ECO/COM/SYS nr. 9 *

TERROR, RAPE & TIROL; 2000-2002

activated in October 02, in Eco Space, Vendee

* "ECO/COM/SYS" IS AN ECOLOGICAL COMPUTER, FUNCTIONING AS A WORK OF ART

ECO/COM/SYS. NR. 9 / 2000-02

By MIRIAM SHARON
THE PANDORA BOX/ CINEMATOGRAPHIC PAINTINGS

Cyberspace is a non-space, acting as a multitude of spots connected around the globe; It acts beyond borders & nationalities; being "connected or disconnected" is the issue; land & property-age are over; Free time; merchandize, entertainment are now taken over by buyers & sellers' relationships on line. Space & Entertainment are now "a merchandize on line" - only the shrewd business-oriented entertainer have a chance on line. Thus the socially committed art is made useless & invisible. Our "ECS" is the Alternative "cyberspace." It is the quantum equation of metaphysical mathematics, when activated, unveils the exploitations of such a merchandized space (with relation to non-profit avantgarde artists) thus wrongdoings present & past are challenged & brought to light, establishing an ethical code of behaviorism between commercially oriented art (prepaid) and non-profit avangarde art in a "new space." ECS explores the 2D. Space (one as seen & exploited by media) & the 3D. Space; the unseen & hidden true, exploited reality of the oppressed, excluded & exploited within the present & upcoming totalitarian cyberspace.


Resolution-Data ; THE PANDORA BOX
ECO/COM/SYS NR. 9/ Terror, Rape, Tirol
By M. Sharon

Documentation Art & Doc. Films; Prepaid Film Projects & Avantgarde non-sponsored Committed Art. "Sisterhood is Powerful; Solidarity is Power!

1. Non-profit committed avantgarde art has been the upfront of the so-called documentary movies; which are commercially funded; If an avantgardist has worked i.e. on issues such as Ecology, Environment, Peace; Women issues & a doc. Film is about to be funded on such issues, he/she must first relate & acknowledge in their work the pioneer artists that were committed to these issues years before - works done out of commitment; without budget....Any non-consideration, non-mention of that artist in a commercial doc. film is fraud. Such a film should be seen as non-professional & unreliable; thus caduce. Thus i.e. a doc. filmaker from Serbia wishing to accomplish a film on peace-issues in his/her country, should consider the committed work done before by an artist on that issue in a non-commercial manner.

2. Participation/Collaboration/Solidarity/Sisterhood In Feminist times, the pioneer women of the seventies "left" their cosy bourgeois families for a struggle for social justice. The struggle was aimed at sexist establishments leading elitist politics of discrimination; those pioneer women who made art for the sake of art & social issues, needed support in order to get their work out to the public without humiliating themselves, by asking "favors" from the same people who run such establishments; whose politics they had opposed. However; in order to have their avantgarde work shown for its virtues (style & content) they had developed for the sake of art; the same art establishmens must acknowledge their work & open the establishment to their work; sharing their conditions for such a show, so that they won't have to contradict their art & struggle. Museums, art spaces etc., must show their work; an avangarde-non-profit committed work unconditionally. Society, on the whole Western & Eastern cultures cannot tolerate anymore a cultural loss created by prejudices & discrimination, that hasn't really changed since struggling days (the 70's; women shown in the establishment are usually token women picked up by the system to answer for that lack).

3. Participation in Art-Projects (see in book - 20 YEARS ART FOR PEACE - by M. Sharon, 89,90) was non-authoritarian, based on equality & solidarity as part of the art making process & its social struggle.

4. If a participant in Art Projects or in other feminist struggles will later collaborate with and art establishment which is known for its elitist & oppressive attitudes towards other women, avoiding the same issues she stood for when participating in such Art-Projects a.m.a. in order to enjoy special favors from such establishment; this should be understood as "selling out."

5. If a pre-paid doc. filmmaker adopted a subject-matter, done by an a.n.p.w.a.*, especially after having known that artist & her work, but is still collaborating with the establishment so that all the "cake" be hers - the issue & the glory; while the real mother is unknown - it is a betrayal in solidarty.

6. If films are made on the basis of such borrowings as mentioned in 4 & especially, if such filmmakers are declaring themselves as spokespersons to that specific "borrowed" subject-matter, they should be banned. (Especially when speaking of feminists).

7. As mentioned before, a pre-paid doc. film on a specific subjectmatter, should relate to pioneer artists having worked on their chosen issue in the past, even when they don't know them personally, but especially if they knew them personally & in the case of struggling women.

8. If this doc. filmmaker does not want to relate to the avantgarde artist for whatever reason, the avantgarde work should be shown at the same context as the commercial one & under Thematics, being fully credited for its achieves.

