1. Elizam Escibar was imprisoned on April 4, 1980. He was accused of belonging to the FALN (Fuerzas Armadas de Liberacion National/ Armed forces of National Liberation).
2. He discovered that art could earn him a 'social status', a reputation among his peers as well as his elders. After moving to Bayamon he learned that Art could also be a substitute for reality.
3. He was influenced by Marxist ideas, particularity the ideas of Mao, who began to inform his consciousness about the role of art and artists in the class struggle.
4. At this time, he believed that art and politics were separated, with one being "idealistic and useless" and the other "practical and realistic".
5. His theory essay stated that only after the creation of a society without social classes, without the exploitation of man by man, could art become a truly free, disinterested activity. I think that this means that art highlights inequalities and exploitation, and while this remains in society, art will continue to be powerful and relevant.
6. It was during the Vietnam war. This meant that there was conflict between the communist ideas and the support given by the US, a capitalist country. The US was becoming involved with a country that wasn't theirs in order to push their own agenda and this would probably have made many people upset with their politics and government, encouraging them to become involved in the hopes of changing things.
7.Programmatic doctrine - Advocating a principle.
Proponent - an advocate.
He met Juan Antonio Corretjer, a poet, political thinker and General Secretary of the Puerto Rican Socialist League. Escibar became interested in him because from the beginning his work possessed a radical patriotic vein directed towards creating a national epic and mythology. Later on as a Marxist he was a proponent of militant, anti-imperialist and class-oriented political poetry. However, he never subordinated to a programmatic doctrine and that fell in line with Escibar's thinking about art and politics, and the separation of the two.
8. He decided to paint full time because Corretjer told him if you are a painter, you are supposed to paint. Escibar failed though, because he said that painting is not seen as a "real job", but more of a privilege, with nothing to do with the necessity or reality unless it was put directly in the service of political ideology.
9. Art isn't considered a "real job" unless it is commercially or politically direct, or you are a recognised artist with a market.
10. I think he means that Art for it's own sake is only for upper-class, privileged people. In a way I think he is right in the sense that it is tended to be seen as something that is bought by people who can afford to spend on luxuries. Most people who try to pursue an art career will have to get another job in order to get a regular income, which will take over their time. Therefore, many people who make art purely to make it, are people who have the money that allows them the opportunity of spending longer time creating art rather than having to go to work. However, I think that this is also a societal thing. Art should be seen as something for everyone, rather as just something that is perceived as being for a certain class, yet as it is seen as a privileged thing, many people discard it's merit in the real world.
11. He thought that all art is committed to something.
12. He began painting again and worked with another painter, Mauricio Pretto, on fixing up the first floor of a condemned building in Manhattan to create a space for an art gallery and workshop. This helped him see that Art was needed, in both the external world and in his own life, and it is beyond what is ideologically imposed. I take this to mean that Art is needed in the world purely just for the sake of itself.
13. I think he means that he realised that Art wasn't just a tool for political-direct content, but it also wasn't just a pastime, like he had considered it before because he had always been under the impression that art wasn't a "real job", but a hobby for the rich.
14. He got his first "real job" as an artist with the Association of Hispanic Arts in New York, and he joined the clandestine armed struggle for Puerto Rico's independence.
15. He was arrested on April 4, 1980. It changed his life because he was sentenced to spend 68 years as a prisoner with minimal freedom and constant surveillance.
16. Most of the criminals become that way as a result of the socioeconomic inequality that they face. From there, their criminal activity is aimed at others from their own social class. Therefore most criminals are a result of people turning against one another in order to survive.
17. He says that most prisoners are very hopeful despite being in prison. they are always looking to a brighter future when they get out. If you are in for a long time, you experience a form of death because you know that you will never return to the world and so, you are essentially dead to the outside world, which feels like a form of death.
18. He is there for anti-government activity and so he is subject to special monitoring, ie. surveillance. He once got in trouble for two small papier mache masks that he made. The counselor wanted to dismember the masks before they were sent out to make sure nothing was inside them.
19. He allegedly altered photographs. After they were confiscated, he learned that a high staff member had triggered it all by commenting that the photos were weird and looked like objects used by a demonic cult. In other photos he believed that Escobar was altering his appearance, which was deemed a security problem.
20. He found the "good taste" rule to be problematic because it could be molded to fit any interpretation that one might have. I agree with this statement. I think that one person's idea of good taste could vary hugely against anothers', especially in regards to something that can be as obscure as art. Therefore, if someone in a position of authority is controlling what is made in the interest of "good taste" they are merely censoring you in line with their ideals.
