Tuesday, December 15, 2009

clueless about philippine culture

The Role of Avant Garde in Developing Countries

Avant garde art in the Philippines?
avant garde design in the Philippines?
DIY movement/ culture
Pre Colonial Revivalism/ Pre Colonial Pragmatism

in the Philippines:

Design & Development
(design becomes the appendage for development work? instead of sustainability principles embedded in development and design practices)
  • sustainable design = implicit?
  • sustainability principle =implicit?
  • sustainable development = explicit

Education, Business & Social enterprise
(do we have integrated systems built for education, business and social enterprises? is there a need for integrated systems?)
  • community cultural development = implicit?
  • cultural content development = implicit?
  • community telecentres, eSkwela, microventures = explicit

traditional community development + community cultural development = sustainable development?

cultural mapping + avant garde art + avant garde design + DIY practice + lateral thinking & informal learning in grassroots communities + precolonial revivalism/pragmatism = CULTURAL CONTENT DEVELOPMENT?

The Role of Cultural Content Development in Philippine Education



What is cultural mapping?

theory is to application
physics: applied physics :: cultural & media theories : cultural mapping


I'm from the "Third World", why should I bother about concepts?
Because romanticism, fatalism, overratedemotions rendered us Filipinos as comatose beings.

Tama na kasi ang emote mag-isip at magtanong naman kahit minsan.

Wednesday, September 30, 2009

Osmeña: Wanted: Sustainable earth leaders

Osmeña: Wanted: Sustainable earth leaders

Posted using ShareThis

Osmeña: Wanted: Sustainable earth leaders

Osmeña: Wanted: Sustainable earth leaders

Posted using ShareThis

Osmeña: Wanted: Sustainable earth leaders

Osmeña: Wanted: Sustainable earth leaders

Posted using ShareThis

Wednesday, September 23, 2009

Wednesday, September 9, 2009

Philippine National Treasures need not be romanticized

It was almost a year since the permanent exhibit of Gold of Ancestors had opened. I have been meaning to go ever since.

I saw the tv feature, Gintong Pamana, on abs-cbn. I can vaguely remember a resource interviewee saying "we have been searching for what is the Filipino identity... this is it."

What?! I was expecting they could enlighten us by sharing some archaeology-related insights. I think they should not gear towards deifying the objects.

Shouldn't there be a technical-yet-narrative documentary for these treasures? Reconstruction could do a lot to uncover things. Archaeologists, artisans, designers, lateros, engineers and anthropologists should jump in.

What kind of tools, materials and equipment were available to our ancestors during those times? How did they develop techniques out of these resources? What are the typical professions (artisans, craftsmen, alchemists) during those times? Why were they making such exquisite designs? What were they really for?

Well, this might be going too far... wishful thinking. I should just accept the verdict that we will never get past viewing national treasures as static objects on a pedestal.

More than the oooohs and the aaaahhs, we need the whys, hows, whats, whos.

Clippings: Welcome to Eairth by stylebible.ph

Melissa Dizon:

“It started from a road trip with my aunt and uncle searching for Filipino waves. It took us from Manila to the farthest north in Pagudpod and back down through Ilocos, combined with that pellucid morning when I ran into the Mangyan village in Mindoro. I came across a tribal girl in a destroyed ACDC tee shirt atop a Mangyan peasant skirt and a bolo strung on a cord around a tiny waist. It changed the course of my life and I decided then that there was something beautiful and pure about the most primal when it is effortlessly mixed with the hyper future. I decided then with the help of my aunt and uncle to embark on a journey to integrate our rich primitive resources with the abstract modernity we know.”

Posted on http://www.stylebible.ph/article.php?id=391

Clippings: Now stems of saluyot being rich source of natural fibers by fibre2fashion.com

Posted on http://www.fibre2fashion.com/news/textile-news/fibre-news/philippines/newsdetails.aspx?news_id=75953
on 11 Aug 2009

From delectable food to haute couture, saluyot, like pineapple and banana, can be a source of natural fiber for chic apparels.

Researchers have recognized the importance of banana leaf sheaths and pineapple leaves in producing cloth of exportable quality. Now comes saluyot stems.

The Philippine Textile Research Institute (PTRI) has developed new sets of earth-friendly, fiber-blended yarns from polyester and stems of saluyot (Corchorus olitorius.), being a rich source of natural fibers.

