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Fish catch in West Philippine Sea grows despite tensions with China
Despite rising tensions with China, the Philippines expanded its fish catch in the West Philippine Sea (WPS) last year to a four-year high of over 200,000 metric tons on the back of higher state support to fishermen......»»
EDITORIAL — Next, speedy justice
After a year of being on the run, Arnolfo Teves Jr. is finally being brought back to the country to face multiple indictments for serious offenses. Teves was arrested Thursday in East Timor’s capital Dili by local police. He had been hiding in plain sight in Timor-Leste, occasionally posting videos taunting Philippine authorities who wanted him for multiple murder cases......»»
Extreme Heat as a ‘New Pandemic’: Thousands in PH Cancel Classes During ‘Hottest Year’
(Part 1 of 2) CEBU CITY, Philippines — The decades-old Gabaldon building of Leyte National High School in Tacloban City has narrow hallways, high and dark ceilings, and overcrowded classrooms. On hot and humid days, the rooms can feel stuffy and suffocating, prompting students like Dwight Lebrea, a 17-year-old Grade 12 student, to find ways.....»»
Man jailed for stealing items from school
CEBU CITY, Philippines — A 26-year-old man landed in jail after being caught stealing from an elementary school in Barangay Langtad, Naga City, Cebu, early Wednesday morning, March 20, 2024. The suspect was identified as Angelito Cudias Apeliano, 26, an unemployed resident of Barangay Pasil, Santander, Cebu. In a phone interview with CDN Digital, Police.....»»
Philippines, US air forces back together for Cope Thunder
The Philippine Air Force and the US Pacific Air Force are set to embark on joint exercises – involving their advanced fighter jets – from April 8 to 19 for this year’s iteration of Cope Thunder, an annual air defense and offense training event to be held in Luzon......»»
Dabawenyo parents call on DepEd to revert to old school calendar
DAVAO CITY (MindaNews / 22 January) – Several Dabawenyo parents called on the Department of Education (DepEd) to bring back the June-March academic calendar for school year 2024-2025, rather than implementing the current August-May schedule. Jerome Roces, a father of four kids who are all in the elementary level, said there’s a need to revert […].....»»
FEU Tech named Top University for Real Impact for third consecutive year
Real-world impact and contributions to society are the best measures of education. It stands as the most valid indicator of effective learning. The World University Rankings for Innovation has revolutionized the way we measure academic success, putting emphasis on tangible outcomes that shape communities and drive progress. Leading the charge among Philippine universities, FEU Tech (Far Eastern University Institute of Technology) has risen through the ranks of this prestigious award for three consecutive years, showcasing its unwavering commitment to modern education. With groundbreaking research, cutting-edge methodologies and a transformative approach to learning, FEU Tech is not just creating graduates but shaping future Filipino trailblazers who can thrive in workplaces and create substantial impact in different industries. Real-world results WURI aims to effectively measure such impact by highlighting creative and innovative approaches universities have in their research and educational programs through six categories: Industrial Application, rather than the traditional ways of counting research papers and lecture-type teaching; Value-Creating startups and entrepreneurship, rather than a traditional focus on the number of jobs filled; Social Responsibility, Ethics and Integrity, rather than a focus on knowledge and skills just for material success; Student Mobility and Openness for exchange and collaboration between schools and across national borders, rather than an independent yet closed system; Crisis Management in the midst of climate change, Covid-19 pandemic and other global and local crises; Progress during the Fourth Industrial Revolution through digital technology, artificial intelligence, big data, cloud services, blockchain and so on. FEU Tech, which has always been on the lookout for opportunities to innovate its educational programs, was the only university in the Philippines to join the WURI Rankings back in 2020. After ranking Top 19 for Ethical Values on their first try, the institution was poised to garner more awards in succeeding years. In 2021, FEU Tech ranked Top 24 for Entrepreneurial Spirit. In 2022, they ranked Top 98 overall globally, and in 2023, ranked Top 77 overall in a very competitive pool of top-performing universities and institutions both in the Philippines and around the globe. FEU’s invaluable contribution towards the internationalization of Philippine higher education also garnered recognition from the Commission on Higher Education during the Internationalization Champions of Nation-Building and Sustainability Awards 2023 last 6 October. The award was received by Dr. Florante D. Poso Jr., director of Quality Assurance. Immersive FEU Tech’s commitment to revolutionizing education goes beyond rankings. Amidst the pandemic crisis, the university has unveiled its innovative Mastery-based Individualized Learning Enhancement System, which aims to create an adaptive, immersive and personalized learning experience. MILES empowers students with the flexibility to explore and master their subjects at their own pace, fostering critical thinking, problem-solving and creativity. At the heart of MILES lies a cutting-edge virtual learning environment where students can immerse themselves in interactive simulations, collaborate with peers and engage in hands-on learning experiences, transcending the limitations imposed by physical classrooms. The university’s enhanced WURI ranking is just the beginning when it comes to its pivotal role in shaping innovation ecosystems, creating significant contributions to society and becoming a recognized global leader in transformative education. The post FEU Tech named Top University for Real Impact for third consecutive year appeared first on Daily Tribune......»»
