis,</b> cybernetics researcher<o:p></o:p></span></div>
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<span lang="EN-US"><b>Dr. Manthos Santorinaios</b>, Prof. Athens’School
of Fine arts, director of the Master in Artificial Intelligence and Art
department.<o:p></o:p></span></div>
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<span lang="EN-US"><b>Dr. Peter Tzelepidis,</b> cognitive sciences
professor<o:p></o:p></span></div>
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<span lang="EN-US"><b>Dr. Yannis Almyrandis,</b> Democritos research
institute of biosciences and applications director.<o:p></o:p></span></div>
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<span lang="EN-US"><b>Mariana Zikou,</b> art-historian</span><o:p></o:p></div>
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<i style="line-height: 13.2pt;"><sub><span lang="EN-US" style="color: #333333; font-family: "courier new";"><span style="font-size: x-small;">"In her essay The Conscious Eye she describes the consistent path of art, through the changes of the innner visual processes, before its breaking up into a chaotic process of many trends and structures that define our times.</span></span></sub></i></div>
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<span style="font-size: x-small;"><i><sub><span lang="EN-US" style="color: #333333; font-family: "courier new";">I wonder whether we should catch the line from this point on; the path through the concepts, the analysis of language and the contemporary mechanisms of its processing and the esoteric vision which her book projects as the record of an adventure”.</span></sub></i><span lang="EN-US" style="color: #333333; font-family: "courier new";"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><sub><span lang="EN-US" style="color: #333333; font-family: "courier new";"><b>Dr. Manthos Santorinaios, </b>Athens School of Fine Arts Professor, 2/6 Stoa tou Vivliou Athens </span></sub><span lang="EN-US" style="color: #333333; font-family: "courier new";"><br /><br /><o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #333333; font-family: "courier new";"><span style="font-size: x-small;">"<i> 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"</i><o:p></o:p></span></span></div>
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<b style="font-size: small;"><span lang="EN-US" style="color: #333333; font-family: "courier new";">Dr. Yannis Almyrandis,</span></b><span lang="EN-US" style="color: #333333; font-family: "courier new"; font-size: x-small;"> Democritus institute of bioscience and applications EKEFE, Over-determination in poly kasda’s work, 2/6 stoa tou vivliou Athens </span></div>
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<span style="font-size: x-small;"><i><sub><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "courier new";">"..intriguing artistic text… I take it as the other side of the mind from which the Conscious Eye emerged; a structured epistemological discourse that surfaced through that same impressive imaginary which reveals itself consistently over the artistic course of a lifetime. It is great it revealed itself once more in the form of this text.</span></sub></i><i><sub><span lang="EN-US" style="color: #222222; font-family: "courier new";"><br /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Thoughts that are hard to embed as language, thoughts and images that reside submerged within us, that we ourselves do not know what they mean, what needs they meet and in which unknown territories they game us to.</span><br /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Perhaps this narrative is a call to see, to reify the uncharted, terrible and unrecognizable dimensions of our human and non-human(?) imaginary.</span><br /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The Conscious Eye continues its search and investigation in the most elusive, controversial, intra-real dimensions of its existence"</span></span></sub></i><sub><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "courier new";">.