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Stuff To Do (11/10/23)


Operatic twin bill this weekend

GLOBE and non-profit opera company LyrOPERA present the twin bill, Cavalleria Rusticana and I Pagliacci on Nov. 10 and 12 at St. Cecilia’s Auditorium in St. Scholastica’s College, Malate, Manila. The event is in support of the Globe-led Hapag Movement’s mission to combat widespread hunger and unemployment afflicting millions of Filipinos. Proceeds from the back-to-back operas will directly support the Hapag Movement and the LyrOPERA scholarship fund. The Philippine Philharmonic Orchestra will perform for both operas, under the direction of conductors Fan Ting for Cavalleria Rusticana and Horst-Hans Bäcker for I Pagliacci. Carlos Siguion Reyna will lead stage direction for I Pagliacci. Performing are Hong Kong opera artists Leung Siu Kwan, Vicki Wu, Henry Ngan, Michael Lam, and Christy Li in the main roles for Cavalleria Rusticana while Philippine opera artists Sherwin Sozon, Rica Nepomuceno, Zip de Guzman, and Glenn Gaerlan, along with American Isaac Droscha headline I Pagliacci. Globe and LyrOPERA raised P200,000 for the Hapag Movement through their recent fundraiser concert, Music of Yesteryears. With the aid of the Tzu Chi Foundation, these funds will be used to help over 1,000 tech-voc and college scholars. Tickets to the opera twinbill are available at TicketWorld.  To learn more about the Hapag Movement, visit http://www.globe.com.ph/globeofgood.


Global Pinoy Bazaar kicks off Christmas shopping

TO BEAT the Christmas rush, the 24th Global Pinoy Bazaar will take place from Nov. 9 to 12 at Palm Drive Activity Center, Glorietta 2, Makati. Organized by Yabang Pinoy with merchants including Arts and Letters Manila, it will showcase Philippine-made items and unique hauls just in time for holiday gift-giving. For more information, check out Yabang Pinoy’s social media pages.


Likhang Habi market fair comes to BGC

BRINGING together more than 20 artisans, craftsmen, and designers is a three-day showcase of some of the finest handcrafted products. HABI Philippine Textile Council’s Likhang Habi market fair will have another run on Nov. 10 to 12 at Central Square Mall in Bonifacio Global City (BGC), Taguig. It will feature textiles, shoes made from sustainable materials, limited edition bags and accessories, contemporary home decor, and jewelry. “Every item is a reflection of the remarkable craftsmanship and creativity that defines Philippine culture,” HABI said in a Facebook post. “It’s a chance to witness the convergence of tradition and modernity, sustainability and style, all under one roof.”


Anytime Fitness holds its own 11.11 sale

IN TIME for the many sales in shopping platforms this November, global gym giant Anytime Fitness shall be joining the fray, waiving fees and offering discounts to let Filipinos reach for their fitness goals. The 11.11 Fitmas Mega Sale from Nov. 11 to 15 will waive joining fees during the five-day period, with discounted 12-month memberships at 15% off, for P2,125. This offer runs is available nationwide in all 145 branches of Anytime Fitness Philippines. For more details, visit Anytime Fitness’ website.

Italpinas terminates joint venture with Lanvin

LISTED real estate developer Italpinas Development Corp. (IDC) said its board agreed to terminate its joint venture agreement with Lanvin Natural Resources Corp.

In a stock exchange disclosure, the company said its board had agreed with the termination of the joint venture and the outright purchase of the property.

It said the termination and the deed of absolute sale were signed by both parties on Nov. 9.

IDC had agreed to enter an unincorporated joint venture agreement with Lanvin to develop about 5,347 square meters for the second phase of its Miramonti Green Residences project.

According to its website, the project was launched in 2018 and sits in Sto. Tomas, Batangas.

With this development, the company will purchase the property from Lanvin, IDC said.

“With the termination of the joint venture and the outright purchase of the property at the same price at which Lanvin bought it from RFM, IDC stands to appropriate the profits from the development without having to share the same with the landowner,” IDC said.

The company said that the previously signed joint venture between both parties had allowed IDC to secure the property without allocating capital expenditures.

Under its joint venture, Lanvin provided consultancy services and contributed the property with an area of 5,347 square meters, while IDC was supposed to develop the area for the P1.8-billion condominium project.