2. He discovered that art could earn him a 'social status', a reputation among his peers as well as his elders. After moving to Bayamon he learned that Art could also be a substitute for reality.
3. He was influenced by Marxist ideas, particularity the ideas of Mao, who began to inform his consciousness about the role of art and artists in the class struggle.
4. At this time, he believed that art and politics were separated, with one being "idealistic and useless" and the other "practical and realistic".
5. His theory essay stated that only after the creation of a society without social classes, without the exploitation of man by man, could art become a truly free, disinterested activity. I think that this means that art highlights inequalities and exploitation, and while this remains in society, art will continue to be powerful and relevant.
6. It was during the Vietnam war. This meant that there was conflict between the communist ideas and the support given by the US, a capitalist country. The US was becoming involved with a country that wasn't theirs in order to push their own agenda and this would probably have made many people upset with their politics and government, encouraging them to become involved in the hopes of changing things.
7.Programmatic doctrine - Advocating a principle.
Proponent - an advocate.
He met Juan Antonio Corretjer, a poet, political thinker and General Secretary of the Puerto Rican Socialist League. Escibar became interested in him because from the beginning his work possessed a radical patriotic vein directed towards creating a national epic and mythology. Later on as a Marxist he was a proponent of militant, anti-imperialist and class-oriented political poetry. However, he never subordinated to a programmatic doctrine and that fell in line with Escibar's thinking about art and politics, and the separation of the two.
8. He decided to paint full time because Corretjer told him if you are a painter, you are supposed to paint. Escibar failed though, because he said that painting is not seen as a "real job", but more of a privilege, with nothing to do with the necessity or reality unless it was put directly in the service of political ideology.
9. Art isn't considered a "real job" unless it is commercially or politically direct, or you are a recognised artist with a market.
10. I think he means that Art for it's own sake is only for upper-class, privileged people. In a way I think he is right in the sense that it is tended to be seen as something that is bought by people who can afford to spend on luxuries. Most people who try to pursue an art career will have to get another job in order to get a regular income, which will take over their time. Therefore, many people who make art purely to make it, are people who have the money that allows them the opportunity of spending longer time creating art rather than having to go to work. However, I think that this is also a societal thing. Art should be seen as something for everyone, rather as just something that is perceived as being for a certain class, yet as it is seen as a privileged thing, many people discard it's merit in the real world.
11. He thought that all art is committed to something.
12. He began painting again and worked with another painter, Mauricio Pretto, on fixing up the first floor of a condemned building in Manhattan to create a space for an art gallery and workshop. This helped him see that Art was needed, in both the external world and in his own life, and it is beyond what is ideologically imposed. I take this to mean that Art is needed in the world purely just for the sake of itself.
13. I think he means that he realised that Art wasn't just a tool for political-direct content, but it also wasn't just a pastime, like he had considered it before because he had always been under the impression that art wasn't a "real job", but a hobby for the rich.
14. He got his first "real job" as an artist with the Association of Hispanic Arts in New York, and he joined the clandestine armed struggle for Puerto Rico's independence.
15. He was arrested on April 4, 1980. It changed his life because he was sentenced to spend 68 years as a prisoner with minimal freedom and constant surveillance.
16. Most of the criminals become that way as a result of the socioeconomic inequality that they face. From there, their criminal activity is aimed at others from their own social class. Therefore most criminals are a result of people turning against one another in order to survive.
17. He says that most prisoners are very hopeful despite being in prison. they are always looking to a brighter future when they get out. If you are in for a long time, you experience a form of death because you know that you will never return to the world and so, you are essentially dead to the outside world, which feels like a form of death.
18. He is there for anti-government activity and so he is subject to special monitoring, ie. surveillance. He once got in trouble for two small papier mache masks that he made. The counselor wanted to dismember the masks before they were sent out to make sure nothing was inside them.
19. He allegedly altered photographs. After they were confiscated, he learned that a high staff member had triggered it all by commenting that the photos were weird and looked like objects used by a demonic cult. In other photos he believed that Escobar was altering his appearance, which was deemed a security problem.
20. He found the "good taste" rule to be problematic because it could be molded to fit any interpretation that one might have. I agree with this statement. I think that one person's idea of good taste could vary hugely against anothers', especially in regards to something that can be as obscure as art. Therefore, if someone in a position of authority is controlling what is made in the interest of "good taste" they are merely censoring you in line with their ideals.
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