Saturday, January 03, 2026

BURNING CHROME | Philippines on cybersecurity’s frontline

by Jing Garcia -- because the mind is a terrible thing to taste.

Originally posted on: techsabado.com/2025/09/20/burning-chrome-philippines-on-cybersecuritys-frontline/

The Philippines has long been at the mercy of typhoons, earthquakes, and floods. Today, however, a quieter, less visible storm is battering its institutions and businesses—cyberattacks. The numbers tell a story of a nation under siege in the digital realm, where criminals and state-backed hackers exploit every weakness, from poorly secured passwords to unsuspecting employees.

A report from Security Quotient paints the picture starkly. In 2024 alone, ransomware cases in the Philippines jumped by 30 percent, while web-based attacks surged nearly 50 percent. These are not abstract figures. They represent real-world disruptions to companies, banks, and government services. Yamaha Motor's Philippine subsidiary, for instance, was hit with a ransomware attack that carried potential losses of up to half a million dollars in 2023.

Phishing scams remain the country’s biggest vulnerability. Cyberint’s Philippine Threat Landscape Report 2024–2025 describes the nation as Southeast Asia’s top phishing target, with banks and financial institutions most at risk. Attackers are no longer just sending clumsy fake emails. They are now deploying artificial intelligence to mimic trusted executives or institutions with unnerving accuracy, making it even harder for ordinary employees to spot the fraud.

The weakness is not just technological but human. Cybersecurity experts are quick to point out that employees, often distracted or undertrained, serve as the primary gateway for intrusions. Hybrid work setups—where staff toggle between home and office devices—have widened the attack surface. In 2024, there were 4.1 million brute-force password attempts recorded in the country, a staggering figure that underscores poor digital hygiene.

The government has acknowledged foreign intrusion attempts, particularly those aimed at sensitive intelligence data. State-backed actors have reportedly deployed fileless malware against military networks. These developments put national security on the line, not just corporate bottom lines.

And yet, the national response remains uneven. Many organizations in both the public and private sectors still lack scenario-based response plans. Too often, companies find themselves reacting to breaches rather than anticipating them. Third-party vendors, a frequent weak link, are inadequately vetted. Security awareness programs exist but remain inconsistent, with little emphasis on real-world simulations.

If the country is to withstand the escalating cyber storm, resilience must become a matter of policy and culture, not just technology. Embedding cybersecurity into business strategy, enforcing stricter standards for vendors, and training employees beyond the basics are crucial steps.

The digital transformation sweeping the country has created new opportunities for growth and connectivity. But it has also exposed fragile defenses to adversaries who do not rest. The Philippines, sitting on the frontline of global cyber hostilities, can ill afford to stay reactive. The storm is here, and the time to fortify was yesterday.

Originally posted on: techsabado.com/2025/09/20/burning-chrome-philippines-on-cybersecuritys-frontline/

Thursday, January 01, 2026

BURNING CHROME | Repent, the end is near!

by Jing Garcia -- because the mind is a terrible thing to taste.

Originally posted on: techsabado.com/2025/09/13/burning-chrome-repent-the-end-is-near/

For thousands of years, humanity has looked over its shoulder, convinced that the end is near. The apocalypse has been promised, predicted, postponed, and sold. From the Old Testament prophets to 2012 Maya calendar enthusiasts, from medieval monks to modern YouTube doomsayers, the idea of “the end of days” refuses to die. What it tells us, though, is less about the cosmos and more about ourselves.

Religion gave us the first scaffolding of the apocalypse. Judaism spoke of the End of Days, a Messianic age when the righteous would rise and peace would reign. Christianity cemented its vision in the Book of Revelation, filled with beasts, dragons, and a final battle between good and evil. Islam outlined its own cosmic upheaval before the Day of Judgment, with the false messiah, the return of Jesus, and divine justice.

Other cultures sang different songs but with familiar refrains. Hindus anticipate the end of the Kali Yuga, when Vishnu appears as Kalki to restart the cycle. Norse myth envisioned Ragnarok, where gods die and the world burns before life sprouts again. The Aztecs feared cosmic destruction with each “sun,” while Buddhist texts warned of Dharma’s decline before a future Buddha emerges.

The end, in most traditions, is not final. It is cyclical. One world collapses so another can begin. Apocalypse becomes less an ending than a reset button.

Prophets and profiteers

If history has taught us anything, it is that specific predictions never hold. American preacher William Miller and his Adventist followers expected Christ in 1843 and suffered the “Great Disappointment.” While American Christian radio broadcaster and evangelist Harold Camping twice promised the rapture in 2011 and failed. South Korea’s Dami Mission swore the world would end in 1992. The most recent global panic, the Mayan calendar of 2012, turned out to be nothing more than a misunderstood reset of a calendar cycle.

Each time, believers found ways to explain the failure. Psychologists call it cognitive dissonance reduction. Faith does not collapse under evidence; it adapts. And where there is fear, there is profit. Prophets of doom sell books, sermons, and survival kits. Even Nostradamus, vague as he was, continues to feed an entire industry of retrofitted prophecy.

Strip away the fire and brimstone, and science offers its own catalogue of endings. Climate change threatens to destabilize societies through rising seas, collapsing ecosystems, and extreme weather. The Intergovernmental Panel on Climate Change warns of tipping points we may not be able to reverse.

Nuclear war remains the most obvious apocalypse of our own making. Even a regional conflict could darken skies, trigger nuclear winter, and kill millions. The Cold War showed how close we came; modern arsenals could still erase civilization.

Artificial intelligence is the newest specter. Geoffrey Hinton, one of the pioneers of the field, warned in 2024 of a one-in-five chance AI could wipe us out within the next 30 years. Philosophers such as Nick Bostrom echo the danger of a misaligned superintelligence. The fear is not of machines rebelling like in Hollywood films, but of systems optimized so narrowly that human survival becomes collateral damage.

Cosmic dangers exist too. Asteroids still zip through space, though NASA assures us none large enough to end civilization are on a collision course anytime soon. Over the truly long term, cosmology points to the “heat death” of the universe, trillions of years away. The cosmos, for now, is stable. The real threat remains human behavior.

Israel and Armageddon

Few modern states carry as much eschatological weight as Israel. For some Christians, its re-establishment in 1948 was a direct fulfillment of biblical prophecy. Wars in the Middle East are often cast as preludes to Armageddon, with Jerusalem as the stage. Jews see Israel’s role as restorative rather than apocalyptic, tied to Messianic redemption. In Islam, Jerusalem appears in Hadith describing battles before Judgment Day.

The danger lies not in prophecy itself but in its political consequences. Evangelical support for Israel in U.S. politics, for instance, often carries eschatological undertones. When theology becomes foreign policy, apocalyptic belief stops being abstract. It shapes geopolitics.

The false comfort of fatalism

The idea of an inevitable end has social costs. On one hand, it can inspire urgency. Some argue that if time is short, we must live responsibly. On the other hand, fatalism can be paralyzing. Why fight climate change if God is ending the world anyway? Why push for peace if war is prophecy?

History shows how destructive these beliefs can be. Cults dissolve families, drain bank accounts, and in tragic cases, lead to mass suicides. Governments and media, too, exploit fear for control. The end of the world is a powerful narrative tool.

We should ignore anyone who gives us a date. Every dated prophecy has failed. We should be skeptical of claims that earthquakes or disasters are “increasing” without data. We should be wary of those who profit from panic.

But we should believe the scientists who warn of real risks. Climate models, nuclear arsenals, pandemics, and AI misalignment are not fantasies. They are measurable, observable, and preventable. These risks do not guarantee an end, but they demand action.

