https://eternalconferences.cargo.site Eternal Conferences Mon, 27 Sep 2021 11:13:42 +0000 https://eternalconferences.cargo.site en https://eternalconferences.cargo.site/Susunod-Upcoming Sat, 05 Jun 2021 17:14:03 +0000 Eternal Conferences https://eternalconferences.cargo.site/Susunod-Upcoming SUSUNOD / UPCOMING 2025 Conferences 12-13 : Tandang-Tandâ: And Muling Pagtilaok in&nbsp;The Office of Foresight with Tommy Alvarado, Maverick Alviar, Laura Cabochan, Jerwin Darag, Wes Lipana, Mia Lopez, Bianca Ma-alat, Alfred Marasigan, and Manel Solsoloy Supported by the Kwan Laurel Grant for Research and Creative Work in the Humanities via the&nbsp; AdMU Office of the School of Humanities Dean Tandang-Tandâ: And Muling Pagtilaok is a hybrid event.&nbsp; Register HERE .button { backface-visibility: hidden; position: relative; cursor: pointer; display: inline-block; white-space: nowrap; background: linear-gradient(180deg,#f40000 0%,#a73449 55.17641368216838%,#b4001d 64.46627522750111%,#fbbbc7 100%); border-radius: 5px; border: 1px solid #ff2600; border-width: 1px 1px 1px 1px; padding: 10px 20px 10px 20px; box-shadow: inset 0px 1px 0px rgba(255,255,255,1),0px 1px 3px rgba(0,0,0,0.3); color: #fff; font-size: 15px; font-family: Courier New; font-weight: 900; font-style: normal; text-shadow: 0px -1px 0px rgba(0,0,0,0.4) } .button > div { color: #999; font-size: 10px; font-family: Helvetica Neue; font-weight: initial; font-style: normal; text-align: center; margin: 0px 0px 0px 0px } .button > i { font-size: 1em; border-radius: 0px; border: 0px solid transparent; border-width: 0px 0px 0px 0px; padding: 0px 0px 0px 0px; margin: 0px 0px 0px 0px; position: static } .button > .ld { font-size: initial } On March 22 and 23, at 4-7PM (PhST), there will be an interactive and livestreamed onsite game at the&nbsp;PAGASA Observatory and Time Service Unit, UP Diliman, QC that will require active participation from visitors. March 22 is reserved for the vernissage guests. On March 22 and 23, view the livestream here at eternalconferences.cargo.site/.&nbsp;To join and chat in the livestream, visit twitch.tv/eternalconferences. From March 24 to 26, at 10AM-5PM, there will be a more conventional onsite exhibition set-up. The livestream recording will be on view onsite on those dates should you choose to visit. The recording is also available online here until April 22, beyond the onsite exhibition. In Tandang-Tandâ: Ang Muling Pagtilaok, Alfred Marasigan continues to tread a line of inquiry that brings the audience into an active role of participation. Joined by the creative core team consisting of Tommy Alvarado, Maverick Alviar, Laura Cabochan, Jerwin Darag, Wes Lipana, Mia Lopez, Bianca Ma-alat, and Manel Solsoloy, the work adopts the formats of exhibition and live action roleplaying (LARPing) in engaging with the tradition, technology, language, and locus of timekeeping. Visitors play through a dystopian narrative set in The Office of Foresight, a fictional agency that operates on the cosmic or coincidental in imagining futures for our country. The artist works with multiple formats and agents in documenting the playthrough as a way of transgressing the singular certainty of synchronicity and ultimately mirroring the refractions in our construction of time. Matters of conformity thus emerge, as the question of time becomes a question of control and privilege that roots in its infrastructures. Here, the concept of Filipino time slips easily into a constellation of seeming afterlives – or alt-realities – that particularly reside in the PAGASA Astronomical Observatory. Marasigan pieces together a world that emerges into despondently familiar references: of change, colonial histories, a fragmented society, fallible technologies, and impending futures for the Philippines. All these settle into a space of uncertainty, a journey that the artist articulates through play. – Bianca Ma-alat,&nbsp;Tandang Tandâ Creative Core Team Member, Curatorial Consultant (13 March 2025) MGA NAKARAANG PAGTITIPON / PAST CONFERENCES 2022-2023 Conferences 10-11 / RE-POSING: RESISTANCE, RESPIRATION, RESOLUTION with UltraSpirit Nest (Staci Bu Shea, Alfred Marasigan, Renan Laru-an, Jason Dy, SJ) and Ultradependent Public School Sign language interpretation by Jerwin Darag Apr 16 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; 16:00h UtrechtApr 16 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; 22:00h Manila IRL