BARGE RAMOS: Exponent of modern Barong Tagalog
Barge Ramos was an Atenean who wanted to pursue a career in mass communication, for which he had ample academic preparation. An initial foray into media was an engagement at ABS-CBN with its studio located on Roxas Boulevard, a few strides away from the Ramos home in the old, genteel part of Pasay. Fate, however, took him to a different path. As a college student, he encouraged his female gangmates to have their dresses made in the shop of the then young and mod designer Christian Espiritu. “We would patronize him because we admired his approach to fashion. We would save our allowance to be able to go to him and order our outfits.” From patron-client relationship, Christian and Barge would become friends, and the designer who was very busy designing the ternos and gowns of then First Lady Imelda Romualdez Marcos, asked Barge if he was interested in joining his atelier as an apprentice. Barge accepted the offer and never looked back. A few weeks ago, Barge and I had dinner at Malate’s famed original Spanish restaurant, Casa Armas, where he gamely acquiesced to my unscheduled “interview” as I had realized that the Linggo ng Kasuotang Pilipino was forthcoming. This week then, as we celebrate Philippine costume, I am sharing with you my conversation with the gentleman couturier who dedicated his professional designing life to the preservation and continuous elevation of the Barong Tagalog as our national gentleman’s attire. Our conversation follows: DAILY TRIBUNE (DT): Coming from your apprenticeship with Christian Espiritu, tell me about how you got started on your own. BARGE RAMOS (BR): It was actually my friends who prodded me to open my first shop on Leon Guinto St. in Malate, several blocks away from Christian Espiritu’s atelier. Friends supported me as they were my first clients, plus a wedding job all at once. Being young and hopeful, I tried doing a few ready-to-wear lines for SM Makati and Cinderella, while maintaining a made-to-order client base. [caption id="attachment_190034" align="aligncenter" width="719"] BARGE Ramos[/caption] DT: What were your early projects involving indigenous Filipino costume? BR: In 1981, my fellow designers and I formed the Fashion Designers Association of the Philippines (FDAP), and for the two gala shows that year, we focused on Philippine-inspired fashion. I designed Barong-inspired tunics for women, photo silkscreened with t’nalak patterns and real t’nalak hip belts tied with gold like obi belts. Our honorary chairperson Imee Marcos bought a few of my pieces. Chairman of the board Ernest Santiago called me the next day, saying, “Barge, you’ve arrived.” DT: It’s interesting that you forged a creative path different from the other young designers. BR: That’s how I chose the path in my career, by finding new and newer ways of re-inventing the Barong Tagalog. As Joey Espino would tell in later years, “That’s your DNA.” I even did some cotton Barong Tunics for women, with matching loose cotton pants, an all-white collection, followed by a pastel-colored collection for SM Makati. DT: But you did not only focus on your designing. You also led some industry projects. You have done many things that other designers have not tried or even attempted to try. BR: The ‘80s and the ‘90s were my very active years in fashion. I became the third president of the FDAP and created “Bodyshots Modeling Competition,” originally an all-male competition in two levels, amateur and professional divisions. It was a big hit and it continued for several years with the FDAP at the helm. In 2008 I wrote a coffee table book, Pinoy Dressing Weaving Culture into Fashion, which was a condensed version of the fashion column I wrote for a Malaya newspaper, Pinoy Dressing, which ran for about three to four years. Anvil, the sister company of National Bookstore, published the book, which won a “Gintong Aklat” Award for the publisher. DT: How does one recognize a barong Tagalog by Barge Ramos? BR: I don’t have a signature Barge Ramos barong design, as my aesthetics have evolved through the years. A few years ago, Christian Espiritu told me, “You’re a good designer but you’re a late bloomer.” I really didn’t understand what he meant since Christian was always opinionated on everything. Perhaps he liked my later designs, comparing me to this and that designer. DT: Does designing run in your family? BR: There were two other designers among the Ramoses. One was Danilo Franco, whose father was a first cousin of my Dad. The second one was the late Boying Eustaquio, whose mother was my father’s sibling. DT: What has been your forte? What do you love creating? BR: We’ve made ternos and Barong tunics for women. As I’ve mentioned earlier, I did a line of ready-to-wear cotton Barong tunics and pants for SM Boutique Square in the ‘80s. DT: Any celebrity and VIP clients you are proud of? BR: We did several shirt jacks for the late President Ferdinand Marcos during the ‘80s. Imee Marcos, then an assemblywoman, bought a few of our barong tunics and skirts. We’ve done several barongs for Manny Pangilinan and former President Joseph Estrada, and then, when she was vice president, Gloria Arroyo. But most of our clients are very private persons, many of them businessmen, balikbayans and doctors. DT: How would you describe the evolution of the Filipiniana attire? BR: Filipiniana has always been there, but people mostly associated it with the rich and powerful in society. Nowadays, Filipiniana has seeped down to all levels of society and younger people are getting the hang of it and have interpreted it to fit their sub-culture. I’ve also observed that Filipinos living abroad appreciate it more, probably to assert their identity more in the face of other nationalities. DT: Finally, what can you say about the bolder, more imaginative interpretations of Filipiniana? BR: Fashion always has its quirks and oddities. Designers tend to push the limits and boundaries of Filipiniana in the attempt of creating contemporary looks and trends. One doesn’t have to “like” them but simply look at them and appreciate the designer’s creativity that went into them. Style is a matter of taste. But good taste can sometimes be difficult to ingrain in young minds. The post BARGE RAMOS: Exponent of modern Barong Tagalog appeared first on Daily Tribune......»»
‘En seguida,’ why not?
It seems an opportune time for the President to direct state “think tanks” to forward their Position Papers or, better yet, respective Policy Memoranda, on an issue that has long held sway without any tangible results. Resolving the emerging retirement crisis cum pension dilemma has proved futile that it’s best to commission a rapid appraisal study by any private consultancy group to afford FM Jr. the most thought-out policy option to implement en seguida. Sadly, no workable policy option has been articulated — in whole or in part — for the interest of the stakeholders in this societal quagmire. An official statement from Malacañang is long overdue but none such is yet forthcoming, if at all. No doubt, the proverbial political will — to act or not to act — is pretty much a part of the equation. Meanwhile, everybody wants to join the national conversation — experts, pundits, scholars, interest groups, mainstream media. While at this orgy, it has become all too clear that there’s no deliberate, determined, or detached sense of objectivity and balance necessary to construct the best of policy options and outcomes. So when would one save the pond where water lilies double in size each day, choking all other forms of life living underneath? Then, there’s this “easygoing” commentary in another broadsheet by a certain writer who was a former finance secretary that interestingly delved into “reforming” the much-talked about MUP pension. Unfortunately, for any average reader or scholar of public policy at that, his reference to Republic Act 340 may have been a “misreading.” In the interest of vibrant democratic discourse, let me unbundle a few observations and walk you through, dear readers, viz: One, it’s entirely misleading to assert that the “current benefits” enjoyed by MUPs do stem from a dated 1948 law or RA 340. The term, “military and uniformed personnel,” is only of recent memory. Nothing throughout any academic literature, let alone the law, is any mention made referencing the concept of the MUP. In the law’s title itself, the reference is to “the Armed Forces of the Philippines,” nothing else besides. Two, the notion of “indexation” is nowhere in the referenced law spoken of. There’s reason to be mindful, rather than “carelessly” stating about any grant of “automatic promotion upon retirement” without qualification. Further to that, to state that soldiers and “other uniformed personnel” (where such mention is zero) don’t have salary deductions for their pension system defies — historicism, jurisprudence, or evidence. Truth is, there had been an AFP Retirement and Separation Benefits System in place as early as 1973 (i.e. Presidential Decree No. 361) before government took up the cudgels. It must be pointed out clearly that its declared objective was the “payment of retirement and separation benefits provided by existing laws to military members of the (AFP) and such similar laws as may in the future be enacted applicable to commissioned officers and enlisted personnel of the AFP.” Ergo, this separate fund or scheme ensured payment of retirement and separation benefits to members of the AFP. But it’s interesting not to forget that RSBS was to be principally sourced from: (1) congressional appropriations; (2) compulsory contributions from members of the AFP; and (3) all earnings of the RSBS, they being decreed exempt from “any tax whatsoever.” To old FM’s credit, he stands out as the only right-minded President who appropriated the “sum of P200 million to be paid to the RSBS over four years, the first remittance to be made in July 1974.” Against this backdrop, why can’t the administration just revive the original scheme, thereby requiring officers and enlisted personnel in the active service of the AFP to contribute to RSBS an amount equivalent to 4 percent of their monthly base and longevity pay (as later modified to 5 percent of monthly base pay only by PD No. 1656 dated 21 December 1979) as an automatic deduction from their pay? Seriously, the RSBS problem, in itself, is worth circling back to. The post ‘En seguida,’ why not? appeared first on Daily Tribune......»»