Not the End, but an opening

If the end does not arrive—and history suggests it won’t—what then? Humanity continues. We may learn to live within planetary limits, colonize Mars, or merge with machines. Religions will reinterpret their prophecies, as they always have. The myth of the end will not disappear; it will simply take new shapes.

The truth is that apocalypse is not about the future. It is about the present. Our fears of war, technology, and moral decay are projected into cosmic drama. The apocalypse is a mirror.

What matters is not when the world ends but how we live before it does. If the end is not written, then responsibility is ours. We are not waiting for the end. We are writing what comes next.

Originally posted on: techsabado.com/2025/09/13/burning-chrome-repent-the-end-is-near/

Saturday, December 27, 2025

BURNING CHROME | Christmas at the edge of 2026: A year-end reflection

by Jing Garcia -- because the mind is a terrible thing to taste.

Originally posted on: techsabado.com/2025/12/27/burning-chromes-2026-the-year-tech-promises-grow-teeth/

As Christmas settles in, 2025 feels less like a year ending and more like a system pausing between processes. The lights are on, the noise is briefly muted, and for a moment, we are allowed to step outside the feedback loop of alerts, algorithms and outrage. That pause matters — especially after a year like this one.

2025 was not defined by a single crisis but by convergence. Political instability, technological acceleration, climate pressure and economic unevenness did not arrive separately. They collided. What we experienced this year was not disruption as an event, but disruption as a condition.

Globally, 2025 exposed the limits of governance models struggling to keep pace with technological reality. Wars continued to redraw trade routes. Energy volatility shaped inflation. Supply chains adjusted again — not back to “normal,” but toward something more brittle and regionalized.

Technology, often framed as the solution to everything, revealed its contradictions. Artificial intelligence advanced rapidly, but its deployment was uneven. Countries with policy clarity moved forward; those without it drifted. Regulation lagged capability, while ethics trailed incentives.

For the first time in years, the tech sector itself appeared less confident. Valuations corrected. “AI everywhere” quietly became “AI where it actually works.” This was not a collapse — it was gravity reasserting itself.

2025 will likely be remembered as the year AI stopped being abstract. Agents entered workplaces. Automation moved from experimentation to expectation. Productivity gains appeared — but so did worker anxiety, governance gaps and questions no slide deck could answer.

The agentic divide widened: organizations and individuals who understood how to work with AI accelerated, while others fell behind. This is no longer about access to tools; it is about skills, judgment and systems thinking.

For the Philippines, this matters deeply. Without sustained investment in digital literacy, AI risks becoming another amplifier of inequality rather than a democratizing force. Technology does not create fairness by default. It reflects the structure it is deployed into.

Locally, 2025 followed a familiar pattern: Filipinos adapted faster than institutions. Digital payments expanded. MSMEs experimented with automation. Cooperatives quietly modernized operations with practical tech — not hype-driven platforms, but tools that solved real problems.

At the same time, climate events intensified, urban infrastructure lagged, and digital transformation remained uneven across regions. Calling this “resilience” misses the point. Resilience without reform is simply endurance.

The opportunity remains: the Philippines can still define a distinctly ethical, community-oriented digital path. But that requires moving beyond imported narratives of innovation and investing in local capacity — engineers, educators, journalists, creators and builders who understand context, not just code.

In a year overloaded with information, Christmas functions as a rare system interrupt. It forces slowness. It re-centers human-scale interactions. In a technology-driven world optimized for speed, Christmas insists on presence.

This matters more than we admit. A society unable to pause becomes reactive. A tech ecosystem that never reflects repeats its mistakes at higher speeds.

Despite everything 2025 threw at us, such as natural disasters bringing unprecentend flooding and destructive earthquakes from north to south, communities still showed up for each other. Mutual aid persisted. Volunteers organized without branding. People chose care over virality. These are not trending metrics, but they are foundational signals.

Looking ahead, several trajectories are becoming clearer:

AI becomes infrastructure, not spectacle.
Expect fewer grand claims and more quiet integration — in logistics, finance, health and media. Skills gaps will define winners and losers more than access to tools.

Climate becomes operational.
Energy transition will shift from advocacy to necessity. Microgrids, renewables and resilience planning will move from pilot projects to survival strategies.

Information warfare intensifies.
With major elections ahead globally, disinformation will evolve. The counterforce will not be platforms alone, but media literacy and credible journalism.

Local innovation gains relevance.
Global platforms will remain dominant, but local solutions — especially in ASEAN — will matter more as supply chains and regulations regionalize.

Creativity resurfaces as resistance.
After years of hyper-optimization, people are rediscovering authenticity. Independent music, experimental art and subcultures are not distractions — they are indicators of social recalibration.

These are not predictions. They are pressure points.

If there is a Christmas wish worth articulating for the tech ecosystem heading into 2026, it is not for faster tools, but for better systems:

- More accountability in technology deployment.
- More investment in skills, not just platforms.
- More transparency from institutions that manage data and power.
- More support for local creators, engineers and educators.
- More ethical journalism in an age of synthetic content.

And perhaps most urgently: more humility. Progress without reflection is just acceleration toward the same problems.

2025 tested systems, institutions and individuals. It revealed fragility, but also capacity. As Christmas closes the year, we are reminded that technology alone does not determine the future. People do — through choices, priorities and the structures they insist on building.

2026 will arrive regardless. Whether it becomes more humane, more equitable and more intelligent depends on what we carry forward from this year — and what we finally choose to leave behind.

For now, we pause. We gather. We listen.

Then we rebuild — more carefully this time.

Maligayang Pasko sa inyong lahat, mula sa amin na bumubuo ng TechSabado.

Originally posted on: techsabado.com/2025/12/27/burning-chromes-2026-the-year-tech-promises-grow-teeth/

Wednesday, December 24, 2025

BURNING CHROME | December: The holiday tech spending trap

by Jing Garcia -- because the mind is a terrible thing to taste.

Originally posted on: techsabado.com/2025/12/20/burning-chrome-december-the-holiday-tech-spending-trap/

Every Christmas season, something shifts. City lights go up, malls roar to life, screens fill with ads peddling newly-released mobile phones, the latest smartwatches, noise-canceling earbuds, minimalist gadgets dressed up as essential. Like clockwork, we become prey to a seasonal ritual: buying not because we need something, but because marketing makes us believe this is the year we must upgrade, impress, belong. But what if all this holiday buzz is doing more harm than good — to our wallets, our values, and our planet?

December is the climax of consumer culture. Every discount, every “limited stock,” every gift suggestion tells us: now or never. Tech companies reserve their biggest campaign missiles for this stretch, and buyers rarely walk away empty-handed. In global reports from 2022, for example, the average person generated 7.8 kg of e-waste that year (ITU). The acceleration is ruthless: from 2010 to 2022, total global e-waste more than doubled, yet the share formally collected and recycled in safe, regulated systems was only 22.3% (ITU).

In the Philippines, many are already familiar with the bright lights and aggressive promos that close out the year, and increasingly, we are familiar with what comes after. Our country is among Southeast Asia’s top producers of e-waste (Philstar). Even back in 2019, average per-capita generation of e-waste here was about 3.9 kg, and that number has almost certainly crept up since (UNIDO).

The psychology of upgrading

Why do we buy these things even when what we own still works?

One driver is social comparison. We see friends, influencers, even strangers posting new gadgets, reviewing unboxings, dropping hints, posing with the latest model. That triggers a fear of being left behind — not just materially, but socially. What status signals will I miss if I don’t have that foldable screen, that 5G-enabled device, that XR headset everyone is talking about?

Then there’s perceived obsolescence. Big manufacturers make sure old models feel slow, get fewer software updates, and have batteries that fade — all of which push us toward the new. Sometimes the performance gain is real, but often it’s incremental: a little faster, a little sleeker, maybe better camera specs. But because these gains are shown in splashy ads, they feel more essential than they are.

