poly kasda

https://www.dropbox.com/s/be19twpg6poifoq/Poly-Kasda.pdf?dl=0

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. 
html: https://lekseikones.wordpress.com/
 http://lekseikones.metartnet.com

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. 

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

..

http://www.amazon.com/Artificial-Intelligence-Needles-Conscious-Eye/dp/9609511287

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 20^thc; 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 book: Artificial 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 20^thc 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).

2. 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).

<sub>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”.</sub>
 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.

http://www.amazon.com/Artificial-Intelligence-Needles-Conscious-Eye/dp/9609511287

The under-determination in Polyxene Kasda’s work

The under-determination in Polyxene Kasda’s work 

by Mariana Zikou, Art historian, Stoa tou Vivliou 2/6/2016, Athens

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.

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.

'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.

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.

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.

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'.

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.

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'.

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.

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.

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'.

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'.

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.

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…'.

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.

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.

19.7.2016

Ο υπο-προσδιορισμός στο έργο της Πολυξένης Κασδά

Ο υπο-προσδιορισμός στο έργο της Πολυξένης Κασδά

Εισήγηση της ιστορικού τέχνης Μαριάνας Ζήκου, Στοά του Βιβλίου, 2/6/2016

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.

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. Mου 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.

Εκκινώντας από τη δυναμική αυτού του προθήματος, το υπο-, ο υπο-προσδιορισμός στα πλαίσια αυτής της παρουσίασης χρησιμοποιείται με διπλη ερμηνεία.

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.

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.

'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.

Το βιβλίο ξεκινάει με δύο ερωτήσεις “τι έπαθαν λοιπόν πολλοί καλλιτέχνες και σταμάτησαν να ζωγραφίζουν; Τι κρύβεται πίσω από αυτήν τη σιωπή που πήρε τόσες παράξενες μορφές;” Σε αυτά τα ερωτήματα η Πόλυ Κασδά δημιουργεί θεωρητικούς σχηματισμούς, πολύ γόνιμους, αντιστοιχώντας επιστημονικές θεωρίες και τεχνολογίες με καλλιτεχνικές μεθόδους και τη φιλοσοφική γνώση.

Ήδη όμως στο προοίμιο του βιβλίου θίγει λακωνικά το ζήτημα του υπο-προσδιορισμού, γράφοντας: “Αυτό το δοκίμιο πάνω στη φύση της σύγχρονης τέχνης και της όρασης είναι μόνο η κορυφή του παγόβουνου”. Στις τελευταίες σελίδες του βιβλίου περιγράφει ήδη την κατάλυση της ασφάλειας, την αποσάρθρωση των συμβατικών δομών και μαζί την απόσυρση των λέξεων.

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'.

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.

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: “μετά την έκδοση είχα μείνει πάλι με την δίψα του ανικανοποίητου: Αυτό το κάτι το ουσιαστικό που λείπει”.

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.

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'.

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: “Όμως, πώς αλλιώς; Αυτά που βλέπει απευθείας η ψυχή, διανοητικά εκφράζονται σα μια απουσία από όπου οι λέξεις επιστρέφουν τρελαμένες”.

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: “...άρχισα,” γράφει, “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”.

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.

Σαν σε διαλογική σχέση με το πλάσμα του καφκικού κτίσματος στη λαβυρινθώδη του υπόγεια κατασκευή, η Πόλυ Κασδά γράφει: “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”.

Η αποκάλυψη αυτής της τόσο εύθραυστης και ενδόμυχης παραδοχής, και παράλληλα η ασυμβίβαστη αποφασιστικότητα να συνεχίσει την καταβύθιση, έμελλε να αποδειχθούν 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.

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.

25.5.2016 Αθήνα

Artificial Intelligence and Consciousness, Stoa tou Vivliou, Athens 2/6 at 8 p.m.

Nέα έκδοση από το "Νότιο Άνεμο" για τη σχέση τεχνητής νοημοσύνης & τέχνης - ert.gr

Χιτών Άπειρος (Chiton Apeiros), Polyxene's sacrificial depotentization, 210Χ150cm,.PXK 2016.

Polyxene Kasda, XITΩΝ ΑΠΕΙΡΟΣ 210Χ150 cm. PXK scales on life-saver, 2016

Polyxene's sacrifice Tyrrhenian amphora, Timiades 570-560 a.c. British museum
Polyxene is wrapped in Chiton Apeiros/ endless robe (Sofoklis 426R.)

Parthenon and Parthenoi: A Mythological Interpretation of the Parthenon Frieze

Author(s): Joan B. ConnellySource: American Journal of Archaeology, Vol. 100, No. 1 (Jan., 1996)

photos Pierre Chirouze 2016

- Chiton Apeiros is the last piece of  Polyxene Kasda's global fossil installation PXK Route -2004-2014- anchored in more than 25 international cultural events, like: the PXK Chrysalis monument in the Athens 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, Nuit Blanche, Anvers-aux-Abesses, Place de l' Europe Paris 2007, the Olympic Fine Arts of Beijing 2008, DESIGN 2012 Municipal Pinacotheque of Athens.

PXK ROUTE represented Greece  in the congress on Olympism of the 3^rd Biennale of Beijing 2008.and was awarded the Olympic Fine Arts of Beijing Golden Medal 2008.

Polyxene Kasda's dispersive biographic configuration -1990-2016-(draft spreadsheet)

Polyxene Kasda
project-plotter and pattern-setter

Biographic “needle” in the game-changing chunk of time between the first publication of The Conscious Eye in Greek in 1988 and its republication in English in the joint  essay titled Artificial Intelligence Professor John Kontos Needles Poly Kasda's Conscious Eye,Southwind, Athens 2015.

me and the scattered halo of my Project Myth/Network 1990-2015
Launched in the Museum of Modern Art of Joensuu, Meeting of the Worlds, PAND conference, Finland 22-6-1990.

Project Myth/Network -1990-2015- is an “hyper-string” of intertwined sub-projects emerging from depth psychology and multi-plexing in dispersive installations of cosmonautical perspective; time shift traces of my threshold ritualistic performance in the bottom of a lake..

“for the past quarter of a century, I have been navigating with Metissian manoeuvres my self-mending vessel Project Myth/Network, winding my way through a legendary space welling up from the rising depths of my unconscious. It was gradually grounded by the then burgeoning internet technologies and sustained by mind-bending theories on dispersive structures, fractal configurations, morphic fields of resonance…that were invading our Greek reality in the early nineties..

