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Megaworld attributable income rise 65%

MEGAWORLD Corp. reported a 64.9% increase in its third-quarter attributable net income to P4.14 billion from P2.51 billion in the previous year, driven by the growth of its business segments.

In a disclosure to the local bourse on Thursday, the listed company reported gross revenues of P15.41 billion, up 12.2% from P13.74 billion a year ago.

“We are optimistic that we will reach our record revenues by the end of the year across our businesses as we continue to capture opportunities within and beyond Metro Manila,” said Kevin L. Tan, chief executive officer of Alliance Global Group, the parent company of Megaworld, in a statement.

The company recorded a net profit of P4.67 billion, an increase of 58.3% from the P2.95 billion recorded previously.

Real estate sales during the third quarter reached P9.99 billion, higher by 8.7% than the P9.19 billion in the previous year.

Meanwhile, Megaworld’s nine-month attributable net income rose by 43.3% to P12.02 billion from P8.39 billion in the same period last year.

Gross revenues likewise increased 14.7% to P44.99 billion versus the P39.23 billion recorded last year.

The company’s real estate sales jumped by 11% to P29 billion, attributed to higher project completion rates.

“The company is poised to exceed its year-end reservation sales target of P130 billion, with reservation sales in the first nine months of 2023 already growing by 28% to P109.5 billion. This figure already represents 84% of the company’s year-end goal,” Megaworld said.

This year, the company said it has launched projects valued at P69.3 billion, with three big projects being rolled out in the third quarter alone.

These are Uptown Modern in Uptown Bonifacio, Taguig City with P29-billion worth of inventory; Laurent Park in Manhattan Garden City, Quezon City with P6.5-billion worth of inventory; and Kensington Sky Garden in Upper East, Bacolod City with P2.5-billion worth of inventory.

“We still have projects to be launched before the year ends,” Mr. Tan said.

During the first three quarters, leasing revenues from Megaworld Lifestyle Malls and Megaworld Premier Offices went up by 17% to P13.3 billion and by 3% to P9.4 billion, respectively.

The company’s hotels and resorts segment posted a 51% increase in revenues to P2.6 billion, surpassing the full-year 2019 level. — Sheldeen Joy Talavera

Expanded Festival of Lights, NYE countdown set to wow in Makati

OVER THE course of 15 years, the annual Festival of Lights at the Ayala Triangle Gardens in Makati has grown and evolved. It began as a simple light show and gradually expanded into more areas of the gardens, becoming more immersive.

Though it returned onsite last year, after having gone online due to the COVID-19 pandemic, it is this year that the tradition expands at Makati’s central business district.

“It’s not just a display of lights of different colors. It’s also a place for family and reunions, a well-loved tradition that is really just a backdrop, because it’s actually about togetherness,” AyalaLand Estates’ marketing and communications head Christine C. Roa said at the press launch on Nov. 7.

“Last year, coming from the pandemic where we couldn’t physically celebrate, people were still not as comfortable going out. Now, we don’t see many masks, and there are more parties. This year is the real comeback,” she said.

Ayala Land officially began its celebration of the holidays on Nov. 7 by lighting up traditional Filipino Christmas decorations adorning the length of Ayala Avenue. In line with the company’s advocacy for sustainability, the parols (lanterns) are reused from previous years.

The theme for this year is “The City Where Christmas Happens First.”

“All of these — the lighting of Christmas decor, the Festival of Lights show — we were the first. Now there are a lot of light shows in the country, but we were the first,” said Ms. Roa.

THE FESTIVAL OF LIGHTS
The Festival of Lights show will be going live at the Ayala Triangle Gardens on Nov. 14. This year, it promises to be a mesmerizing spectacle with three different installations planned.

The first is the classic Christmas lights and sound show at the courtyard entitled The Kaleidoscope of Lights, composed of three Christmas medleys. The first medley features festive Filipino Christmas tunes, the second is an original K-Pop-style composition, and the last medley uses big band instrumentation inspired by Frank Sinatra and Andy Williams.

The Kaleidoscope of Lights also features a series of larger-than-life projections, some interactive, that transform the floor of the courtyard into an illusion of lights enhanced with a smoke machine, modeled after the TeamLab digital art displays in Tokyo.