We also fall prey to what psychologists call hedonic adaptation. We buy something new, it gives a thrill, a novelty, bragging rights. But soon enough the excitement fades. So we look for the next wave. December’s promotions, bundle deals, and holiday releases all feed into this — reminding us not only of what we have, but what others have that we don’t.

Another powerful pull is gift culture. Even if someone doesn’t strictly need a gadget, giving something perceived as “premium tech” affirms care and connection. There is nothing inherently wrong with gift-giving; it can deepen relationships. But when tech gifts are viewed as the only acceptable way to show love or status, it risks turning gifts into status symbols rather than expressions of meaning.

But as we chase that next gadget, a growing dissonance emerges between excess consumption and global inequality. While many enjoy the luxury of choice, others lack access to clean water, basic nutrition, or reliable electricity. The stark contrast can provoke guilt, defensiveness, denial — or worse, normalization: “Everyone does this” becomes justification.

Philosophers point to the Diderot Effect — acquiring one new item causes us to feel the rest of our environment is outdated, leading to further consumption (Wikipedia). It’s a spiral: buy something new, then feel dissatisfied with everything around it, buying more, wanting more.

Meanwhile, environmental and health costs are shifted onto those least able to resist or respond. E-waste isn’t inert. It contains mercury, lead, flame retardants, heavy metals, toxic plastics. In countries without strong regulation, informal recycling often means unsafe working conditions, polluted groundwater and soils, and toxic air. Sometimes people burn circuit boards for copper or use acid to leach components with little protection. The environmental burdens are real, and the human toll is invisible to mall shoppers.

The e-waste mountain

The data is brutal. In 2022, global e-waste generation was 62 million metric tons — enough to fill 1.55 million 40-ton trucks (UNITAR). If nothing changes, that number is expected to reach 82 million metric tons by 2030 (UNITAR). Only about 22.3% of e-waste globally was formally and safely collected and recycled in 2022. Some projections say formal recycling rates may drop toward 20% by 2030, because new waste is outpacing infrastructure (E-Waste Monitor).

In the Philippines the issue is worse. Policies exist — like the Ecological Solid Waste Management Act (RA 9003) and more recent administrative orders — but implementation lags. Rural and poorer areas often lack access to formal e-waste drop-offs or trustworthy recycling options. Many old gadgets or appliances get dumped, burned, or informally dismantled (E-Waste Monitor). Even when disassembly happens, safety is not guaranteed. Toxic residues leach into soils and water; hazardous dust pollutes the air.

What if we chose otherwise?

Perhaps the more radical thought, especially amid the holiday onslaught, is this: what if we resisted? What if, instead of getting caught in the whirl of new gadget releases, we asked whether we really needed the latest? What values would guide that alternative?

If we shifted cultural prestige from “having the newest” to “using what we have well,” demand would change. Repair, reuse, durability, open-source support, and repairability ratings would matter more. We might accept devices that do their work rather than the glitzy promise of marginal gains. Gift-giving might prioritize experiences or help over things: time, mentorship, art, access, repair classes.

Slowing down doesn’t mean shaming. It means noticing the value of less. It means acknowledging that well-being increases not by buying a new gadget, but by cultivating relationships, creativity, and inner growth. Studies suggest people who spend on experiences rather than material items report higher long-term satisfaction (ScienceDirect). Psychological research also shows that the more materialistic someone is — the more they equate worth or happiness with what they own — the greater the risk of lower well-being, anxiety, and debt. Wanting something because everyone else has it, or because an ad told us to feel left behind, is a fragile foundation.

The shifts must be both personal and structural. Governments must enforce and improve legislation: mandate that electronics be designed for repair, longer update support, modularity. Producers should be held accountable — through extended producer responsibility laws, stricter standards for hazardous materials, incentives for trade-in and refurbishment programs. Consumers need accessible, safe recycling infrastructure.

In the Philippines, there are signs of movement: local governments partnering with NGOs for e-waste collection, public awareness campaigns, formalizing informal recycling sectors. But these are still drops in the ocean compared with what is needed. Raising awareness of environmental, social, and health risks is not optional. It must be part of education, not just green marketing.

This Christmas, before spending that yearly bonus or 13th-month pay, perhaps the question isn’t what new gadget you’ll get, but what old gadget you will keep using — how you will resist the impulse to upgrade out of fear, envy, or glamour. Perhaps the measure of a generous gift is not what it costs but what it means, not how shiny but how sustainable. If enough of us stop believing that more always means better, the system might bend. It might reward repair more than replacement, longevity more than novelty. Instead of a world swamped by waste, perhaps one where what we have is enough — and what we give matters more than what we own.

If 2025 is going to be different, its story should start in December — not with regret over what we bought, but pride in what we chose not to.

Originally posted on: techsabado.com/2025/12/20/burning-chrome-december-the-holiday-tech-spending-trap/

Saturday, December 20, 2025

BURNING CHROME | The Pinoy holiday that almost forgot the baby in the manger

by Jing Garcia -- because the mind is a terrible thing to taste.

Originally posted on: techsabado.com/2025/12/13/burning-chrome-the-pinoy-holiday-that-almost-forgot-the-baby-in-the-manger/

In the Philippines, Christmas isn’t just a day—it’s practically a third season. While much of the world marks December as the “holiday month,” Filipinos stretch the festival across four, sometimes five, months. The familiar ritual begins the moment September arrives—the first “-ber” month—and with it, radio stations roll out Jose Mari Chan’s Christmas carols, malls flip the switch on their lights, and roadside vendors unfurl parols. The celebration lingers long after New Year’s Eve fireworks and, in some towns, even into February.

As Christianity Today noted in a 2021 feature, the Philippines celebrates “the world’s longest Christmas season,” lasting from September until after the Feast of the Santo Niño in January, and sometimes into February when the Chinese Lunar New Year collides with Catholic calendars. It is both a cultural marvel and a sociological puzzle: what began as a sacred commemoration of Christ’s birth has become, for many, an almost unending season of consumption, spectacle, and, ironically, loneliness.

A season stretched by migration

The Philippines is a Catholic-majority nation, shaped by centuries of Spanish colonial rule. The religious practices—Simbang Gabi (midnight mass), the Misa de Gallo at dawn, the belen (Nativity scene), and the iconic parol—remain fixtures. Yet the modern length of the Christmas season owes as much to economics as to devotion.

Bangko Sentral ng Pilipinas (BSP) reported in February 2025 that personal remittances reached a record US$38.34 billion in 2024, with December alone contributing US$3.73 billion, a 3% increase from the same month in 2023. As the Philippine Institute for Development Studies (PIDS) explained, the Christmas season “consistently drives the highest remittance inflows,” fueling consumption, gift-giving, and holiday reunions. In practice, this means balikbayan boxes stacked high in airports and ports, laden with toys, gadgets, and canned goods—all to be opened at Noche Buena tables across the archipelago.

Anthropologist Felipe Jocano Jr., quoted by Christianity Today, argued that this is no accident: the long Filipino Christmas is “sustained by remittances and malls,” both reinforcing each other. Without the inflow of migrant earnings and the consumer infrastructure to spend them, the Christmas season would be shorter, leaner, and perhaps closer to its original religious intent.

Faith strong faith, thinning rituals

Despite the obvious commercial pulse, religion has not disappeared from the Pinoy Christmas. Simbang Gabi still draws crowds before dawn. The Vatican itself recognizes the Filipino devotion, with Pope Francis praising the practice when celebrated at St. Peter’s Basilica.

But beneath these rituals, survey data paints a different picture. In February 2023, The Philippine Star reported on a Social Weather Stations (SWS) survey showing that only 38% of Filipinos attend religious services weekly. This marks a decline from earlier decades when weekly Mass attendance was more common.