Instinctively, then, I had realised a threshold ritual performance on the stone altar emerging from the receding Lake of Mornos in Greece…
 Metaphorically, I was sucked into my counterclockwise reflection, my whole being swallowed inward in myself, in the self-engulfing archetypal fields of Puer Aeternus..”. P. Kasda, When that word swallowed me, Sphinx 2015,  Hidden Thebes, Greece.

Myth/ Network end-of-the-line, self-fueling sub-projects:

- Chrysalis -1990-1991-:

when the Atlas was turned into an interactive web and the object spirited away into a vibrational motif which turned into music

Performative threshold ritual on the stone altar emerging from the receding Lake of Mornos, Greece. Creation of an installation of hundreds of mud, sphinx- like sculptures the Chrysalii.

“Hit by drought, the lake was receding, revealing a sunken ancient city laden with Hellenistic mosaics and a crumbling village sheltering the ruins of a colossal stone church clothed in oysters.

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 biodegradable installation soon expanded  into a co-creative geocaching global installation in 300 sites, in 27 countries and dissolved in the rain releasing the dynamic relational web diagram of its interactοrs' time-lapse arrows without the use of the internet technologies which were still widely unknown.

Chrysalis installation in the bottom of the Lake of Mornos. ph. Stefanos Samios 1990 

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

performance in the bottom of the Lake of Mornos 1990. Ph. Stefanos Samios

Chrysalis installation 2, Chaos Aghia Triada, ph. Samios 1990

“The mud Chrysalii were releasing cultural detonations on their way. The fugitive center of this self-combustive minefield was escaping everywhere. Soon, the bewitching installation was to melt in the rain, leaving behind a dynamic relational web map of interactive arrows echoing contemporary trendy data maps, changing irreversibly the cognitive and affective map of our world”.P. Kasda, when that word swallowed me, Sphinx The Hidden Thebes Festival 2016..

  narrative-articles relevant to the above sub-project:

P. Kasda,The Silenziosi and Project Myth/Network 1990-2005 in Art-Act, Tyflomyga revue, December. 2005.

P. Kasda, Project: Myth/Network 1990-1994: Revival of cosmological Memory in our spacetime redefinition, Tetarti Apostoliki, Pinacotheque of the Municipality of Athens catalog, T.E.E. 1994.

P. Kasda, “Logos”, ENOPE Center of Arts and Sciences, booklet 2/11/1992.

P. Kasda, Sky inside, sky outside, Emvolimon magazine nb.8, Aspra Spitia Boetia, Greece 1990.

P. Kasda, Progetto Myth/Network 1-5, La Clessidra1, Joker, magazine, Italy 1995.

P. Kasda, The Network, Govostis ed. 1991.

Dedication to Polyxene Kasda, Project Myth/Network interview, Tyflomyga, September, Athens 2003.

P. Kasda, Project Myth/Network 1990-1995, TV documentary, production Icona director Makis Faros.

P. Kasda, Chrysalii, a mythological experience, Politistiki ekfrassi/ Cultural Expression journal, interview, Athens 1991.

Archives: Project Myth/Network: emst.gr/gr/collections National Museum of Modern Art archives code 1595.

Donation: Xagoraris

- Code Lexomorphes -1991-2013-:  

Geometric cryptographic drawings and sculptures generated by the numerical modeling of Greek words based on the ancient Greek codification of language.

“this is a linguistic mould-breaker with infinite generic potential; everyday words are transformed into rhythmic number-sets meant to renormalize our disrupted rhythm with their ancient examined proportions; a cryptographic code encapsulating in a snapshot the flow of life”. Ibid

lexomorphe Chrysalis, iron and PXK, 2004

Participant in:

The Structuralist exhibition Homage a Stazewski Concept/ Form, Municipal Center of Athens 1991.

The Congress on Greek Language 2009, Old Parliament of Athens, org. Chamber of Fine Arts of Greece.
The Uranias Gardens's congress for the International Year of Astronomy 2009, in the Municipal Center of Athens. Code Lexomorphes was proposed for  inter-dimensional communication 

"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.

Lexomorphic Public sculptures:

Lexomorphe ΧΡΥΣΑΛΛΙΣ monumental sculpture hosted the Olympic Flame in Heroon Square, Floisvos, Athens 2004-2010.

A twin ΧΡΥΣΑΛΛΙΣ monument hosted “the Flame of Peace” in a green replica of the Palmanova-ring city of Leucosia,  Lemar junction, North Leucosia, Cyprus 2005-2010.
Lexomorphe ΨYXH, Gergeri park, Crete 2009.

P. Kasda, The Chrysalis Grail in the last divided capital of the world, Odysseus revue, Italy 2007.

P. Kasda, Code Lexomorphes, the iconic dimension of Greek language”Poesia e Spiritualita review, Milan, Ιταλία 2007.

P. Kasda, Chrysalis/Grail, Reflections of an Object of Truth, Verita e Dubbio 2004. XVII  Bienale di Poesia di Alessandria, Joker, Italy 200

P. Kasda, project Myth/network, Τετάρτη Αποστολική, Municipal Pinacotheque of Athens1994-

 Dedication to Polyxene Kasda, Project Myth/ Network, Tyflomyga review, Athens 2003- 

Lexomorphe Dakri /ΔΑΚΡΥ

Koza-Bans Atesi, Lefkosa Turk Belidiyesi 2005,

P. Kasda, “The Chrysalis Grail In Memoriam Vasιile Avram”, Tribuna Sibiu, Romania 11-5-2004].

P. Kasda, Code Lexomorphes; iconic dimension of Greek language. //polyxenekasda.blogspot.com 7.4.11

lexomorphe Medusa/ΜEΔΟΥΣΑ, 2005, Plexi and PXK

Aegean Foundation , Paros island, 1998Gr.

Epistrophe gallery, Psirri, Athens, 2000

- Fugue -1996-1998-2005- :


 Polycentric set of Fibonacci monumental structures for repetitive performance ΠAI, left  behind in the Castro di Piovera (Biennale di Poesia di Alessandria, Italy 1996), the University of Lucian Blaga Sibiu Romania 1997 (Silver Medal), Megalopoles ancient theatre, Lykaia Arcadia 1997 (Olympias Golden Medal), the Aegean Foundation, Paros island 1998, the Park of Floisvos Athens 2005..