The second installation, situated at the northern side of Ayala Triangle, is “Wish Upon a Light,” a magical wishing pond. Visitors can write their own wishes or dreams onto the pond made from an interactive LED screen. It lights up when one writes in it, while it is simultaneously flashed on a wall.

The final installation is Liter of Light, a display of one-liter bottles turned into lights to power up a Christmas art installation by Leeroy New, done in collaboration with Arte House and Illac Diaz.

BAZAAR, CONCERTS
Aside from the Festival of Lights, a slew of events will be held in Makati over the holidays.

AyalaLand, in partnership with the French Embassy, will hold the Marche de Noel Christmas bazaar over three weekends — on Dec. 9 to 10, Dec. 16 to 17, and Jan. 6 to 7. Inspired by the “Marche de Noel” Christmas market in Paris, Lille, and Strasbourg, the bazaar will be located at the Makati Street Meet at Paseo de Roxas.

Like last year, there will be a variety of international and local artisanal products on offer like Paris Delice, Truffle Ph, and Araro Gelato.

“What we offer cuts across ages and demographics. Our Street Meet is accessible and there’s something for everyone, since the marketplace even has meals costing about P100,” Ms. Roa said.

AyalaLand will also hold its annual choral competition at Circuit Makati on Dec. 9. This tradition is done in collaboration with the local government and will showcase the talent of students from various schools in Makati.

There will also be the Come Home to Christmas: A Holiday Concert at the Samsung Performing Arts Theater on Dec. 16, which will feature the Manila Philharmonic Orchestra, singes Bituin Escalante, Arman Ferrer, and Lara Maigue, and Sofia Zobel Elizalde’s Steps Dance Project and their Nutcracker company.

Ms. Roa said that 900 free tickets will be given to those who purchase from establishments at Ayala Malls Circuit — a huge chunk of tickets out of the 1,300 seats at the theater.

NEW YEAR’S EVE COUNTDOWN
Since it has been 24 years since the turn-of-the-millennium New Year’s Eve (NYE) celebration at Ayala Avenue, the party marking the start of 2024 will celebrate the milestones and historic moments that happened in Makati.

On Dec. 31, AyalaLand will ring in the new year with a countdown that will be highlighted by a spectacular light show.

“We are really advocating for sustainability. There are now different ways to hold a show as grand as a fireworks display, similar to Vivid Sydney. We want to marry traditions with new ways of doing things,” said Ms. Roa.

There will be performances from some of the country’s biggest names in the entertainment industry (who exactly is still to be announced).

She added that Christmas in Makati this year is the biggest it’s ever been, marking real recovery and more magical experiences with family.

“Families are redefined now. It could be your friends, your furbaby, your officemates. It’s the time of the year you don’t want to be alone,” she said.

For more information on the holiday events, visit the social media pages of Make It Makati on Facebook and Instagram. — Brontë H. Lacsamana

Global Ferronickel net income dips to P1.5B

GLOBAL Ferronickel Holdings, Inc. on Thursday reported that its attributable net income dropped by 19.7% to P1.5 billion from P1.9 billion the prior year, despite higher revenues.

“We are focused on strengthening the business and improving asset diversification,” said Dante R. Bravo, its president, in a stock exchange disclosure.

Mr. Bravo added that the company had recently purchased five landing craft tanks aimed to enable “meaningful operational and cost efficiencies in transporting nickel ores beginning 2024.”

Additionally, Global Ferronickel also increased the size of its land holdings by acquiring property along the Freeport Area of Bataan.

Its consolidated net income declined by 14.4% to P1.8 billion, which includes its P310.3 million share in the net income of its China-based associates.

Last year, the company acquired a 20% stake in Guangdong Century Tsingshan Nickel Industry Co., Ltd. (GCTN) for $75 million.

GCTN is a Chinese nickel alloy firm that operates smelters with rotary kiln-electric furnace technology. It produces about 28,000 tons of pure nickel annually.

The company said that revenues rose by 33.1% to P6.8 billion due to an increased volume of high-grade nickel ores extracted from its Palawan mine. This was partly offset by lower volumes at the Surigao mine that resulted from wet weather and a lower price for low-grade ores.

It added that the total volume sold for the period rose by 20.7% to 3.8 million wet metric tons (WMT) of ore.

The company’s Surigao operations reported 2.71 million WMT, while its Palawan operations posted 1.09 million WMT.

