January 13, 2012

Philippines to leapfrog to be 16th largest economy by 2050


The Philippines is forecast to leapfrog and become the 16th largest economy in the world by 2050, according to a study by the HongKong and Shanghai Banking Corp. (HSBC).

“We highlight the striking rise of the Philippines, which is set to become the world’s 16th-largest economy, up 27 places from today,” said the report.

The world's top economy in 2050 will be China, followed by the United States. No surprises there -- since China's reforms in the 1980s, economists have said it's not a question of if, but when, China's collective economic might will top the U.S.
The Philippines and Peru will be among emerging economies that become much more prominent in the next few decades, helped by demographics and rising education standards, with the Philippines set to leapfrog 27 places to become the 16th largest economy by 2050, HSBC predicts.

The bank expects China to overtake the United States as the world's biggest economy by 2050, and says strong growth rates in other developing countries will help drive the global economy. "Plenty of places in the world look set to deliver very strong rates of growth. But they are not in the developed world, which faces both structural and cyclical headwinds. They are in the emerging world," the bank said in its report 'The World in 2050'.

It based its forecasts on fundamentals such as current income per capita, rule of law, democracy, education levels and demographic change. HSBC projects the Philippines economy is poised to grow by an average of 7 percent annually over the next 40 years, while Peru should average annual growth of 5.5 percent over the same period. The sheer pace of population growth in countries such as Nigeria and Pakistan means that these economies will swell in size to be included among the 100 biggest economies even if their incomes on a per-capita basis remain low.

HSBC said lower scores for rule of law in Latin America constrained its per-capita inccome projections for the region though it noted that Brazil was making headway in this aspect. "The losers are the small population, ageing economies of Europe," added the bank, which says the demographics in much of Europe underscores concerns about the debt problems faced by many of the continent's governments.

If sufficiently open to modern technology, developing countries could enjoy many years of robust GDP growth although they could struggle for growth drivers once they have adapted to technological advances, HSBC said. "The initial years of development could be described as 'copy and paste' growth, as countries open themselves up and adapt to the world's existing technologies. Once the 'copy and paste' growth is complete ... many economies struggle and get stuck in what is often known as the middle-income trap. But many of the countries we are considering are still at such an extremely low level of development that there are years of this 'copy and paste' growth ahead," it added.

It was here that many of the pessimism about China was misplaced, the bank argued. "One of the most commonly cited reasons for concern about China is the high rate of investment as a percentage of GDP ...(But) we believe the strong rate of investment is entirely justified - providing China with much needed basic infrastructure," it said.

The bank said high levels of education in central and eastern Europe meant that the region could enjoy strong income per capita growth in the coming years before weak demographics eventually sap economic growth. "While education rates are similar (to the West), the average income per capita in the central and eastern Europe block is just one fifth that of the developed world. For this reason ... economies have great scope to catch up in income per capita," it said. "Some of the smaller Eastern European countries - Romania, the Czech Republic and Serbia - (should) all do extremely well, particularly in the coming decade, before demographics prove to be more of a drag."

Source: Reuters, BBC , CNN









Desire, Ennui, Anxiety: Marcel Antonio at Yuchengco Museum, Feb 6 to 25,2012



In July of 2010, the poet V.I.S. de Veyra posted a blog essay on the art of Marcel Antonio titled “Blue Funk’d Stories: The Expanding Art of Marcel Antonio” (read at http://partycrashingangle.blogspot.com/2010/07/blue-funked-silent-stories-expanding_26.html) and coined the phrase-tag Blue Funk Erotica for Antonio’s art. 

De Veyra described Blue Funk Erotica as 
1) unsmiling faces-derived figurative drama (primarily portraiture, then), 
2) replete of appropriations or art-historical quotes, 
3) suggestive (but only suggestive) of a narrative, 
4) quasi-rebellious towards rigid allusions and painting titles’ guidance, 
5) unpainterly expressionist, 6) of an in-a-trance mood as against a happy one, and 
7) conscriptive of the painting viewer as peeper. 

“This erotica should stay around and keep us entranced,” the poet-critic wrote, “being not so much one that tickles the groin as a kind that promotes the understanding that every face, gesture, object, color, and shape is a secret sex object and clandestine true story waiting to be told.” But also debunking a previous simplistic tag on Antonio’s art as “narrative expressionist,” de Veyra wrote: “In Antonio’s case, his blue funkism's ‘de-expression’, or ‘dis-expression’ and narrative confusion through the mannerisms of narrative imagery and titling, seems to be a produce of a Russian Formalist narrative bent to ‘defamiliarize’ images and shapes towards a higher enigma. Thus his refusal to ‘express’.”



The above mentioned blog started a dialogue between Antonio’s art as well as intent (of unintent) and de Veyra’s reading, culminating in a late-2011 collection titled “Desire, Ennui, Anxiety” which shall be shown this coming Feb 6 to 25 at the Yuchengco Museum.

This title for Antonio’s new series does not so much signal a change in his art’s direction as clarify where de Veyra’s reading is right and where it needs to be tweaked. For instance, while de Veyra opts for a Barthesian “variety of narrative possibilities,” Antonio’s pragmatic knowledge of his audience allows/welcomes two basic approaches to his art.

The one approach favours rigid symbolist readings, especially as Antonio is himself attracted to the “monumental” (Antonio’s term) figure common among utopian-art compositions (of Wagnerian glorifications, classical idealism, Nazi art, Stalinist totalitarian art, socialist realism, etc.) as well as in advertising art or the idealizations of soft porn.