“I was coursing throughout the world, staging my recurrent performance ΠAI (Child). Its monumental diapason settings were left behind, creating a self-growing polysymphonic ensemble of scattered metallic diapasons echoing the vacancy left behind by the Fugitive Child which ossified symptom was my infant-shaped stone sculture PAI lapis Exilis that was piercing vertically, like a teardrop of dark matter, the superimposed spaces staging my repetitive performances”.P. Kasda, when that word swallowed me, Sphinx,  The Hidden Thebes Festival, 2016






P. Kasda, Pai, Les Sept Dormants, Letters, coed. University of Lucian Blaga Press 1997
 P. Kasda, Bambino, Poesia e Spiritualita, Milan 2009.ΠAI, poetic essay, Tyflomyga, Athens 2003..
P.Kasda, L'Altro, l 'altrove e il mistero della centesima porta, IX Biennale di Poesia di Alessandria, Joker 1998.
P. Kasda, PAI, Cahiers Europeens de Poesie n.159, Les Sept Dormants, 1997.
P.Kasda, Cer si pamant, Transilvania 1-2-3, Cultura Nationala, Romania 1996.
P.Kasda, Ciel et Terre Toi e moi, “Poesia, Mito, Utopia”, VIII Biennale di Poesia di Alessandria, Joker, Italy 1996.
Ne scrie poeta Polyxene Kasda,Tribuna Culturale, 23/1. Sibiu, Romania 1998.








- My Home/ Network -1995-1998- :  

Neighborhood acoustic-visual installation on the expansive dynamics of intimate territories, interactive acoustic inter-balcony happening
The odonymic and bioaffective topology of a Neighborhood in the Municipality of Paleon Faleron, Athens.


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

-  Αffective maps, landscape semiotics and language games -1994-1996- 

spectral space transpositions and interference games- entanglement of the affective materiality of each site with our human subjectivity, the haunting presentness of ancient relics  

"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”. Ibid.

 Mythologically augmented enchanted pathmaps  in mythical sites of Greece - graphisms and sets of instructions opening mythical barcodes, regenerating a 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 adopt ed her Maps of the Present as a new form of generative poetic expression.


P. Kasda, Pyrisporos. Art-Mythology-Informatics, Greek interdisciplinary hyper-essay, Aigokeros-Art, Athens 1994.

P. Kasda, Landscape of my Soul, Poeti e Paesaggi, XIV Biennale di Poesia di Alessandria, Joker, Italy 2008.

P. Kasda, Poetry and Landscape, Echo of Faleron, Greek newspaper of Paleon Faleron, Athens 2008.

P. Kasda, Ciel et Terre, Poesia, Mito, Utopia ed. VIIIth Biennale di Poesia di Alessandria, Joker, Italy1996.

P. Kasda, Iηdicibili e Ineffabile,VIII Bienale di Poesia di Alessandria, Millenium writers, Joker, Italy 1996

P. Kasda, Taurokathapsia,Touchstone Coed. Seven Sleepers 1994.

P. Kasda,  Μyth/ Network 5, ARTI, 1995.

P. Kasda, Myth/ Network 5: The Gate of Fire, Euphorion Transilvania, VI, n. 55.56.57. Sibiu, Romania, 1995.

P. Kasda, Arkteia, on the threshold of time, Tradition et Modernite dans l'Ancien et le Nouveau Monde, Leuvain Les Sept Dormants n4 coed. Uni. Lucian Blaga press1996.

P. Kasda, Progetto Myth/ Network 1-5, La Clessidra n.1, Joker, Italy 1995.

P. Kasda, Cer si pamant, Transilvania 1-2-3, Cultura Nationala, Romania 1996.

P. Kasda, Puterea elementului mic/ Power of the Small, translated by M. Ivanescu, La Tribuna de Sibiu1995.

P. Kasda, Progetto Myth/Network 6 : Sulla soglia del tempo, La Clessidra n2/1995.

P. Kasda, Myth/ Network 5: The Gate of Fire, Euphorion Transilvania, VI, n. 55-57, Sibiu, Romania 1995  

P. Kasda, Progetto Myth/ Network 1-5, La Clessidra n.1/ Joker, Italy 1995.

P. Kasda, Μyth/Network, International bac review of Costeas Geitonas Schools, Athens 1995.

P. Kasda, Where is the Village going? Arcas, Greek newspaper of Arcadia, Greece 1995.

P. Kasda, Mein poezie is een reis in de geegtelidjke textuur vaan het land, 3000 Letters X, The Seven Sleepers Leuvain 1994

P. Kasda, Taurokathapsia Mythologically augmented Route Map across the island of Crete, Landscape semiotics, Touchstone co-ed. The Seven Sleepers 1994

Project Myth/Network 1990-2011, european heritage integration in modern perception http:PolyxeneKasda.blogspot.com

- PXK Route -2004 - 2014 -: 

“I was now strategically flying here and there, shedding my glittering PXK scales, silvering my pain for a departing world. I was, thus, gradually vacating my titanic fossil PXK installation meant to be looked down from on high, from some cosmonautical spot in the future”. Ibid

Expanding global fossil installation while installing my innovative

"fossilizing” fabric PXK, anchored in more than 25 “big” international cultural events, like: the PXK Chrysalis monument in the Athens 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, Nuit Blanche, Anvers-aux-Abesses, Place de l' Europe Paris 2007, the Olympic Fine Arts of Beijing 2008, DESIGN 2012 Municipal Pinacotheque of Athens..

PXK ROUTE represented Greece  in the congress on Olympism of the 3^rd Biennale of 

Alogon, 2nd biennale of Beijing collection 2005

Beijing 2008.
It was awarded the Olympic Fine Arts of Beijing Golden Medal 2008.
A PXK mending was the emblem of the XVII Bienale di Poesia di Alessandria, Italy 2004.
PXK ROUTE installation extending from the Beijing Biennale 05 to the Tashkent Biennale, and the Nuit Blanche in Paris07 was sponsored by the Greek Ministry of Culture. 

P. Kasda, Vertical link to the principle of renaissance, Colors and Olympism conference abstract, Third Biennale of Beijing 2008

Π. Κασδά, Χρώματα και Ολυμπισμός, PXK ROUTE, ΕΕΤΕ newspaper, May 2008.

P. Kasda, PXK ROUTE Athens-Tashkent-Paris, ToVima, Eastern Attica newspaper 2008.

P. Kasda, 2nd Biennial of Beijing; The fatal leap from aesthetic vision to ethical action, EETE/ Greek Chamber of the Arts newspaper nb.114. Athens 2005.

