Humor, as a source of fun, provides panacea from stress. There are writers whowrite humorous stories, but few use humor as a literary device. Alejandro Roces isone of the few, but no literary critical evaluation is made about his fiction because heis more popular as Filipino journalist. Thus, this study, entitled “Humor in AlejandroRoces’ Short Fiction”, aims to ignite aesthetic stimulation by critical analysis toassess its literary merits. His fiction, “We Filipinos Are Mild Drinkers,” “Of Cocksand Hens,” “Of Cocks (...) and Kings,” “Of Cocks and Battle Cocks,” and “Of Cocksand Super Cocks”, as qualitative research work, leans on formalistic and mimeticapproaches to Literature. Consequently, the key findings illustrate how humordevelops an uncommon conflict of an inveterate gambler-protagonist because insteadof feeling burdensome of his struggle, readers experience relief and release of tension.Moreover, some collective satirized peculiar Filipinism include English speechaffectations, gambler’s inveteracy, Hispanic cultural attitudes and traditionalism.Hence, Roces’ characterizations and themes inherently reveal humor that satirizespeculiar Filipinism. For deeper aesthetic stimulation, this study should be comparedand contrasted with the fiction of local and foreign humorists. Keywords: Literature and Communication, humor, inveteracy and satirized peculiarFilipinism, fiction, content analysis, Philippines. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Children from various countries have been acknowledged and studied for their ability to philosophize, while, unfortunately, Filipino children have not received similar recognition. In this paper, I make a rather unpopular claim that Filipino children can and already are doing philosophy in their efforts to make sense of their existential conditions. “Doing philosophy” here refers to the act of being perplexed by one's own or other people's experiences and making an effort to comprehend them. Filipino children, are (...) a vast and diverse group, coming from various backgrounds, speaking different or even multiple languages, and representing rich cultures and unique circumstances. This diversity adds richness to the wide array of experiences from which existential questions can emerge. However, to truly comprehend the philosophical thinking of Filipino children, they need opportunities and guidance to explore their existential questions and solutions, regardless of how tentative or rudimentary these may seem to adults. Without such opportunities, it remains unclear to what extent their thinking engages with philosophical themes and issues. This not only offers Filipino adults a view of children’s inner worlds but also brings fresh perspectives to commonly held assumptions. (shrink)

A number of paradigms have been proposed to understand the sources of meaningful work, but a non-Western approach has attracted little attention. This study aims to make a theoretical contribution toward an understanding of meaningful work from a virtue-ethics framework that is culturally meaningful and relevant to Filipino realities and their distinct cultural heritage. It develops a paradigm for a Filipino view of meaningful work that could guide both researchers and practitioners in business ethics by defining what is (...) meaningful work, explaining why it is important, and presenting some examples of concrete measures that management can utilize to promote meaningful work in the Philippine workplace. (shrink)

An examination of the state of journalism and the need for change. For students and professionals on journalism fields.

Schools worldwide have started opening doors to welcome back students who, for almost two years, have been stuck studying at home. This study looks at the standpoint of Filipino students on going back to regular face-to-face schooling. There were 2,274 students of different tiers of education (high school, collegiate, graduate) from different major island groups of the Philippines (Luzon, Visayas, Mindanao) who participated in the study. The study used a mixed-method of descriptive statistics to present the quantitative data gathered (...) and thematic analysis of qualitative responses from the subjects. The majority of all the respondents favored going back to the physical classroom, and little only favored staying using the distance mode. In the qualitative analysis, the recurring reasons of the students varied from personal, economic, and fear of getting the virus. It was concluded that Filipino students want to go back to schooling. Moreover, a sizeable amount preferred hybrid while a small number preferred to stay in online or distance mode. Educational institutions should always observe the covid 19 protocol when students go back. (shrink)