At the same time, daily prayer remains robust. A 2023 feature by Aleteia, citing survey data, found that nearly 70% of Filipino Catholics pray every day, even if they don’t attend Mass regularly. The tension here is striking: personal devotion remains alive, yet institutional participation has weakened. Christmas, therefore, becomes the most visible—and sometimes the only—moment when many Filipinos reconnect with the Church calendar.

Now, at the same time, visit any major city by September and you’ll see it: malls decked out in full Christmas regalia, sound systems blasting carols, brands pushing “early holiday sales.” By December, the campaign peaks. According to Christianity Today, the Philippines’ Christmas economy has become so dominant that retailers rely on it to sustain annual revenues, making it both an economic driver and a cultural force.

But this glitter exacts a price. Filipino families, especially those in lower-income brackets, feel pressured to spend. The late anthropologist Prospero Covar once described the Filipino ethos of “hiya” (shame) and “utang na loob” (debt of gratitude), cultural norms that often push people to overextend financially during holidays to avoid embarrassment or to honor obligations. This manifests as loans, payday advances, and credit card debt—burdens that last long after the parols are put away.

The result: while Christmas lights burn bright, January often feels darker—not only spiritually but financially. What should be a time of joy and thanksgiving becomes, for many, a source of stress.

Still, Christmas remains the happiest time of year for most Filipinos—or at least, that’s what they say. Social Weather Stations’ 2024 survey found that 65% of Filipinos expected a happy Christmas, down from 73% in 2023. Published in Philstar.com, the survey revealed that while the majority remain hopeful, nearly one in three respondents admitted they expected sadness or neutrality.

This aligns with global findings on “holiday blues.” The U.S.-based National Alliance on Mental Illness (NAMI) has reported that about 60% of Americans experience some form of mental distress during the holidays, whether from financial stress, loneliness, or family conflict. While Philippine-specific data is limited, health experts interviewed in Rappler and Philippine Daily Inquirer stories have observed similar patterns, particularly among overseas workers and urban poor communities left out of the season’s glitz.

In response, local groups like MentalHealthPH and the National Center for Mental Health (NCMH) remind Filipinos that crisis hotlines are available. The NCMH operates 24/7 lines (1553; 0917-899-8727; 7-989-8727), which they emphasize are crucial during “seasons of heightened emotional stress.”

The poverty gap under the lights

It is impossible to discuss Pinoy Christmas without acknowledging inequality. The Philippine Statistics Authority (PSA) reported that poverty incidence hovered around 22% in recent years. That means millions of Filipinos enter the holiday season unable to afford the very goods and gatherings that media and advertising present as universal.

Commentators in BusinessWorld and ABS-CBN News have pointed out how this gap warps the holiday experience: malls and corporate centers stage grand light shows, while urban poor families celebrate with modest meals. Yet even in these communities, the pressure to keep up appearances persists. A mother may still borrow to buy ham or queso de bola because “what is Christmas without them?”

As sociologist Nicole Curato of the University of Canberra has argued in her writings on Philippine culture, these rituals of inclusion—even when economically irrational—speak to Filipinos’ deep desire for dignity and participation in collective joy. Christmas, in this sense, is not just a holiday but a social equalizer, however fleeting.

Culture that resists

Despite the noise of commerce, Pinoy Christmas still preserves elements that resist commodification. The Giant Lantern Festival in San Fernando, Pampanga, known as the “Christmas Capital of the Philippines,” is rooted in community craft and religious procession. The parol, in its humble bamboo-and-paper form, remains a symbol of hope and light, even as upscale versions adorn malls.

Communal caroling, though less common in urban centers, continues in barangays, where children sing in exchange for coins or treats. These small rituals, still vibrant in provinces, demonstrate resilience: meaning that survives despite commercialization.

So, where does this leave us in 2025? If the season is longer than ever, if commercialism threatens to overwhelm meaning, if happiness coexists with depression, then the challenge is not to abolish but to re-center.

Church leaders interviewed in Christianity Today warned that when Christmas becomes omnipresent, “the message dilutes.” They urged believers to focus not on duration but on depth. Policymakers, too, have a role: consumer-protection agencies can strengthen financial literacy campaigns; schools and communities can highlight service and charity projects over gift exchanges.

More than anything, it is up to families and communities to choose what kind of Christmas they will celebrate. Will it be about lights in malls or light in the heart? Will it be about keeping up appearances or keeping faith alive?

The Filipino Christmas, as long and bright as it is, remains ours to shape. The question is whether we allow it to be shaped more by commerce or by compassion.

The paradox is clear. We are the country with the longest Christmas season in the world, a fact celebrated by Arab News, Christianity Today, and countless lifestyle features. We are also a country where remittances and 13th-month pay keep malls buzzing and cash registers ringing. But we are also a people of faith—praying daily, showing up at dawn Masses, still clinging to parols as symbols of hope.

This Christmas, may we remember that Christ was not born under mall lights, nor to the sound of carols piped into air-conditioned halls, but in the silence of a manger, in the company of the poor. If we can keep even a fraction of that in our own celebrations, perhaps the Pinoy Christmas—long, loud, and luminous—can still be holy.

Originally posted on: techsabado.com/2025/12/13/burning-chrome-the-pinoy-holiday-that-almost-forgot-the-baby-in-the-manger/

Sunday, December 01, 2024

autoceremony | Retiring a Human by Mistake (1996)


One of my earliest finished experimental audio recordings in 1996 completely using a computer -- an AMD 5x86 133Mhz with 20Mb of RAM, Windows 95 PC. The software? Soundforge 3.0. Bouncing two tracks at a time. My soundcard: A Yamaha Waveforce 192XG, or was it a Creative SoundBlaster 16. I can't remember. What I do remember was using the digital optical out of the soundcard connected to a portable Pioneer MiniDisc PMD-R1 recorder, which I still have today and still working, to bounce some of the tracks and also use it as a "mastering" device. Yeah, until i realized ATRAC was just Sony's version of MP3. Anyway, this was ten years before my alter-ego autoceremony. Mood was deliberately Joy Division, bad influence from Skinny Puppy, sci-fi was obviously Blade Runner, plus primitive computer technology at its best. LISTEN WITH HEAD/EARPHONES. This is a YouTube exclusive! Thanks for watching. #autoceremony​ ​ #SLoFi #JingGarcia #SoundArt #LoFi

Friday, January 13, 2017

RETROTECH | Nintendo Game & Watch (Japanese TV ad)

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Saturday, November 05, 2016

AUDIOPHILE | Ten years of Hi-Fi – not bad at all

THIS ARTICLE APPEARED IN THE MANILA TIMES ON DECEMBER 1, 2013

(some typos from the original online post were corrected)

THE NOVEMBER HI-FI SHOW -- AN ANNUAL GATHERING OF AUDIOPHILES FROM LO-FI TO HI-FI -- CELEBRATED ITS TENTH YEAR IN SHOWCASING THE BEST IN THE AUDIO INDUSTRY. 

What started as a simple swap meet of gears and music media among audio enthusiasts a decade ago, the November Hi-Fi Show is now one of the most anticipated audio and video events of the year. 

Although I can’t remember the particular time when they started occupying the entire two floors at the Dusit Thani, I’ve been going to this event in the plush Makati hotel for several years now to check out all the wonderful audio equipment on display -- both old and new; not to mention bargain hunting for other gears, including CDs and vinyls. Yes, those long-playing records are back! (although, vinyls never really went away, it just hid behind the CD until people started getting tired of digital music; and if you hang out in places like the basement of Makati [Cinema] Square, you’ll get the idea.) 