At the local bourse on Thursday, shares in the company closed unchanged at P0.73 apiece. — Ashley Erika O. Jose

Picasso painting sells for $139 million, most valuable art auctioned this year

ablo Picasso’s 1932 painting Femme à la montre sold for more than $139 million at a Sotheby’s New York auction. — SOTHEBYS.COM

NEW YORK — Pablo Picasso’s 1932 painting Femme à la montre sold for more than $139 million on Wednesday at a Sotheby’s New York auction, making it the most valuable work of art sold globally at an auction this year.

The work is a standout of New York City’s fall art auction season, seen by many as a bellwether for the art market. It went under the hammer as part of an estimated $400 million sale of the collection of late philanthropist Emily Fisher Landau.

The nine-digit price made it the second most-expensive Picasso painting to sell at auction, behind Les femmes d’Alger (Version ‘O’), which fetched $179.3 million, including a buyer’s premium, at Christie’s in 2015.

Femme à la montre, which translates from French to Woman with a Watch, is a portrait of the artist’s lover Marie-Thérèse Walter seated in a throne-like chair against a blue background. The titular wristwatch is a motif also seen in artwork Picasso made of his wife, Russian-Ukrainian ballerina Olga Khokhlova.

Ms. Walter was 17 years old when she met the 45-year-old Picasso in Paris, and the two later entered into a secret relationship while he was still married to Ms. Khokhlova. Ms. Walter became his subject for a number of artworks, including the 1932 painting Femme nue couchée, which sold for $67.5 million at auction in 2022.

Picasso painted Femme à la montre at a pivotal year in his career. At 50 years old, he had already achieved widespread fame by 1932 but ramped up his ambitions to silence critics who questioned “whether he was an artist of the past rather than the future,” according to the Tate Modern museum.

Ms. Fisher Landau bought the painting from New York’s Pace Gallery in 1968 and kept it above the mantle in her Manhattan apartment, according to Sotheby’s.

An anonymous buyer beat out two other bidders for the painting. — Reuters

Co-working space firm to open 8 locations in 2024

MULTINATIONAL office solutions firm International Working Group plc (IWG) plans to open eight new locations next year amid growing demand for hybrid working solutions.

“The Philippines is a fast-growing, dynamic market and we’re seeing rapidly growing demand for hybrid working solutions amongst businesses of all sizes,” said Lars Wittig, IWG Country Manager for the Philippines, in a press release.

“Through our extensive network of locations, IWG has over three decades worth of expertise in helping businesses discover their perfect workspace solutions,” he added.

One of its new facilities, Regus Nepo Centre, will open in July 2024 in a 1,292 square meters (sq.m.) space in Angeles, Pampanga.

IWG will also open a 700-sq.m. HQ Triumph Building in Quezon City and a 1,000-sq.m. HQ Mahi Center in Cebu.

In partnership with PNB Holdings Corp., it is also opening Spaces PNB Makati Centre at the 2,050-sq.m. penthouse of the PNB building.

In the first half of 2024, it will open Regus AMA Tower Residences in Mandaluyong City and Regus Doña Elena Tower in Manila.

“As the demand for hybrid working rapidly accelerates, IWG will introduce a 987-sq.m. center at Regus Adriatico Square in Manila and a 1,610 sq.m. flexible workspace at Regus PMI Tower in Makati next year,” the company said.

This year, IWG has launched five new Regus locations, which are in Cagayan de Oro, Las Piñas City, Iloilo, Quezon City, and Subic Bay Freeport Zone.

“Through these new Regus, Spaces and HQ openings, IWG’s Philippine network will now operate 34 locations nationwide,” IWG said.

Meanwhile, it said that four out of five Filipinos prefer the hybrid work model, which has consistently increased in popularity in Metro Manila’s office.

As of the third quarter, the co-work footprint reached 239,000 sq.m., representing around 2% of the total leasable workspace in the region.

“With our deep understanding of the market and our industry-leading technology, we are working closely with real estate partners and investors to fuel our growth in The Philippines, sharing the same vision to provide world-class workspaces to millions across the country,” said Rowena Natividad, IWG’s growth and development head.

Globally, IWG plans to add 1,000 new flexible workspaces next year, with 612 new locations already added during the January-to-September period.

To date, its network coverage through its brands Regus, Spaces, HQ and Signature covers 3,500 locations in more than 120 countries. — Justine Irish D. Tabile

Is capitalism dead? Yanis Varoufakis thinks it is — and he knows who killed it

FREEPIC.DILLER-FREEPIK

Yanis Varoufakis grew up during the Greek dictatorship of 1967-1974. He later became an economics professor and was briefly Greek finance minister in 2015.