BAK AuditoriumPauwstraat 13A NL-3512 TG Utrecht Thus Gotama [Buddha] walked toward the town to gather alms, and the two samanas recognized him solely by the perfection of his repose, by the calmness of his figure, in which there was no trace of seeking, desiring, imitating, or striving, only light and peace. ― Hermann Hesse, Siddhartha In the spirit of Ultramethods as the sixth mode of the Ultradependent Public School (UPS) offered by the Community Portal Team at BAK (basis voor actuele kunst), Utrecht, The Netherlands, the Ultraspirit Nest offers an art curriculum entitled Re-Posing: Resistance, Respiration, and Resolution. Filipino contemporary artists, Alfred Benedict Marasigan and Jason Dy, SJ along with international curators Staci Bu Shea (b. Miami, US) and Renan Laru-an (b. Cotabato, PH) inhabit the Ultraspirit Nest as individuals interested in exploring the notions of care/nurture and control/subjugation, mortality/death and existence/life, as well as rituals/gestures and mediums/objects. These embodied and tensive experiences are posed to be reconsidered in the light of the new order/disorder brought about by the global pandemic. Through the hybrid platform (online + onsite) of interaction, Marasigan, Dy, Bu Shea, and Laru-an embark on a pilgrimage of visiting sacred spaces like a hospice, a chapel, and a cemetery in Utrecht as sites of communing with the spiritual realm and the earthly abode. Though the march starts in solitude and silence with a small community, it will progress into a public sphere of exchange, education, and exhibition for the whole duration of the curriculum from 1st April to 27th May 2023. Renan brings his critical perspectives to curatorial research and practice. He is keen on resisting comfortable and convenient perceptions of reality in order to sharpen the agency of discerning the underlying skeletons and spirits. His interests on the “’insufficient’ and ‘subtracted’ images or subjects at the juncture of development and integration projects” (cf. DIA, online) are essential in curating this art curriculum. Dy creates an installation of embroidered textiles with some archival documents in partnership with Talleres de Nazaret (Quezon City, PH) that essays on labor/activity and leisure/rest; translation of medium from floral arrangements of tulips to photography and embroidery; and employment of the work as learning objects to study the embodied experiences of repose. Bu Shea, on the other hand, examines the lived aesthetic and real poetry of diminishment, death, and dignity. Her transdisciplinary research project called&nbsp;Dying Livingly is an exploration into what it means to live intimately with death and grief, with artistic and cultural productions that form a bridge to her practice as an end-of-life guide and death companion. To provide the platform of conversation and discourse of the curriculum, artist and Ateneo de Manila instructor Marasigan provides a live educational resource called Eternal Conferences. Through this online multi-exchange “between (real) time, digital anthropology, and various forms of communal and decolonized knowledge production” (Eternal Conferences, online), the ideas, activities, and programs of the Ultraspirit nest are broadcasted, democratized, and decentralized. The conjunctions in between the concepts proposed in this art curriculum reflect the reality of creative tensions of the Ultraspirit that cannot be resolved. Yet, as proponents, Marasigan, Dy, Bu Shea, and Laru-an are resolute in brewing ideas into spirited encounters. Perhaps, like Gotama [Buddha], the experience will provide them (and together with their public and communities) with a sense of levity and gravitas. (AM+DG)💐💀💐 As a follow-up of sorts of Trainings for the Not-Yet (2019/2020) convened by BAK and artist Jeanne van Heeswijk and Clara Balaguer with multiple collaborators in Utrecht and beyond, UPS rehearses the idea of an exhibition as a series of trainings, this time configured as the bones of a temporary school. Acting as UPS’s agent faculty ahead of the project, seven study nodes spent months doing outreach and field work to construct a curriculum informed by a current landscape. &nbsp;Each through a specific realm of inquiry, they have labored toward an understanding of how both collective and individual agency could manifest in processes of learning, despite—and because of—structures that have failed us. Ultradependent Public School is a curriculum to learn what we really need to enact the worlds we really want. UPS is co-convened with an extended faculty of students, educators, and practitioners. Emphasizing study as a radically collective, public labor that lives in-between institutionalized hierarchies, UPS inhabits the edges between formal classrooms and everyday life. It navigates  kitchens, print shops, housing squats, community centers, garages, radio stations, hallways, and sidewalks as sites of study.  