PTRI director, Dr. Carlos C. Tomboc, stressed the Institute’s focus on studying nontraditional tropical fiber sources such as maguey (Agave cantala Roxb.), water hyacinth (Eichhornia crassipes), and saluyot in addition to abaca (Musa textiles Nee), anabo (Abroma augusta Linn.), banana (Musa sapientum), kenaf (Hibiscus cannabinus L.), pineapple (Ananas comosus Linn.), and ramie (Boehmeria nivea L.), which PTRI has studied. The Institute is pushing for the use of fiber-rich plants in textile production to support the local industry in reducing its import of synthetic-based fibers from other countries.

PTRI’s research trials show that saluyot stems when soaked in water for 21 to 24 days could yield at least 5 percent fibers. Spinning the treated fibers with polyester produced 80/20, 70/30, and 60/40 polyester/saluyot with yarn counts of 25–29 Ne, which when woven, can produce fine, smooth, and blemish-free fabrics ideal for manufacturing garments.

Blends of saluyot and polyester fabrics can also be made into home textiles such as curtains/drapes, beddings, table runners and linens as well as raw material for nets, ropes, and other farm gears. In some countries, saluyot fabric is used as geotextile to prevent soil erosion and landslides.

PTRI continues its research trials in spinning saluyot fiber with cotton to increase the all-natural fiber component in producing saluyot fabric or burlap. According to PTRI researchers, other tests will also be performed to determine the ability of the fabric to resist deformation and the textile surface to resist wear by friction and other standard procedures to assure the product’s quality.

The United Nations (UN) General Assembly declared 2009 as the International Year of Natural Fibres and has chosen saluyot as one of the 15 of the world’s major natural fibers. PTRI is one with the UN in recognizing saluyot fiber’s potential in apparel, home, industrial, and geotextile applications.

Philippine Textile Research Institute (PTRI) is the lead agency of the Department of Science and Technology in textile research and development. The Institute is dedicated to transferring technologies and rendering technical services, promoting the use of indigenous resources, and developing technical competence in textile production and quality assurance.

Department of Science and Technology



Clippings: Water hyacinth would be a natural fiber source by fibre2fashion.com

Posted on http://www.fibre2fashion.com/news/textile-news/newsdetails.aspx?News_id=76668

on Sept. 1, 2009


The stalks of water hyacinth (Eichhornia crassipes) are a viable natural source of alternative textile material, according to the Philippine Department of Science and Technology’s Philippine Textile Research Institute (PTRI).

Researchers at PTRI are studying water hyacinth fibers as raw material for the manufacture of clothing and home fabrics. Processing the fibers with polyester staples initially produced blended yarns with 20–35 percent water hyacinth component. The stalks went through a series of chemical and mechanical treatment to achieve the crimp property of wool for better processing, reduce the plant’s glue-like or gum content, and soften the fibers to make them fine and fit for knitting and weaving into apparel and other home textiles.

For a yarn count of 15 Ne suitable for apparels, blends of 80/20 and 65/35 of polyester/water hyacinth fibers were used. The same blends of polyester/water hyacinth fibers were used to get a yarn count of 10–12 Ne ideal for home textiles such as curtains, upholstery, table runners, napkins, bed cover, pillow case, and other items found at home.

In the Philippines, the proliferation of water hyacinth, an invasive aquatic nuisance, in freshwater bodies such as lakes and ponds has led the researchers to study the plant’s effective uses as a natural wastewater purifier and an indicator of the level of pollution in the water besides a natural source of fiber.

Philippine Textile Research Institute

Clippings: Fruit of the Loom, Preview Nov 2007 Pia Rojas

Pina, which has a shiny, semi-transparent quality, is already often used i the national men's dress shirt, the Barong Tagalog, and of course, wedding gowns. Spearheaded by the Rurungan sa Tubod Foundation, the combination of silk and pineapple fiber (pina silk) is now being marketed under the brand name Tepina. This textile is made of 50 percent silk while the other half is made of tough, translucent fiber of pineapple plant, known locally as pina. It is lightweight, all-natural, and also noted for its tensile strength as well as for its appropriateness to the tropical climate of the Philippines.

A homespun fabric with a transparent finesse, Tepina's gossamer look and feel is achieved by using silk as wrap (the vertical weave) and pineapple fibers as the weft (the horizontal weave). This combination gives the brilliancy and strength of silk, while maintaining translucency, rigidity of pina. Naturally, Tepina maintains an off-white hue. When dyed, this lustrous fabric shines with color. The fabric may also be embroidered with unique designs.