His late father, a chemical engineer in a steel plant, instilled in his son a critical appreciation of how technology drives social change. He also instilled him with a belief that capitalism and genuine freedom were antithetical — a leftist politics that made his father a political prisoner for several years during the “junta,” as they called it.

In 1993, when he first got the internet, Varoufakis’ father posed a “killer question” to his son: “now computers speak to each other, will this network make capitalism impossible to overthrow? Or might it finally reveal its Achilles heel?”

Varoufakis has been mulling it over ever since.

Though, sadly, it is now too late to explain to his father in person, Varoufakis’ new book Technofeudalism: What Killed Capitalism answers the question in the form of an extended reflection addressed to his father.

“Achilles heel” was on the right track. In his striking response, Varoufakis argues that we no longer live in a capitalist society; capitalism has morphed into a “technologically advanced form of feudalism.”

RENT OVER PROFIT
Traditional capitalists are people who can use capital — defined as “anything that can be used to produce saleable goods” (such as factories, machinery, raw materials, money) — to coerce workers and generate income in the form of profits. Such capitalists are clearly still flourishing, but Varoufakis argues they are not driving the economy in the way they used to.

“In the early 19th century,” he writes, “many feudal relations remained intact, but capitalist relations had begun to dominate. Today, capitalist relations remain intact, but techno-feudalist relations have begun to overtake them.”

Traditional capitalists, he proposes, have become “vassal capitalists.” They are subordinate and dependent on a new breed of “lords” — the Big Tech companies — who generate enormous wealth via new digital platforms. A new form of algorithmic capital has evolved — what Varoufakis calls “cloud capital” — and it has displaced “capitalism’s two pillars: markets and profits.”

Markets have been “replaced by digital trading platforms which look like, but are not, markets.” The moment you enter amazon.com “you exit capitalism” and enter something that resembles a “feudal fief”: a digital world belonging to one man and his algorithm, which determines what products you will see and what products you won’t see.

If you are a seller, the platform will determine how you can sell and which customers you can approach. The terms in which you interact, share information and trade are dictated by an “algo” that “works for [Jeff Bezos’] bottom line.”

The capitalists who rely on this mode of selling are granted access to the digital estate by its virtual landowners, the Big Tech companies. And if “vassal capitalists” don’t abide by the laws of the estate, they are kicked out — removed from Apple’s App Store or Google’s search index — with disastrous consequences for their business.

Access to the “digital fief” comes at the cost of exorbitant rents. Varoufakis notes that many third-party developers on the Apple store, for example, pay 30% “on all their revenues,” while Amazon charges its sellers “35% of revenues.” This, he argues, is like a medieval feudal lord sending round the sheriff to collect a large chunk of his serfs’ produce because he owns the estate and everything within it.

This is not extracting profit through the production or provision of goods and services, as these platforms are not a “service” in the sense in which the term is used in economics. They are extracting rents in the form of the huge cuts they take from the capitalists on their platforms.

There is “no disinterested invisible hand of the market” here. The Big Tech platforms are exempted from free-market competition. Their owners — “cloudalists” — increase their wealth and power at a dizzying pace with each click, exploiting a new form of rent-seeking made possible by the new algorithmically structured digital platforms. Parasitic on capitalist production, they are now dominating it.

CLOUD SERFS
But something even more transformative has happened, Varoufakis argues.

Even though most of us are regularly interacting with capitalists and earning wages via our labor, now, for the first time in history, all of us contribute to “the wealth and power of the new ruling class” through our “unpaid labor.”

Every time we use our cloud-linked devices — smartphones, laptops, Alexa, Google Assistant, Siri — we replenish the capital of the Big Tech cloudalists. This in turn increases their capacity to generate more wealth. How? We train their algorithms, which train us, to train them, and so on, in a feedback loop whose goal is to shape our desires and behavior. They are “selling things to us while selling our attention to others.”

This interaction, Varoufakis insists, is not taking place as any kind of market exchange, such as wages being paid by a capitalist to a group of workers. In this interaction, we are all high-tech “cloud serfs.”

The new advertising men of the postwar world, portrayed in the series Mad Men (Yanis is clearly a fan), thought television was amazing because of its power to deliver audiences to advertisers. They could innovate “attention-grabbing” ways of “manufacturing” consumer desires — and it was delivered free-to-air!