Katya Angara – The journey of a woman and artist
The promising artist that Katya is today is the latest phase in a lifelong journey that began at an early age when she began drawing characters from cartoon comics. All the while she was growing up in a home that nurtured her interest in the arts, as much as it prepared her for rigorous academic training. She read early in life, in a house filled with books. In this second part of our interview, Katya shares with us how she made a number of choices that would lead to where she is today. But once upon a time, for all that had been given to her on a silver platter, she was in a quandary as to what to do with her life. But when she finally decided on what she wanted, there was no stopping the talented and smart girl who, it turned out, possessed an intellectual prowess not unlike those of her parents, the lawyer, and senator Edgardo Angara, whose affinity for the land had been impressed on his daughter, and the lady educator Gloria Manalang Angara, who opened up her daughter’s eyes and minds to the wonders of world literature and the other arts. And it was in art that the young girl did not only find solace but also healing. Here is the final part of our interview: DT: After high school, did you immediately leave for London? KA: To be honest, and I don’t want filters here, I had mental health issues at that time. I was severely depressed. Before I went to London, I went through a tumultuous period of deciding where to go with my education. So, after Poveda, I went to Woldingham (boarding school). then I did half of my BA Psychology degree at UP Diliman from late 2000 to 2002. I loved my time at Diliman but it was a tumultuous transitional period for me, so I decided to revisit pursuing university in London. Central Saint Martins, to be precise, is one of the most prestigious and distinguished art and design schools in the world DT: Around what time was this? KA: It was in 2002. I was bouncing around like I couldn’t anchor myself to one thing. Like, okay, I’m here in London already. And then, okay I’m going to study Psychology in UP. So, what’s with the leap, the sudden jump, the sudden shift? I couldn’t make up my mind. And I think that frustrated my parents for the longest time. I was also being hard on myself because I ended up causing a lot of frustration for myself. And I think that depressed me. So, you know, I’ve been diagnosed with different things. I’m bipolar. And then, I had the hallmarks of ADHD. Let’s just say that my brain works differently DT: Well, one can never be sure about oneself. KA: No, you can never be sure about yourself. And I was questioning myself. For the longest time, all those years I thought, what’s wrong with me? Why am I making all these strange decisions? Why am I behaving this way? Why do I react to people this way?”. You know, parang I shouldn’t be talking or reacting to people like this in this kind of situation. And I’m not just saying with family or what. But with my classmates in school. What drew me to art was it being a place that has its own language e. It’s a place where I can express myself. Art is also a way of healing your own wounds. It’s also a way of revealing those aspects of yourself that you wouldn’t be able to otherwise. It really was a way of healing for me. And I didn’t even know that I needed it. Because again, I was a very quiet and introverted kid. I don’t know why. I couldn’t rely on people, talk to people the way I thought, or maybe people thought I should. So, you know, I kept to myself. I’d hide away in the library every recess or lunch. I didn’t want to talk to anyone. So, that carried on until my university years. Daily Tribune (DT): What did you finally take up in college? Katya Angara: Well, first I just wanted to do a purely art course. So, my foundation course to get me a degree was an Art and Design course. My first choice for this was Central Saint Martins, which continues to be ranked as one of the best art and design schools in the world. I was over the moon when I made it in. DT: What did you have to show to qualify? KA: I needed to show my work. I had some already since I was drawing a lot in my childhood and teenage years. DT: Your works are not the usual ones that use oil, watercolor, acrylic, and all that. KA: I was drawing mostly. And for some reason, I have always been more of a draftsman eh. I’m always more into drawing. I have more illustrating tendencies. DT: Like pen and paper? KA: Yes, pen and paper. Pencil, charcoal. I’ve always had a thing for dry media and pen and ink. It’s more about the control and the precision. That’s my personality. DT: That’s not easy ah. KA: It’s not easy. But you have an affinity for it. And your hands have to be steady. Which is unlikely for someone with pasmado hands like me. But that’s where I find my control eh. That’s why I like it so much. DT: So, what was it like when you showed your drawings at Central Saint Martin? KA: So, I showed my drawings because that was required during the interview. And so I went through the ropes. They asked questions like, "why do you want to do this course here?" DT: Your work must have been good to get you accepted. KA: They were fine. I think it was good enough. But there was a lot I had to improve on. I only knew that once I got into the school. Then, you told yourself, Ah, oo nga pala. There was so much I had to learn. That I could be taught. DT: How was your learning experience? KA: From the beginning, as a child, I always copied from cartoons. And they didn’t like that. They didn’t want to see any cartoons or anything like that. They wanted to see me. They wanted to see my work. My drawing from life. DT: So, how did you do that? It must have been challenging KA: So, I gave them the best of my life drawings. But when I showed them my other works, they weren’t happy with them. So, I learned from that. Being young, you got a bit crushed. But then, you realize it’s a different way of thinking. It’s a different way of doing things. Okay, there’s still so much to learn in terms of art. And it’s not the be-all and end of it all. And then, they said, “This is where you should be learning from.” And they showed me art books. They said, “Go to this gallery or this museum.” DT: How was it like living abroad? Back home, you were the daughter of a senator. KA: Which means nothing when you’re abroad. It meant nothing. Which I actually loved. It was something that I was looking for. Because I lived in a bubble back home. To my parents’ credit naman there’s a reason for that. I was very protected. They wanted to keep me safe and secure given my father’s position. So, I’d always lived in a bubble. I’d always have bodyguards and drivers and all that. And it just felt at times a little restrictive. DT: So, it was a welcome thing? KA: It was a welcome thing. Really, I felt different. I felt normal na parang my family name didn’t mean a thing. And that was refreshing. I could be anything I wanted to be. I could experiment and nobody would judge. Because in schools like that and abroad, especially in Europe, they’re so open-minded. They’re so liberal. DT: How were the teachers? KA: Oh, wonderful. Of course, you always have your favorites, right? Very varied. Depending also on what course you were taking up, whether industrial design or sculpture which I was horrible at when I tried it. I didn’t really get close to my tutors until I moved on to my actual degree. Funny enough, instead of ending up in a practical course. Which would have been like Fine Arts, Graphic Design, or even Illustration because I love drawing. You would think that I would end up in a more practical course like Fine Arts, Graphic Design, or even Illustration, I did a complete shift and I did a theoretical course. I did Curation, Art Criticism, and Art History. So, my training is as a curator and an art critic. DT: Wow, that was very intellectual. It’s good that you always read a lot. KA: Yes, I think that helped because you have to read a lot. You have to love reading. You have to like doing the research. And that served me well. Who would have known, right? But if you think about it, as long as you follow what you want