This book combines the insights of a seasoned journalist with those of an expert on philsophical ethics to provide a penetrating and comprehensive guide to the ethics of news reporting. It is essential reading for anyone interested in the role the press plays in influencing social, economic, and political choices in modern society. Drawing on a wealth of real-life cases, The Virtuous Journalist melds for the first time a conceptual analysis of the critical moral problems in journalism with a (...) solid understanding of the constraints and possibilities faced by the print and electronic media. The authors are not First Amendment absolutists but believe nonetheless that, in a democracy, the media should be subjected to minimal legal restraint. They also argue that freedom from legal restraint requires increased moral responsibility. Among the specific topics treated in the book are notions of morality and fairness, journalistic competence, standards of objectivity and accuracy, avoiding bias, avoiding harm, notions of public service, and maintaining public trust. Specific cases discussed include the controversy surrounding the CBS documentary "The Uncounted Enemy" and recent reporting on the AIDS epidemic. (shrink)

In tracing historically the development of Filipino philosophy as traditionally conceived, the author discovered that the early Filipino philosophers were Enlightenment thinkers. This was the direct consequence of the Filipino colonial experience and the explanation why the trajectory of Filipino philosophy is basically Western in orientation.

"Using hundreds of examples from newsrooms large and small, author Ron F. Smith challenges readers to determine how they would face moral dilemmas on the job. Chapters evaluate the search for principles, accountability, truth and objectivity, errors and corrections, diversity, "faking" the news, reporters and their sources, privacy, the government watch, deception, compassion, the business of news, journalists and their communities, and financial concerns. New to this edition: a chapter on improving coverage of minorities, expanded discussion of broadcast journalism (...) and reporting on the Internet, and stories from recent front pages and TV news programs."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Based on a survey of editors, publishers and staff members of 300 newspapers, this work documents the ethical confusion in the American press in the wake of the Watergate scandal and the Pentagon Papers controversy. It provides an analytical and historical framework to show how the press reached this point and argues for an ethical audit to give publications an independent check on their moral condition.

Ang pagpapalaganap ng wikang Filipino ay hindi payak na romantisasyon ng nasyonalismo. Sa halip, ito ay instrumento tungo sa higit na demokratisasyon ng wikang Filipino, at samakatuwid ay may malalim na implikasyon sa usapin ng katarungang panlipunan. Sa kontekstong ito mabibigyang-diin ang dulot na suliranin ng Dambuhalang Pagkakahating Pangkalinangan, na dahilan kung bakit mas namomonopolisa ng elit ang mga daluyan ng kapangyarihan tulad ng edukasyon, komersyo at pulitika. Tungo sa paghahanap ng lunas sa suliraning ito, makatutulong ang pagsasa- (...) class='Hi'>Filipino ng agham panlipunan bilang esensyal na bahagi ng sistemang pang-edukasyon. -/- Bilang ambag sa adhikaing ito ng pagsasa-Filipino ng agham panlipunan, naglunsad ang pag-aaral na ito ng isang payak na bahaginan ng best practices para sa pagsasa-Filipino ng pagtuturo at pananaliksik sa antas ng silid-aralan at Departamento/Kolehiyo. Hinalaw ang best practices na ito mula sa iba’t ibang guro, mananaliksik, at institusyon, para makabuo ng isang munting imbentaryo ng mga “armas-panturo.” Binubuo ang imbentaryong ito ng 17 gawi/aktibidad/programa para sa antas ng silid-aralan, at 6 gawi/aktibidad/programa para sa antas ng Departamento/Kolehiyo. Nilalayon na maging munting batis ang imbentaryong ito para sa pagpapainam ng pedagohiya ng mga guro at polisiya ng mga institusyon tungo sa higit na pagsasa-Filipino ng pagtuturo at pananaliksik sa agham panlipunan. (shrink)