But, Varoufakis emphasizes, the ad men of the previous century could never have imagined the development of something like Amazon’s Alexa: a digital network learning “at lightning speed,” via the input of millions of people, how to train us. It is shaping our desires and behaviors in a process of perpetual reinforcement. Our experience and reality are increasingly algorithmically curated. And due to the incredible ease and utility, the information is all freely given.

So the “cloud capital” we are generating for them all the time increases their capacity to generate yet more wealth, and thus increases their power — something we have only begun to realize. Approximately 80% of the income of traditional capitalist conglomerates go to salaries and wages, according to Varoufakis, while Big Tech’s workers, in contrast, collect “less than 1% of their firms’ revenues.”

QUANTITATIVE EASING
So how did this dystopian turn happen without us really noticing the change? Varoufakis’ story is detailed, but he emphasizes two main drivers.

First, the “internet commons” of Web 1.0 transformed into Web 2.0, privatized by American and Chinese Big Tech.

Second, the colossal sums of central bank money that were supposed to refloat our economies in the aftermath of the 2008 Global Financial Crisis (GFC) — a process known as “quantitative easing” — were lent out to big business. Coupled with “austerity” economics for the many, this “murder[ed] investment” and led to what Varoufakis calls “gilded stagnation.”

Much of the central bank money, particularly following another round of quantitative easing during the COVID-19 pandemic, made its way to the Big Tech companies. Their share prices soared to astronomical levels.

The “world of money” was decoupled from the “real economy” where most of us live and work. In an environment where profit became “optional,” loss-making Big Tech companies run by “intrepid and talented entrepreneurs” chose to build up their cloud capital.

So along with markets being steadily replaced by digital platforms, central bank money displaced private profits as the fuel that “fire[s] the global economy’s engine.” Intended by G7 central bankers and their presidents and prime ministers to “save capitalism,” it has unintentionally helped finance the emergence of a new form of capital (cloud capital) and a “new ruling class.”

GFC: THE TURNING POINT
So why was the GFC such a pivotal point? Varoufakis has a lot to say. Here’s a brief sketch. (Bear with me!)

Crucial changes had taken place in our economies since the rise of large corporations in industry and banking, which grew ever bigger over the course of the 20th century, eventually becoming global in scale.

The Bretton Woods international financial system — designed to prevent the “greed-fueled recklessness” that led to the 1929 crash, the Great Depression and a world war — was abolished in 1971. From the 1970s, economies were progressively deregulated and free-market policies were increasingly enthusiastically practiced, leading to a new “financialized” version of capitalism.

This was facilitated by the suppression of workers’ wages and bargaining power. The weakened state was progressively captured by lobbyists for the interests of big business. And the hegemony of the US dollar in the global system led to a “tsunami” of dollars pouring back into US markets from Europe, Japan, and later China, “[enriching] America’s ruling class, despite its [large trade] deficit.”

By the new millennium, this had led to an orgy of speculation and, by 2007, the financiers, using “computer-generated complexity” to obscure the “gargantuan risks,” had “placed bets worth 10 times more than humanity’s total income.”

The new version of capitalism was failing. But it had grown to such scale and in such a complex, integrated “globalized” way that the banks and insurance companies were “too big to fail.” Their collapse in 2008 would have taken down the US banking system, and the rest of the world with it. Their hubris was thus “rewarded with massive state bailouts.”

What could have happened, as in Sweden in the 1990s, was to “kick out” the bankers, nationalize the banks, appoint new directors and, years later, sell them to new owners — thus saving the banks, but not the bankers.

What happened instead was that bankers, handed large bailouts, did not direct the money to where it was most needed. Neither punished nor chastened, they sent it straight to Wall Street. And there it stayed. Combined with the profits sent to Wall Street from the rest of the world, it eventually caused an “everything rally” that went on for over a decade.

This ultimately helped fuel the development of the cloud capital that has overtaken capitalism. And every time we use our devices, we contribute to its value. The more we transact via platforms, the further we move away from an economic system primarily driven by markets and profits, and the more power concentrates “in the hands of even fewer individuals” — a “tiny band of multi-billionaires residing mostly in California or Shanghai.”

A TECH-DRIVEN ECONOMIC REVOLUTION
Varoufakis suggests his theory helps us better understand extreme wealth inequalities, the “atrophied democracies” and “poisoned politics” of the West, geopolitics (he interprets the United States and China as two rival “super cloud fiefs”), the stalling of the green energy revolution, and more.