Turntables and vinyl albums are regaining their popularity in the audiophile arena, particularly among the newbies, which led the lead organizer Tony Boy de Leon to fly in an expert in the name of Michael Fremer, to discuss everything about high-fidelity music. Fremer is a renowned analog music guru who has his own audiophile blog called AnalogPlanet, a popular website for anything Hi-Fi. 

What makes the November Hi-Fi Show different from other audio and video exhibitions is the presentation. Paid exhibitors have their own hotel room where they can show off audio equipment in a controlled environment, without the unwanted noise and other distractions often encountered in an open space, like for example, a mall or an appliance center. Literally speaking, each exhibitor has its own listening room. 

Perfect for any audiophile. Plus, the presence of Fremer, who did a turntable workshop, made it exceptionally worthwhile for many fans of this year’s event. 

So, what is an audiophile? Simply put, an audiophile is a person enthusiastic about high-fidelity sound reproduction -- a general description as old as your grandfather but still very much true today. 

But what used to be reserved for the moneyed elite, high-fidelity music for the past several years has trickled down to a larger part of the population. Like high-tech gadgets, high-fidelity has been “consumerized.” 

Nonetheless, Hi-Fi, despite now being affordable, is still a niche market. Yes, hi-fi gears and hardware are very expensive, especially for brands that target the high-end crowd. There was a pair of speakers on display at the event that went for $94,000 (yes, US dollars) or even a headphone for P90,000! Still, some audiophiles share that you could own a Hi-Fi system for less than P50,000. Almost the price of an expensive high-end smartphone. In all practicality, that sounded good enough. a 

Nowadays, there’s a notion that you don’t really have to spend too much (unless you can afford it, of course) for a great audio (or even video) system. Like music itself, sound is also an acquired taste. 

Some people like the music loud on the bass, others like their highs more, or some would have the middle frequencies up front, while most audiophiles would rather keep it flat, the EQ that is. 

Then, there are people who like their music delivered by big speakers, others are content with the smaller bookshelf ones, while some would rather go for headphones for that immersive feel. So basically, to each his own. 

But for most audiophiles, nothing beats a well-configured audio system setup. It may cost them millions or just a few thousands, but the perfect combination of the audio hardware -- may it be a vintage vacuum tube or modern solid-state amplifier, a well-maintained media and music player, a good-sounding balanced speakers, and even the use of proper cables and clean electric power -- always makes sense. 

At the Dusit Thani event you could see all the familiar names in today’s audio hardware; including A/V systems, since home theater is very much in demand, most of the well-known major toys-for-big-boys brands were there. Hardcore audiophiles were also present to exchange ideas, sell, swap, and of course, exhibit their wares—Do-It-Yourself (DIY) vacuum tube amps, turntables, and speakers included. 

Rega, Audio Research, Definitive Technology, Bowers-Wilkins, McIntosh, Focal are just some of the Hi-Fi names one will encounter in this extraordinary weekend event. 

If you think Bose is already high fidelity for you, then obviously you haven’t been to a November Hi-Fi Show. I suggest you catch the 11th in 2104.


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RACKET MUSIC GROUP >> alternative manila

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Saturday, July 23, 2016

End of an era: VCR headed for outdated tech heaven



Japan | technology | video | VCR | offbeat  associated with x

Tokyo, Japan | AFP | Friday 7/22/2016 - 03:43 GMT | 505 words

ADDS BACKGROUND

by Kyoko HASEGAWA

The clunky videocassette recorder is going the way of floppy disks, eight-track tapes and camera film as the world's last manufacturer ends production of the once booming home-video technology.

Japan's Funai Electric cited a sharp decline in sales and trouble sourcing parts for its decision to stop making VCRs at a plant in China by the end of this month.

Most of the consumer electronics firm's VCRs were sold in North America in recent years, including under the Sanyo brand.

Sales have plummeted from 15 million units a year at their height to 750,000 in 2015 -- although some may be surprised VCRs were still being made at all.

Demand appears largely driven by consumers who have large videotape collections that must still be played on VCRs. A Gallup poll several years ago found that 58 percent of Americans still had one in their home.

The boxy machines -- originally about the size of a briefcase with a top-loading slot for videotapes -- entered into mainstream popularity in the seventies and eighties, and spawned a new industry: tape rental stores.

But the outdated technology has long been eclipsed by DVDs and other more advanced options, while once ubiquitous rental shops have all but disappeared.

Panasonic pulled out of the business several years ago, making Funai the last VCR maker in the world, a company spokesman said Friday.

"A company that was making parts for us said it was too tough to keep making them with sales at this level so they stopped, which led to our decision -- we can't make them without that part," he told AFP.

Funai has been overwhelmed with calls from desperate Japanese VCR tape owners who had not transferred treasured recordings of weddings and other special occasions on to other formats, he added.

- 'Hi-tech' Japan -

Japan may have a reputation for hi-tech devices and futuristic robots, but many people still cling to seemingly outdated options including fax machines and flip phones.

Cassette tapes are also still popular while major DVD rental chains can be found in Japanese cities.

Last year, electronics giant Sony announced it would stop selling Betamax video tapes, ending the storied history of a product that had been ousted years earlier by the more popular VHS tape format.

The inventor of the Walkman first launched its Betamax products in 1975 as a household, magnetic video format for consumers to record analogue television shows. The popularity of Betamax tapes peaked in 1984 when some 50 million cassettes were shipped.

However, the format, initially supported by Toshiba and other electronics makers, is most remembered as the loser of a corporate battle over setting the de facto household video standard.

VHS, developed by another Japanese electronics maker that later became part of JVC, won the battle.

But it lost the war as video cassette recorders were replaced later by digital formats, such as DVDs, which have themselves largely been replaced by online streaming technology.

Sony stopped making Betamax recorders in 2002, but it kept making tapes for die-hard fans.

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SOUND ART | A decade of noise

The Children of Cathode Ray and autoceremony are featured in this seminal sound art album.

"July 22 2016, marks the 10th year anniversary of the landmark music anthology release that documented and showcased the plethora of experimental/sound art/unpopular music in the Philippines: S.A.B.A.W. An Anthology of Noise, Electronic, and Experimental Music" -- Tengal Nolasnem



S.A.B.A.W. Anthology of Noise, Electronic, and Experimental Music

This is the digital release of a two-CDR anthology launched at Future Prospects, Cubao X on 22 July 2006. It was broadcasted for the first time in its entirety by WSK.FM at Green Papaya Art Projects, Kamuning, QC on 11 November 2013.

1. Pow Martinez - 1-01 - Colored Noise 02:44
2. Conscript - 1-02 - I've seen god 04:24
3. Blums Borres - 1-03 - Cloth 05:13
4. The Children of Cathode Ray - 1-04 - Stations (part II) 12:11
5. Ascaris - 1-05 - Isolation 03:15
6. Teresa Barrozo - 1-06 - bigKAS 10:56
7. Nasal Police - 1-07 - Fan 08:03
8. Tengal - 1-08 - Piece of work in two parts 13:15

9. autoceremony - 2-01 - Sound Environment v0103 05:48
10. Insomnia - 2-02 - Barbarella 07:27
11. Foodshelter&Clothing - 2-03 - Xenocideremix 05:52
12. EAT TAE - 2-04 - Godhead 06:24
13. Elemento - 2-05 - Excerpt from Liquid Angel 09:34
14. Blend:er - 2-06 - Worm 02:20
15. Inconnu ictu - 2-07 - Aldus Janbrean 04:12
16. Arvie Bartolome - 2-08 - After Concussion 08:31

Original liner notes:

The S.A.B.A.W. Anthology was the result of existing material I had collected from experimental musicians and sound artists who had been working in the Philippine underground (read: under-appreciated and under-funded) scene for the last 20 years. The project, conceived with the intention of not just publishing but also promoting innovations and experiments in music, was born nine months ago when I was still hosting experimental music concerts at mag:net Cafe Katipunan, QC.