<b> </b></span></sub><span lang="EN-US" style="color: #333333; font-family: "courier new";"><br /></span><b><sub><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "courier new";">Mariana Zikou, </span></sub></b><sub><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "courier new";">Art-historian, introduction to P.Kasda's allegorical narrative "when that word swallowed me". </span></sub><span lang="EN-US" style="color: #333333; font-family: "courier new";"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #222222; font-family: "calibri" , "sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">“Kontos joined forces with Poly Kasda, an artist who studied “the self-combustive frenzy of 20th century art.” Her 1985 booklet, “The Conscious Eye,” foresaw developments in artificial intelligence. Kasda noticed painters in the twentieth century were obsessed with introspection: paying more attention to the workings of their minds than the products of their art. Introspection was also in the background of the rising computer programs in artificial intelligence. So Kontos grasped the ingenuity of Kasda and expanded it into this broad understanding of what artificial intelligence is all about.</span><br />
<span style="color: #222222; font-family: calibri, sans-serif;">Kontos included a translation from the Greek of Kasda’s the “Conscious Eye” into this book, one text seeding and illuminating the other. Indeed, Kontos updates and rejuvenates the insights of Kasda, and, in this innovation, creates an exciting, timely, refreshing, and fascinating history of artificial intelligence - of what it could have become.</span><br />
<span style="color: #222222; font-family: calibri, sans-serif;">I recommend Kontos’ and Kasda’s book. It is a timely, sophisticated, philosophical, and honest account of artificial intelligence, a problematic endeavor of great potential and grave risk”. Evaggelos Vallianatos, Computer engineering and propaganda/the Huffington Post, US. 11/15/2016</span></div>
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<span style="color: #1155cc; font-family: "calibri";"><a href="http://www.amazon.com/Artificial-Intelligence-Needles-Conscious-Eye/dp/9609511287" style="color: #1155cc; text-decoration: none;" target="_blank"><span style="font-size: x-small;">http://www.amazon.com/<wbr></wbr>Artificial-Intelligence-<wbr></wbr>Needles-Conscious-Eye/dp/<wbr></wbr>9609511287</span></a></span></div>
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<span style="color: #111111;"><span style="font-family: "arial";"><span style="font-size: x-small;">Customer Review by Dr David Gamez</span></span></span></h2>
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<span style="color: #111111; font-family: "arial" , sans-serif;"><a href="https://www.blogger.com/null" style="color: #222222; text-decoration: none;"><span style="font-family: "calibri" , sans-serif;"><span style="font-size: x-small;">4.0 out of 5 stars</span></span></a></span></div>
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<span style="color: #111111; font-family: "arial" , sans-serif;"><span style="font-size: x-small;"><a href="http://www.amazon.com/review/R2NHDN5DB2JUUQ/ref=cm_cr_dp_title?ie=UTF8&ASIN=9609511287&channel=detail-glance&nodeID=283155&store=books" style="color: #1155cc; text-decoration: none;" target="_blank" title="4.0 out of 5 stars"><i><span style="color: #0066c0;">4.0 out of 5 stars</span></i></a><a href="http://www.amazon.com/review/R2NHDN5DB2JUUQ/ref=cm_cr_dp_title?ie=UTF8&ASIN=9609511287&channel=detail-glance&nodeID=283155&store=books" style="color: #1155cc; text-decoration: none;" target="_blank"><span style="color: #0066c0;">An interesting read and I really liked the book's unusual structure.</span></a></span></span></div>