For Varoufakis, we are not just living through a tech revolution, but a tech-driven economic revolution. He challenges us to come to terms with just what has happened to our economies — and our societies — in the era of Big Tech and Big Finance.

The first decades of the 21st century have brought challenges that we are still struggling to come to grips with. One thing is for sure — we have no hope of improving things without properly understanding our predicament.

This book is a welcome contribution towards that task. A technofeudalist age, Varoufakis argues, is not inevitable. Despite the difficulties we face, we have the agency to reject “techno dystopia” and structure our institutions in ways that more meaningfully embody freedom and democracy.

Towards the end of Technofeudalism, Varoufakis canvasses some proposals, drawn from his earlier book Another Now (2020), for how to address these issues. These include ending the cloudalists faux “free service” model and replacing it with a universal micro-payment model, instituting a Bill of Digital Rights, and using digital technology to “democratize companies” (with decisions being taken collectively by “employee-shareholders”).

Varoufakis also proposes to “democratize money.” This plan would involve central banks issuing digital wallets, a universal basic income, reconfiguring “the central bank’s ledger” in the direction of a “common payment and savings system,” and abolishing the current capacity of private banks to “create money.”

The proposals are pretty radical, but I think Varoufakis would say they are as radical as the times require them to be.

 

Christopher Pollard is a tutor in Sociology and Philosophy at Deakin University.

Hunger Games prequel reveals villainous leader’s origin story

The Hunger Games: The Ballad of Songbirds & Snakes (2023) — IMDB

The Hunger Games: The Ballad of Songbirds & Snakes (2023) — IMDB

LOS ANGELES — It wasn’t easy for director Francis Lawrence to transform Hunger Games franchise villain Coriolanus Snow into a compelling protagonist for a prequel film taking place 64 years before the hit films starring Jennifer Lawrence.

“We had to figure out a way to get an audience emotionally invested in him, to be behind him, to be rooting for him, to empathize with him,” Lawrence told Reuters.

The Hunger Games: The Ballad of Songbirds & Snakes arrives in theaters on Nov. 17 and delves into the origin stories of some characters from the four previous films. In particular, it explores President Snow’s journey to overseeing the brutal games in which young people must fight to the death in an arena for an event called “The Hunger Games.”

Like the other films, the Lionsgate prequel is based on a novel by Suzanne Collins, released in 2020.

“Once we felt like we had the audience behind him, we still had to seed in layers of his ambition and layers of his greed and layers of the darkness and layers of his sort of hunger for power so that when he does turn, it feels honest, it feels truthful and believable,” Lawrence added.

The older version of Snow from the original films was portrayed by Canadian actor Donald Sutherland and the younger version in the prequel is played by English actor Tom Blyth.

The cast also includes noteworthy actors Viola Davis as Dr. Volumnia, Hunter Schafer as Tigris Snow, and Peter Dinklage as Casca Highbottom.

Snow will do anything to succeed, including agreeing to mentor one of the contestants in The Hunger Games, songstress Lucy Gray Baird, played by Rachel Zegler.

What starts as coaching Baird in hopes of bolstering his academic achievements transforms into a sequence of events that take Snow down a menacing path of betrayal. — Reuters

Two airlines to join NAIA roster

STOCK PHOTO

TWO new airlines are set to start operating flights to and from Ninoy Aquino International Airport (NAIA), the Manila International Airport Authority (MIAA) said on Thursday.

In a media release, it said that Greater Bay Airlines and Batik Air are expected to offer their flights at NAIA, after the launch of HK Express and United Airlines’ direct flights last month.

“We are pleased to welcome Greater Bay Airlines and Batik Air to NAIA’s growing roster of air carriers. This expansion reflects our commitment to providing passengers with an even broader range of travel options,” MIAA Officer-in-Charge Bryan Andersen C. Co said in a statement.

Greater Bay Airlines will offer its Hong Kong-Manila flights five times a week beginning Nov. 9, while Malaysia-based Batik Air is expected to offer its daily Kuala Lumpur and Manila flights on Dec. 1, MIAA said.

The addition of the two airlines brings the total number of carriers hosted by NAIA to 48 — comprising 42 international carriers, which serve 57 international destinations.

“Apart from expanding the range of destinations for Filipinos and international guests flying to and from NAIA, we also seek to diversify our airline roster, ultimately benefiting passengers who will have access to more affordable and competitive airfares,” Mr. Co said.