Just seven months ago, I began posting invitations in almost every mailing list I knew. The overwhelming response turned what should have been a one-disc album into a two-disc anthology. The artists here represent but a cross-section of a much larger body of musicians and artists. I wished that many more had contributed, but for some reason or another not all were able to participate.

This album is a first step, an attempt to fill a gap made real by the lack of critical appreciation and inaccessibility of sound art and experimental music for the past few decades.

This anthology is not a mere "labor of love," but an act of necessity.

Tengal
Manila, July 2006

Released July 22, 2006

Tracks by:

1-01 Pow Martinez - Colored Noise
Pow Martinez: White, Pink, Brown/Red, Grey, Black, Blue, Purple noise

1-02 Conscript - I've seen god
Tom McWalter: Novation nova synthesizer, Alesis Bitrman effects box, Alesis 6fx mixer

1-03 Blums Borres - Cloth
Blums: Guitar, Effects

1-04 The Children of Cathode Ray - Stations (part II)
Tad Ermitaño: Laptop
Jing Garcia: Laptop

1-05 Ascaris - Isolation

1-06 Teresa Barrozo - bigKAS
Teresa Barrozo: Tascam tape machine, Soundforge 7, Pre-recorded instruments

1-07 Nasal Police - Fan
Pow Martinez: Laptop
Ria Muñoz: Electric Fan, Contact mics

1-08 Tengal - Piece of work in two parts
Tengal: Computer, Kulintang, Reverse Kulintang with electronics

2-01 autoceremony - Sound Environment v0103
Jing Garcia: Computer

2-02 Insomnia - Barbarella

2-03 Foodshelter&Clothing - Xenocideremix
James: Analog bass, Drum programming
Bong: Vocals, Synthesizers, Sound Bites
Ian: Turntables

2-04 EAT TAE - Godhead
Tengal: Composer, Collage, Drums
Anto Bautista: Electric Guitar
Pow Martinez: Guitar Effects
Ivan Garcia: Bass

2-05 Elemento - Excerpt from Liquid Angel
Lirio Salvador: ZPE, Sandata 1G, Sandata 3D, Sampler, Voice
Gilbert Sanchez: Drums, Bicycle Wheel, Found Objects
Kristopher Deuda: Baby Sandata 4
Raymond Patawaran: Paint and Brush

2-06 Blend:er - Worm
Cris Garcimo: Roland sh101, Reason 2.5

2-07 Inconnu ictu - Aldus Janbrean
Inconnu ictu: Tape hiss, Water drops, Basketball, Brass Chimes, Cowbell, Chica, Acoustic guitar, Yamaha DDS, Casio R2-1, Toy Keyboard, Multi-effects, Cassette tape loop

2-08 Arvie Bartolome - After Concussion
Arvie Bartolome: Macmini

Saturday, July 02, 2016

RETROTECH | Gone digital in '83



Sinclair ZX-81
I found a very interesting link a couple a weeks ago, shared by my good friend Tad Ermitano. Tad, who is an established multimedia artist and a pioneering member of sound art group Children of Cathode Ray, knew that I would be fascinated by it. And he wasn't wrong.

In a 2014 post by Robert Sorokanich at Gizmodo, he revealed in an article entitled "The 1983 Punk Rock Record With a Digital Music Video For a B-Side" a long lost recording that I myself didn't know even exist. #ThankYouInternet.

Apparently, a 1983 single by an English music artist named Chris Sievey's was released containing the digital noise created by a computer, a ZX-81.

One of the earliest home computers, the ZX-81 was manufactured by Sinclair Research based in Scotland (Yeah, we had one when I was a kid but my sister didn't like the thing because of the small keys and eventually swapped it with a Commodore VIC-20).

And it's not just ordinary digital noise that was produced but rather an entire computer program created from the ZX-81.

Digital sound, in this case a computer program, when recorded and played back in analog will make unbearable screeches -- similar to the sound of the computer modem when handshaking for an Internet connection, if you remember those times; distinguishable only by a computer, decoding the noise as bits of data.

Sorokanich said "(T)he B-side of Chris Sievey's 1983 single 'Camouflage' sounds like an unlistenable malestrom of noise. It's not an avant-garde song; it's a program for the ZX-81 computer, and if you could load it correctly, it gave you a (very rudimentary) computer-animated music video, coded in the grooves of a vinyl record."

Here's a video of that computer program from the single:



Sorokanich continued saying  in his post: "(T)his neat little tidbit is well known to fans of early 80s punk music, butUsVsTh3m brought it back to our attention recently and it's worth re-remembering. Chris Sievey, on top of being a founding member of The Freshies and the mind behind the charmingly offbeat character Frank Sidebottom, was a computer tinkerer drawn to the ZX-81. The hobby computer, weighing only 12 ounces, with zero moving parts and no display (you plugged it into your TV), bolstered its 1kB internal memory by storing data to cassette tapes at a blistering 250 baud."

Truly ahead of his time, Sievey definitely created something that would mark him a pioneer. The only thing though, the song itself is not 'punk' (music) as described by Sorokanich or the editor's at Gizmodo. The only punk there was the way it was packaged in 1983. Indie maybe. But definitely not punk music by 1983 standards. Power pop is more like it.

Nonetheless, Sievey's contribution in pop (tech) culture is marked by this adorable revelation.






Wednesday, June 22, 2016

TECH NEWS | Rockin’ with Netflix


This blog is also posted at InterAksyon.com.

Popular video streaming platform Netflix originally rolled out its global service in January this year but it was only last May that they officially announced their presence in the Philippines. Of course, for the more enterprising video streaming platform users out there, Netflix has been available in the country for quite some time now.

Nonetheless, the availability of Netflix locally is definitely a welcome treat, this despite the other video streaming options such iFlix and Hooq peddled directly by the telcos. Netflix, being a strong brand in the U.S., will definitely enjoy a great following among the locals, especially for its number of exclusive content with titles like DareDevil, Jessica Jones, and Unbreakable Kimmy Schmidt among others.

However, people who haven’t experienced Netflix locally often ask: What about Internet speed? And people who have experienced Netflix would often answer: What about it?

Yes, notwithstanding the country’s perennial problem with Internet speed, the Philippines is still very much ready for Netflix. Here, let me try to convince you.

This writer has been using Netflix for over a month now; subscribed to the 3Mbps offered by a local telco; bandwidth chopped among other WiFi users at home. In my crude calculation, the 46-inch HD Sony Bravia smart TV used for Netflix streaming gets less than 1Mbps. And the experience? Simply incredible.

At first load, there will be some pixelations on the video. But that would last for just a few seconds. After that it’s smooth sailing all the way. Not once did this writer experienced any lag nor see that tedious buffering icon. Like stated earlier, this country is definitely ready for Netflix. No doubt.

“It’s what we call Adaptive Streaming,” said Jonathan Friedland, chief communications officer at Netflix, in an interview with local media at their Manila launch in May. “This means that the quality or the bitrate that comes into your device — mobile or otherwise — is measured in the milliseconds; you don’t see any buffering, so the pictures are constantly adjusting according to conditions around you.”

In other words: Netflix has its own technology to adapt to any Internet speed or bandwidth that you might have on any devices a Netflix subscriber may be using — fixed or mobile. And that said technology works. Yes, even with the often dismal Internet speed that we have. Netflix, you rock!

“We have this complexity based encoding,” said Friedland. “We can make data log lighter depending on the content, and with our own content delivery network called Open Connect designed for video, this reduces latency.”