Since the introduction of radio and television news, journalism has gone through multiple transformations, but each time it has been sustained by a commitment to basic values and best practices. Journalism Ethics is a reminder, a defense and an elucidation of core journalistic values, with particular emphasis on the interplay of theory, conceptual analysis and practice. The book begins with a sophisticated model for ethical decision-making, one that connects classical theories with the central purposes of journalism. Top (...) scholars from philosophy, journalism and communications offer essays on such topics as objectivity, privacy, confidentiality, conflict of interest, the history of journalism, online journalism, and the definition of a journalist. The result is a guide to ethically sound and socially justified journalism-in whatever form that practice emerges. Journalism Ethics will appeal to students and teachers of journalism ethics, as well as journalists and practical ethicists in general. (shrink)

The meta-philosophical discussion on ‘what is Filipino philosophy?’ is an attempt to provide clarifications of apparent misconceptions about philosophy ‘as a discipline’, that whenever we talk about ‘non-western’ philosophy (more specifically Filipino philosophy), so to speak, we are basically applying a Western concept to non-western systems of thought. We are comparing different systems of thoughts and literatures by the Western standards. The investigation eventually arrived at the inevitable discussions on the distinctions between: [1] ‘philosophy as a discipline’ and (...) ‘philosophy as a system of thought,’ and [2] ‘Filipino philosophy’ and ‘Filipino philosopher’ Keywords: Filipino philosophy, Filipino philosopher, Logic, Nationality, Citizenship. (shrink)

Filipino lakas tawa, with examples drawn from the 1986 Filipino revolution, is interfaced with lament based on the Book of Lamentations with parallel examples from W. E. Burghart Du Bois’s “A Litany at Atlanta.” This interfacing is brought to bear on the article’s central thesis: Lakas tawa and lament are two ways of being and doing in the face of suffering and death, but are intrinsically woven into the tapestry of one human reality. They are two paths of (...) resistance, both deeply connected to faith and religion, though in different ways. Where they converge and diverge, they have the power to subvert oppressive systems and the potential of transforming them. (shrink)

Introduction -- What is journalism for? -- Truth: the first and most confusing principle -- Who journalists work for -- Journalism of verification -- Independence from faction -- Monitor power and offer voice to the voiceless -- Journalism as a public forum -- Engagement and relevance -- Make the news comprehensive and proportional -- Journalists have a responsibility to conscience -- The rights and responsibilities of citizens.

Novio, Eunice Barbara & Mark Joseph Santos (trans.). 2023. Filipino black jack: Maikling tala tungkol sa mga kawatang Pilipino sa Laos at Vietnam. In Banwa at Layag: Antolohiya ng mga Kuwentong Paglalakbay ng mga Pilipino sa Ibayong Dagat, ed. Axle Christien Tugano, pp. 179-181. Manila: Limbagang Pangkasaysayan.

Journalists depend on two vectors of trust: the trust invested in them by their sources, and the trust invested in them by their end-users. For many years, trust has become a key issue in the articulation of the journalistic profession. This paper distinguishes between two traditional approaches to earn public trust: either through an emphasis on the ideal of objectivity, or by a sort of showing one’s cards: an explicit declaration of one’s subjectivity. Through a reading of Løgstrup, Derrida, and (...) Deleuze, we argue that both positions are inadequate solutions to the problem of trust. In as much as subjectivity is continuously negotiated in interaction with the unknown and the uncontrollable, the poles of objectivity and subjectivity cannot define the narrative event without each supplementing the other. To escape from this impasse, we suggest a third approach: a hospitable journalism characterized by a hospitable attitude towards the uncontrollable and the strange, or unknown, which operates to make the individual more aware of herself and her place in the world. This invitation happens through a silencing of the self. (shrink)

"Journalism, Ethics and Society provides a comprehensive overview and critical analysis of debates within media ethics in relation to the purpose of news and ...