Mr. Co said that the airlines’ addition to NAIA’s roster of carriers has a “significant impact” on the airport’s connectivity.

He cited the airport’s “connectivity as new airlines strengthen Manila’s position among the most internationally connected airports in the world.”

Mr. Co was referring to the 2023 Megahubs Index report compiled by OAG, a global travel data provider, which placed NAIA as the 15th most connected report.

“We will continue to harmonize our procedures and coordination to enhance our capacity to accommodate even more carriers and flights and leverage the use of digital technologies to further this cause,” he said. — Ashley Erika O. Jose

The social media evolution: Web2 vs Web3

FREEPIK

Have you ever wondered about the forces that shape the digital world, the platforms we use daily, and the influence they exert on our lives? While social media has become an integral part of modern communication, it’s important to understand the fundamental changes taking place within this realm. Web2 and Web3 are terms that describe two distinct eras of social media, each with its own set of characteristics, challenges, and promises.

WEB2: THE CURRENT LANDSCAPE
Web2, the reigning era of social media, is what most of us are familiar with. It encompasses platforms like Facebook, X (formerly known as Twitter), Reddit, and YouTube. These platforms have not only connected billions of users worldwide but also amassed significant power, wealth, and, to some extent, controversies.

The challenges of Web2 are no secret. Concerns about data privacy, opaque data practices, censorship, de-platforming, and centralized authority have been at the forefront. Recent events, such as Meta’s $1.3-billion fine by the European Union for mishandling user data and a Reddit moderator rebellion, have only heightened these concerns. The unpredictability and often unilateral decision-making by platform owners can leave users feeling powerless and disconnected.

WEB3: THE PARADIGM SHIFT
In contrast, Web3 is the new frontier of social media, offering an alternative to the challenges presented by Web2. This emerging era is characterized by decentralization, censorship resistance, and a focus on empowering users rather than exploiting them.

Web3 represents a shift towards user-centric platforms where creators and contributors are the driving force. It aims to return ownership of data and content to the creators themselves. Decentralized storage replaces the need for centralized servers, increasing transparency and control for users.

While Web3 is not without its own learning curve and occasional unreliability, it offers significant benefits that have been missing from traditional social media platforms.

Here are some of the key advantages:

Empowerment Through Ownership: In Web3, creators are stakeholders who can shape the platform’s future. They have a vested interest in ensuring the network’s success, leading to more collaborative decision-making.

Rewarding Content Creators: The core values of Web3 include rewarding users for their content and contributions. This aligns the platform’s success with the collective good.

Censorship Resistance: Unlike Web2, Web3 allows users to express themselves without the fear of censorship for their opinions, humor, or style. It encourages authentic human interaction without fear of being “de-platformed.”

Freedom of Choice: Web3 respects user choices. You can choose to view ads and be rewarded for your time, or you can opt-out entirely. Monetizing your data or keeping it private is entirely up to you.

Maintaining Pseudonymity: Web3 supports pseudonymous interactions, allowing users to connect with like-minded individuals without revealing their true identities.

Web3 is not a perfect solution, and its success in challenging the existing social media giants remains uncertain. Yet, it offers a refreshing perspective — a return to the core values of freedom, ownership, and collaboration.

While Web3 represents a paradigm shift towards decentralization and empowerment, Web2 platforms are not standing idly by. They are actively exploring ways to adapt and integrate Web3 concepts to stay relevant in the evolving digital world.

Many Web2 platforms are also exploring strategies to incorporate Web3 principles while retaining their existing user base. Here are some ways they are doing so:

Cryptocurrency Integration: Several Web2 platforms have started incorporating cryptocurrencies or blockchain technology. For example, Twitter’s NFT profile pictures and Facebook’s exploration of the Metaverse reflect their interest in blockchain-related concepts.

Creator-Centric Models: Web2 platforms are increasingly shifting their focus towards content creators and influencers. They are offering more incentives, revenue-sharing models, and creative tools to empower their creators. YouTube’s Partner Program, for instance, shares ad revenue with content creators.

Decentralized Content Moderation: In response to concerns about censorship, some Web2 platforms are exploring decentralized content moderation. This involves allowing the community or independent entities to play a role in content policies, as seen in Reddit’s experiments with decentralized governance.

User-Controlled Data: Data privacy and ownership have become major concerns. Web2 platforms are enhancing user data control and transparency. Facebook’s Data Transfer Project and Twitter’s data sharing policies are steps in this direction.

