|PH, Partner Countries to Boost Biomass Utilization Cache Translate Page Web Page Cache|
UNITED FOR E-POWER: Undersecretary Benito L. Ranque, Head of the Philippine Delegation, and other participants make the E-Power Mo fist during the Capacity Building on Biomass Workshop on 3 July 2018 in Puerto Princesa City, Palawan. The event is part of the 6th Power and Energy Infrastructure Cluster Meeting, which aims to promote the use of renewable energy resources, specifically biomass and biofuels. E-Power Mo‘s E-Diskarte principle encourages the utilization of renewable and alternative energy sources.
The Department of Energy (DOE) hosted on Tuesday (3 July), an international conference and capacity building workshop on biomass, as part of the overall strategy for sustainable energy development in Southeast Asia.
The workshop was conducted under the auspices of the Brunei Darussalam-Indonesia-Malaysia-Philippines East ASEAN Growth Area (BIMP-EAGA), which is part of the 6th Power and Energy Infrastructure Cluster (PEIC) Meeting. This activity underscores the importance of biomass and biofuels as abundant indigenous resources in the region for power supply and rural electrification.
“It is fundamental to the country’s sustainable energy agenda to develop and utilize our indigenous renewable energy resources. This is vital to achieving energy self-reliance, strengthening climate change mitigation measures and ushering in socio-economic advancement in rural areas,” said Energy Secretary Alfonso G. Cusi in his opening remarks that was delivered by Undersecretary Benito L. Ranque.
Cusi further emphasized that renewable energy is key to progress. “It empowers more than our cities, more than our machines and more than entire industries. Renewable energy fuels our movement towards the rebuilding of this nation.”
The Philippines, Indonesia and Sarawak, Malaysia presented their respective bioenergy policies, utilization technologies and policy implementation updates to about 80 participants comprised of international delegates, local government units, national government agencies, and electric cooperatives.
The workshop enabled BIMP-EAGA Member States to exchange best practices, initiatives and experiences on the effective implementation of a bioenergy and biofuels program.
The event was also an opportunity for the agency to promote the investment potential of the Philippines, particularly in Palawan and Mindanao, given their vast biomass reserves and suitable plantation areas.
The DOE also presented the Biomass Resource Assessment, a product of the technical assistance program funded by the United States Agency for International Development in 2013. The study revealed that biomass utilization would yield a potential power generation capacity of 4,448 megawatts (MW). It would also reduce CO2 emissions by an estimated 17.25 million tons.
In July 2017, BIMP-EAGA PEIC conducted a similar workshop on solar energy utilization for rural electrification in Bintulu, Sarawak, Malaysia.
The BIMP-EAGA sub-regional cooperation initiative was established to help member states address social and economic challenges in remote territories. For the Philippines, the focal areas are Mindanao and Palawan.
Since the passage of the Biofuels Act of 2006 and the Renewables Act of 2008, the country has been implementing a 2% coco-methyl ester blend for diesel and a 10% ethanol blend on gasoline. In addition, total installed capacity for biomass is already at 530 MW.
BIOMASS FORUM: DOE-Renewable Energy Management Bureau Director Mylene C. Capongcol (C), Assistant Director Marissa P. Cerezo (R) and Biomass Energy Management Division Chief Ruby B. De Guzman (L) led the open forum as panelists during the Capacity Building on Biomass Workshop on 3 July 2018 in Puerto Princesa City, Palawan.
GO FOR BIOMASS: Energy Undersecretary Benito L. Ranque delivers Energy Sec. Alfonso G. Cusi’s message for the Capacity Building on Biomass Workshop, as part of the 6th Power and Energy Infrastructure Cluster meeting held in Palawan.
|Philippines Hosts Exhibition of Contemporary Art in Southeast Asia Cache Translate Page Web Page Cache|
As the Association of Southeast Asian Nations (ASEAN) concludes the commemoration of its 50thanniversary, the Philippines marks the historic occasion by hosting a contemporary art exhibition featuring ten artists who will represent each ASEAN member state.
The exhibit titled Ties of History: Art in Southeast Asia is curated by noted art historian, scholar, and curator Patrick D. Flores.
It will be held simultaneously in three major art institutions in the Philippines: the Metropolitan Museum of Manila (MET Manila), the University of the Philippines Vargas Museum, and the Yuchengco Museum.
The exhibition’s artists from the region will gather in Manila to open the exhibition on August 8 (MET Manila), 9 (Yuchengco Museum), and 10 (Vargas Museum) with a series of programs for each venue. The opening reception of each venue starts at 5pm. The exhibition will be on view from August 10 to October 6, 2018.
The project is presented by the National Commission for Culture and the Arts (NCCA) through the Dalubhasaan Para sa Edukasyon sa Sining at Kultura (DESK) with the support of the Office of Senator Loren Legarda.