Global Ferronickel said that its sales mix had improved to 68% for low-grade ore and 32% for medium-grade ore versus the 78% low-grade and 22% medium-grade last year.

“The average realized nickel ore price was $31.93 per WMT, reflecting a 10.5% improvement driven by the more favorable mix and the stronger prices of higher-grade ores, which were 16.9% more than last year,” it said.

Additionally, the company’s cost of sales rose by 37.8% to P2.8 billion, driven by increased contract hires, depreciation and depletion, and personnel costs from the opening of its Palawan mine.

Global Ferronickel is a holding company with principal business interests in mineral resource exploration, mining, and exporting of nickel ore. Its subsidiaries include Platinum Group Metals Corp., Steel Corp., FNI Steel Landholdings Corp., and Mariveles Harbor Corp.

On Thursday, its shares dropped by 1.63% or four centavos to close at P2.41 apiece at the stock exchange. — Adrian H. Halili

Hollywood actors reach tentative deal with studios to end strike

VENTI-VIEWS-UNSPLASH

LOS ANGELES — Hollywood actors reached a tentative agreement with major studios on Wednesday to resolve the second of two strikes that rocked the entertainment industry this year as workers demanded higher pay in the streaming TV era.

The 118-day work stoppage will end officially just after midnight, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) union said in a statement after its negotiating committee voted unanimously to support the deal.

Valued at more than $1 billion, the new three-year contract includes increases in minimum salaries and a new “streaming participation” bonus, the union said.

The deal also provides protections against unauthorized use of images generated by artificial intelligence (AI), an area that had emerged as a major concern from performers who feared being replaced by “digital doubles.”

“We have arrived at a contract that will enable SAG-AFTRA members from every category to build sustainable careers,” the union said.

SAG-AFTRA President and The Nanny star Fran Drescher wrote on Instagram: “We did it!!!! The Billion+ $ Deal!”

The group’s national board will consider the agreement on Friday, and the union said it would release further details after that meeting.

The Alliance of Motion Picture and Television Producers (AMPTP), which negotiated on behalf of Walt Disney, Netflix, and other media companies, said Wednesday’s agreement represented “a new paradigm” that gave the union its “biggest contract-on-contract gains” in its history.

The organization said it “looks forward to the industry resuming the work of telling great stories.”

With the strike ending, Hollywood can ramp up to full production for the first time since May.

“I’m relieved,” actor Fanny Grande said in an interview. “It’s been really difficult for most people in the industry, especially people of color. As it is, we don’t have as many opportunities. We aren’t big celebrities that have money in the bank for months.”

Actress Jessica Payne said she felt “deeply grateful, cautiously optimistic and ready to work.”

Word of a potential agreement had spread across Hollywood earlier on Wednesday, raising hopes among actors who had spent weeks picketing outside studio offices in New York and Los Angeles instead of on sets.

“Preliminary chatter was that a vote was imminent,” said Rati Gupta, best known as Anu in the CBS comedy The Big Bang Theory. “Hearts have been pounding for several hours today.”

Actors had similar concerns to film and television writers, who argued that compensation for working-class cast members had dwindled as streaming took hold, making it hard to earn a living wage in Los Angeles and New York. TV series on streaming have not offered the same residual payments that actors enjoyed during the heyday of broadcast TV.

Performers also became alarmed by recent advances in artificial intelligence, which they feared could lead to studios manipulating their likenesses without permission or replacing human actors with digital images.

George Clooney and other A-list stars voiced solidarity with lower-level actors and had urged union leadership to reach a resolution.

Many film and TV sets shut down when the Writers Guild of America (WGA) called a strike in the spring. While WGA members returned to writing scripts in late September, the ongoing SAG-AFTRA work stoppage left many productions dark.

The disruptions cost California more than $6 billion in lost output, according to a Milken Institute estimate.

With little work available, many prop masters, costume designers and other crew members struggled to make ends meet. FilmLA, the group that approves filming permits, reported scripted production during the week of Oct. 29 had fallen 77% from the same time a year earlier.

The Hollywood strikes came during a year of other high-profile job actions. The United Auto Workers recently ended six weeks of walkouts at Detroit carmakers. Teachers, nurses and healthcare workers also walked off the job.