P. Kasda, on Mythical Foundation, Union of the Cultural Associations of Evros, E.P.O.F.E Catalog 2010.

http://glypto.wordpress.com/2007/10/23/kasda-nuit-blanche/-

http://glypto.wordpress.com/2008/05/09/olympic-fine-arts-2008/

http://glypto.wordpress.com/2008/02/14/polyxeni-biennale/-http://glypto.wordpress.com/2012/05/25/-

Alex and Demi create PXK fabric for  Syria exhibition 2006  

PXK shifting calamity, Athens 1990-2013

- Doodling interludes -1982-2015- : 

magnified notebook perturbations of the probabilistic in-between-projects-space inserted in 13 cultural events in 7 countries, like: Artist's Book, Stedeljke Akademie voor Beeldende Vorming HarelBeke Belgium 2007, 3^rd Biennale of Beijing 2008, DESIGN House of Cyprus in Athens 2009, Croisees d'Arts Château Landon France 2009, Celestial Fragments PrimopianoLivinGallery, Lecce, Italy 2010, Flags Solidere Beirut UNESCO-OFAA-MEADOWS Lebanon 2012, Stravinsky concert Sala Sanart Compostella Santiago Spain 2013, Transart Maison Heinrich Heine K-Droz Paris and gallery Schneeberger, Munster Night of Museums, Germany 2014, Digital Arts and Cinema workshop, Sphinx 2015Thebes 2015.


"Doodling Interludes are perturbations of the probabilistic mind elevated, through a process of Hegelian ‘aufheben’, to the status of works of art". P. Kasda {Open FT University, Psychico, Athens, 2008}    

Polyxene Doodling Perturbations of a probabilistic mind, Ibid, 3.18.11.

-Miorita Melusina and the Sphinx -2007-:

Poly Kasda-Konstantine Angelou telecommunications Artooth team project on landscapes/ legends exchange between Sibiu, Luxemburg and Thebes, probing “mioritic” space, digital deterritorialization and the critical instability of the culturally uninformed model of hybrid Europe.

Selected by Arscenic French Association for the twin Capitals of Europe 2007-

Interrupted by serious accident.

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

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

It was partly recycled into the Sphinx 2015 team project under the auspices of the Athens School of Fine Arts and the Greek Ministry of Culture.

P. Kasda, MIORITA, MELUSINΕ και η Σφίγγα των Θηβών: Tinkering με τα στοιχεία de differentes cultures, Uraniasgardens. com2014.

P. Kasda, The Enigma of the Sphinx- the word "Anthropos" redefined and Thebes rewatched. Ibid

- Uranias Gardens -2009-2015-: the botanology of culture

“I was now playing and tossing with blocks of culture, setting the pattern of highly participative interactive scripts; SAGA transloci, trans-border applications of my Myth/Network concepts”Ibid

Monitored conceptual spreadsheet and dynamic Pattern-Setting of a set of techno-agro-psychosocial SAGA Myth/Network applications,  in culturally gagged, mythically charged sites of Greece based on a core idea and evolving script layers outpacing the emerging psychosocial play states- 

 Special attention is given to :
- the Phasmatic affective quality of each space 

- the enchanting haunting presentness of ancient relics; their hypnotic omnipresence and affect on our cognitive processes..

- the possible restitution in our consciousness of their diffused stains; their ghost imprints

-  the affective environment-subjectivity entanglement 

signs providing a psycho-anthropological synesthetic signature of each place

Site benefits:  topological  re-evaluations, mythological spectral and agro- space awareness, cross-cultural interchange, creation of permanent  international polycentric art collections.

*Gargling Sky -2009--

polycentric international art constellation throughout the meteorite showered village Gergeri, Crete. 

Engagement of the local youth, astrophysicists and shepherds.

Site benefits: Permanent international polycentric pinacotheque throughout the village.
org. Municipality of Rouvas, now, Gortys

P. Kasda, The Gergerian Experience, Artooth.gr articles

P. Kasda, Gargling Sky, newspaper of the Greek Chamber of the Arts ΕΕΤΕ, nb.158

P. Kasda, Γάργαρος Ουρανός 2009, http://kasdapolyxene.blogspot.gr. 11/8/2011

*ΠAI -2010-: the borderline phenomenon of the Yungian archetype of the Child

trans-border, transloci artworks on Time as a Child /ΠAI playing/ΠΑΙΖΩΝ.

Org. Union of the Cultural Associations of Evros, Alexandroupolis, Samothrace, extended in Bulgaria, Thebes, Patmos, Athens, Salentina..

Site benefits: Permanent international art collection ΠAI in Alexandroupolis-Samothrace.

P. Kasda, PAI 2010 concept,“The eon is a child playing, tossing {dice}; the kingdom is the Child’s” Heraclites. Uraniasgardens 6.10.2010.

*The Samothrace Game -2011-: To be and not to be. This is the question 

Looking for ΠAI, the Fugitive Child that is and is not to be found  in the cabirian space inner/outer space, with the ambiguous guidance of Heraclitus’antinomic Fragments.
 A psycho-physical virtual reality game favoring spectral space superposition, oscillation and intricate states of mind, deep experience of entanglement of man, nature myth, impregnated by the presentness of the Cabirian mysteries.

The landmarks' illustrations were dictated by the residents' legend- freighted, subjective telenarrative providing an affective alternate map of the place..

The clues (hermea) of the open-ended PAI spectral reality game are scattered all over the island of the Cabirs, as for e.g. the time-capsule inserted inside the neolithic Gate of the Sun.

Game set to be continuously modified by on-line/ off-line interactive participations. Org. IDEA local cultural association.

P. Kasda, Concept of the treasure hunt Looking for PAI 2011, http://uraniasgardens.blogspot.com 2011

P. Kasda, Map of the hidden treasure PAI 2011in Samothrace. Ibid

P. Kasda, Treasure-hunt cultural game PAI 2011..//polyxenekasda.blogspot.com 9/1/11

*«Πιθ΄ Ελλέβορον”/Drink Helleborus -2014-:

The Wonderful Power of the Elemental- Agro-cognitive processes 

Challenging interactive Agro-SAGA performances on the seduction of folly and botanology scattered all-over  the town of Antikyra, Boetia, Greece.

Helleborus is a local herb known for its healing of madness properties. Pith'Ellevoron is an ancient Greek saying that means " drink the sedative  potion to stop saying mad things". 