“Ties of history” is a phrase taken from a document signed by ASEAN’s founding members on August 8, 1967. The document describes “a region already bound together by ties of history and culture.” A region that is “conscious that in an increasingly interdependent world, the cherished ideals of peace, freedom, social justice, and economic well-being are best attained by fostering good understanding, good neighbourliness and meaningful cooperation among the countries of the region.” The document gave birth to the regional organization, which taken as a collective is the world’s 5th largest economy.
Ties of History: Art in Southeast Asia is a survey of contemporary art, on the one hand. On the other, it is a diligent study of a particular practice. The project selects three works of each artist from the ASEAN countries to be exhibited in three institutions. This enables the exhibition to present a more in-depth look into the interests of the artist and allows the audience from different parts of the city to view the exhibition.
As Flores, who was recently appointed as Artistic Director of Singapore Biennale 2019, explains, “this undertaking…draws attention to the thoughtful and sensitive process of artistic transformation and maturity and tries to avoid the tendency of survey exhibitions to merely select the most popular or the most accessible.”
“It also reminds us that artistic practice is not fully formed but rather gleaned in the condition of constant forming. It is this constant forming that the project endeavors to curate,” he adds.
NCCA Chairman Virgilio S. Almario agrees that “[t]here is much to gain in gathering the talents of the region in order to view not only their works but to also reflect on the realities each of them respond to.” He further emphasizes that “it is a proud moment that the Philippines initiates this celebration of ASEAN artists.”
Almario also remarks on the importance of the ASEAN in the current climate. For him, “[the] ASEAN is a unique regional organization because it aims to be known to the world as one community despite its diversity in religion, race and culture. In a world troubled by differences in belief, finding peace may be meditated through art that lets us see the threads that string us together.”
Senator Loren Legarda, one of the Philippines leading cultural advocates, expresses her pride with the recent developments in Philippine contemporary art: “Support for Philippine contemporary art is at its peak with our participation at the Venice Biennale for four consecutive years after a 51-year absence, with Dr. Flores as the first curator since our re-entry. This collaborative endeavor further puts the country at the center of contemporary art globally, not just in Asia. I invite our ASEAN neighbors to continue this art project annually or in the form of a biennial in the same manner by which we host political and economic affairs in ASEAN.”
Ties of History: Art in Southeast Asia aims to identify artists from across generations who have demonstrated both responsiveness and range in relation to the concerns of aesthetic material and socio-historical contexts.
A contemporary artist based in Singapore known for her collaborative and multidisciplinary approach to art, Amanda Heng (b. 1951) explores social issues in the context of Singapore’s inter-cultural social milieu.
Roberto Feleo (b. 1954) is a seminal Philippine artist whose works are sharp sociohistorical commentaries on Philippine myth and history and creative investigations into local materials and techniques.
Known for his practice that includes the use of natural materials and traditional tools used in Indonesian craft, Anusapati (b. 1957) has inspired a younger generation of artists disposed to respond to craft, modernism, and the environment.
Do Hoang Tuong (b. 1960) of Vietnam belongs to an influential generation of abstract painters in the South of Vietnam in the 1990s. From an academic perspective and within the narrative space of his paintings, he expresses the desire of a founding condition of a new subjectivity.
Savanhdary Vongpoothorn (b. 1971) was born in Laos and came to Australia in 1979. Her practice implicates Lao cultural references interwoven with Australian and other cultural mediations in a productive space of resettlement.
Working with photography and the moving image, Chris Chong Chan Fui (b. 1972) from Malaysia questions and redirects how humans work within such intersecting fields as economics and ecology.
Jedsada Tangtrakulwong (b. 1972) lives and works in Thailand. His practice is informed by Thai cultural sign systems and reflects on the delicacy of daily existence.
Min Thein Sung (b. 1978), born and based in Myanmar, works with and on motifs, media, and processes inspired by the everyday and his childhood.
Artist and curator Vuth Lyno (b. 1982) from Cambodia is the Co-founding Artistic Director of Sa Sa Art Projects, an artist-run space initiated by the Stiev Selapak collective in Phnom Penh. His artistic and curatorial practice is primarily participatory in nature, exploring collective learning and experimentation.
Working with organic materials, Yasmin Jaidin (b. 1987), a contemporary artist from Brunei, interrogates how these elements are often overlooked in the context of contemporary life.
A network of practitioners in contemporary art in the region was consulted in the selection of artists for the exhibition. These advisors include Ahmad Mashadi, Head of the National University of Singapore Museum; Khim Ong, Deputy Director, Curatorial Programmes at Nanyang Technological University Centre for Contemporary Art Singapore (NTU CCA Singapore); Loredana Pazzini-Paracciani, independent curator, writer, and lecturer of Southeast Asian contemporary art; and independent curator and scholar Grace Samboh.
The public is invited to join an artist talk and roundtable discussion with the advisors from the region as they discuss contemporary art in Southeast Asia on August 11 at the MET Museum of Manila. There will also be a public and education program to feature talks and lectures by scholars of and practitioners in the region in the duration of the exhibition’s run.