Hollywood’s work stoppages forced broadcast networks to fill their fall lineups with re-runs, game shows, and reality shows. It also led movie studios to delay big releases such as Dune: Part 2 because striking actors could not promote them.

Other major films, including the latest installment of the Mission: Impossible franchise and Disney’s live-action remake of animated classic Snow White, were postponed until 2025. — Reuters

Manila Water cites benefits of extended concession

MANILA Water Co., Inc. said on Thursday that extending its revised concession agreement will support the government in funding the estimated capital expenditures (capex) of approximately P721 billion.

“We will take away from the government the responsibility of spending about P721 billion as of today’s estimate because we will endeavor to spend that during that period,” Manila Water President and Chief Executive Officer Jose Victor Emmanuel A. de Dios said during a public hearing.

Manila Water is seeking the approval of the Metropolitan Waterworks and Sewerage Systems (MWSS) for the extension of the expiration date of its revised concession agreement from 2037 to 2047, to coincide with its 25-year legislative franchise.

Republic Act No. 11601, which took effect on Jan. 25, 2022, granted Manila Water a legislative franchise for 25 years, extending until 2047.

Mr. de Dios said the reason for seeking the extension “is simply to ensure that we are able to continue providing water security, improve the water service that we deliver, and ensure affordability to our customers.”

He said that part of the P721-capex is the P198-billion expiration payments that the MWSS is compelled to pay at the termination of the concession.

In its position paper submitted to the MWSS in August, Manila Water said it is committed to investing P1.15 trillion for water security, service delivery, and environmental sustainability up to 2047.

Mr. de Dios said that Manila Water is targeting its domestic connections to reach about 1.24 million by 2036 and 1.33 by 2046 based on assumptions on growth and urban migration.

At the local bourse on Thursday, shares of Manila Water went up by 18 centavos or 1.05% to close at P17.30 apiece.

The water concessionaire serves the east zone network of Metro Manila, covering parts of Marikina, Pasig, Makati, Taguig, Pateros, Mandaluyong, San Juan, portions of Quezon City and Manila, and several towns in Rizal province. — Sheldeen Joy Talavera

From Nanny to negotiator, Fran Drescher rallied actors to new labor deal

LOS ANGELES — To thousands of rank-and-file Hollywood actors, Fran Drescher emerged this summer as a modern-day labor hero who secured a hard-fought deal. To studio executives who negotiated with the SAG-AFTRA president, the former The Nanny star prolonged a strike while she relished her high-profile role.

Not since her portrayal of Fran Fine, a one-time bridal shop attendant from Queens who winds up caring for a Broadway producer’s three children in 1990s sitcom The Nanny, had Ms. Drescher seen so much screen time.

Her memorable portrayal of the nanny, with her nasal voice, loud fashion, and deftly executed pratfalls, garnered her two Emmy nominations. As president of the 160,000-member SAG-AFTRA union, Ms. Drescher won widespread praise from performers for her tenacity in fighting for better wages and protections against the rising threat of artificial intelligence technology.

“She’s a really good wartime president,” said Kate Bond, who played Jill Morgan on CBS series MacGyver.

Under Ms. Drescher’s leadership, SAG-AFTRA walked off the job in mid-July, halting most film and scripted television production. After 118 days, negotiators announced they had reached an agreement.

Drescher framed her actions as part of a broader labor movement battling Corporate America, where, in her view, executives place Wall Street’s approval and their own compensation ahead of the welfare of workers.

“We are the victims here. We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us,” Ms. Drescher said at a July press conference.

“I cannot believe it, quite frankly, how far apart we are on so many things. How they plead poverty. That they’re losing money left and right when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them.”

A PRO-PROLETARIAT VIEW
Ms. Drescher’s remarks, which struck some as vitriolic, were reminiscent of Norma Rae, the title character in a 1970s movie based on a cotton-mill worker who rallied co-workers to unionize.

“In the context of the global labor movement, I understood what she was doing,” said attorney Ivy Kagan Bierman, chair of the entertainment labor practice at Loeb & Loeb. “In the role of Norma Rae, she gave the Norma Rae speech.”

Studio executives, who declined to criticize Ms. Drescher publicly to avoid inflaming labor talks, said the 66-year-old Ms. Drescher delivered similar unvarnished critiques to industry leaders during closed-door negotiations. They said the union boss talked about achieving a transfer of wealth from the Chief Executive Officer (CEO) yachting class to actors struggling to make a living on guild minimum wages.