Interoperability: While traditionally Web2 platforms have operated in isolation, some are considering interoperability with Web3 networks. This openness enables users to engage with content across different platforms seamlessly.

THE FUTURE OF SOCIAL MEDIA
The competition between Web2 and Web3 is shaping the future of social media. As these two worlds converge, the line between them is expected to blur, ultimately creating a more dynamic and inclusive digital ecosystem.

In this rapidly evolving landscape, one thing is certain: social media platforms will continue to adapt and transform. Whether you embrace the innovations of Web2 or dive headfirst into the Web3 revolution, the future of social media is in your hands.

 

Dr. Donald Patrick Lim is the founding president of the Blockchain Council of the Philippines and the lead convenor of the Philippine Blockchain Week. He is also the Asian anchor of FintechTV.

Tourism skill mismatch needs private sector-aided fix — DoT

PHILSTAR FILE PHOTO

THE Department of Tourism (DoT) said government agencies need to collaborate with the private sector and the education industry to better prepare tourism and hospitality graduates for the workforce.

Tourism Secretary Maria Esperanza Christina G. Frasco said at the World Travel Market Ministers’ Summit in London on Monday that the DoT is working to raise the quality of tourism education.

“Our government has applied a trifocal approach towards tourism education from basic education to technical vocational to higher education… The Marcos administration envisions the Philippines as a center for excellence in terms of tourism training,” Ms. Frasco said during a panel discussion.

She said that the DoT is constantly consulting with companies to ensure that the needs of the industry are met by schools training their future workers.

The department cited its partnership with the Commission on Higher Education, with the DoT helping review and update of the curriculum of tourism and hospitality courses. — Justine Irish D. Tabile

AMLC still eyes to exit FATF ‘gray list’ by January

REUTERS

THE ANTI-MONEY Laundering Council (AMLC) is optimistic that the country can exit the Financial Action Task Force’s (FATF) “gray list” by January next year, but it would require the cooperation of government agencies and the private sector.

“The country is doing what is necessary to hopefully exit the gray list by January next year. We recognize, however, that the decision ultimately rests with the assessors from the FATF’s International Co-operation Review Group (ICRG),” the AMLC told BusinessWorld in an e-mail.

“With the assured cooperation of all agencies concerned and the whole-of-nation approach to address the strategic deficiencies noted by the FATF, the AMLC is optimistic that the Philippines can resolve these remaining strategic deficiencies and finally exit the gray list,” it added.

The Paris-based FATF has kept the Philippines on its gray list of jurisdictions under increased monitoring for “dirty money” risks since June 2021.

To be removed from the list, the Philippines has committed to comply with 18 action plan items of the ICRG. Progress reports are submitted to the FATF in three reporting cycles in a year: January, May and September. The Philippines is expected to undergo another mutual evaluation in 2026.

According to the AMLC, the FATF’s statement for October 2023 highlights the areas where the Philippines needs to enhance its anti-money laundering and counter-terrorism financing (AML/CTF) measures.

“While we had adequately prepared and demonstrated progress, we recognize this as an opportunity and understand that this is necessary to maintain the integrity and stability of the country’s financial system,” it said. 

The implementation of Executive Order (EO) No. 33 will demonstrate the Philippines’ proactive stance and commitment to work with the FATF against dirty money, the AMLC said.

President Ferdinand R. Marcos, Jr. in July issued EO 33, which adopts the National Anti-Money Laundering, Counter-Terrorism Financing and Counter-Proliferation Financing Strategy 2023-2027 (NACS) to incorporate the ICRG action plan.

The NACS is a “harmonized” method that boosts the country’s mechanisms to support an effective AML/CTF regime, the AMLC said. 

In October, Mr. Marcos gave all government agencies until Nov. 30 to address deficiencies in their AML strategies. It also directed the AMLC to submit a comprehensive report of the NACS implementation by Dec. 8.

The AMLC serves as the lead agency of the NACS risk assessment working group, which formulates and issues guidelines for implementation.

“All relevant government agencies, including the supervisors, regulators, law enforcement agencies and prosecutors have been working continuously to accomplish their targets and contribute to the country’s efforts to exit the FATF gray list,” the AMLC said.

The FATF in its October update said the Philippines should continue to demonstrate effective risk-based supervision of designated nonfinancial business and professions (DNFBPs) and ensure that supervisors are using the proper AML/CTF controls to mitigate risks associated with casino junkets.