A number of paradigms have been proposed to understand the sources of meaningful work, but a non-Western approach has attracted little attention. Because some authors have argued that meaningful work has positive valence that has eudaimonic rather than hedonic content, a virtue-ethics approach to meaningful work has been used. Virtue ethicists acknowledge that our work and places of employment have a profound influence in shaping our character and living a fulfilled life. This study aims to make a theoretical contribution toward (...) an understanding of meaningful work from a virtue-ethics framework that is culturally meaningful and ethically relevant to Filipino realities and their distinct national heritage. It develops a conceptual model for a Filipino view of meaningful work that could guide both researchers and practitioners in business ethics by explaining what makes work meaningful, justifying why this is important, and presenting some examples of concrete measures that management can utilize to promote meaningful work in the Philippine workplace. By integrating Filipino virtues in conceptualizing meaningful work, I believe that a theoretical advancement is made toward a pluralistic and multicultural understanding of the concept, especially through the lens of virtue-ethics. (shrink)

With refreshing candour, Ian Richards, journalist and academic, examines the reasons why this particular profession is, apparently, so ethically challenged.

Ethics for Journalists tackles many of the issues which journalists face in their everyday lives-- from the media's supposed obsession with sex, sleaze and sensationalism, to issues of regulation and censorship. Its accessible style and question and answer approach highlights the relevance of ethical issues for everyone involved in journalism, both trainees and professionals, whether working in print, broadcast or new media.

The purpose of this paper is to examine the ways in which journalism—print and electronic—shapes our cultural fabric and modes of discourse. Journalists report facts and comment on them in a provocative style. They stimulate us with captivating images and colorful language, shifting our minds from a more intellectual contemplation of reality. Finally, journalists bring death into our lives through grim pictures of wars and natural disasters. I suggest that these relatively recent trends in journalism are responsible for (...) a gradual transformation in public discourse. Emotions, rather than rational thinking, are becoming our basis for understanding current events. As a result, journalists are minimizing the distance between us, as rational creatures of culture, and nature. (shrink)

The Philippine educational system and its core curriculum is oriented toward the formation of the modern, autonomous, rational subject, particularly one that will fit into the contemporary global market and production system. Through this system, Filipinos are deepening the colonization of their rationalities and subjectivities by imposing a system that shapes a subject who exists to serve the global market by being a fit worker, consumer, entrepreneur, and producer of knowledge. However useful this educational system may be, it does not (...) consider the ‘Filipino’ subjectivity’s need for formation as a loob who is a kapwa. The Filipino subjectivity which is grounded on the experience of a loob filled with liwanag opening to the world, needs an education in its own capacity for knowing and realizing its well-being. The conception of the subject in relation to the world calls for a different kind of education, particularly in the development of indigenous skills in humanistic research. This paper will argue that as a Filipino student is subjected to the imposition of the dominant Western educational system, they should also equally be given an education in their own rationality rooted in their own native subjectivity. A people must have the opportunity to be trained in their own rationality rooted in their own subjectivity in order to evaluate its value for human flourishing. (shrink)

This hard-hitting expose; discusses the erosion of standards and values in the media world of newspapers, TV, and radio over the past 20 years—in particular those of integrity, independence, thought, and accuracy. The general public is becoming increasingly aware of the unsatisfactory state of affairs in media journalism, which is highlighted by the periodic distortions caused by the political ambitions of chief executives and tycoons, misleading headlines, and its extraordinary obsession with celebrity culture. This study is essential reading for (...) the majority of us who care about the destructive effects of spin, misrepresentation, deception, social and international prejudice, the purveying of half-truths in relation to crucial issues that affect our future, and the failure to report fully and accurately on matters that have a bearing on freedom and democracy. (shrink)

In recent work, Stephen John (2018, 2019) has deepened the social epistemological perspective on expert testimony by arguing that science communication often operates at the institutional level, and that at that level sincerity, transparency, and honesty are not necessarily epistemic virtues. In this paper I consider his arguments in the context of science journalism, a key constituent of the science communication ecosystem. I argue that this context reveals both the weakness of his arguments and a need for further analysis (...) of how non-experts learn from experts. (shrink)