Org. Allotropia popular academy- Primopianogallery Italy- K-Droz Paris, under the auspices of the Greek Ministry of Culture.

Site benefits: Permanent art and agro collection in Allotropia museum.

http://uraniasgardens.blogspot.gr/2014/02/a-seed-project-is-sprouting-in-antikyra.htmlhttp://uraniasgardens.blogspot.gr/search014PROJECT Drink Helleborus /"ΠΙΘ' ΕΛΛΕΒΟΡΟΝ!" (pith'elevoron) continuously re-edited
Pith'Elevoron/ Drink Helleborus http://festival.culture.gr/2014/10/

*Tu vas a Tuva? Oui, je vais a Ithaca: 

(spreadsheet project to be or not to be realized)

 A playful contemporary version of Homeric Ithaca, inspired by R. Feynman's Tuva, the utopic space that has inspired poets, artists and writers, throughout the ages, to create epics driven by this SEM Something Essential Missing, as I call this heroic factor that drives us out of our skin and which I consider to be the main element in our human consciousness..

Tu vas a Tuva? http://www.polyxenekasda.blogspot.com 27.12.1

“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 hidden 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 rite of passage performed in the catoptric inside of the world”. Ibid

Cross-cultural, interdisciplinary background:

Poly Casdas, the banquet, 200X250cm. oil on Plexi Athens1978

IAA, UNESCO artist, member of the Greek Chamber of the Arts, of the scientific committee of Poesia e Spritualita magazine Milano, co-editor of Poesia e Conoscenza review Milano, Primopianoatelier Lecce Italy, Who's Who Greece, OFAA Finland, M.O.F.A.A Meadows Beirut  for Golden Medalists artists. K-Droz Paris (member of the jury for international contest with Kinetica museum London).

She graduated from the French institute Besancon, Alexandria Egypt, S. Herman's workshop in Fine Arts, acquired the State Arabic Lyceum. Studied Chemistry-Physics in the A.U.C and Psychology- Sociology B.A. ACG, Athens. She attended seminars in Adlerian Psychology with prof. Rudolf Dreykurs, in Experimental Social Psychology with prof. Ezra Stotland.

As documentary researcher for the Greek National TV, she attended the symposium on Artificial Intelligence and computational technologies for education, AI department, ΜΙΤ Boston 1984.

P. Casdas, Logo and the Cubist state of mind, MIT newsletter 1986.

She edited the visual arts column in Trito Vima audiomagazine of the 3^rd Channel of Greek Radiotelevision creating interactive acoustic artworks 1988-1989.

Her early poetry was awarded the Grand Prix International de Poesie by the Cercle International de la Pensee et des Arts Francais and three Golden Medals from the French Academy of Poets in Alexandria. In 1978 she published her first Greek poetry book Zone of Silence, Voyatzis Athens.
 She writes her books and articles in French, English and Greek.

As Poly Casdas her early paintings are in private collections. Her early experimentation include edible sculptures 1978, hand-knitted rooms 1982-1988, pseudo-archeological installations 1989.

Books: 

1978 The Zone of Silence poetic illustrated book, Voyatzis, Athens 

1988 The Conscious Eye, Perception-Art-Informatics, Greek interdisciplinary essay Aigokeros-Art, Athens 

1994 Pyrisporos, Art-Science-Mythology, Ibid. 

1997 ΠΑΙ bionarrative, written in French, published in 3 languages by The Seven Sleepers Leuvain-coed Uni. Press Lucian Blaga Romania 1997, participated in International Frankfurt Bookfair. PAI was published in Greek  in Greek, by Tyflomyga, Athens 2004

2001 Small Arctos, What a wonderful time we have in the countryside, handmade Art-poetry book, limited edition Epistrophe gallery.

1981 Code, between prediction and depiction, hand-made illustrated collection of English poems. ACG Athens.

2015 Artificial Intelligence professor John Kontos Needles  Poly Kasda's ConsciousEye, SouthWind, Athens 

2016 When that word swallowed me, Puer Aeternus, the Axiom of Maria and the Riddle of the Sphinx, Sphinx The Hidden Thebes Festival,  allegoric biodiegeses written in Greek and in English.

extract from Poly's biocomic 1974

She is Greek from Aigeon and Syros island, born in Egypt- 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 multicultural Alexandria, a shifting Hellenistic home grafted with the element of deconstruction, reconstructed in the planetary dimension of her work.

She lives in Athens. She works everywhere.

They wrote:

"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, Stoa toy Vivliou, 2/6/2016 Athens

"Project Myth/Network is a state which is configured as much by the artist as by the participants in her growing interactive web. It is an open system that evolves on many ontological levels”.

Elzbieta Koscielak, ΑICA art critic, “Myth/Network: The vision of an open system in Art”, The Network, Govostis, Athens 3/2/1991.

“It is a personal multi-trend path of the contemporary artist extending towards the depths of centuries and towards the unknown future of humanity in this crucial time of transition”.

Elzbieta Koscielak, AICA, Myth/Network, La Mia Casa, Athens 5-6/1991.

“Her visionary landscape work springs from the psychology of the unconscious.. myth is reconstructed as present in the sites where it was born bringing back the drastic hypostasis of Greek language. We could define her work as Space Semiotics...

Through collective synergy sustained by pure subjectivity, her itineraries- maps enriched with graphisms- are transformed into an embodiment experience for the participants, tending to be reduced into abstraction, through logical elaboration and writing.

To seek to enter in this dimension seems at first sight difficult, but, once you accept to make the effort, doors will open to unsuspected dimensions”.

Donatella Bisutti, poet, writer, editor, “Polyxene Kasda Myth/Network”, La Clessidra 1/1995, Joker, Italy

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

Victor Ivanovici, writer, essayist, literary critic, recommendation for IAS, Athens 2005.

"At each and every point of her art, Kasda re-casts and re-interprets mythological and philosophical concepts bringing them back to life transfigured in aesthetic form of the highest quality".

Dr. Yael Navaro-Yashin 2010, anthropologist, essayist, senior university Lecturer, recommendation for EN, Cambridge 2010.

“By revisiting myth, Polyxene reconstructs history itself. Crucial timer artist with creative genius.. her project is a precious “doc” important for future generations".

Dores Sacquegna, art-curator, art gallery director, recommendation for EN, Italy 2010.