to do in life, it just opens up even if you don’t intentionally seek it. Somehow it just finds you It just fell into place for me in that sense. This is not what I initially set out to do. But I think you have to allow yourself to change your mind. Parang whatever happens at the time, you change with it. You adjust to it. And it worked out beautifully for me. DT: So, were the teachers terrors? KA: Mabait naman sila. But they have very different personalities. My course leader was a lovely older lady who was really into Victorian arts and culture. As in, Victoriana lahat. She would tell you everything about English Victorian history. And she was very passionate about it. And you know, it involved a lot of writing and research. But my favorite tutor was someone who was writing about comic books. Comic books and Pop culture. So, for me, that was a revelation because I didn’t think you could take comics books and put them in the academe. You know, academic level like intellectual. Pwede pala e. Because he showed me a way. He took me under his wing and he showed me his work and from there I learned to write. And because I love comic books. I’m actually a huge geek. I’m a nerd, I’m a dork. DT: What was your thesis? [caption id="attachment_165427" align="aligncenter" width="463"] Roger Sabin was Katya's pop culture mentor at Central Saint Martins in London.[/caption] KA: Because I wanted Roger Sabin, my pop culture tutor, as my professor for my thesis, it was about a 1990s Japanese animated film called Ghost in the Shell 101. It was an animated film based on a very heavy graphic novel, a manga or Japanese comics, by Masamune Shirow. And for me, his work is revelatory. It wasn’t just the style of the Ghost in the Shell. And to think just one man could draw like this. I mean it was a very thick graphic novel. He could draw like that. And he wrote the story too. And to think you had the mental stamina to be able to write something like that and to draw. DT: You must enjoy doing comics. KA: Since I was a kid, I’ve made my own comic books. You know, I would sell my own comic books and people would actually buy them. I taught myself to draw in the comic book style. I learned them all. You know, there’s like Stan Lee of Marvel. DT: You really had it in you. KA: I had it in me. My love for comic books started by reading the ones my brother had collected over the years. He had a stash of them, so, I just devoured them. It was all very amazing to me. Kasi the drawings, the stories, these are worlds written by someone else. So, you have Marvel comics, DC comics, Dark Horse comics. [caption id="attachment_165417" align="aligncenter" width="2560"] With brother, Senator Sonny Angara, whose comic books she devoured for their cartoon figures.[/caption] Q: You didn’t idolize anybody? A: Well, I wasn’t particularly huge on the American comics. I think it was until I stumbled upon the Japanese comics or manga. That really piqued my interest to a degree I never felt before. Kasi it wasn’t just the style, which at first for me was very girly. I mean, I love the romantic comics. But I also felt myself leaning toward the darker stuff. DT: What did you like about Ghost in the Shell? KA: It’s a cyberpunk graphic novel. So, ang galing, ang ganda ng style. It was like, wow. You know, the sheer amount of detail that he puts into the drawings. I said I want to draw like this. I want to tell a story like this. But I don’t know if I was capable of telling if I had the stamina to tell something so intricate and complex. DT: When did you graduate? KA: In 2008. The BA in the UK is only three years. That’s why you take a foundation course. There’s a BA in Curation, and Communication, and criticism in Arts and Design. DT: I am told that you graduated at the top of your class. But you’re not telling me. KA: It sounds so funny kasi eh. Anyway, I graduated with first-class honors for my degree. So, basically, I was Suma Cum Laude in my batch in my year. So, that was what sealed the deal for me and my dad. Kasi for the longest time, I was kind of meandering. I was kind of flip-flopping. My mom knows this eh She goes, “You know Katya you have a tendency to be whimsical.” I am an artist eh, what can I do? Besides, I was young and I wasn’t sure. I knew what I wanted to do, which was to be in the arts but not where I wanted to go. I was asking myself if I had the stamina, the commitment, the fortitude to see it through. [caption id="attachment_165415" align="aligncenter" width="2560"] Katya and mom Gloria Angara, who first ignited her interest in the arts.[/caption] [caption id="attachment_165419" align="aligncenter" width="854"] Katya with her dad, the late Senate President Edgardo Angara from whom she learned to apply the principles of nature to her art[/caption] DT: College made you really bloom. KA: Yes. It was the environment. it was the people I was with. Because I was able to go into something I really enjoyed. I wasn’t just doing homework because I was told to do homework. I loved what I was doing. I was invested in it. DT: What did you do after you graduated? KA: Apart from community work, I also worked for some small galleries. I did some work for the Victoria and Albert Museum. I tried to have experiences in bigger institutions, bigger museums, and small independent galleries. I thought that experience would hone me and make me well-rounded. With the smaller galleries, I was able to practice my curatorial background. I was able to help a lot of young artists. They don’t know how to talk about their work or they’re not confident enough to do so. So anyhow, apart from helping them put together shows, I help them speak about their work. Or offer them a perspective they have never seen or thought about. And I feel that that was helping them and I think that’s where I have been able to engage with them. It was fulfilling to help them find their voice as an artist. DT: All the while, you were all alone in London? KA: I was married actually. To a Filipino who was born in the UK, in London. He’s an Englishman, for all purposes. It didn’t work out. We have a daughter. I had a beautiful little girl with him. She lives in London with her father. She’s been here. She lived here in her early years. After she was born in 2010, I decided to move back here. Then, after four years, we went back to London because it was what my husband wanted. He and my dad had a falling out. DT: When was your first exhibit? KA: Last year. Earlier, I did a group show at the Lethaby Gallery at Central Saint Martins. So, I did it with other emerging artists. My next group show was at The Crucible. But it was for a book that Sari Ortiga had commissioned me to do. He wanted to do a series of children’s books about Philippine artists. I did mine. Mine was about Anita Magsaysay-Ho. I did the illustration. It wasn’t new to me because I had been making my own books. I would staple them myself. Although up until that point I didn’t know how to really do it professionally. I found out it could be lucrative and fulfilling. This was in 2008 when I didn’t have a daughter yet. DT: Tell me about your forthcoming show. (The current show had yet to be opened). What paintings are you showing? KA: They’re not paintings, they’re not just drawings. They’re an amalgamation. They’re what you call a compendium of everything I’ve ever done as an artist. The book illustration, and then I dabbled a bit in black-and-white photography. I like the look of black and white photography. So, I do it with my phone or a simple camera. It’s also good for taking reference photos for my work. Because if you can’t sit in the park drawing people or objects, or subjects, the next best thing is you take pictures. And you can draw from those pictures. Kaya maganda siya for reference. So, my work is that, actually. DT: So, what about your subjects? KA: Well, I’m a very central person. We live in a very conservative culture. And I have subjects that would make people say ay, you know, you shouldn’t talk about that. So, there’s no filter, it’s very raw, very natural. In London, I was able to talk to people about things like BDSM or Bondage Sado-Masochism. And you know, that can get