The entire process of making Tepina is hand-made, from the gathering of pina fibers to the weaving. The fibers are selected individually then knotted, making sure that each filament is the right size and shade.

Tepina utilizes The Rurungan sa Tubod Foundation's training program on extraction, processing, knotting, warping and weaving of pina and other endemic fibers like abaca, pandan, rattan and many others, into fine clothing and home accessories. Based in Puerto Prinsesa City, in the island of Palawan, the foundation may seem worlds away from the country's fashion center of Manila, much less Paris or Milan, but it's working tirelessly and has found much support from artists--writers, photographers, and designers Rajo Laurel, Iverluski, Aseron, Puey Quinones, Patty Eustaquio, and Patrice Ramos-Diaz to name a few--who have singed on to help promote the brand. "There's a certain satisfaction you get from using Tepina because you know you're helping a community of women, who are the weavers, aside from using an indigenous fabric," explains designer Patty Estaquio, President of the Young Designerss Guild. "Plus, there's a dye to match the specific needs of a client, a service not available with other fabrics."
"The art of the Philippine weaving is slowly disappearing," laments noted designer Rajo Laurel, "but with the advent of Tepina, we see a growth and the evolution of Philippine textile. It's exciting and inspiring to be part of something totally Filipino. Poets use words, painters use paint. I use fabric as my medium, and with this textile, I'm able to express myself eloquently."

In today's environmentally and socially conscious world, Tepina's hand-women, all-natural pineapple fiber fabric should find resonance with stylish visionaries who want to go green and be ethically fashionable. It's sustainable luxury for those who take pride in clothes made from local materials and designs.

Tepina apparel and Barong Tagalog, accessories (bags, shawls, neckties), and accessories for the home (table runners, screens, pillows, placemats) are available at their Pasay showroom. Tepina fabrics are sold per meter. The width of the fabric is limited to the hand span on the loom with a maximum width of 30 inches, though it can also be woven into a narrower width by special request. The plain woven Tepina fabric is pegged at P600 to P1400 per meter. Tepina weaves with design on warp, straight insertions, or with gaps range from P650 to P1000 per meter. Textured Tepina with patterned insertion ad scattered Suksuk retails between P700 to P1300. Textured shawls costs P900 to P1650, while ties costs P1300.

The Tepina showroom is located a 2635 Taft Avenue extension, Pasay City. Tel. No. 831 9816

Tuesday, July 28, 2009

Clueless about Johnson's Baby Powder Talc


Talc not unlike asbestos is hazardous to health. I wonder why it is still in our baby powder. Johnson's & Johnson's should discontinue its use. But why should they care? Meron pa silang mode na Corporate Social Responsibility thru Larong Pinoy children's games.

What bothers me mostly is the uninformed public. But I think Campaign for Safe Cosmetics in the Philippines would hardly gain momentum, kung shoppingera at kikay ka pakelam mo ba kung carcinogenic at nanoparticles ang nilalagay mong myuk ap sa fez mo. Tapos babayad ka ng mahal, i-credit card na lang.

I am a fan of Mineral Makeup. Ellana, a local brand, is so swak sa Filipina beauty and her exotic complexions. Pero madz, safe kaya ang mga materials sa mineral mix niya? I hope so. I've been thinking of writing Ellana proprietor about having her products tested. I'm hesitant. Baka dedmahin ako. Sayang naman kasi, I would love this local brand to grow and become part of Filipina sustainable beauty and health enterprises.

Awareness relies on pop culture.

Kung sana merong docu film about big cosmetics company and their dirty secrets. Parang tipong The Corporation

Film about Corporate evils ng mga fast food meron na pati corporate evils ng mga oil and mining companies. Dapat meron ding film about corporate evils ng cosmetics companies.

Pero pano yun, with this campaign babanggain natin ang mga direct selling cosmetics like Avon. Maapektuhan ang livelihood ng mga homemakers/Avon Ladies, locally.

Pero kasi puwede din namang campaign for safe cosmetics alongside fair trade and local livelihoods. Promoting natural beauty products while sustaining local communities.

What a kikay challenge. Sa Canada meron ng advocacy for natural fibers and materials in the garments industry, Fashion Takes Action. Pero kasi, mas matindi ang campaign about pharmaceutical industries at food chemical industries. Kung ikaw ay isang socially aware, concerned citizen Kikay, alin ang uunahin mo?