9. Behaviorism; Is it possible that a doc. film puts itself as competition with an avantgarde woman artist - when the issues are; Peace, social change & justice - the answer is yes - because the pre-paid doc. project is created when subjectmatter is politically safe & fashionable.

10. Usually, real c.a.a.* are carrying the flag of unpopular subjectmatters, to be banned & exiled, while 10,20 years later the same subjects become popular. Then, at that time, the doc. filmmakers (feminists, especially) must first of all stand in solidarity & support towards those who were banned on the first place, before handling these issues for their own sake.

11. If the creation of pioneer women are stuck & have gone into oblivion, this is because of the women themselves; who have, in the past, carried slogans of Sisterhodd & Solidarity" which instead of becoming a reality, they remained symbols on paper; while the women themselves adapted the male motos they had denounced; competiteness, cultural Imperialism & ego-trip, which have helped burry the true art creation - the one that stood for solidarity; participation, peace etc., as had been expressed in the Art Projects i.e. (Part 1, Nov. 02)

The Conclusion-Data stand for the private sphere; from "The Private is Political."
The ECO/COM/SYS stands for the Political*

*avantgarde non-profit woman artist
*committed avantgarde
* The Political will be programmed on an Internet in the future

 

PART 2/ ECS 9

THE PRIVATE IS POLITICAL

The ECO/COM/SYS* Is an interaction between both of them. The ECS* (the SYSTEM) represents the political, while the Resolution-Data represents the private sphere.

VOLTE/FACE Or The Science of the Ecological Computer system (communication)

The Face of ecological computers is the actual installation work & the presentation of its subject matter; Recycling History of Art with regard to daily politics, documented life, etc., (in ECS 9, i.e. we deal with Middle Ages' terror; as displayed by institutions - religious & political, to the people, with regards to to-day's terror represented by media & press; Mondialisation & mass production versus the individual who is struggling to keep up the human flame going. The Volte is the Resolution-Data which stands for the conclusion-data, resulting from Activating the ECS on all its aspects & uncovers the personal hidden sphere (behind the walls...) M. Sharon

1. Traditional painters, photographers ; sculptors ; etc., usually lead " bourgeois " lives, going to theatelier in the morning & home at night. They are established artists who separate their lives & art.

Avantgarde committed (Art & Life) participation artists; whose aim is the evolution of art- language with relation to social issues; Ecology; Peace; Sexism, Refugees; etc., whose Art Projects reflect that attitude; have not separated their lives from the Art Life.

2. For Art & Life artists participants (in Art Projects, i.e.) ARE considered as families ("Bourgeois life is on barricade" as I once said; "My "hand grenade" is a "Peace Rainbow" the Paris project, 88, is meant by that) & Art Projects, life. When, such participants of these explorations are influenced, they carry a commitment to this experience & should never forget to credit their sources. Because the Art Project artist, depends on her/his participants to keep up the message going & thus respect the work; if & when successfully having been realized. e This art being the counter-culture to establishment & keeps art going; while establishment who has all the power; maintain conformism & tradition going...However; if a..m. participants adopt our originally expressed ideas as theirs & represent it within establishment as theirs for commercial & success reasons - it is called betrayal.

3. One of the reasons of women's revolt, on the first place, was the constant rip-off of women's ideas & work, reemerging under male signatures; thus being accepted in art establishment as "serious art." Now; we see "bourgeois women" adopting ideas from a.w.a* & while collaborating with establishment - they "get in" with the adopted ideas.

4. Revolutionary women artists are also struggling to bring their work out to the public; but for other reasons than "success" in the traditional term of the word. Their aim is social & political change through cultural consciousness as brought up in their art works (Nov. 02)

5. If a prepaid commercial producer (pub. commercial productions; etc.,) has been in touch with an a.n.p.w.a.* & has been influenced by that work - or has used material given by such an artist (interviews & other borrowed material) but has never used that material, even though the film came out, but has used its issues - it is called "copy of art."

6. In feminist times "the private sphere is the upfront." Friendships among women are usually considered as minor events (gossip, talks about families, husbands & especially boyfriends & men); whereas doings remain the domain of men; Politics; creation; invention & all world's doings. (Even in feminist times!)

7. The change is that the "hidden face" is now upfront & women chats (gossip) is now considered as knowledge & creation; All these contradictions & frustrations are now a science for further consideration & feminist change.

8. Men lead careers outside & personal lives at home which balance each other; Nowadays as main & secondary causes are considered as equal ones, there are women who follow males' steps & exploits other women for their own careers, but still call themselves feminists...(Dec.)