a bad rap. Because if you do it wrong, it would look strange to anyone who is not familiar with it. Among the Japanese, there is a subculture that does that. DT: Do they consider BDSM an art form? KA: There’s a particular Japanese artist whose work I used to admire. He’s a photographer. And his subject is BDSM. There were pictures of women tied up and then there were flowers and reptiles. So it was very sexual. I found myself drawn to that because there’s the element of the dark side. Carl Jung, the psychoanalyst, talked about how we have to make our unconscious conscious. The darkness in us is unconscious. And if you don’t make your darkness conscious, it’s going to come out in other ways at some point. Meaning to say, you shouldn’t repress those sides of you. I think it is a side that’s intertwined with the creative side of me. I can’t be an artist without being sensual. Without that aspect, all that would be macabre. Which brings me to my mom again. She used to chide me for reading Stephen King when I was a kid. I’m a huge Stephen King fan. She was like, “It’s so macabre, so dark.” And I’m like, “I like it, I like his work.” He’s such a skilled writer. And I like how he could take something so mundane and make it terrifying and frightening on all levels. Stephen King said that he writes two thousand words every morning. I’m not sure if I can do that. I wanted to write na rin eh because the natural partner of my art is my writing. Because as a curator, I didn’t just read. I had to write a lot. And that’s where I honed my skills. Kasi siyempre, it’s a sword that you have to sharpen every now and then. So, for the show. I did a lot of writing. I did my own writing. DT: While we're on the talk of artists, what about the Filipino artists? Who among them do you admire? Do you have any mentors and idols? KA: Among Philippine artists, Junyee is my second father and my first artistic mentor. He is my OG sage and shaman of Philippine art, the Father of Philippine Installation Art. I'm actively lobbying for him to become National Artist soon, as no one deserves it more than he does, with his magnificent oeuvre. I'll always remember how, in a fleeing moment of impostor syndrome, he consoled me by saying that making art for myself always comes first. Love the process and the rest follows. The maverick attitude is very Junyee! And yet, he lives a modest life in the forest-like setting of his home in Los Banos, echoing the nature-loving ethos of our favorite Japanese animator, Hayao Miyazaki, creator of Toroto, Nausicaa, Spirited Away, among many other magical films. Since I was a child, Junyee saw my potential and continued to push me to have my own gallery shows, as did his longtime friend and one of my other mentors, Sari Ortiga. Sari's daughter Yasmin is a good friend and batchmate of mine from Poveda. Sari owns and runs the distinguished Crucible Gallery, and he hired me to illustrate one of the children's books for his series "Growing up with Philippine art" in 2009. It's thanks to Sari that I pushed myself to evolve as an artist, to grow outside of my comfort zone. The acclaimed visual artist and sculptor Jinggoy Buensuceso is something of a bad boy du jour of the Philippine art scene, and his dissident attitude is something I can identify with. I love the unorthodox, the sensual, the macabre, the dark stuff that delves deep into the psyche. I'm so bored of the "covers" or "riffs" of the countless Amorsolo, Basquiat, Picasso, or Rothko-type artworks that I see so much of in the local art scene. As wtih Junyee and Sari, Jinggoy has taught me how to navigate the perilous seas of art and life, echoing Junyee's advice to remain myself, in a world that often pushes us to be someone else. My three mentors, by example, taught me how to be original. DT: How many are you exhibiting? How many works? KA: Now, I have 9 complete pieces. I’d like to add another one. Honestly, medyo cramming ito because I only had two months to do the show. Normally for this kind of work - especially with the big piece I am doing - it’s a seven-foot piece. I would need, preferably to be comfortable, at least four to six months to do all this work. Kasi, there is so much nicer when you give it time to compost. To come together, to become fertile. DT: Is there enough time for one more work? A: Yes. I have one more work that I want. Because I feel that it rounds it up eh. If I do ten, I love the work that I’ve already done. Again, it’s not a painting, it’s a collage. So, I’d call it a photographic collage with paper cuttings on canvas. I wanted to treat canvas in a way that is not painting DT: Shouldn’t someone curate for you? KA: For now, I’m happy to have to do it myself. Because I feel that I’m the only one who can portray myself in a way that I feel I should be portrayed. Kasi it’s art eh. You’re trying not so much to explain yourself as you’re trying to convey who you are to somebody without being obvious. That’s art. DT: Where does Stephen, your partner, come in? [caption id="attachment_165418" align="aligncenter" width="2560"] With her partner and anchor, Stephen Lu.[/caption] KA: Stephen is somewhat of an anchor for me. So, I feel comfortable, I feel more confident when he’s around. But I guess I’m okay. DT: Now, as we wind up, let’s talk about how you are like your parents and not like them. You said that your interest in the arts came from the exposure that you received from your mother, and of course, the presence of books at home. Tell me more about your father’s role in your becoming the person that you are. KA: One of my fondest memories of my father was his love of nature, gardening, and farming, which I learned from him. He was at his best and calmest when he was at his farm in Nasugbu and Baler. Whilst my father was a “man of the soil”, I learned to be an “artist of the soil”, a gardener who applies the principles of nature to my art. Hence the overlying themes of nature in my oeuvre of artwork. And the most resonant themes of philosophy (which my father also studied and applied in his life) are the themes relating to lessons learned from nature: patience, fortitude, temperance. From this I’ve become more acutely aware of life’s transience, making our time all the more precious, being grateful for small and simple pleasures, and the opportunities that come my way. The naïveté of my younger years meant that I didn’t have a complete grasp of the opportunities presented to me by my father, I took much for granted. Now I see why he did what he did, he gave me the tools to be able to achieve my full potential. Only now that I’m embracing that fire and heading in a direction that makes the most of my talents. I had impostor syndrome for the longest time. Always questioning and doubting myself. Now I can fully embrace who I am and it is cathartic. DT: In what way are you like them? KA: I have the different strengths of my parents. I’ve inherited their academic minds and cultured tastes, with an eye for detail and beauty. I have many mannerisms and behavious in common with my mum, in terms of poise and self-possession. But, she is like Audrey Hepburn and I am infinitely more of a Marilyn Monroe. Marilyn was also a very private person and something of a poet and writer. I guess it’s no surprise that I am drawn to art and writing; I am highly introspective, painfully self-aware and attuned to my moods and to the moods of others; like my Dad, I’m intuitive and know how to read people. DT: My last question is, how has art influenced you in your direction in life? And where are you going from here? KA: Being an introvert, I don’t always translate into easy social interactions with most people. So I channel it all into my art. It’s a language that best expresses my psyche, thoughts, and emotions. Working with my hands is healing and consolation for the isolation, depression, and anxiety attacks that grip me on bad days. That’s why as an artist of the soil, gardening and art go hand in hand. In the future, I can see myself tending to the land and becoming a farmer as my father was. It’s like coming home. The post Katya Angara – The journey of a woman and artist appeared first on Daily Tribune......»»
