Τετάρτη, 17 Μαΐου 2017

Παρασκευή, 12 Μαΐου 2017

Δευτέρα, 6 Φεβρουαρίου 2017

PXK ROUTE 17: Χιτών Άπειρος/ Chiton Apeiros*

PXK ROUTE 17: Χιτών Άπειρος/ Chiton Apeiros*
 160X220-300cm, glass, isothermic blanket and PXK patches, 2017.
*Polyxene’s sacrificial cloak in Sophocles tragedy. Apeiros can be translated as infinitus, inexpertus, terra continens (Lexicon Sophocleum)




 Here, patches of an isothermal blanket (used by astronauts and castaways) are transformed into infinite, non-experienced continents where the concept of home is dissolved
It consists of 4 partly superimposed glass panels 120X160cm. partially covered with patches of space/castaway blankets and PXK (processed aluminum sheets with powder color and liquid glass).
PXK is my innovative material which stands for the sacrificial skin shed behind after each cultural crucible, while realizing my global fossil installation PXK Route -2004-2015- anchored in different continents (2nd Beijing Biennial 05, FMC Syria 06, 4rth Tashkent Biennial 07, Nuit Blanche Paris 07, Olympic Fine Arts of Beijing 08 (Golden Medal), Flags UNESCO-Beirut 12…) The present installation is part of this planetary work
The overlapping glass panels can be shifted hiding and revealing the ones behind; the density and length of the installation is adaptable to the hosting space. They are lighted in the back from below.


PolyXene Kasda
Her main Project Myth/Network* -1990-2016 is a self-combustive system of interlaced sub-projects emerging from depth psychology and multiplexing in dispersive overview installations anchored in numerous sites of the earth, through the audience creative interaction  (Chrysalis 1990 in 300 sites 27 countries), or  through her participation in big world events (PXK ROUTE 2004-2017 in 25 sites), Affective- cognitive maps merging spectral/ actual  space (1994-1998-), generic language games (Code Lexomorphes 1991-2017), telecommunication  exchanges of legends/landscapes 2007, Agro-psycho-SAGA community projects (Uranias Gardens 2009-2016)
Her intuitive real-life experimentations are processed in her narrative articles and essays like PAI (Seven Sleepers coed Uni.Lucian Blaga editions 1997), When that word swallowed me (Sphinx, Hidden Thebes Festival 2016)..
Her early cross-disciplinary essay The Conscious Eye, Aigokeros, Athens 1988 was re-edited in the English joint essay: Artificial Intelligence Professor John Kontos needles Poly Kasda’s Conscious Eye, Southwind, Amazon 2015.
IAA UNESCO artist, member of EETE Greece, OFAA Finland.  K-DROZ PARIS jury, ed. board Poesia e Conscenza Milan. She graduated in Psychology- Sociology ACG Athens, studied Chemistry-Physics in AUC Cairo and Visual Arts in S. Hermann's workshop, Besancon, Alexandria.

*Project Myth/Network was launched in the Museum of Modern Art Joensuu, PAND conference Meeting of the Worlds, Finland 1990.Project Myth/Network, EMST Greece Artists Archives code 1595. Donation: Xagoraris 1991. 

Σάββατο, 19 Νοεμβρίου 2016

poly kasda

PolyXene Kasda
 IAA UNESCO artist, lives in Athens, works everywhere.

Her main Project Myth/Network* -1990-2017- is an open system of interlaced self-fueling sub-projects emerging from depth psychology and multiplexing in
-        -  Biodegradable, interactive, overview installations like Chrysalis 1990- anchored in 300 sites-27 countries, composing an ideography of the web before it’s spreading (launched in the Museum of Modern Art Joensuu, PAND conference, Meeting of the Worlds, Finland 1990).
-        -  Overlapping dispersive overview installations touching down across the globe often through her participation in big events (Biennials of Beijing 2005-2008, Biennial of Tashkent 2007, Nuit Blanche Paris 2007,  FMC Syria2006, Flags MEADOWS UNESCO Beirut 2012,, Design House of Cyprus Athens 2009, Night of Museums Munster Germany 2015,  University of Lucian Blaga Sibiu Silver Medal 2007, Olympic Fine Arts Beijing Gold Medal 2008)
-         - Affective - cognitive maps of mythically augmented sites merging spectral/ actual space adopted in 1995 by the European Network of Poetry as a new form of poetical expression
-        - Code Lexomorphes:  language games with cryptographic patterns based on the ancient Greek mathematical codification of the alphabet. (Symposium on Greek language, Old Parliament of Athens, EETE Silver Medal 2009).
-        -  Urania’s Gardens: Agro-psycho-Social art generating community projects. http://Uraniagardens.blogspot.com