Conferences 8-9 / CULTURAL REMITTANCE PAWNSHOPPE | Episode 1THE SHELL AND THE WOUND Alfred Marasigan &amp; Meenakshi ThirukodeSign language interpretation by Jerwin Darag Sept 17 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; 18:00h The HagueSept 18&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 00:00h Manila (+1)Sept 17&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 21:30h DelhiIRL Page Not FoundBoekhorststraat 126-128Den Haag (^_-)≡☆&nbsp;SYNOPSIS(^_-)≡☆Meenakshi Thirukode presents her work through the archetype of The Wound inflicted in the act of seeking change and justice. Hierarchical structures of race, gender, caste,* and class seek to protect themselves, picking at any attempts of this wound to heal over. Alfred Marasigan presents his work through the archetype of the shell, specifically the nautilus shell. His interest in how time is lived, quantified, politicized in different territories suggests, through the shell, other readings of queerness, danger, anachronism, and the body. For this episode, Cultural Remittance Pawnshoppe nests within the skin of Eternal Conferences, a livestreamed educational resource and art space. This is a hybrid event. You can attend in person at Page Not Found’s space in the Hague or online via Eternal Conferences website or Twitch. *Meenakshi would like to acknowledge that she belongs to an oppressor caste as a UC/Savarna and will speak from this position. (つ≧▽≦)つABOUT THE PAWNSHOPPE(つ≧▽≦)つTo Be Determined (Primary Cell: Meenakshi Thirukode and Clara Balaguer) build a series of long distance remittance sessions at Page Not Found, featuring people who are intimate with migratory realities as a lifestyle that begets archetypes for a practice. Whether by fleeing further South, draining towards the North, or exiting contested "centers" and "canons," their work explores what exists on the margins, not because it lacks value but because it has been grossly misclassified—by empire, patriarchy, casteism, or any other intersectional oppressions—as unremarkable. In the spirit of informal remittance, both Balaguer and Thirukode have proposed a series of conversational alchemies, mixing guests across their personal networks in India and the Philippines. They ask each guest to present their work in light of an archetype they are practicing, researching, or becoming that is somehow made possible by the modes of flight described by migration. A casual publication will be gathered from notes and references shared for each session. (^_&lt;)～☆GRATITUDE(^_&lt;)～☆This episode of Cultural Remittance Pawnshoppe is made possible by a generous institutional consortium between the Collecting Otherwise research group at Het Nieuwe Instituut (Rotterdam), Page Not Found (The Hague), and PrintRoom (Rotterdam). SLI by Jerwin Darag Mirjam Dalire is a multidisciplinary artist based in Negros Oriental, Philippines. She works with photography, internet-based installation, video, sound, and painting. Mirjam often uses virtual spaces as a staging point for confrontations with her immediate environment, employing satire and humor in her process. ┬┴┬┴┤·ω·)ﾉBIOS┬┴┬┴┤·ω·)ﾉALFRED MARASIGAN (Batangas, Libra Water Monkey) is an artist and educator who conducts serendipitous research and transmedial practices primarily through livestreaming, heavily inspired by emotional geography, Norwegian slow TV, and magic realism. Such format, often via social media, anchors his current explorations on simultaneity, sustainability, solidarity, and sexuality. He has been a faculty member of Ateneo de Manila University’s Department of Fine Arts since 2013. MEENAKSHI THIRUKODE is a writer, researcher, educator and feminist killjoy based in NewDelhi, India. Her areas of research include the role of culture, collectivity and micro-politics from the POV of a queer femme subjectivity, located within the realm of a trans-nomadic, transient network of individuals and institutions. She runs ‘School of IO’, which is a space of unlearning, dedicated to navigating ‘study’, as a radical tool of political agency.