But, for the other approach, Antonio acknowledges that de Veyra is right about his—Antonio’s—own efforts to frustrate, so to speak, all symbolist and narrative approaches, via experimentations with juxtapositions/relations and eclectic allusions. These experimentations, appropriations, and art-history quotes result in a dehumanized atmosphere, involving such stuff as machine esthetics and the usual facial expressions of ennui and boredom, all moving towards Antonio’s intended postmodernist multiplicity of meanings. But the final result on each single canvas is an invite to a pseudo-narrative half-aware of this pseudo-ness, welcoming while parodying the various cultural and moral significations possible to professional and popular semiotics.



In this sense, Antonio’s art would be self-described as anxious about the unknown, desirous of knowledge as a matter of course but likewise celebrating the ennui of knowledge’s elusivity, even the charm of that ennui itself alone. Ennui as both springboard and object of desire, then, visually fulfilled or illustrated on an Antonio-esque drama field.

A final stamp to this anti-narrative effort to “recover the sensation of life” (Victor Shklovsky) is the artist’s devotion to the coloration of Diego Velázquez or Chagall as well as the latent abstract geometrics beneath all his pseudo-narrative stagings.

We would like to invite people or media to witnesses the Marcel Antonio art work this coming Feb 6 2012 6pm for the opening for lunching on cocktail.V.I.S. de Veyra joins Antonio in this exhibit with fourteen new poems printed in the exhibition catalogue.

For more information about the show, contact the 
Yuchengco Museum, 
2/F RCBC Plaza, cor. Ayala and Sen. Gil J. Puyat Aves.
Makati City, Philippines 1200

or 

Galleria Quattrocento
3rd Floor Glorietta 4 Art Space
Glorietta 4, Ayala Center
Barangay San Lorenzo
Makati City 
Telephone: [632] 818-5939 // [632] 519-7221;
Mobile #: 0917-8911322;


January 12, 2012

Filipino-American Robin Lim named CNN Hero of the Year 2011


Mother Robin, or "Ibu Robin" as she fondly called, received the CNN Hero of the Year 2011 award  in a ceremony at The Shrine Auditorium in Los Angeles from Anderson Cooper.

Robin, a Filipino-American midwife in Indonesia, has been named as the second “CNN Hero of the Year” with Filipino roots. The first Filipino CNN Hero of the Year, Efren G. Peñaflorida Jr., won in 2009 for his Kariton Eskwela (pushcart classes) project that educates poor schoolchildren in his home province of Cavite. Now in its fifth year, CNN Heroes is a multi-platform campaign that spotlights on individuals who go to extraordinary lengths to serve others.

Lim  has been running her free clinics Yayasan Bumi Sehat (Healthy Mother Earth) in Bali and Aceh, Indonesia with other Indonesian midwives since 2003 providing free prenatal and birthing services for poor Indonesian women. They also provide training for young midwives.






"Every baby's first breath on Earth could be one of peace and love. Every mother should be healthy and strong. Every birth could be safe and loving. But our world is not there yet," Lim said during "CNN Heroes: An All-Star Tribute," which took place at the Shrine Auditorium in Los Angeles and recognized Lim and the other top 10 CNN Heroes of 2011.

After being announced as the CNN Hero of the Year, a tearful Lim accepted the award from host Anderson Cooper and made an impassioned plea for help.

"Today on our Earth, 981 mothers in the prime of their life will die -- and tomorrow again and yesterday," she said. "And I'm asking you to help change that. We don't even know how many babies are lost, but all of us can help change that."


American Idol David Archuleta to Star in TV5 Kapatid Network Series

International pop star and American Idol finalist David James Archuleta will be doing a primetime soap with the TV5 Kapatid Network.

In an  official announcement posted on its website, the Kapatid Network reported that David Archuleta will “do a primetime series with homegrown Kapatid stars Jasmin Curtis Smith and Eula Caballero.”

The Kapatid Network has aggressively been signing Philippine superstars over the past two years. Last year, they signed up the legendary “Superstar”Nora Aunor  and “Megastar” Sharon Cuneta. TV5 also earlier signed deals with, among others, actresses Ruffa Gutierrez, Maricel Soriano, Lorna Tolentino, and Alice Dixon, and actors Aga Mulach , Edu Manzano, Vic Sotto, Joey de Leon, and King of Comedy Dolphy for a variety of entertainment programs.

TV5 is doing its best to further boost its ranking in Philippine broadcasting network with the latest addition of American Idol star David Archuleta in the Kapatid Network. The TV5 ranks is currently the third biggest broadcasting network in the Philippines, next to ABS-CBN and GMA 7.

“The signing of an international star of Archuleta’s youth and talent, arguably in his prime, is bound to shake up the Philippine entertainment industry.”

Here's the video showing the happiness of David.



"Headed to the Philippines later today! I'll be arriving this week to start a new adventure in acting haha. I'm nervous, but also really excited to try this new experience. I'll be doing a mini-series for TV5 and will be filming in the Philippines for the next few weeks. Hope everyone has had a good start to their year and I'll talk to you guys when I arrive in Manila!" 


Get Your Heart On Tour: Simple Plan Live in Manila January 12, 2012


One of the best Canadian punk rock band is coming back to Manila for a one night only concert January 12, 2012. Get your heart on Manila! Dayly Entertainment presents Simple Plan Live in Manila.

Ticket Prices:
Patron VIP - P4500
Patron - P3500
Lower Box - P3000
Upper Box A - P2000
Upper Box B - P1000
General Admission - P500
(+ 6% TicketNet Charge)


Simple Plan LIVE in Manila will be on January 12, 2012 at the SMART Araneta Coliseum.

Let there be Love - Simple Minds

LinkWithin

Related Posts Plugin for WordPress, Blogger...
enjoying wonderful world