Her artistic acts are processed and formulated in Greek, English and French in her research documentaries, cross-disciplinary essays and allegoric bionarratives.

She graduated in Psychology- Sociology B.A. Pierce/Deree ACG, studied Chemistry-Physics in the American University of Cairo, had a 7 years apprenticeship in visual arts in S. Hermann's workshop, Besancon, Alexandria and has the National Arabic language diploma. Her early paintings as Poly Casdas are in private collections.

*Project Myth/Network, EMST National Museum of Contemporary Art, Greece, Archives code 1595. Donation:Xagoraris 1991. 

Κυριακή, 4 Σεπτεμβρίου 2016

Artificial Intelligence is needling The Conscious eye and that word that swallowed me



..

Artificial Intelligence Prof. John Kontos “Needles” Poly Kasda’s Conscious Eye.
Perception-Consciousness-Diegesis-Discovery-Creativity

"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?

 This was the question I was persistently raising throughout The Conscious Eye, Aigokeros 1988, 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 20thc; an introspective attitude which revealed the linguistic-cognitive scaffold of perception and triggered modern crisis, mining with autognostic explosives our certainties; a cognitive revolution that shifted our attention from behavioral phenomena to their inner mechanisms.

In the 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. 

My research was documented in my narrative documentary The Adventures of the Eye, with documentarist Marco Gastine for the Greek national TV 1986. During the shootings, I met A.I.Prof. John Kontos who foreworded my essay The Conscious Eye, Perception-Art-Informatics that followed the documentary.

Two years ago, after the lapse of a quarter of a century, Dr. John Kontos asked me to translate The Conscious Eye in English since he wished to ‘needle’ my old text with fresh information from the recent research developments in the field of Artificial Intelligence and particularly in the subfields that promote the technologies of Machine Consciousness and Computational Creativity during this time.

 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 bookArtificial Intelligence Prof. John Kontos “Needles” Poly Kasda’s Conscious Eye, southwind/notiosanemos ed.2015.

Meanwhile I started writing a narrative chronicle revealing the psychic experience underlying and sustaining my own self-combustive project Myth/Network  dramatized in the interface of ritual/ actual space, during this elapsing 'hemar', or, chunk of 25 years:  a self-reflexive speculation that resulted in the publication of my allegoric narrative When that Word swallowed me, Sphinx, The Hidden Thebes festival syn. Poesia e Conoscenza review (Milan)"..
Poly Kasda 






Both books Artificial Intelligence Prof. John Kontos “Needles” Poly Kasda’s Conscious Eye and When that Word swallowed me were presented in the Stoa tou Vivliou Athens 2.6.2016


Commentators:
Dr. Harry Meletis, cybernetics researcher
Dr. Manthos Santorinaios, Prof. Athens’School of Fine arts, director of the Master in Artificial Intelligence and Art department.
Dr. Peter Tzelepidis, cognitive sciences professor
Dr. Yannis Almyrandis, Democritos research institute of biosciences and applications director.
Mariana Zikou, art-historian
Short Book description


  1. ARTIFICIAL INTELLIGENCE PROFESSOR JOHN KONTOS NEEDLES POLY KASDA'S CONSCIOUS EYE.
Perception-Consciousness-Diegesis-Discovery-Creativity 2015

“Kasda's book, The Conscious Eye Perception-Art-Informatics was based on her insight into the introspective 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. 
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”. (Excerpt from the preface).