&nbsp; JERWIN DARAG is a corporate researcher analyst. He has worked in the local government unit of Makati under Disaster Risk Reduction and Management Office, Administrative Section. He holds a Bachelor's degree in Office Administration from the Polytechnic University of the Philippines and has studied sign language in the Philippine Registry of Interpreters for the Deaf. CLARA BALAGUER is a cultural worker and grey literature circulator. Frequently, she operates under collective or individual aliases that disclose her stewardship in any given project, the latest of which is To Be Determined. ETERNAL CONFERENCES is a live educational resource and art space that aims to bring together people from different fields and practices to talk about intersections between (real) time, digital anthropology, and various forms of communal and decolonized knowledge production. It is Inspired by never ending zoom calls and conversations as journeys. TO BE DETERMINED is a loosely organized structure for leaking access to cultural capital, recently migrated to Rotterdam from Parañaque City. TBD is a network of sleeper cells curious about models of non-extractive research, diasporic remittance flows, rehabilitating the body public/published body, mutual industry, and secretarial agency. ε=ε=ε=ε=┌(;￣▽￣)┘CONTEXTε=ε=ε=ε=┌(;￣▽￣)┘In the Global South, money remittance centers provide an alternative banking system for the underdocumented (which is distinct from the undocumented) to access liquid capital. Precarity breeds a difficult relationship with official documentation. The bureacratic procedures for achieving certain kinds of documentation are often obtuse, designed for inefficiency. They may be written in colonially imposed languages (English, Spanish, French, Dutch) that produce rejection or fear in the ex- or still-colonial "native." Financial and other forms of precarity compound difficulties for becoming documented. These citizens may be unable to pay bureaucratic fees for birth, marriage, or death certificates. These nominal fees for bureaucratic processing do not include hidden costs such as transportation to far-away municipal offices, taking unpaid leave from work to stand in line for hours, grooming and styling for vital first impressions that make or break one's bureaucratic fate, or even prohibitive costs for printing several copies of "biodata" sheets and multiple color ID photographs. Likewise, financial insecurity can turn a fixed official home address into an unattainable luxury. Thus, access to something as deceptively simple as a bank account—which requires two or more forms of official documentation that identify a fixed address—is out of reach for the underdocumented. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "Money remittance operations such as Remitly, Western Union, Ria—and in the Philippines, pawnshop chains such as Cebuana Lhuillier and Palawan Pawnshop—offer an easy alternative. With just a name and a cell phone number, financial capital can be liquified and mobilized. The exorbitant commission charged by these service providers is offset by the ease of transaction. The post-colonial economies of countries such as the Philippines and India—where Balaguer and Thirukode come from, respectively—suffer from a phenomenon called brain drain. Lack of financial, emotional, intellectual, and political opportunities to sustain dignified forms of life/study drive capable people to seek a livelihood elsewhere. This desired elsewhere is often the seat of a colonial power that mined the developing economy in the first place, relegating it to the state of dysfunction that provokes migratory exodus. South/Eastern citizens-in-flight aspire to mobility through coveted working or travel visas. Once the visa is acquired, the kinship cells they are attached to—often large extended families linked as much by blood as by ties of personal debt/gratitude—may pin their fate to the fortunes of the visa holder. A culture of remittance emerges, built on the notion of duty and generosity. Those who are afforded the privilege of mobility support those who are excluded from capital access. A common final goal is family reunification, or the multiplication of visas for others to participate in the imperfect system of abundance and expand their physical and class mobility, which could rarely happen in their places of origin because empire predates European colonialism.