Monday, July 27, 2009

Culture and Sustainable Development

Culture as Fourth Pillar of Sustainable Development by Keith Nurse (PDF)

I am hoping to find a relevant content about Philippine cultural heritage and cultural industry/enterprises. In this paper, is concludes that culture has a central role in strategic development of Small Islands Developing States (e.g. Barbados, Jamaica, Mauritus, etc.) SIDS are not unlike the Philippines. Archipelago, cultural diversity, Western colonial history, developing state.
Currently, festival parades are being created and marketed for tourism along with ecotourism in the Philippines. Cultural enterprises. Institutional. Check. Independent film, contemporary arts, new media and community arts practice are in place and thriving. Cultural enterprises, cultural heritage and traditional knowledge. Multi-local. Check. But somehow, "culture as sustainable development" is yet to be conceived in our minds, let alone practices. Why?

I don't know. But maybe, the youth should start digging up artifacts. Youth, as culture and sustainability catalysts, should rise up to the challenge.

Enter: Philippine Youth and Sustainable Development (PDF)



Friday, June 12, 2009

the sensuality and virility of Philippine folk dances

Tinikling requires agility and virility of both female and male dancers. One can only imagine how those well-toned, brown bodied lasses jump their way over the bamboo trappings in syncopated rhythm, their nubile chests rise and fall in beat, while their male partners and onlookers catch brief glimpses of their supple calves.


I may become overly ambitious to stage such concept production. But thoughts about what Philippine dances could be like minus the Catholic-colonization sense of decorum is a very potent temptation. After all, sex sells. If you seriously believe that the future of Philippine dance industry (or hardly an industry) lies in the hands of CCP theater goers in formal wear and SUVs, then expect that in 10 years time we will have show dancing as one of Visita Iglesia attractions. Yes, I know that it is too Miss-Tapia-starchy stiff as a future trend. If anything, one should take a 360 on what the drag dancers dance makers are doing for fiesta dance parade tourist attractions. That one has potential of sustaining itself, and don't you even start on giving me the lowdown about the lowbrow and highbrow art.


Better yet, one of the local indie film producers could make a short film series out of this. As I believe, historical pictures need not be asexual and ailing. I imagine it to mostly have physical acting as brilliant as Apocalypto.


Tuba plantation in Quezon is a spectacle. I've come to realize that much of our production skills require nimble feet. And yes, Filipinos are never flat-footed. I wonder if this trait has anything to do why we are head-over-heels in love with basketball and boxing.


One other thing, we also have a fondness for playthings. Yes, playthings, not the bedtime props playthings (that's going to be another article that I will write) but impromptu playthings. Resourcefulness and playfulness combined, we are the masters of movement improvisation indeed. Tinikling, singkil, sayaw sa bangko, patpat, pandango sa ilaw, binasuan, and not to mention our own version of krumping, maglalatik, these dances not only show off attitude and highly-skilled exhibitionism but also, and not surprisingly, rhythmic musicality. The use of found objects in these dances doesn't only provide us with complex movement improvisation but also nourishes our minds with rich auditory treats. Creative movement proponents should take note of this. One very promising choreographer is attentive enough to pick this up as a source of inspiration, Raul Alcoseba of Chameleon Dance Theatre used plastic sando bags and newspapers in one of his dance pieces.


Tittering bare feet against the dirt, smiles and notions of festivities. That is what folk dancing is like. Dum dum tak in mid tempo of rondalla promotes ease in fluid movements albeit on toes. Interesting. I might have seen remnants of this folk dance default in one of the town fiesta's pasayaw as some of the Tatangs and Manangs brung it on. When projecting folksy ambiance, a stiff back, clenched stomach, and haughty chin are big no-nos. Well, except of course if it is the singkil but even so, stiff back and clenched stomach for a Lakambini is not so princess-like. In general, Filipina maidens dance off-centered, almost entirely relying upon their nimble feet to keep their balingkinitan bodies upright while in motion.


Which reminds me how I almost not survive walking on Quezon red-earth mud because I've been stubbornly using my urban legs. Walking the grimy asphalt streets of Manila condones motion on the hips while stomping hard enough on the pavement to shake a few dangles and accoutrements on your clothes ala catwalk biatch, and sometimes slightly bending your knees to set off a bouncy and cheeky walk ala Travolta in Staying Alive. But if you ever use this strut in mid-September Quezon claypot mud, you're dead. Ball to toes weightshifting is going to be futile. The trick is to distribute weight on sole as evenly as possible and walk as quick and lightly as possible as if you're stepping on burning coals.