This book makes the case for the news media to take the lead in combatting key threats to American society including racial injustice, economic disparity, and climate change by adopting an "ethics of care" in reporting practices. Examining how traditional news coverage of race, economics and climate change has been dedicated to straightforward facts, the author asserts that journalism should now respond to societal needs by adopting a moral philosophy of the "ethics of care," opening the door to empathetic (...) yet factual and fair coverage of news events, with a goal to move public opinion to the point that politicians are persuaded to take effective action. The book charts a clear path for how this style of ethics can be applied by today's journalists, tracing the emergence of this empathy-based ethics from feminist philosophy in the 1980s. It ultimately urges ethical news organizations to adopt the ethics of care, based on the human emotion prioritized by Scottish Enlightenment philosopher David Hume, and to pursue a more pro-active, solutions-seeking coverage of current events. This is an invaluable text for students and academics in the fields of journalism ethics, media ethics and media law, as well as for media professionals looking for a fresh perspective on practicing ethical journalism. (shrink)

Purpose This study investigates the incidence of ethical violations in the Ghanaian press which has become topical in the wake of misinformation in a charged political atmosphere. Public interest institutions have questioned the unprofessional conduct of journalists covering election campaigns in recent years. This study content analysed political stories from two leading Ghanaian newspapers (Daily Graphic and Daily Guide) to determine the nature and extent of ethical violations, and to examine the level of prominence accorded to political news stories by (...) the two dailies. Design/methodology/approach This paper relied on qualitative content analysis for data gathering and analysis. A total of 387 political news items published between 1 October and 30 November 2020, were analysed. Findings This study found infractions of various nature to Article 1 of the Ghana Journalists Association (GJA) codes of ethics, chief among which is the deliberate publications of news stories without cross-checking facts. Other infractions to Articles 17, 11, 6 and 5 of the GJA codes of ethics were observed. Political news coverage favours the governing New Patriotic Party (NPP) and the main opposition National Democratic Congress (NDC) than any other parties, with the two parties (NPP-NDC) given greater prominence and salience by the Ghanaian press. Originality/value The research makes a modest contribution to the growing concern of journalism ethics in an increasing ecology of fake news. (shrink)

Ethics in Journalism examines journalism ethics in practice. It examines the social context of the newsroom, the economics of the news industry and cultural expectations of what constitutes news. Covering ethical issues in the multimedia journalism environment of the 21st Century, Ethics in Journalism updates theory and history through a discussion of contemporary and recent case studies that are aligned with the underlying principles of various codes of ethics and charters of editorial practice. The book provides (...) contextualized case studies and discussion questions for classroom use, covering ethical issues in a logical manner, beginning with broad principles before focusing on specific examples. (shrink)

Despite its attraction for journalists and others, communitarianism corrupts a liberal democracy and denies a community the ability to make reason-based decisions by becoming highly rule oriented and static with self-protection as the driving motive. Civic or public journalism that retains its pluralistic characteristics may still encourage moral development of individuals, particularly journalists, to assure a dynamic society. Communitarian journalism, however, devalues truth in favor of community loyalty and conformity at the expense of individual moral development.

What are ethics? -- News : towards a definition -- Morality of reporting -- The good journalist -- Truth, accuracy, objectivity and trust -- Privacy and intrusion -- Reputation -- Gathering the news -- Reporting the vulnerable -- Deciding what to publish -- Taste and decency : harm and offence -- Professional practice -- Regulation -- History of print regulation -- History of broadcast regulation -- Codes of conduct as a regulatory system -- Press regulation systems in the UK and (...) Ireland -- Broadcast regulation systems in the UK and Ireland -- The experience abroad. (shrink)

This volume is an introduction to the underpinnings of journalism ethics, and a guide for journalists and journalism teachers looking for ways to form consistent and informed ethical decisions.