“We can speak of an authentic outpour of mythical knowledge. Her artistic act transforms space into a holy site. Her (transloci) sculptural installations are left behind after her performances creating a planetary network; a way of rethinking and restituting the rapport of the human being to the cosmos”.

Eugene Van Itterbeek, writer, poet, literary critic, Avant-propos PAI, Cahiers Europeens de Poesien.159-collection Les Sept Dormants n51997

“She captures myth in its original state”.

Vasiile Avram, anthropologist, writer, Kasda's monumental installation in Lucian Blaga University, Tribuna Culturala, Sibiu 16/5/1997 .

“In her projects original and unpredictable social “language games” are set up and left to evolve creating a multitude of narratives”.

Dr. John Kontos, prof. of A.I, “A.I. needling The Conscious Eye, Notios Anemos 2015.

"In her essay The Conscious Eye she describes the consistent path of art, through the changes of the inward 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 The Conscious Eye projects as the record of an adventure”.}

 Dr. Manthos Santorinaios,  Athens School of Fine Arts  Professor, 2/6 Stoa tou Vivliou  Athens  

" she manages with a pre-scientific  way’ Paracelsus, Leonardo’s , the witch-doctor’s and Huomo Universalis’ to connect the tangible with the intangible and to  manifest in front of our eyes invisible dynamic lines that lend to our world a little more meaning"

Dr. Yannis Almyrandis, Democritus  institute of bioscience and applications EKEFE,, Over-determination in poly kasda’s work, 2/6 stoa tou vivliou Athens  

<sub>"..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 reify 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, Art-historian, introduction to P.Kasda's allegorical narrative "when that word swallowed me".</sub> 

“elle ecrit que sa maison ouvre sa face vers la mer - tout pres des lieux d'ou partaient

les processions des torches pour eleusis - donc, le soir, quelquefois, elle renversait tout d'un coup,

le temps ......

Il existe certaines verites, si proches de notre pensee qu'il suffit que l'on ouvre ses yeux pour les voir-?

et sinon - ce serait seulement une plage et les pas se perdant dans le sable“.

Mircae Ivanescu, Mihae Eminescu awarded poet of Romania, “hypothetical voyage to polyxenia in an immobile train”, 10 pages long intreractive poem to her article Casa/ Retea, Transilvania 1-2, Sibiu, Romania 1995, XVIIth Sibiu Poetry Festival 18-22/10-1995.

She wrote essays and articles (1990-2014 selections):

Pyrisporos. Art-Mythology-Informatics, Greek interdisciplinary essay, Aigokeros-Art, Athens 1994.

ΠAI Si Tu Si Eu, poetic essay written in French, translated in Romanian by Mircae Ivanescu and in Flemish by Eugene Van Itterbeek, Seven Sleepers Coed. University Press Lucian Blaga 1997, participated in the Frankfurt International Book Fair.

ΠAI, poetic essay, Tyflomyga, Athens 2003..

Myth/Network 4, ΛΟΓΟΣ, ENOPE Center for the sciences and the arts, Athens 2.11.1992.

Sky outside, sky inside, Emvolimon review, Aspra Spitia, Boetia, Greece 1990.

Dispersion and Interaction, ARTI, Athens 9-10/91.

Chrysalii, a mythical experience, interview to M. Papadimitriou, Politistiki Ekfrassi, Athens1991.

Project:Myth/Network 1990-1994: Revival of cosmological Memory in our spacetime redefinition, Tetarti Apostoliki, Pinacotheque of the Municipality of Athens catalog, T.E.E. June 1994.

Polyxene Kasda, Myth/Network, TV documentary directed by Makis Faros, Studio Eikona 1995.

Polyxene Kasda, interview, Tyflomyga review, Athens 2003.

Code Lexomorphes, Poesia e Spiritualita review, Milan, Ιtaly 2007.

Chrysalis/Grail Verita e Dubbio 2004, XVII Bienale di Poesia di Alessandria, Joker 2004.

The Chrysalis Grail in the last divided capital of the world, Odysseus revue, Italy 2007.

Il Bambino, Poesia e Spiritualita review, Milan 2009.

L'Altro, l 'altrove e il mistero della centesima porta, IX Biennale di Poesia di Alessandria, Joker 1998.

Casa/ Retea, Transilvania 1-2, Sibiu, Romania 1995, translated from French by poet Mircae Ivanescu.

Taurokathapsia, interactive map of Crete,Touchstone Coed. Seven Sleepers 1994.

Μyth/ Network 5, ARTI,1995.

Mein poezie is een reis in de geegtelidjke textuur vaan het land, Europees Poeziecentrum “De Zevenslapers” 3000 Letters X, Leuvain1994.

Myth/ Network 5: The Gate of Fire, Euphorion Transilvania, VI, n. 55.56.57. Sibiu, Romania,1995.

Myth/ Network 6: Arkteia, on the threshold of time, Tradition et Modernite, Les Sept Dormants n4 coed. Uni. Lucian Blaga press1996.

Progetto Myth/ Network 1-5, La Clessidra n.1, Joker, Italy 1995.

The Power of the Small,translated by M. Ivanescu, La Tribuna de Sibiu1995.

Progetto Myth/Network 6 :Sulla soglia del tempo, La Clessidra n2/1995.

“Indicibili e Ineffabile”,VIII Bienale di Poesia di Alessandria, Millenium writers, Joker, Italy 1996.

Cer si pamant, Transilvania 1-2-3, Cultura Nationala, Romania 1996.

Ciel et Terre Toi e moi, “Poesia, Mito, Utopia”, VIII Biennale di Poesia di Alessandria, Joker, Italy 1996.

The Landscape of my Soul XIV Biennale di Poesia di Alessandria, Poeti e Paesaggi, Joker, Italy 2008.

The fatal leap from aesthetic vision to ethical action, Journal of the Greek Chamber of the Arts n. 114, Athens 2005.

Vertical link to the principle of renaissance, “Colors and Olympism” Third Biennale of Beijing conference abstract 2008.

Gargling Sky, ΕΕΤΕ Greek Chamber of Fine Arts journal nb.158, Athens 2009.

The Samothrace Game, IDEA 2011.

The Gergerian Experience 2009, Artooth.gr articles

PAI 2010-2011, Artooth.gr articles

The Underworld Star and the Eagle 2006, Artooth.gr articles

Tzoutzouka Sagapo 2006, Artooth.gr articles.