For details relating to the exhibition’s education programs, please check our social media pages @tiesofhistory or email us at firstname.lastname@example.org to be added to our mailing list.
L-R, clockwise- Ties of History: Art in Southeast Asia featured artists— Amanda Heng (Singapore), Roberto Feleo (Philippines), Anusapati (Indonesia), Do Hoang Tuong (Vietnam), Chris Chong Chan Fui (Malaysia), Yasmin Jaidin (Brunei), Min Thein Sung (Myanmar), Vuth Lyno (Cambodia), Jedsada Tangtrakulwong (Thailand), Savanhdary Vongpoothorn (Laos)
Philippines Hosts Exhibition of Contemporary Art in Southeast Asia
Exhibition: Ties of History: Art in Southeast Asia
Venue: Metropolitan Museum of Manila
University of the Philippines Vargas Museum
Dates: August 8 to October 6, 2018
Social Media: @tiesofhistory
Opening Reception: 5pm – 9pm
August 8 at the Metropolitan Museum of Manila
August 9 at the Yuchengco Museum
August 10 at the Vargas Museum
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* This is my column in BusinessWorld last June 22, 2018.
“I have no reason to suppose that he, who would take away my Liberty, would not when he had me in his Power, take away everything else.”
— John Locke
(1632-1704, British philosopher)
Recently, President Rodrigo Duterte ordered the Philippine National Police (PNP) to arrest people who are out on the streets at night and seem to be idle or out making “tambay.” His speech to the PNP last June 14, 2018, which effectively became a directive was,
“My directive is ’pag mag-istambay-istambay sabihin niyo, ‘Umuwi kayo. ’Pag ’di kayo umuwi, ihatid ko kayo don sa opisina ni ano don, Pasig.’ Ako na ang bahala, ilagay mo lang diyan. Talian mo ’yung kamay pati bin[ti]–ihulog mo diyan sa ano. Do not — you be strict. Part of confronting people just idling around. They are potential trouble for the public.”
That directive has no details and since then, thousands have been rounded up by the PNP and brought to jails. Loitering or vagrancy has been decriminalized by RA 10158 in 2012 or under the previous administration.
I shared on Facebook a video uploaded by Ariel Morco last June 20. In that video, he went out of his small house, shirtless, when a police car and motorcycle passed by.
After he was accosted by an officer on a motorcycle, he went back inside but the officer pulled him out and was brought to the police van.
Mr. Morco wrote this note in his video,
“Ang tindi nio mga kumag na pulis. Andito lng ako sa bahay eh hinuli nio parin ako. Kahit wala ako damit pang itaas di naman ako nakatambay at wala ako sa kalye kita na naman sa video pumasok na eko eh hinila pa ako at pinilit na sumama. Mga walang utak na pulis. Kau na lng humusga.”
That video with 10,454 views the last time I checked it, was later removed with a note by Facebook, “Page could not be found.”
I suspect that some influential people have asked Mr. Morco to take it down otherwise, some ugly incidents might happen to him or his family.
Mr. Morco obviously is poor.
As seen in the video, his house is small and since it lacks air circulation, its residents occasionally remove their shirts while indoors to keep themselves cool. Occasionally, some of them go out, shirtless.
And when some PNP officers pass by, they think they have the “right” to penalize and prosecute these poor people, based on what the president said.
The World Justice Project (WJP) produces an annual study, the “Rule of Law Index” (RoLI) and score countries based on their performance on 8 factors and 44 sub-factors. The RoLI 2017-2018 Report involves more than 110,000 households as respondents and 3,000 expert surveyors in 113 countries and jurisdictions.
I checked the Philippines’ score in relation to our East Asian neighbors on two of eight factors: Factor 4 on “Fundamental Rights,” and Factor 8 on “Criminal Justice.” Not included in the report are Brunei and Laos.
In particular, I checked these four sub-factors:
4.2 The right to life and security of the person is effectively guaranteed.
4.3 Due process of law and rights of the accused.
8.1 Criminal investigation system is effective.
8.4 Criminal system is impartial.
The result for the Philippines indeed, is ugly.
Rule of Law Index 2017-18
These four sub-factors are among the “downers” or those that pulled down the Philippines’ overall score and global rank.
I was wondering, if Mr. Morco resisted being dragged to the police van, could he been considered as “nanlaban kasi” [resisted] and perhaps shot later?
The PNP should be ashamed of incidence like this.
If the leadership is serious in fighting abuses and extortion by their men, they should name those officers and announce their suspension, publicly. Otherwise, those officers will do it again, preferably in poor neighborhood with no CCTV.
We pay more tax-tax-tax under this administration that partly raise the salaries and perks of personnel in government including the PNP. One reason why crime can be high is because the PNP are busy with mundane concerns like going after ordinary, innocent, unarmed citizens.-----------------
BWorld 223, Ease of setting up and closing down business, July 9, 2018
BWorld 224, China mercantilism and US free trade challenge, July 10, 2018
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