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<span style="font-size: x-small;"><span style="color: #111111; font-family: "arial" , sans-serif;">By </span><span style="color: #111111; font-family: "arial" , sans-serif;"><a href="http://www.amazon.com/gp/pdp/profile/ARVKPSXVAYDOJ/ref=cm_cr_dp_pdp" style="color: #1155cc; text-decoration: none;" target="_blank"><span style="font-family: "calibri" , sans-serif;">Amazon Customer</span></a> </span><span style="color: #111111; font-family: "arial" , sans-serif;">on March 24, 2016</span></span></div>
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<span style="color: #111111; font-family: "arial" , sans-serif;"><span style="font-size: x-small;">Kasda's Conscious Eye is an engrossing discussion of the move towards cognitive content in art. Kontos 'needles' key paragraphs of Kasda's text with discussions of contemporary work in artificial intelligence.<br /><br />Well worth a read if you want to find out more about art, artificial intelligence and the relationship between them.</span></span></div>
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-53652012010855410592015-07-25T21:49:00.000-07:002016-08-24T00:33:16.630-07:00Η μυθική Σφίγγα θέτει ξανά το ερώτημά της<div dir="ltr" style="text-align: left;" trbidi="on">
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Η μυθική Σφίγγα θέτει ξανά το ερώτημά της</h2>
<span class="subTitle"><b><span id="leftPHArea_sSubTitle">Στο Διεθνές Φεστιβάλ των Κρυμμένων Θηβών «Σφίγγα 2015»</span></b> </span> <br />
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Κυριακή, 26 Ιουλίου 2015 07:30</div>
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Μια νεοελληνική παραμελημένη πόλη, η οποία διαθέτει μια μακρά ιστορία
και ένα μεγάλο διαχρονικό πολιτισμικό απόθεμα: ιστορία, μύθους,
πολιτισμό, η Θήβα, δημιουργεί μια φιλόδοξη καλλιτεχνική πρόταση για τη
θεμελίωση της ταυτότητας μιας νέας πόλης, μέσα από το Διεθνές Φεστιβάλ
των Κρυμμένων Θηβών «Σφίγγα 2015».<br /> <br />
Πρόκειται για ένα διεθνές θεματικό καλλιτεχνικό project, στον αστικό και
κοινωνικό χώρο της Θήβας, με πολλαπλές δράσεις εικαστικών, θεάτρου,
μουσικής, αρχιτεκτονικής και χορού, οι οποίες πραγματοποιούνται σε
διαφορετικούς και ειδικά επιλεγμένους, χώρους της πόλης.<br /> <br /> <b></b><br />
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<b>Αρχαίο αίνιγμα, στη σύγχρονη εκδοχή του</b><br /> <br />
Με κεντρικό θέμα το αίνιγμα που έθετε η αρχαία Σφίγγα στον Οιδίποδα: «Τί
ἐστιν ὅ μίαν ἔχον φωνὴν τετράπουν καὶ δίπουν καὶ τρίπουν γίνεται;», στη
σύγχρονη εκδοχή του, δημιουργοί από όλο το φάσμα των τεχνών, θα
επιχειρήσουν μια βύθιση στον τόπο και τον χρόνο, προκειμένου να
επαναπροσδιορίσουν το νόημα του σημερινού ανθρώπου.
Καλλιτέχνες από όλον τον κόσμο, επιστήμονες, φοιτητές, μαθητές και
κοινό, θα συνυπάρξουν, μέσα από τη «Σφίγγα 2015», με τα μνημειακά και
μνημονικά στοιχεία της πόλης, αναζητώντας - μέσα από τις δημιουργίες και
τις δράσεις τους - την αθέατη Θήβα, ως λύση πολιτισμού, η οποία θα
οδηγήσει, πιθανόν, σε μια νέα ταυτότητα του χώρου και των ανθρώπων που
την κατοικούν. Μέσα στον πραγματικό, αλλά και εικονικό ιστό της πόλης
(διαδίκτυο), καλλιτέχνες και πολίτες δημιουργούν, πραγματοποιούν
πολλαπλά καλλιτεχνικά, πολιτιστικά ή απλώς κοινωνικά δρώμενα, και
καταθέτουν έργα - προτάσεις, πράξεις πολιτισμού.<br /> <br /> <br />
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Τα
έργα - προτάσεις θα επιχειρήσουν να ανατρέψουν την ακινησία, τον
εφησυχασμό και την αδράνεια - στοιχεία σήψης στο παρόν - και να ενώσουν
τις δράσεις των ανήσυχων πολιτών, προσδοκώντας μια αλλαγή στο μέλλον της
πόλης.<br /> <br /> </span><br />
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<b>Ένα πείραμα για τη Θήβα</b><br /> <br />
Θέμα του πειράματος της Θήβας είναι η αναζήτηση τρόπων, μέσα από τους
οποίους μια ολόκληρη πόλη μπορεί να γίνει τόπος πειραματισμού,
διατυπώνοντας ουσιαστικές θέσεις και απαντώντας αληθινά στα προβλήματα
των καιρών της παγκόσμιας οικονομικής, πολιτικής, κοινωνικής, ηθικής και
γνωστικής κρίσης.