Miorita, Melusina and the Sphinx of Thebes 2007, Artooth.gr articles

Pith'Elevoron/ Drink Helleborus http://festival.culture.gr/2014/10/

http://polyxenekasda.blogspot.gr http://uraniasgardens.blogspot.gr

interdisciplinary articles on innovative systems in education:

2013 John Kontos, Polyxene Kasda Text Mining and Image Anomaly Explanation with Machine Consciousness, ACSIJ Advances in Computer Science. Vol.2 n6 Nov.13

1987 Children teach computers, article in Vradini newspaper, Athens 15/3/87.

1985 Logo and the Cubist State of Mind, MIT newsletter.

Place de l Europe Paris 2007

extra CV information:

Conferences and symposiums, poetry festivals, lectures and narrative:

Sibiu Poetry Festival 1996

2016 When that word swallowed me, narrative evening in artistic installation, The Hidden Thebes Festival 26/6 Auspices Greek Ministry of Culture.

2016 Artificial Intelligence Professor John Kondos Needles Poly Kasda’s  Conscious Eye.. presentation with Dr. Harry Meletis, Dr. Manthos Santorinaios, Dr. Peter Gelepidis, Dr. Yannis Almyrandis, Art historian Mariana Zikou, Stoa tou Vivliou, Athens 2/6.

2015 Sphinx 2015, The Hidden Thebes Festival Press Conference. Polytechnic School of Athens (Pattern-setter, general co-curator).

2014 Miorita, Melusina and the Sphinx of Thebes, Launching the Hidden Thebes Festival Sphinx 2015. Lab of digital Arts and cinema Thebes (co-curator-presenter).

2010 PAI 2010-2011 Speech: The PAI Element. Primopiano LivinGallery, Lecce, Italy.

Transyvania literary itinerary 1996

Cyprus PAND Conference1988

2010 PAI 2010-2011 Intervention: The Crucial-Time game-changer, Thebes Conference Center. Org. Independent Citizens Network.

2009 Congress on Greek Language 2009. Intervention: Language, the Virus of Man. Old Parliament of Athens, org. Chamber of Fine Arts of Greece.

2009 Uranias' Gardens, International Year of Astronomy conference 2009. Intervention: Lexomorphes, an interdimensional communication code? Municipal Center of Athens. (Participant, curator, jury and organizer).

2009 Gargling Sky Symposium on Astronomy, Municipality of Rouvas, Gergeri, Crete. (Curator, jury, co-organizer).

2008 Colours and Olympism, Third Biennial of Beijing Symposium. She represented Greece with PXK ROUTE.

2008 Poetic landscapes, Biennale di Poesia di Alessandria, Italy.

2008 Project Myth/Network implications, Open Freetime University Paleon Psychiko, Athens

2008 Culture and Digital Society, F.T. University, Cultural Municipal Center, Neo Psychiko, Athens. 

2007 Digital Era-New Technologies, Art-Act, 15/10/07, Athens.

2005 Lecture: Myth/Network project, Art- Act, 2/12/05, Athens.

2004 Verita e Dubbio, Biennale di Poesia di Alessandria, Italy. Intervention: Words; Extraordinary Attractors.

2002  All-night poetry, Kalamiotou10, Greek Ministry of Culture, Athens.

1999  Panhellenic Metaphysical Research Society, Intervention: Art; experienced Metaphysics. Royal Olympic hotel, Athens

1998  L’ Altro e L’Altrove, Intervention:The Mystery of the 100th Door, Bienale di Poesia di Alessandria, Italy.

1997 XVIII Festival of European Poetry Poets of Southeastern Europe, Centre of Cultural Dialogue Constantin Noica, Alsos Cafe Parastasi, Athens (Participant-co-curator).

1997 Third Symposium on Emil Cioran. Lecture: Ecstasy and Intellectuality, University of Lucian Blaga, Sibiu, Romania

1997 Literary/Artistic itinerary in northern Romania with Vassile Avraam and Eugene Van Itterbeek, presentation of her poetic French essay Pai and of her engravings "Icônes sur film d'Aluminium", I. L.Caragiale Libraria, Sebez, Timisouara, amphitheatre Emil Racovita University, Festival of Lucian Blaga.

1996 XVII Poetry Festival in Sibiu, Romania, Réseau Européen pour la Promotion de la Poésie (European Association for the Promotion of Poetry), Symbols as Dispersive Structures, Sibiu, Romania.

1996 Eros- Agape-Filia, Samothrace International Symposium in Palaiopolis, organized by her cultural association To Moli, The Reseau International pour la Promotion de la Poesie, the Center of Cultural Dialogue Constantin Noica. Intervention: Mystery, a black hole in the center of our Space –Time Metaphor.
 1996 Biennale di Poesia di Alessandria, Performance and Intervention: Myth /Network, Italy.

1996 International Poetry and Arts Network workshop,Castello di Piovera, Alessandria, Italy.
 1995 Sibiu International Theatre Festival, Romania, Musical / poetic event Chrysalis with cellist Nichifore Serban

1995 Tradition et Modernite, XVI Poetry Festival, Leuvenstein Art Centre, Louvain, Belgium, Réseau Européen pour la Promotion de la Poésie.  Intervention: Chasing Ursus, Mapping Consciousness in Space. She proposes L'Objet-qui m'a trouvé vrs Duchamp's Objet-trouvé.

Timisuara Romania 1998

1994 XV Poetry Festival in Crete, Réseau Européen pour la Promotion de la Poésie, European Association for the Promotion of Poetry, lecture: Mythology, an anti-historical approach to symbols. Touchstone, for the XV poetry festival Brussels

1994  Fourth Apostolic Letter. Intervention: Myth/Network 1990-1994. Municipal Gallery of Athens

1991 Logos, Lecture in ENOPE Center of the Arts and the Sciences, Kolonaki Athens.

1991 Project Myth/Network, Press conference in the Municipal Center of Athens

1991 Meeting of the Worlds, Joensu, Finland, International Art Festival, Museum of Modern Art of Joensuu:  Intervention/performance: Myth/Network, followed by the launching of her global, interactive, geocaching installation Chrysalis.

1987 National Technical University conference on Informatics in Education. Intervention: Information Technology and the Cubist State of Mind, Polytechnic University Athens, org. Greek Computer Society.

1986 Massachusetts Institute of Technology (MIT), International Conference on Informatics and Education, Boston, U.S.A. as Documentary researcher for the Greek National T.V.