  1. When that Word swallowed me,
Allegoric biodiegesis, Puer Aeternus, the Axiom of Maria and the Riddle of the Sphinx

 “In this afegema I attempt to cohere into a single narrative my surreal journey in the backstage of my specious time work Project Myth/Network 1990-…

A psychic world of experience courses throughout and sustains the artistic act. It is rarely revealed because of its profane singularity and yet its revelation could open an unpredictable window to who we really are”. (Excerpt from the preface).
What others say: 

"In Poly Kasda's essay The Conscious Eye she describes the consistent path of art, through the changes of the inner visual processes, before its breaking up into a chaotic process of many trends and structures that define our times. 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”.
 Dr. Manthos Santorinaios, Athens School of Fine Arts Professor, director of the Master in Artificial Intelligence and Art department.2/6 Stoa tou Vivliou  Athens  
" Kasda manages with a pre-scientific  way’ Paracelsus, Leonardo’s , the witch-doctor’s and Huomo Universalis’ to connect the tangible with the intangible and to  manifest in front of our eyes invisible dynamic lines that lend to our world a little more meaning".
 Dr.Yannis Almyrandis, Democritus institute of bioscience and applications EKEFE, Over-determination in poly kasda’s work, 2/6 stoa tou vivliou Athens  



“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.
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.
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

“An interesting read and I really liked the book's unusual structure…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.
Well worth a read if you want to find out more about art, artificial intelligence and the relationship between them”. Dr. David Gamez March 24, 2016

"When that word swallowed me is an 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.
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.
Perhaps this narrative is a call to see, to rectify the uncharted, terrible and unrecognizable dimensions of our human and non-human(?) imaginary.
The Conscious Eye continues its search and investigation in the most elusive, controversial, intra-real dimensions of its existence
” Mariana Zikou, When that word swallowed me 2016

“Kasda's short autofiction ‘When that word swallowed me’ marks an epitome of her 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”. Mariana Zikou, Art-historian, Underdetermination on Poly Kasda’s work,  Stoa tou Vivliou, 2/6/2016 Athens.




Κυριακή, 21 Αυγούστου 2016

Follow your SEM, PolyXene Kasda's shot biographical note



me and the scattered halo of my Project Myth/Network 1990-2015 (2D snapshot  of a 4D process)

Project Myth/Network was launched in the Museum of Modern Art of Joensuu, Meeting of the Worlds, PAND conference, Finland 22-6-1990. 
Archives: Project Myth/Network: emst.gr/gr/collections National Museum of Modern Art archives code 1595.Donation: Xagoraris 1991.



it all started with my threshold performance on the altar that surfaced in the bottom of the lake of Mornos hit by drought in 1990. The 25 years long project Myth/Network that followed was the trace in actual time of that immersive instant ritual. The performance relics were hundreds of sphinx-like earth sculptures the Chrysalii which were seeded by international 'interactors' in more than 300 sites in 27 countries 'composing an ideography of the web before its spreading ...




Project Myth/Network -1990-2015- is an “hyper-string” of interlaced sub-projects emerging from depth psychology and multi-plexing in:

 - Dispersive overview cosmonautic installations, like:


*Chrysalis 1990-91 global biodegradable, interactive, collective installation in 300 sites-27 countries forepacing the internet web technologies

*Fugue or The Gate of Love 1996-98 variations of a monumental Fibonacci structure in 5 distant sites of the earth -University of Sibiu Silver Medal.

*Doodling perturbations of the probabilistic mind caught in the space between projects where very little happens 1985-2016 drawings on diaphanes inserted  in 13 cultural events in 7 countries: 3rd Biennial of Beijing 2008, DESIGN House of Cyprus Athens 2009, Munster Night of Museums,Germany 2014...