Similarly, walking your streetwise strut on rocky downhills will send you off the cliff. The trick here is to bend your knees to absorb the shocks kinda like skiing, keep your legs apart and put the weight on the outer edges of your feet. No wonder mountain feet look like giant cashew nuts. And if ever you find yourself walking downhill on desert sand dunes, apply the same steps but this time put your weight on your heels to prevent you from skidding on sand.













Curacha Night: Filipino Social Dance

Last Saturday night was a dazed and confused event for me. Somewhere in Pasig City, a faux rainforest houses a forlorn collection of zoo creatures. They must have woken up cranky the next morning after a boisterous night of Pasayaw loudspeakers disturbed their sleep.


It was very surprising for me to have discovered how Samar country folks dance with remarkable ease and jovial confidence which is really infectious. You should get a look at the men, how they were. It was like a heady mixture of male athleticism, spontaneity, naughtiness and even goofiness. While on the curvier side of things, the women effortlessly sway their hips like they were born to do just that. Not a muscle in their body was flexed, tense or even tucked. They looked so coy and naïve, commanding yet easy going, wholesome and seductive at the same time. It is not so much like la pasionata attitude in Latin dances, where violence and romance and sex mingled so seamlessly. It was distinctively Pilipino in ambiance. The mood was festive and everybody moves like bees in spring harvest and floats like breezy butterflies on rice fields. A snack of Lemon square and doy pack juice and of course, Red Horse extra strong adds fuel for an outgoing behaviour.


So, there I was trying hard to keep in time with the polymelodic beat of rondalla while consciously toning down a neo-filipino cultural dance haughty stance by softening my frame and shoulders and plastering a nervous smile to onlookers when this tall, long-legged moreno came out of nowhere. And out of nowhere I mean the disc jockey set that he was steering. There was an awkward hand shake before anything moves. Then the music begins. His giant strides were quite a threat and sent me to panic during the first seconds. Thank goodness for extensions training back in the Dansa days. My gluts trembled in shock when I have to power and speed dance a lacuracha combination. Because if I don't I would most certainly end up smothered against his chest as he was quite so tall and fast-moving. He must have enjoyed the cruelty of cornering me against the monobloc tables and chairs while watching me patter away like a flustered old maid virgin. Pahabol is supposed to go both ways, the man chases the woman and the woman chases the man. It's a common bucolic style of courting through dance. One-two-three step-ball-change shouldn't be so challenging. Since when did folk dancing become so difficult and uneasy like doing a Lambada with a legitimately good-looking and legitimately heterosexual dance partner? Instead of a laidback exchange of footwork configurations, the dance morphed into a fight or flight engagement. But in my case it was wholly flight. To get away from him as quick and as far as possible lest I ended up bumping against him. He was relentless. I couldn't even look at his face for fear of losing my vertical stance, literally and figuratively. And may I remind you that we are alone on the dance floor with everybody's eyes upon us. Like how my senior high school teacher would describe it, I was sweating like a piglet from hell. I couldn't mouth “please

stop”, I was concerned about how inappropriate I would look with my nervous, and mind you, very hard nipples poking through my fitted sports-collared cotton shirt. The moments hung in the air like thick molasses poured on honey pots. I couldn't describe it more authentically bakya than that. I'd stopped feeling giddy, hell, I'd stopped feeling anything at all when my body went numb. A series of images that I can hardly consciously comprehend. I saw blurs of black sneakers and camouflage long shorts and grinning faces. Funny, how I ended up taking the lead without actual contact points and by moving backward, careful not to bump any plastic furnitures along the way. Only after I've fidget in my pocket and pulled out my sweat-damp handkerchief did he decide to signal by squeezing my left wrist with both of his hands and stopped mauling me over with his paso doble strides. I walked over to our table and coyly slouched to hide my guilty evidence. I watched him as he walked and disappeared behind a concrete column where his set waited for him. Damn, it was only later that I realized that he must have pulled a stand off and deliberately “krump” his moves so I would get intimidated. So, okay, he's the man. He definitely wants to be on top (of me?). He must have enjoyed it so much when I melted in a pathetic heap of wobbly legs and flushed chest.

Tuesday, June 9, 2009

Dance Craze Moves on TV Commercials, Dancing Prisoners, Arnis

Is it just me or talagang may dance-craze-in-commercials trends na nagaganap?