Η αρχαία Θήβα αποδεικνύεται ο ιδανικός χώρος για την πραγματοποίηση ενός
πειράματος, που θα οδηγούσε σε έναν επαναπροσδιορισμό της σύγχρονης
πόλης, κινητοποιώντας τον μύθο και την ιστορία που την ακολουθούν, προς
όφελος της δημιουργίας και της ανάδειξης μιας νέας ταυτότητας.<br /> <br />
Η αλλαγή επιδιώκεται μέσα από τον σχεδιασμό αυτόνομων δημιουργικών
προτάσεων, με τη συμμετοχή καλλιτεχνών, αλλά και πολιτών από τον
πραγματικό κοινωνικό ιστό, με στόχο την αλλαγή στο μέλλον της πόλης. Σε
αυτό το εγχείρημα, επιστρέφουμε στη Σφίγγα των Θηβών την απάντηση του
Οιδίποδα, με το ερωτηματικό «τι είναι ο άνθρωπος».<br />
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Το ερώτημα επανεξετάζει το νόημα του ανθρώπου, μέσα από τη θέση του στην ιστορία:
α) το απώτερο παρελθόν, με τις αξίες, τις συγκρούσεις, τον πολιτισμό που δημιούργησε<br />
β) τη σημερινή κοινωνία, τις σύγχρονες προκλήσεις και
κοινωνικοοικονομικές συγκρούσεις, τις πολιτισμικές ροές και συγχωνεύσεις
(πολιτιστική επέκταση, μετανάστευση), τον ρόλο της τεχνολογίας, της
επικοινωνίας και του ίντερνετ, τη δύναμη της εξουσίας, τη γονιδιακή
επιστήμη, τις νέες εφαρμογές στον σύγχρονο κόσμο<br />
γ) τις λύσεις και τις προτάσεις για το μέλλον.<br />
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<b>Μία νέα οργάνωση</b>
Η Σφίγγα είναι μία νέα οργάνωση, αποτελούμενη από εκπροσώπους των
εικαστικών, της αρχιτεκτονικής, του θεάτρου και της μουσικής, οι οποίοι
ερευνούν διαρκώς την πολυεπίπεδη και ιδιόμορφη περίπτωση της πόλης της
Θήβας.<br />
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Για
το 2015, η οργάνωση Σφίγγα δημιουργεί, οργανώνει και προτείνει το
Διεθνές Φεστιβάλ Σφίγγα 2015, με στόχο την ανάδειξη όλων εκείνων των
στοιχείων της αθέατης Θήβας, τα οποία θα συνεισφέρουν στη
δημιουργικότητα, αλλά και στον επαναπροσδιορισμό της ταυτότητας της
πόλης. Το Φεστιβάλ που ξεκίνησε τον Μάιο και θα διαρκέσει έως τον
Δεκέμβριο του 2015 τελεί υπό την Αιγίδα του υπουργείου Παιδείας,
Πολιτισμού και Θρησκευμάτων, υπό την αιγίδα και με τη συνεργασία της
Ανώτατης Σχολής Καλών Τεχνών και με τη συνεργασία της Θ’ Εφορείας
Προϊστορικών και Κλασικών Αρχαιοτήτων Βοιωτίας και του Δήμου Θηβαίων. <a href="mailto:gkoul@naftemporiki.gr">gkoul@naftemporiki.gr</a><br />
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.comtag:blogger.com,1999:blog-5539639554304028037.post-32504775081126155902015-06-24T21:12:00.002-07:002015-07-25T21:50:22.093-07:00Σήμερα η πρώτη συνέντευξη τύπου της Σφίγγας<div dir="ltr" style="text-align: left;" trbidi="on">
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Urania's Gardenshttp://www.blogger.com/profile/07009810356502494428noreply@blogger.com