1991 Performers and Artists for Nuclear Disarmament conference, Finland.

1989 Performers and Artists for Nuclear Disarmament conference, Vienna.

1987 Performers and Artists for Nuclear Disarmament conference, Cyprus.

1980 European Cultural Identity conferences, translator for the Hellenic Centre of the International Society of Literature Critics, Paris (1980) and Madrid (1981)

Early experimentations and early exhibitions as Poly Casdas:

1988-1989 Interactive acoustic artworks, Trito Vima audiomagazine, 3^rd Channel Greek Radiotelevision.

1989 The King’s Room, pseudo-archeological room-size living installation, Artist at Home, Municipality of Paleon Faleron, Athens.

1988 Cyclops circuit, The House of Cyprus, Embassy of Cyprus, Athens.(Painted Parcours).

1988 Knitting Room installation, EVMAROS Gallery, Athens

1985 Room-size Cocoon-hand- knit installation, Artist at Home.

1985 Painting exhibition, EPIPEDA Gallery, Athens

The King's Room, Athens 1988

1985 Set and costumes for M. Limberaki's Danaids, University of Athens

1983 Art Bionics Fitness, 60 meters field painting, redefining empty field space in the Municipality of Paleon Faleron, Athens.
1982 Pixel Doodling, snapshots of the future, ACG Athens.
1980 The Banquet, KAPA Gallery, Athens.(paintings).
1979 The SOS Syndrome, Grand Hotel, Rhodes island, Greece. (paintings)

1978 Edible Woman, 2m. long sculpture made of cheese, artist's studio, Stratiotikou Syndesmou 2, Dexameni, Kolonaki, Athens.
1977 Hats, Barbarossa Gallery, Athens (paintings).
1976 and Theseus was knitting socks, Installation, Barbarossa Medieval Castle Gallery, Rethymnon, Crete.

1974 Internal Landscapes, Armodiou 10, European Union Center, (now Art-Tower Gallery), Athens.
1973 Windmills of my mind, American College of Athens (paintings).
1970 The Looking Glass Self,  American College of Athens.(mixed media).
1968 American University in Cairo, Egypt (paintings, First prize).


Collections, Museums, Galleries:

Project Myth/Network, EMST National Museum of Contemporary Art, Greece, Artists’Archives, code 1592. Donation: - Xagoraris 1991.

-UNESCO-MEADOWS Beirut, Golden Medalists artists' collection, Lebanon 2012

-National Collection of the Biennial of Tashkent 2007.

-International Poetry and Arts Network collection, Bienales di Poesia di Alejandra, Italia 2004-06-08

-National Collection of the consecutive Biennials of Beijing 2005-2008

-Olympic Fine Arts Golden Medal Collection, Beijing, 2008.

-PrimoPianoLivinGallery, Lecce, Italy.

- Gargling Sky 2009, municipal international collection, Gergeri, Crete. 2009

-PAI 2010, international Art collection, Union of Cultural Associations of Evros (EPOFE), Alexandroupolis, Greece.

-Private Collections

Collaborator -Member of:

The Hidden Thebes Festival, Greece (general curator, member of the jury).

Poesia e Spritualita review Milan (scientific collaborator)

Poesia et Conoscenza review Milan (editor for Greece).
Who is Who Greece
EETE, Chamber of the artists of Greeces
OFAA Finland association for Golden Medalist

MOFAA-MEADOWS Beirut  for Golden Medalist artists.

IAA , International Artists Association UNESCO
Olympia Fine Arts Golden Medalists Artists' Association, OFAA Finland.

PrimoPianoatelier, Lecce, Italy. (Artist-scientific collaborator).
Artooth.org, Independent Artists Network, Athens (member of the jury for international contests).

International Poetry and Arts Network, Alessandria Italy (member of jury and curator of the Greek participation)

Honorary member  of K-Droz French artistic association in Paris (member of the jury for international contest on kinetic art with Kinetica museum London).

Honorary member of Olympias Greece

Center of Cultural Dialogue East-West Constantine Noica, Romania.

Réseau Européen pour la Promotion de la Poésie, Belgium.

PAND Performers and Artists for Nuclear Disarmament, Harry Bellafonte.

Hellenic Centre of the International Society of Literature Critics, translator.

The French Academy of Poets, Alexandria 1964.

Public art:
2009 Psyche, 'speaking sculpture', Municipality of Rouvas, Gergeri park, Crete.

Monument to the Ursus Minor, 2001, Floisvos Park, Athens.

2005 Monument to Ursus Minor, Park of Flisvos, Athens. In 2012 its copper dress was ripped and stolen.

2005 Chrysalis, 'speaking sculpture', hosting the Flame of Peace, Lemar junction, occupied North Nicosia Cyprus. In 2010 it was moved to unexamined place and replaced by a 10m. tall Military Rider's monument.

2004 Chrysalis, Olympic 'speaking sculpture, Floisvos Park, Palaion Faleron, Athens (hosting the Olympic Flame). In 2010, it was clumsily moved to the Park of Floisvos and was replaced by a 10m. tall  Military Rider's monument. In 2012 it was destroyed by extreme weather conditions.

1998 Fountain of the Aegean, Aegean Foundation, Paros island.

1997 The Gate of Love, Monument to Evgenia Derechani, Fountain Crabova, Lykaion Mountain. Municipality of Ano Karyes, Arcadia.

1997 Monument to Emil Cioran, entrance hall of the University of Lucian Blaga, Sibiu, Romania

Awards – Distinctions:

2012 Honorary event in the British Embassy of Beirut for golden medalists artists UNESCO Beirut, OFAA Association.
2009 Honorary Silver Medal from the Chamber of Visual Arts of Greece for her participation in the congress on Greek language, Old Parliament of Athens.

2008 Golden Medal and Olympic Torch, Olympic Fine Arts, Beijing, China.

2008 Honorary evening and award for her cultural contribution, Municipality of Paleon Faleron Athens.

2005 Silver Medal and honorary diploma for her literary artistic contribution,  Lucian Blaga University of Sibiu, Romania.

2004 Lykaia Arkadia and Olympias association Golden Medals.

1997 Blazon of the City of Sibiu by the Mayor of Sibiu for her Monument to Emile Cioran at the entrance of the Lucian Blaga University of Sibiu, Romania.

1964 Three Golden Medals, French Academy of Poets, Alexandria, Egypt.

1964 First international Poetry Award by the Société Internationale des Lettres et des Arts, Paris