However, those lucky enough to have high-speed Internet allow users to sign up for plans that include high-definition (HD) and Ultra-HD viewing. These are ideal for streaming on large screens.

Although, not all content is available on HD or Ultra-HD, but those that do will play in 720p or better with a fast enough Internet connection — at least 5 Mbps for HD and 25 Mbps for Ultra-HD.
So, that’s how they do it at Netflix.

Now, when in doubt about your Internet speed, just go to fast.com powered by Netflix to check if you got the speed to stream those videos.


At Los Gatos

Enjoying Netflix is not enough for this writer. And fortunately for me, together with other tech journalists from the Philippines, we got a chance to drop by Netflix’ Los Gatos headquarters in California, this after visiting other Silicon Valley tenants such a Facebook, Google and Apple.

At Netflix, we found out, that their engineers constantly test several gadgets at their laboratories to ensure quality of service on all range of devices capable of video streaming. These include televisions — from the smallest screen smart TV to the latest model available in the market — and not to mention smartphones, tablets, and even game consoles like the Sony PlayStation and Microsoft Xbox.

The tests, said Marlee Tart, corporate and technology communications manager at Netflix, are needed to ensure that the app will work on all the tested devices and the video content from Netflix will play without a hitch.

Hey, some of those TVs have an exclusive easy access Netflix button right on the remote. Neat!
Furthermore, to better enjoy Netflix on mobile devices, the video streaming company introduced Cellular Data Controls, a new tool that can help users greater control how much data is used when streaming on cellular networks. So, make sure to put this tool into good use, especially those with data cap.

Where to look for this data control on your mobile device?

On iOS and Android devices, cellular data usage can be adjusted in the App Settings from the menu. One can select a lower or higher data usage setting that would work best for the data plan.

So far, Netflix has delivered over 3 billion hours of videos in 190 countries to over 81 million subscribers. That’s really not bad.

It is suffice to say that the best time to stream video from Netflix is now.

This blog is also posted at InterAksyon.com.

Wednesday, May 11, 2016

My Domain



Finally, my two domains: autoceremony.com and jinggarcia.com. Both URLs will redirect to this blogsite. A blog I've been manipulating since 2006.

Hopefully, on my 10th year of blogging, I'll be able to resurrect myself to post more of the same materials on sound, soundart and music. This time, however,  a bit of tech and other manifestations and enthusiasms I find amusing will be thrown in.

Sound Art. My love for experimental sound and music is still here. This, since I help establish one of the earliest sound art groups in the Philippines way back '89. Read our history; listen to our incantations in my early musings on this page. It wasn't called soundart when we started. Simply experimental music.

autoceremony. An alter ego in the sound art scene. A solo project.

DXing. Never really knew the term until the Internet. It's the art of listening to distant radio broadcasts. My affinity for shortwave and medium wave radio began in '77 with my first AM transistor radio. Later, I discovered SW and lurked on alien stations; giving me a glimpse of the world outside the Martial Law walls. Many radio streams ended up in my autoceremony recordings. Part of my soundart.

...steps on radio: dzme, dwdd, radyosingko. #TechSabado

Music. What are you listening to right now?

Toys. There are some things you just couldn't outgrow. I hoard 1:64 diecast cars and Japanese robots, calling it a collection. Was I deprived as a kid? No.

Books. Most of them I read on my Kindle; some reads I read over and over.

Electronics. The basics. I can tell a positive wire from black. I can identify a resistor, read their values. To melt lead, I handle a soldering iron.  I tinker. Fix things. I try.

Technology. The Internet, computers and gadgets? We are slaves of modern times.


Wednesday, November 05, 2014

'The only intuitive interface is the nipple' and 10 other things to know about WSK: Festival of the Recently Possible




http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

 “What started as a joke became something bigger than what we expected,” Tengal Drilon, Festival director says of the 5-year-old WSK: Festival of the Recently Possible. Apart from “traffic becoming worse,” longtime followers will notice that, WSK has (finally!) dropped the “Fete dela” from its name. And from just being a one-time underground sound art festival, the fest has now grown to champion digital culture—expanded cinema, new media art, fringe activities on uses of technology. 

The festival proper happens on the weekend of Nov 7-9 but that’ll just be like a closing party; a week prior, on Nov 1, things will have started by way of radio. Here are 11 things about WSK: 

http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

It’s no longer called ‘Fete dela Wsk. ”It’s now “WSK: Festival of the Recently Possible.” “We dropped ‘Fete dela’ in the name as a reminder of our maturity. Five years ago, it started out as a pun on Fete dela Musique,” says Tengal.

The festival actually begins Nov 1. As in, you can start listening to WSK’s a pirate radio broadcast starting Nov 1. It’s 107.9 on FM dial. Also: participating artists will have begun their collaborations on Nov 1 at 1335 Mabini.

But the ‘opening party’ is on Nov 7. And it’s called The Drop x Fete dela WSK. This is because it’s in cooperation with Black Market and Nov 7 is a Friday and Friday nights at Black Market are dubbed “The Drop.”

There are four venues this year. 1335 Mabini (1335 Mabini St, Malate, Manila), where the radio broadcasts take place, as well as where the studio workshops happen. Black Market (Warehouse 5, La Fuerza Compound, Sabio St., Pasong Tamo, Makati), where the opening party is going to be at on Nov 7, Friday. The Tiu Theater (Mile Long Compound, Amorsolo cor Dela Rosa St, Makati), where Sat’s audio-visual concert and film screening is happening. And finally, at the Chino Roces Warehouse (2135 Chino Roces, Makati), where exhibitions and the closing concert are at.

Asian artists are taking the festival’s front and center. Unlike previous years where a shitload of Westerners participated, this year's headliners come from our region of the globe. Representing Japan are Daisuke Tanabe and Yosi Horkawa, from Indonesia are Lifepatch and Rick Janitra; Thailand is participating by way of Stylish Nonsense. “Since the beginning, we’ve always wanted to have more interaction with artists and communities’ working in the Asia-Pacific. No coincidence here, we really wanted this from the beginning. Thanks to institutions like Japan Foundation, they made it possible for us,” says Tengal.

Children of Cathode Ray reunion! This is the band’s first performance in 13 years, so Tengal and punks of the 80s underground are terribly excited about this. Background check: Children of Cathode Ray is a three-piece outfit in the 80s comprised of names you’ve surely come across: Tad Ermitano is a well-established media artist and filmmaker. Jing Garcia is a well-known rock journo who made the successful transition as a tech journalist, and “Magyar is an all around handy man. They were underground before we were underground,” exclaims Tengal.

WSK is for the artist as it is for the audience. Tengal would like to think of WSK as a “festival as a laboratory” experience. “A chosen methodology of the festival is that of shaping new interactions. There’s a more process-based approach: We fly in foreign artists to collaborate with local artists, and then we present the collaboration to the public during festival proper, be it as a concert, an installation, an exhibition, or a series of interactions in the open studio,” Tengal says.

Get in on the program. Because WSK champions the alternative, Tengal says there are always new people checking them out. “Maybe because what we do is so strange at first, people can’t determine if they would like it. But almost always, there’s at least one fellow who sticks to it [because] it changes his perspective on art, and then moves on,” he says.

But there’s still a long way to go. “In terms of the art market, so far, collectors and galleries [still] get confused and concerned about things that plug in! Ha ha!”

The after-party party: Pork, inasal, Chinatown, and traffic notes. Tengal is looking forward to getting his Japanese and North American guests to try lechon, sisig, street food, “and other evil things. But we will have some Muslim artists from Indonesia, too, so we will have to take them to Inasal places. And Chinatown! Regardless of their nationality, I think we are all united by the same things Filipinos are bound to: good food, booze, and hatred for traffic. It would be fun to compare traffic notes from those guys from Jakarta and Bangkok!”

