MAP TO LOSE YOURSELF is made in India. The four holy cities were the stage. It is a contemporary art project inspired by Aeschylus' Oresteia. It is an echo of the never-completed project conceived in wartime Sarajevo in 1996. At that time, Oresteia was supposed to be performed as a techno project, moving through the streets of the city. Leo Katunarić Kadele, trying to bring together the organizers of Berlin's Love parede, Sven Vath as composer and Sarajevo Winter festival and Zagreb's ZKM theater as artistic producers, faces strong resistance, political intrigues, nationalist passions and post-war corruption. It is as if he finds himself in the role of a tragic hero who struggles in vain with the divine order. This was both his personal and general social time of war, that is, facing the choice of being an individual who implements personal actions as general moral laws or choosing to obey and exploit the great power systems that manifested themselves in their most primitive form in the post-war Balkans. LK Kadele is looking for a way to get rid of Eumenides, personal traumas that manifest as people both in him and around him. He goes to India to find a way to erase himself. It is led by the chorus, which is now digital, and publishes its instructions and comments through social networks, on the Internet. This project was carried out in four holy Indian cities. It is loosely based on Aeschylus' Oresteia. A veteran warrior of the Balkan wars is looking for an opportunity to erase himself in order to calm down the madness of life that is consuming him. He meets many people and receives many advices. At the end of the journey, it is burnt on the pyre of the holy ghat of the Ganges river, Manikarmika. The project was also described as the first hybrid stage performance, in which the dramaturgies of several different stages are used equally. The most interesting is the attempt to establish a digital network that is both a performer and an audience, a kind of beginning of artificial intelligence that gives prompts to humans.