Catholic school students say no to ROTC
More than half of Catholic school students expressed disapproval of the proposed revival of the mandatory Reserved Officers’ Training Corps or ROTC program in schools, according to a survey conducted by the Catholic Education Association of the Philippines. Published in the May 2023 issue of the CEAP Online Gazette, the study showed 53 percent of the 20,461 respondents said they disapprove of the mandatory ROTC program, 32 percent of which said they “strongly disagree.” CEAP said that among the said population of students who said no to mandatory ROTC, 54 percent said that bringing back the program ‘would be an added burden’ to them, while 42 percent of them also cited burden in expenses, saying that the program would bring additional costs. Some 34 percent of students who disapproved of the mandatory ROTC program also said that they have been “alarmed by the threat of violence and corruption.” Other cited issues include the program clashing with their religious beliefs, health and safety concerns and some personal opinions that it needed to be a voluntary measure in schools. The same study also noted 28 percent of the population sample expressed support for mandatory ROTC, with 68 percent of them citing the need for military training, physical activities, disaster preparedness skills and civic engagement through the program. Nearly 50 percent of them also said that the program would instill discipline, patriotism and nationalism, and would be helpful in compensating students. CEAP conducted the survey from 3 to 24 April of this year with 20,461 respondents, 65 percent of which are females, and 35 percent males, and 70 percent of whom are enrolled in senior high school and the remaining in higher education. The return of mandatory ROTC in schools has become a highly-disputed issue among the youth and academic sector, yet President Ferdinand Marcos Jr. and Vice President Sara Duterte, expressed their support for reinstating the program in schools. In legislation, mandatory ROTC, through a two-year National Citizens Service Training program, has been approved in the House of Representatives. The Senate has yet to approve their version of the bill, with six bills on the measure currently pending. One thing to note is that the opinion polls on the issue have been different, with Pulse Asia’s March survey saying that eight in 10 Filipinos support ROTC, while the Social Weather Stations’ poll said that only 42 percent support the program as an optional measure. The post Catholic school students say no to ROTC appeared first on Daily Tribune......»»
Egypt unveils ancient mummification workshops and tombs
Archaeologists in Egypt have unearthed two human and animal embalming workshops, as well as two tombs, discovered in the Saqqara necropolis south of Cairo, the government said on Saturday. The vast burial site, at the ancient Egyptian capital Memphis, is a UNESCO World Heritage site and home to more than a dozen pyramids, animal graves, and old Coptic Christian monasteries. Mostafa Waziri, head of Egypt's Supreme Council of Antiquities, told reporters the embalming workshops, where humans and animals were mummified, "date back to the 30th dynasty" which reigned around 2,400 years ago. Researchers "found several rooms equipped with stony beds where the deceased lay down for mummification", Egypt's tourism and antiquities ministry said. Each bed ended in gutters to facilitate the mummification process, with a collection of clay pots nearby to hold entrails and organs, as well as a collection of instruments and ritual vessels. Early studies of the other workshop suggest it was used for the "mummification of sacred animals". The discovery also includes the tombs of two priests dating back to the 24th and 14th centuries BC, respectively. The first belonged to Ne Hesut Ba, who served the fifth dynasty as the head of scribes and priest of the gods Horus and Maat. The tomb walls are decorated with depictions of "daily life, agriculture, and hunting scenes", said Mohamed Youssef, director of the Saqqara archaeological site. The second tomb, that of a priest named Men Kheber, was carved in rock and features depictions of the deceased himself on the tomb walls, as well as in a one-meter-long (three-foot) alabaster statue, Youssef told reporters. Egypt has unveiled a string of major archaeological discoveries in recent years. Critics say the flurry of excavations has prioritized finds shown to grab media attention over hard academic research. The discoveries have been a key component of Egypt's attempts to revive its vital tourism industry amid a severe economic crisis. The government recently launched a strategy "aiming for a rapid increase in inbound tourism" at a rate of 25-30 percent a year, Tourism and Antiquities Minister Ahmed Issa said at the site on Saturday. Egypt aims to draw in 30 million tourists a year by 2028, up from 13 million before the Covid pandemic. The crowning jewel of the government's strategy is the long-delayed inauguration of the Grand Egyptian Museum at the foot of the pyramids in Giza. The post Egypt unveils ancient mummification workshops and tombs appeared first on Daily Tribune......»»