  1. craze craze do the ice craze
  2. maglaro-laro tayo ng isang noodle product
  3. sa- wa -hi- or watever da pak basta body pain killer endorsed by Manny Pacquiao
  4. lakas-sigla? not sure kung sandwich spread, not sure din kung lakas sigla ang tagline, basta household/family scene e
  5. kiddie sweet snacks, jelly ata or sumthin
  6. tonetoneladang mga batang sumasayaw, gatas endorsed by Ate Vi
  7. Money remittance service, mga cheerleaders na naka yellow outfit. A couple of months ago, near Gilmore area, around 8 in the evening. Sarado na ang isang bangko pero bukas ang ilaw sa loob. Nasilip ko may mga badudels na nagpa-praktis ng cheering routine. Siguro eto na ang final performance ng practice na yun. Isang TV Commercial.
  8. May bagong routine ang dancing prisoners, Jai-ho. Feeling ko may kagagawan sila sa pagsulpot ng mga dance-craze TV commercials na ito. At eto pa, yung movie ni Rob Schneider na Big Stan, may mga dancing prisoners din. Salsa routine nga lang. But just the same. Pero ha, I think si clean-living idol Robin Padilla ang pasimuno sa mainstreaming ng arnis. At eto pa ulit, sa movie Big Stan nag-arnis action sequence si Rob Schneider.

Teka, hindi ba dapat dance studio mirror ang kaharap ko imbes na TV screen?

A(H1N1), Malate and a Fashion Web Marketing Job

Amidst the scare and all, I braved the grimy streets of Malate along Vito Cruz and Ocampo Sr. St.

I was really paranoid sitting inside LRT car habang may ubos-biyayang umuubong ale a few metres away. Bago pa man ako sumakay, si Manong Guard bumahing without covering his mouth. He was a yard away from me. Yikes!
Sa totoo lang hindi naman talaga ako maarte, napapraning lang talaga ako sa pandemic flu.

***
During the interview, I was all over the place. I was this and that. I never intended to sound too eager pero I kept defending myself na I'm really into fashion, as culture and as web marketing challenge.

Paano ba naman kasi, she (Madame Interviewer A) kept on insisting that she find it rather "malayo sa field" ko. From NGO geek, rights issues and all tapos mag-aapply ako sa Fashion Industry post. She even mentioned the word "shallow" when it comes to fashion. Kept on implying (or maybe praning lang ako) to me that I will get bored with the fashion thing because I'm used to "deep" kuno stuff like advocacy, development work, and child and nature stuff.

This thing actually surprised me. Sa panahon ngayon natatali pa rin pala ang mga tao sa stereotypes. What? Are you saying that just because one's field is in fashion it cannot be considered as important as environmental and development work? What type of image ng babae ang nasa isip niya when world issues are mentioned? Martir at endlessly selfless like Mother Theresa? Sumalangit nawa.

Narinig ko na before sa isang movie "Raising Helen" that family and fashion don't mix. Parang ang kulang na lang sa nangyari kanina ay sabihin sakin na "fashion and the future of mankind don't mix."

Ano kaya ang konsepto niya ng mahalagang profession? Yung tipong "save the planet, save the seas (save the cheerleader)" mode? What? You mean fashion is frivolity? Dapat pala I mention to her na I dance and I spend so much time sweating and torturing my body inside dance studios. Tulad ng fashion, ano nga ba ang dance? Bakit, hindi ka naman mamatay kung walang fashion at kung walang dance a! Pero bakit ginagawa ko pa rin ang pagsasanay sa dance?

****
Madame Interviewer B, she was such a pretty chinita. Again, I was asked bakit fashion? I fit the job description and I am into fashion (minus the designer-label-buying aspect, of course). Tamang hinala pa din ba? eAdvocacy = fashion web marketing. They both involve networking, information design, effective communication, rich multimedia experience, Granovetter's strength in weak ties. But, of course, I would sound like a manic geek yapper if I mentioned any of these concepts. Tapos this absurd question came up, "if a genie could grant your dream job... I blurted out New Media Artist. And I went on a tirade about this and that. That medium in its practice is not tangible at all. NMA basically tackles the issues of the 21st like privacy paradox, nodes and bits traffic, augmented realities, cultures of knowledge, research process could be considered as one of NMA's artistic output. WTF, it was too late. Sana pala sinabi ko na lang I wanted to become Naomi Campbell.