*PXK Route global fossil 2004-2015 installation, made with my innovative fossilizing material PXK, devised for creating my Olympic monument 'Chrysalis' which hosted the Olympic Flame, Paleon Faleron, Athens 04, and is now anchored in more than 25 world events: XVII Βiennale di Poesia di Alessandria Italy 2004, 2nd Biennial of Beijing 2005, 4rth Biennial of Tashkent 2007, Nuit Blanche Paris 2007...
 PXK Route represented Greece in the Beijing Biennial Olympic conference 2018 and was awarded the Olympic Fine Arts Golden medal.



- Affective-cognitive maps of spectral Greece -1994-1996-2011 following the tantalizing trails of spectral space' ossified symptoms, landscape semiotics and language games.


Mythologically augmented anti-historical parcours in mythical sites of Greece - graphisms and sets of instructions opening mythical barcodes, regenerating an enchanted noetic hyperspace embodied through the participants' consensual engagement.

 Under the auspices of the Municipal Radio of Athens 9,84F.M, the Biennale of Poetry of Alessandria Italy,Τοuchstone poetry group for the XVth European Poetry Festival (Brussels), the European Poetry Network (Belgium)who adopted the Maps as a new form of generative poetic expression.

-  Code Lexomorphes 1991- 2009 -2015- Speaking sculptures and linguistic games based on the ancient Greek numerical codification of language .
participated in:
Structuralist exhibition Homage a Stazewski Concept/ Form, Municipal Center of Athens 1991.
Congress on Greek Language 2009, Old Parliament of Athens, org. Chamber of Fine Arts of Greece.


- Fugue, or, The Gate of Love 1996-1998-2005: monumental Fibonacci structure anchored in five distant sites: 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.


- Uraniasgardens the botanology of culture 2009-2015* Agro-psycho-SAGA projects in culturally gagged sites of Greece like:

 Gargling Sky, village-network in Gergeri 2009, PAI transborder, borderline project on Time Alexandroupolis - Bulgaria- Samothrace 2010, the Samothrace Game 2011 an exercise in ambiguous thinking with the antinomic guidance of Heraclite's Fragments, Pith Elevoron 2014 on agriculture and madness Antikyra, Sphinx 2015 The Hidden Thebes Festival, or, the affective power of spectral space School of Fine Arts, Ministry of Culture


*https://uraniasgardens/ cultural botanology: seven years Uraniasgardens 2009-2016, by Poly Kasda.


By pattern-setting, curating and monitoring my projects, I set the conceptual/ sensorial soil for my  art objects to sprout and the authentic living material for my self-reflexive narrative articles and essay.s  

*SEM or Something Essential Missing, as I call this heroic conscient element retroactively charged with our human entelechy, persistently driving us out of our skin. SEM  makes its presence felt by the pitiless attraction of its own void, 

Narrative essays sustaining my M/N projects


 1994 Pyrisporos
, Art-Science-Mythology, Aigokeros-Art, Athens (in Greek)



1997 ΠΑΙ, bionarrative, written in French, published in 3 languages by The Seven Sleepers Leuvain-coed Uni. Press Lucian Blaga Romania 1997- International Frankfurt Bookfair. PAI was published in Greek by Tyflomyga, Athens 2004 
2016 When that word swallowed meSphinx The Hidden Thebes Festival, allegoric biodiegeses written in Greek and in English.
My early essay The Conscious Eye Aigokeros-Art 1988 (in Greek) was 'needled' in 2015 by A.I. Prof.John Kontos with the recent developments in A.I. and is considered to be a Pythian text outpacing the rise of new technologies. 
2015 J. Kontos- P. Kasda, Artificial Intelligence professor John Kontos Needles  Poly Kasda's Conscious Eye, SouthWind, Athens (in English).

http:// uraniasgardens, Artificial Intelligence Prof. needles The Conscious Eye ( a short chronicle by Poly Kasda).