Mantawi Residences: Cebu’s next frontier of progress
Picture this: A luxurious, but safe and quiet abode. Yes, that’s the commitment of Mantawi Residences, the newly launched property of Robinsons Land Corporation Residences in Cebu. Who wouldn’t want to be in such a place that promises its residents ultra-spacious living spaces and built-in smart home devices? Not to mention exclusive and sizeable penthouses with multiple loggias where residents can comfortably marvel at the city’s skyline. For the Gokongwei-led RLC Residences, Mantawi Residences exemplifies condo design. It’s one of those properties where each element conspires with all the rest to create a singular experience. “We are happy to come back here in Cebu with another promising project, Mantawi Residences,” said John Richard B. Sotelo, RLC Residences senior vice president and business unit general manager. “We are very proud to finally unveil this development that we envisioned for our future residents who are on the lookout for a home and investment that they can proudly call theirs.” Mantawi Residences is the newest and most ambitious addition to RLC Residences’ roster of properties in Cebu after its successful projects in Azalea Place Cebu, Galleria Residences Cebu, and Amisa Private Residences. [caption id="attachment_122273" align="aligncenter" width="650"] MANTAWI Residences grand launch at Nustar Resort and Casino in Cebu. (From left) Allen Miranda, RLC Residences vice president and head of sales; Winnie Go; Heart Evangelista, RLC Residences brand ambassador; Karen Cesario, marketing head and chief integration officer; John Richard B. Sotelo, senior vice president and business unit general manager; Engr. Emmanuel Arce, vice president project management; and Stephanie Anne Go, business development and design head.[/caption] “Mantawi Residences marks yet another strong signal from RLC of its confidence in Cebu — the strength of its economy and the vibrancy of its people,” Sotelo said during the grand launch event held at the Nustar Resort and Casino in Cebu City. Sotelo added that Mantawi Residences reflects the best thinking of RLC Residences to date, with something they haven’t done even in Metro Manila — its sprawling 1.3 hectares of amenities. Add to that are their efficient space layouts with larger unit sizes and loggias, sustainable certification with EDGE (Excellence in Design for Greater Efficiencies) and BERDE (Building for Ecologically Responsive Design Excellence) and its curated retail areas. “We’ve brought our best thinking and understanding of the customers in Cebu, as well as those outside of Cebu and outside of the Philippines who are keen to invest in the Cebu market,” Sotela added. Upscale living Mantawi Residences is a four-tower premium condominium on the 20,328-sqm property with 474 units spread across the four 40-floor towers. The property, named after the Mantawi Festival, is situated along Ouano Avenue in Mandaue City. The pre-selling property offers 310 one-bedroom units (46 sqm), 148 two-bedroom units (92 sqm and 115 sqm), 12 three-bedroom units (138 sqm), and four penthouse units (207 sqm). Price ranges from P15 million to P60 million. [caption id="attachment_122277" align="aligncenter" width="525"] MANTAWI Residences Penthouse living room, dining and kitchen.[/caption] The opulent penthouse covers three bedrooms, a dining area, a kitchen, a living room, a study den, a utility room, a powder room, and a balcony. Sotelo disclosed that two of the penthouse units have already been sold. Stephanie Anne Go, RLC Residences assistant vice president and business development and design head, said each unit has upgraded home furnishings, including porcelain tile floorings, a kitchen with glass doors and a pantry cabinet, and glass shower enclosures. For the penthouse, the master bedroom’s toilet will have a bathtub. “We also want to make sure that most of the bedrooms of every unit will have their own loggia,” she said. “We have to be conscious about efficiency, not generally where we just want to put the bedrooms. Rest assured that all the units will be efficiently laid out.” Go ensures that there will be a feeling of airiness and openness in the property. Yes, fresh air and open spaces – who would have thought these two simple things could be luxuries for condo homeowners? The premier project enjoys a vast 1.3-hectare amenity area that provides landscaped areas, beach-inspired swimming pools, a cascading water wall, a pet park, and an outdoor play area, among others. Indoor amenities include a game room, a private theater, a fitness center, a kids’ playroom, and function rooms. It will also feature curated global retail brands on the ground floor. Mantawi Residences is near academic institutions, shopping destinations and hospitals. The area is also currently being modernized to become the main gateway of Cebu City. One of the critical projects in the area is the Department of Environment and Natural Resources’ rehabilitation of the Mahiga River. The property is also accessible to two progressive cities: Mandaue and Cebu City and is only five kilometers away from the Cebu-Cordova Link Expressway — considered one of the area’s progress indicators. Future developments are also in the pipeline, as the Mandaue government plans to develop the Metro Cebu Expressway and the Cebu Bus Transit, plus turning the Cebu International Port into an international cruise docking area. Another essential program is the development of a premier waterfront development featuring commercial space and a luxury district. Target market Cebu continues to be the biggest real estate outside Metro Manila, with the demand increasing from six percent in 2020 to 24 percent in 2021. Karen Cesario, RLC Residences senior director-marketing head and chief integration officer, said they target overseas Filipinos and growing professionals aged 35 to 45 as potential homeowners. A one-bedroom, 46-square meter unit starts at P15 million. “We did take a long, hard look at the price point that we feel the Cebu market is ready for and willing to take,” said Sotelo. “When we were made to look at the design specifications and the features that we have incorporated into the building, we felt that it’s worth more than our previous premium properties. We are guided by what the market is telling us, what and how our competition also prices. The market in Cebu is telling us that it is ready.” Sotelo added that they expect to break ground Mantawi Residences in the fourth quarter of this year, with the turnover of the first tower by the fourth quarter of 2029. The post Mantawi Residences: Cebu’s next frontier of progress appeared first on Daily Tribune......»»
PUP-DND pact already revoked, says lawyer
The Polytechnic University of the Philippines recently revealed the termination of the more than three-decades-old pact between the university and the Department of National Defense — also known as the 1990 Prudente-Ramos Accord — in January last year. The agreement prohibited military or police entry and activities inside the various campuses of PUP without prior notification, “except in cases of hot pursuit and similar occasions of emergency.” It also prohibited authorities to “interfere with peaceful protest actions by PUP constituents within PUP premises.” In a letter addressed to the top leaders of the PUP Sentral na Konseho ng Mag-aaral, PUP chief legal counsel Atty. Joanna Marie Liao said that the accord had been terminated by then-Defense Secretary Delfin Lorenzana on 19 January last year. At the time, Lorenzana publicly vowed to crackdown suspected communist movements inside campuses through accords between DND and schools which, he claimed, is being used as a “shield” by perceived “enemies of the state,” specifically the Communist Party of the Philippines. Prior to this, the DND abrogated their 1989 accord with the University of the Philippines in January 2021 with a similar purpose, despite strong contention from the academic community. Liao expressed disapproval over the termination of the accord, revealing that they have told DND in a 7 February 2022 letter that they were “saddened” by the revocation of the document. “Rather than resolving the issues, PUP believes that repudiating the agreement will only cause more confusion and unrest. While we recognize and value the role of our law enforcers in the preservation of peace and order in our society, we renounce any form of restriction to free expression, inquiry and discussion in the PUP academic community,” she said. The letter was made public by PUP SKM late Tuesday, with a caption calling for the PUP community to protect the campuses against perceived “state attacks.” Prior to the announcement, the PUP Sentral na Konseho ng Mag-aaral have sent a letter addressed to PUP president Manuel Muhi for an update on the status of the PUP-DND Accord amid the ongoing student handbook revisions in their campus, as well as the ongoing power outage that brought back online classes in the university. The post PUP-DND pact already revoked, says lawyer appeared first on Daily Tribune......»»