The composition of the union bargaining team reflected Drescher’s pro-proletariat view: some of the 42 members failed to qualify for SAG-AFTRA’s healthcare insurance because they earned less than $26,470 per year. This served to extend the strike, in the view of one studio chief, who observed, “We’re negotiating with people who have nothing to lose.”

The executives described Ms. Drescher as an actor enjoying her biggest role in years. Her last recurring role was in NBC sitcom Indebted, which ran for one season in 2020.

That view was just “rhetoric,” said Shari Belafonte, a member of the SAG-AFTRA TV/theatrical negotiating committee. “Fran’s unwavering commitment to the SAG-AFTRA membership is what drives her.”

“We are in a paradigm shift,” Ms. Belafonte added. “Her interest as the union president is to see all performers from background to the top 2% succeed in a vibrant industry for the next century and beyond.”

‘A BIG CHAMPION’
As negotiations intensified in October, reports emerged that Ms. Drescher brought a stuffed, heart-shaped toy to contract talks with executives including Walt Disney CEO Bob Iger and Netflix Co-CEO Ted Sarandos. Union members viewed the accounts as attempts to undermine Ms. Drescher’s credibility and started bringing their own plush toys to picket lines to show support.

“It’s okay to have things that make you comfortable. It doesn’t make you any less professional,” said actor Kimberly Westbrook, who carried a stuffed penguin and wore a “Don’t F– With Fran” pin while picketing Amazon Studios. “We’re actors. We are eccentric people.”

“I love that she is not apologetic for who she is,” Ms. Westbrook added.

Ms. Drescher said she did not need to “emulate a masculine energy to be a good leader.”

“I can be smart, have a keen ability (to see) integral flaws in a business model AND put a tiny heart-shaped plush toy (between) me & Iger,” she wrote on social media platform X.

Union members said they admired the fearlessness of an actress who survived being raped at gunpoint in her 20s and battled uterine cancer in her 40s. Many also saw her unconventional approach as an asset.

“She scares the shit out of these CEOs precisely because she can’t be put in a box (or a corner),” actor Justine Bateman wrote on X. “If you can’t see the leverage in that, then you don’t understand negotiating.”

Actor Alex Plank, who appears opposite Bobby Cannavale and Robert De Niro in Ezra, admitted he knew little about Ms. Drescher before the strike, beyond her distinctive voice.

“She’s turned out to be a big champion, someone with heart,” Mr. Plank said. “I was skeptical at first, to be honest with you, because I didn’t know anything about her and she turned out to be more than we could have ever asked for.” — Reuters

A Brown to offer preferred shares worth up to P1.5B

LISTED REAL estate developer A Brown Co. is set to launch the second tranche of its preferred shares worth up to P1.5 billion to raise funds for its projects.

The company has filed an updated registration statement with the Securities and Exchange Commission for the issuance of its preferred shares, it said in a media release on Thursday.

Proceeds from the preferred shares offering will fund the company’s residential project development, the company said, adding that it is planning to offer the shares in two series which will be listed on the Philippine Stock Exchange by January 2024.

The proposed offering is made up of 10 million preferred shares — Series B and C priced at P100 per share — with an oversubscription option of up to five million preferred shares from its shelf registration of 50 million preferred shares.

“Among our high-priority developments are Coral Bay Suites and Alexandrite Columns, both of which are condominiums with resort amenities and scenic views,” said Robertino E. Pizarro, president and chief executive officer of A Brown.

The company said proceeds from the offering will also fund its pipeline real estate projects in Mindanao and Luzon, some land-banking initiatives, and for general corporate purposes.

PNB Capital and Investment Corp. was assigned as the sole issue manager, lead underwriter and sole bookrunner for the transaction.

In 2021, the company issued its first preferred shares, which raised a total of P1.33 billion. It said reservation sales have been increasing in the past three years, hitting P2.62 billion last year.

A Brown said its land banking increased to 552 hectares from 293 hectares. Its E-Beam and Cold Storage Facility in Tanay, Rizal is at 90% completion and is expected to contribute to the company’s profit by 2024.

At the local bourse on Thursday, shares in the company closed one centavo or 1.43% higher at P0.71 apiece. — Ashley Erika O. Jose

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.