The wisdom of the nipple. When asked what’s the best thing he’s learn in the five years he’s been at it, Tengal says: “The only intuitive interface is the nipple. Everything is learned after.”

By Lou Albano October 31, 2014 for Coconuts Manila

http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

Saturday, September 13, 2014

autoceremony at Today X Future



Will perform at Today X Future. Will test new sound software for Children of Cathode Ray reunion.

Friday, August 08, 2014

MUSIKO IMBENTO


MUSIKO IMBENTO invites all crafters, hobbyists, instrument builders, college students, teachers, performers and supporters of self-built musical instruments in the Philippines to attend the third MUSIKO IMBENTO event happening on August 9, 2014, 7:00 p.m. at Sev’s Café. 

MUSIKO IMBENTO is a one-of-a-kind event where you can DISCOVER, LEARN and PLAY self-built musical instruments from the Philippines. Be inspired to create your own instruments using re-purposed objects, scraps, electronic parts, old toys, and other odds and ends.

There will be a presentation of the different instruments, workshop, short film showing, raffle draw, meet-and-greet session with the instrument makers and live performances.

Feel free to bring your own self-built instruments for an open jam and drum circle. Poster design by Reese Lansangan Feel free to share, twit and repost.

Event Details/Program

MUSIKO IMBENTO Show and Tell/Live Performance/Open Jam Date and Time: August 9, 2014– Saturday, 7:00PM

Venue: Sev's Cafe Basement Level, Legaspi Tower Roxas Blvd. cor. P. Ocampo, Malate Across Cultural Center of the Philippines (CCP) 

Ticket: Php200 pesos P100 consumable at Sev's Café

FEATURING: Erick Calilan Jean Paul Zialcita Jing Garcia a.k.a. autoceremony Jon Romero Modulogeek Richard John Tuason Cris Garcimo

PROGRAM*

6:00 Registration

7:00 Circuit-Bending 101 Workshop By Erick Calilan 

8:50 Documentary/Short Film Showing Building the Shruthi-1 Analog/Digital Synth Time Lapse Video by Modulogeek Bleeps for Peeps: The Modulogeek Q&A http://pinoytuner.com/digradio/content/news/1982/bleeps_for_peeps__the_modulogeek_q_a Jeepnilamella: Custom Musical Instrument for Jeepney Orchestra by Cris Garcimo

9:00 Radio Elemento by Jon Romero Sound devices using deconstructed portable radios and electronic scraps 9:30 Ensemble by Richard John Tuason Featured on GMA’s SAKSI

10:00 Live performance by Jing Garcia a.k.a. autoceremony (Special Guest Performer) Sound artist; producing post-music soundscapes and sound design through analog and digital audio hardware and software synthesis manipulation; founding member of pioneer sound art group “Children of Cathode Ray” autoceremony.blogspot.com

10:30 Make and Play Your Own Percussion using Trash Cans and Water Containers (Sinawali and Aquadrums) By Jean Paul Zialcita, Percussion Performance Artist;Featured on AHA! GMA Channel 7 and recently on “Green Living”, ANC's lifestyle magazine show about sustainable urban living.

11:00 OPEN JAM/DRUM CIRCLE FOR CREATIVITY and PEACE Bring your own handmade/self-built musical instruments or any percussion instrument. *Subject to change without prior notice

Ticket: Php200 pesos P100 consumable at Sev's Café For more information, please email musikoimbento@gmail.com

Special thanks to Sev’s Café. https://www.facebook.com/SevsCafe http://www.kamustamagazine.ph/review-green-goodness-at-sevs-cafe/

Poster Design by Reese Lansangan http://reeseypeasy.com/

Monday, March 17, 2014

Bali-ing at Dawn by autoceremony (2013)




'Listen to My Music': National Artist Jose Maceda's life and works at the Vargas Museum, from June 25 to July 26, 2013.

Mantracks by Childen of Cathode Ray (early 90s)

A rare and original recording from Children of Cathode Ray, and with vocals at that!

Retitled to 'Mantracks' this experimental, quirky pop-ish tune was recorded sometime in the early 90s with Magyar Tuazon laying the lead voice. Primitive as it may seem, please excuse the quality of the recording since all the tracks were bounced several times on two-track stereo cassette tapes.

Except for the digital transfer to the computer, most of the original recording was retained to maintain its authentic analog reproduction.

Children of Cathode Ray was established in 1989 and regarded as one of the earliest experimental sound art groups in the Philippines. Its original members were: Tad ermitano on video, visuals, bass, synthesizers, electronics, efx, computers; Jing Garcia (a.k.a. autoceremony) on audio, synthesizers, electronics, efx, computers; Blums Borres on lead guitars, efx, graphics, computers; Peter Marquez on lighting effects, electronics, photos and visuals; Regiben Romana on percussions, efx; Magyar Tuazon on visual effects, bass, electronics

The Electric Sound of Electricity by autoceremony

Uploaded on Jul 17, 2011 my contribution to 'The World Listening Day' , July 18.

Electrostatic 09242008 by autoceremony


Uploaded on March 20, 2011. Jing Garcia a.k.a. autoceremony performing for the 'Electrostatic Sound Conference' on september 24, 2008 at Club Dredd, Eastwood City, Manila, Philippines.

Edit by Children Of Cathode Ray (1994) [autoceremony]

'Edit' by Children of Cathode Ray': from the 1995 'Numeric Sampler 502' CD

Renaissance by autoceremony


Uploaded on Aug 1, 2011 a rare live performance by autoceremony at the 'fete dela wsk!' in November 2010 at B-side, The Collective in Makati City. http://www.wskfete.com/ autoceremony (Jing Garcia) is a sound artist based in Manila, Philippines.

INC. by Children Of Cathode Ray (1995) [autoceremony]

'INC.' by Children of Cathode Ray: from the 'Numeric Smapler 502' CD.

I Am by Dominguez Shimata Colony (1996) [autoceremony]

'
I Am' by Dominguez-Shimata Colony: from the 1996 'Numeric Sampler 507' CD

Saturday, March 16, 2013

Limitations Of Remedies by Dominguez-Shimata Colony (1996 [autoceremony]

'
'Limitations of Remedies' by Dominguez-Shimata Colony: from the 1996 'Numeric Sampler 504' CD.

Diagram by Children Of Cathode Ray (1995)

'Diagram' by Children of Cathode Ray: from the 1995 'Numeric Sampler 502' CD.

Thursday, October 11, 2012

U2 producer Brian Eno creates new iPad ‘Scape’

Celebrated music producer and experimental musician Brian Eno explains why his newest release 'Scape', which comes in the form of an iPad app, will change the way people make and listen to music. Reuters' Matt Cowan reports

Saturday, March 26, 2011

raymanray by children of cathode ray

A rare original recording from Children of Cathode Ray, and with vocals at that!

Retitled to 'Raymanray' this experimental, quirky pop-ish tune was recorded sometime in the early 90s with Magyar Tuazon laying the lead voice.

Primitive as it may seem, please excuse the quality of the recording since all the tracks were bounced several times on two-track stereo cassette tapes. Except for the digital transfer to the computer, most of the original recordings were retained to maintain its authentic analog reproduction.

Children of Cathode Ray was established in 1989 and regarded as one of the earliest experimental sound art groups in the Philippines. Its original members were:

Tad Ermitano on video, visuals, bass, synthesizers, electronics, efx, computers;
Jing Garcia (a.k.a. autoceremony) on audio, synthesizers, electronics, efx, computers;
Blums Borres on lead guitars, efx, graphics, computers;
Peter Marquez on lighting effects, electronics, photos and visuals;
Regiben Romana on percussions, efx;
Magyar Tuazon on visual effects, bass, electronics