Unsound climate studies sneak into print: scientists
Misleading studies sowing doubt about climate change are getting into peer-reviewed journals, scientists warn, citing recent papers linked to a lawsuit in Germany whose authors denied conflicts of interest. Observers have long questioned the growing number of research journals that take fees from eager academics but often publish their work without rigorous review. Biased authors, they say, are taking advantage of an overloaded assessment system, undermining the scientific evidence that provides the bedrock for climate action. "The recent explosion of so-called 'predatory journals' is creating problems that are pro-actively explored by climate sceptics," said Carl Schleussner, a scientist at research group Climate Analytics. "It opens the door to those who want to willingly get dubious research out there." AFP Fact Check's full investigation is published at u.afp.com/i2qZ. Peruvian glacier study One study denied that human-driven warming was to blame for the melting of a Peruvian glacier and consequent flood risk. Two of its authors are former executives of RWE, a German energy company targeted by a lawsuit over the glacier, and both are prominent climate contrarians. Their study appeared in November 2022 in the Journal of South American Earth Sciences, which is owned by the major Dutch publisher Elsevier. Like many others, the journal charges authors for submissions, which are then supposed to be vetted by qualified experts before being published. The paper attacked the findings of an earlier study by scientists at Oxford University that a plaintiff in the Peruvian case -- a local farmer who says RWE's carbon emissions contributed to warming -- is citing as evidence. Nathan Stansell, a palaeoclimatologist at Northern Illinois University, is one of the scientists whose work was cited in the German-led paper. The paper was "fraught with misinformation, mischaracterizations and bias," he told AFP. It presented a "debunked argument that since it was warm in medieval times, then there was nothing alarming about recent warming. "The bulk of the paleoclimate community recognises that the groups trying to spread this fallacy cannot compete with sound scientific data." Two other scientists cited in the study, Ben Marzeion of the University of Bremen and Jorge Strelin of Cordoba University in Argentina, also told AFP their work was misused. Strelin said a graphic in the study, drawing on one used in his own work, omitted data showing the sharp retreat of one glacier over recent decades. The two ex-RWE men, lead author and geologist Sebastian Luening and chemist-turned-politician Fritz Vahrenholt, did not respond to AFP's requests to comment. The author of the Oxford study, Rupert Stuart-Smith, submitted to the journal a formal scientific rebuttal of Luening's paper, contesting its use of certain data and detailing what he called "inaccurate or misleading assertions." Elsevier communications executive Andrew Davis told AFP the journal's editors "did not detect unethical behaviours and it is their belief that the two research groups simply did not agree with each other." But the publisher acknowledged the failure to include a disclosure of the authors' links to RWE in the study. The disclosure did appear in a preliminary "pre-proof" of the paper but disappeared from the version published in November 2022. "The publisher would like to apologize for any inconvenience caused," Elsevier said in an email to AFP. It said the disclosure would be added back into the study after approval from the authors. Firm denies funding study Another paper on the Peru glacier appeared in the journal Remote Sensing, from publisher MDPI, in 2021. The study reviewed three years of data on ice-flow velocity and assessed the risk of avalanches and floods, concluding that there was no evidence that a flood was imminent. Stansell said this conclusion should have been dealt with in a separate study as it "seems out of place and doesn't relate directly with their principal findings". A 2022 article by investigative media group SourceMaterial said the study was produced with funding from RWE. It cited the authors as denying this. The authors did not respond to AFP. RWE spokesman Guido Steffen told AFP the study "was made independently from RWE and the court case and it was not funded or paid for by RWE." Regarding the Luening study, he said: "We did neither commission that study nor play any role in producing it." Extreme weather study slammed In September 2022, top climate scientists called for the withdrawal of a paper that claimed scientific evidence of a climate crisis was lacking. The peer-reviewed paper by four Italian scientists appeared in the European Physical Journal Plus, from prestigious science publisher Springer Nature. Four scientists told AFP the study manipulated data and cherry-picked facts about extreme weather events. In response, Springer Nature put a warning notice on the article and said it was investigating. In late March 2023 Christian Caron, executive publisher of Springer Nature, told AFP the investigation was "progressing but still ongoing. "Additional material received as part of the investigation is currently following the usual procedures of an extensive peer-reviewing process, which may take more time than anticipated." Payment for publication is a time-honoured part of the business model among peer-reviewed journals. Their reputation relies on being the gold standard in scientific publishing, through external reviewers who are supposed to weed out false papers and reject sketchy or biased use of data. But the low-cost advantages of publishing on the internet have led to an explosion of peer-reviewed journals and, say some, standards have fallen. Ivan Oransky, co-founder of Retraction Watch, a blog that tracks thousands of withdrawals of academic papers each year, told AFP some authors sought to get unsound work published in journals with a lax peer-review system that used unqualified reviewers. "A lot of junk gets through peer review," he said. "It is really time that everybody admitted that, so that we can try and do better." The post Unsound climate studies sneak into print: scientists appeared first on Daily Tribune......»»
EDITORIAL - Back to summer break
After a long Holy Week break, millions of students and educators return to classes today to finish the remainder of the academic year, which ends on July 7 for most schools......»»
Academic excellence, freedom
I hope there was a miscommunication somewhere that led Defense Secretary Delfin Lorenzana to abrogate, unilaterally, an agreement that barred the military and the police from entering any of the University of the Philippines campuses without prior notification and permission of UP authorities. The agreement goes back to martial law, when both the university and […] The post Academic excellence, freedom appeared first on Cebu Daily News......»»
Over 700 Ateneo alumni back academic strike vs gov t pandemic, typhoon response
There should be no repercussions for the students calling for an academic strike, more than 700 graduates of the Ateneo de Manila University said.....»»
UP Diliman pushes back vs red-tagging, vows to uphold critical thinking, academic freedom
University of the Philippines Diliman has pushed back against red-tagging and false accusations of recruiting communities, as it vowed to continue upholding its “time-honored traditions of academic freedom and critical thinking.”.....»»
22 million back to school under ‘new normal’
For the first time in the country’s history, 22 million public elementary and high school students begin today their classes for a new academic year without stepping out of their houses......»»