The Philippines should also enhance and streamline law enforcement agencies’ access to beneficial ownership information and ensure accurate and up-to-date information. It should also increase investigation and prosecution of cases related to money laundering and proliferation financing, the FATF said

The private sector also plays a crucial role in the country’s efforts to exit the gray list, the AMLC said.

“In particular, there is a need to significantly increase registration with the AMLC of lawyers, accountants, company service provider, dealers in precious metals and stones, and real estate brokers and developers,” the AMLC said.

“The AMLC has implemented a strong registration campaign to mandate registration of these DNFBPs. Likewise, to ensure accurate and up to date BO information, corporations should comply with SEC (Securities and Exchange Commission) directives,” it added.

There are 22 other countries in the gray list aside from the Philippines. — Keisha B. Ta-asan

Nintendo to develop Zelda movie in latest entertainment push

ZELDA.NINTENDO.COM

TOKYO — Nintendo said on Wednesday it will develop a live-action film of long running franchise The Legend of Zelda in the Kyoto-based firm’s latest push beyond its core gaming business.

Nintendo scored a runaway success with its animated Super Mario Bros movie this year, which has underscored the box-office appeal of video game adaptations and helped drive demand for its aging Switch console.

Shares jumped 6%, a day after Nintendo reported it sold 6.84 million Switch units in the first half of the financial year, supported by incremental hardware updates and titles featuring its popular roster of characters.

The Zelda film will be produced by Super Mario creator Shigeru Miyamoto and Avi Arad, the veteran producer of movies such as Spider-Man: Into the Spider-Verse.

The two men have been working on an adaptation of the Zelda franchise for many years but the movie will take time, according to posts on social media by Nintendo.

The Zelda film will be co-financed by Nintendo and Sony, which is also meeting success in adapting game franchises, and directed by Wes Ball, whose movies including the upcoming Kingdom of the Planet of the Apes.

Nintendo said on Tuesday it had sold 19.5 million units of the latest Zelda game at September-end as the series continues to deliver hits almost 40 years after its first instalment.

While gaming remains Nintendo’s core profit driver, sales in its mobile and intellectual property related business more than doubled to ¥55 billion ($365.86 million) in the first half of the current financial year.

The Zelda movie development comes at a time of renewed appetite for adaptations of Japanese franchises globally, with examples including Netflix’s recently launched adaptation of long running pirate manga series One Piece. — Reuters

The Crown coaches share how actors portray the royals

Elizabeth Debicki in The Crown (2016) — IMDB

LONDON — With the final season of The Crown about to launch, focusing on Princess Diana’s final days in the early episodes, the show’s performance coaches have lifted the lid on how the cast perfect their portrayals.

As part of the research for the Neflix royal drama, William Conacher said he and cast members watched footage of the British royals with no volume to capture their mannerisms.

“First thing I say is nobody needs to do an impression and I don’t believe anybody ever has on this show,” Mr. Conacher, the supervising dialect coach, told Reuters.

“It’s more about analysing what the face does, what the mouth does, what the head does, and then letting your voice come through that shape.”

It is a strategy that has paid off. Claire Foy and Olivia Colman, who have played Queen Elizabeth at different periods of her life, have both picked up awards for their performances.

“If we’re talking about the queen, if you don’t open your mouth, if you don’t let your lips move much at all, do not tense, just let there be very little distance,” Mr. Conacher said.

“Diana opened her mouth quite a lot and she also spoke in a very minor key. These are all little things, but they’re hints as to how you make your voice sound like that character without actually changing your voice.”

Movement coach Polly Bennett worked with actors “on how their physicality operates” in each season.

“That can be everything from idiosyncratic movement … so that’s the things that we might broadly understand as Diana’s tilting head or Prince Charles’ slight ‘underneathness’ of his head.”

Season 6, released in two parts on Nov. 16 and Dec. 14, begins in the summer of 1997 before Princess Diana, the mother of Prince William and Prince Harry and first wife of now King Charles, was killed in a car crash at the age of 36.

Season 5 actors Imelda Staunton, Dominic West, and Elizabeth Debicki reprise their roles as Elizabeth, Charles, and Diana respectively.

“Working … with Imelda … this season was to both be talking … how the queen ages and what changes in her body which is everything from she starts wearing glasses and maybe she’s walking a little bit slower,” Ms. Bennett said. “But also looking at the history of the queen and knowing that whenever she walks somewhere, she always knows where she’s going because somebody is telling her.” — Reuters