What are ethics? Why does ethical journalism matter? How do ethics affect good journalism? Ethics and Journalism provides a comprehensive overview of the main approaches to ethical enquiry in Western journalism. It examines the ethical dilemmas faced by journalists in all areas of the media and sets our ways of achieving ethical journalism. Ethics and Journalism: - Explores such subjects as: private lives and the public interest, relations to sources and coverage of death, disease (...) and destruction - Examines the role of regulation and self-regulation of the media industry - Discusses strategies of good journalism - Thoroughly examines the role of industry codes. Ethics and Journalism is informed by interviews with top journalists and editors and is written in a clear and accessible style. It includes an exhaustive bibliography as well as an excellent list of relevant web-sites. It will be essential reading for all journalism, media and politics students studying journalism and ethics, as well as for those who already work in the media and are interested in understanding ethical issues. (shrink)

In this paper, the author makes the distinctions between traditional and cultural approaches to philosophy and between philosophers and scholars of philosophy, explains why the Filipino philosophy that developed is Western in orientation, discusses the problems of philosophy in the Philippines, argues for the relevant linkage of philosophy to nation building and, among others, enumerates some principles that help guide the author in developing philosophy in the Philippines.

Journalism is being transformed by the digital revolution. Journalists working for media organisations are having to file and update stories across multiple platforms under increasing time pressures. Meanwhile, anyone with sufficient literacy skills and access to the internet can aspire to practise journalism, and many are doing so. And yet journalism in any form still depends for its legitimacy on the observance of ethical principles and practices. For example, it has to maintain a commitment to telling the (...) truth, and to minimise deception and betrayal; deal with conflicts of interest; protect sources and their confidences; know how to report on traumatised and vulnerable people; and know when to respect privacy. Journalism Ethics for the Digital Age covers all these areas and more. It traces the ethics of journalism from their origins in philosophy to the new challenges brought about by digital technology, with practical examples to show how ethical values and principles can play out in the real world. An invaluable tool for ethical decision-making, this is a book for professional journalists and citizen journalists, for students in the disciplines of journalism, media, communications, and applied ethics, and for the engaged reader everywhere. (shrink)

The Ethical Journalist gives aspiring journalists the tools they need to make responsible professional decisions. Provides a foundation in applied ethics in journalism Examines the subject areas where ethical questions most frequently arise in modern practice Incorporates the views of distinguished print, broadcast and online journalists, exploring such critical issues as race, sex, and the digitalization of news sources Illustrated with 24 real-life case studies that demonstrate how to think in 'shades of gray' rather than 'black and white' Includes (...) questions for class discussion and guides for putting important ethical concepts to use in the real world Accompanying website includes model course schedules, discussion guides, PowerPoint slides, sample quiz and exam questions and links to additional readings online: www.wiley.com/go/foreman. (shrink)

El Paso Times journalists routinely face ethical dilemmas as they cover difficult stories amid all of the violence in neighboring Ciudad Juarez. This ethnographic study, which utilizes participant-observation and in-depth interviews, examines how journalists deal with tough ethical choices. It reveals how reporters and editors at the El Paso Times consider the needs of the public and the ramifications of their stories. The journalists strive to be accurate and fair while protecting their sources and themselves. They weigh the importance of (...) each story with its potential for risk. (shrink)

A timely new edition of the classic journalism guide, now featuring updated material on the importance of reporting in the age of media mistrust and fake news--and how journalists can use technology while also navigating its challenges. More than two decades ago, the Committee of Concerned Journalists gathered some of America's most influential newspeople to ask the question "What is journalism for?" Through exhaustive research, surveys, interviews, and public forums, they identified the essential elements that define journalism (...) and its role in our society. The result is one of the most important books on the media ever written, winner of the Goldsmith Book Prize from Harvard, the Society of Professional Journalists Award, and the Bart Richards Award from Penn State University. Updated with new material covering the ways journalists can deftly leverage technology to their advantage, especially given the shifting revenue architecture--with "clickbait" fading away and consumers paying a higher premium for quality reporting--this fourth edition of The Elements of Journalism is an essential read for journalists, students, and anybody hoping to stay informed in contentious times. (shrink)

A provocative study of the complex relations between philosophy and journalism.