1986 The Adventures of the Eye, Greek National TV documentary  

1988-89 Trito Vima magazine Greek National Radio Third Channel 1989 on the flux of Modern Art and acoustic art-works experimentations 
IAA UNESCO artist, member of the Chamber of Fine Arts of Greece,the editorial of Poesia e Conoscenza review (Milan), OFAA Association of Golden Medalists.. Studied Chemistry-Physics in AUC,an ACG graduate BA in Psychology-Sociology. For 7 years i was an apprentice in Soeur Hermann's visual arts workshop Besancon, Alexandria



As Poly Casdas my early paintings are in private collections
My early poetry was awarded 3 Golden Medals from the French Academy of Poets and a Grand Prix International de Poesie by the Cercle International de la Pensee et des Arts Francais


Born in multicultural Alexandria-lost, i live in Athens, i work everywhere 
a
nd my work seems to be characterized by over-determination and under- determination:



"Overdetermination refers to the production of an effect from more than one cause - although each of them would be sufficient to give the same result - even more as if between these seemingly unrelated causal lines, there is a relevance, a 'secret agreement' that escapes from our understanding. These converging lines, which may be present more often than its catches the eye, seem to give our lives a sense of syndetic cohesion.. as if an 'unaccessible wisdom’ were to deign to make its presence known, revealing an unimagined depth of the world.

Hyperdetermination data abound in PolyKasda’s work...she manages with a pre-scientific  way’ Paracelsus, Leonardo’s , the witch-doctor’s and Huomo Universalis’ to connect the tangible with the intangible and to  manifest in front of our eyes invisible dynamic lines that lend to our world a little more meaning"
Dr. Yannis Almyrandis, Democritus institute of bioscience and applications EKEFE director, Over-determination in poly kasda’s work, stoa tou vivliou Athens 2/6/2016  


"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.
 Within the frame of this presentation ‘under-determination’ is used with a double interpretation, employing the prefix under- (in greek hypo-):
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.
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".
Mariana Zikou,,art-historian, under-determination in Poly Kasda's work, Stoa tou Vivliou,2/ 6/ 2016


characteristic excerpts


"Myth/Network is a work of Time dramatized inside the thick interface of liturgical/actual time. I consider all my emerging art-works in this 25 years old chunk (hemar), as time-shift  traces of my instant threshold peformance 1990 in the bottom of a lake..." P. Kasda, Tyflomyga review dedication interview 2002.


"The gigantic templo was towering above me like a fossilized theater curtain carved with alcoves, filled with this imposing absence of another duration, reverentially directing their gaze to the sacrificial stone shining in the center of the stage, daring me to perform my inescapable performance. Instinctively, I started carving with blind searching movements the mud overflowing the altar, as though I was trying to exhume this self-devouring SEM (Something Essential Missing), from its very sacrificial plinth, carving a way out from the labyrinthine grooves of my own fingerprint where I was feeling entrenched”. P. Kasda, When that word swallowed me, Sphinx Festival of Hidden Thebes, 2016.  


“The open ends of my experiment were now snapping into place: My threshold ritual performance in the bottom of the lake, my persona-dissolution in the collective planetary installation Chrysalis, my cartographies of spectral Greece, the “speaking sculptures” and my Chrysalis/ Grail monument, the PXK Route that unfolded from it unshrouding PAI, all of these temporal frames were different versions of the same principle stretching itself on  an 'hemar'  of 25 years; symptoms of my instant predemolition ritual  performed in the catoptric inside of the world”. P. Kasda, Ibid

"I was born in  the cognitive revolution of “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 - in Alexandria-lost, a shifting Hellenistic home grafted with the element of deconstruction, reconstructed in the planetary dimension of my work". P. Kasda, Ibid



"In fact, it was the Homo Sapiens/ Word- Virus HSWV that was manipulating me to slide out from the safety of my cognitive platform into the abyssal lake of my unconscious.
My whole project seems to be crouched inside the Greek word ΧΡΥΣΑΛΛΙΣ/Chrysalis, natural archetype of ontological mutation/ of culture formation". P. Kasda, Congress on Greek Language, Old Parliament of Athens 2009.

'Sometimes, a Word opens its gargling ‘mouth’ in the midst of our ordinary reality, swallowing us in its resonant belly, in which we shed our skin, peeling and molting according to its image. Thus, language is incarnated over and over again. P. Kasda, Art-Act, Athens, 2OO5.