&nbsp; (They did not invent the exercise of power, they merely hold some of it at the moment.) This is the basic framework of the post-colonial dream state, which by no means guarantees a happy ending. There are nuances of struggle in this story line, it mustn't be romanticized as a springboard for critical deliverance." 1st Quarter 2022 Conference No. 7 with Mirjam Dalire29 Mar 2022, 8PM PHT / 13:00 CET SLI by Jerwin Darag Mirjam Dalire is a multidisciplinary artist based in Negros Oriental, Philippines. She works with photography, internet-based installation, video, sound, and painting. Mirjam often uses virtual spaces as a staging point for confrontations with her immediate environment, employing satire and humor in her process. 4th Quarter 2021 .classname { -moz-box-shadow:inset 0px 1px 0px 0px #fce3c5; -webkit-box-shadow:inset 0px 1px 0px 0px #fce3c5; box-shadow:inset 0px 1px 0px 0px #fce3c5; background:-webkit-gradient( linear, left top, left bottom, color-stop(0.05, #eeff00), color-stop(1, #ffa1d0) ); background:-moz-linear-gradient( center top, #eeff00 5%, #ffa1d0 100% ); filter:progid:DXImageTransform.Microsoft.gradient(startColorstr='#eeff00', endColorstr='#ffa1d0'); background-color:#eeff00; -webkit-border-top-left-radius:20px; -moz-border-radius-topleft:20px; border-top-left-radius:20px; -webkit-border-top-right-radius:20px; -moz-border-radius-topright:20px; border-top-right-radius:20px; -webkit-border-bottom-right-radius:20px; -moz-border-radius-bottomright:20px; border-bottom-right-radius:20px; -webkit-border-bottom-left-radius:20px; -moz-border-radius-bottomleft:20px; border-bottom-left-radius:20px; text-indent:0; border:2px solid #a6ff00; display:inline-block; color:#000000; font-family:Trebuchet MS; font-size:14px; font-weight:bold; font-style:normal; height:26px; line-height:23px; width:114px; text-decoration:none; text-align:center; text-shadow:1px 1px 1px #00fff2; }.classname:hover { background:-webkit-gradient( linear, left top, left bottom, color-stop(0.05, #ffa1d0), color-stop(1, #eeff00) ); background:-moz-linear-gradient( center top, #ffa1d0 5%, #eeff00 100% ); filter:progid:DXImageTransform.Microsoft.gradient(startColorstr='#ffa1d0', endColorstr='#eeff00'); background-color:#ffa1d0; }.classname:active { position:relative; top:1px; } Conference No. 6 with Guri Simone Øveraas 9 Dec 2021, 8PM PHT / 13:00 CET SLI by Jerwin Darag Guri Simone Øveraas (b. 1990) was born and raised in Tråante/Trondheim. She has a Bachelor from Trondheim Academy of fine art and studied her masters at Tromsø Academy of fine art where she graduated spring 2020. Through performance and sculptural works, she tells stories from her fantasy and reality, where she often mixes the absurd with the familiar. Her works evolves around identity and often explores the feeling being alienated and/or the feeling of being part of something. The audience are often invited to take part in her works. 3rd Quarter 2021 Conference No. 1 with Jord Earving Gadingan7 Aug 2021, 7PM PHT / 13:00 CET SLI by John Lester Go Dig and Jun Sevilla My niches are grassroot systems and I have been exploring for 8 years now working with governments, academicians, non-profits and communities. I've organized several community projects and 'social responses' in Batangas province [since 2016] and currently working with social innovations on health systems in Quezon. I'm privileged to non-formally learn and experience community development and ecological principles by asking countless questions.—Jord Earving Gadingan is a community worker, researcher and writer for Sa Ngalan ng Lawa, an initiative exploring "other sciences" on environment work. Conference No. 2 with Czar Kristoff10 Aug 2021, 9PM PHT / 15:00 CET SLI by Renato Soriano Jr. and Jun Sevilla CZAR KRISTOFF (Camarines Sur, Capricorn Earth Snake) is an artist, educator, and publisher, interested in (re)construction of space and memory, through concepts of nesting and temporary architecture, for (pedagogical) occupation, using cottage industry publishing—blueprints, xerox, and other low-fidelity printing methods—as his current media of interest. He has exhibited at the Stedelijk Museum Amsterdam, Showroom MAMA Rotterdam, Jogja National Museum, C3 Artspace Melbourne, Bangkok Arts and Culture Center, De Appel Amsterdam, Dansehallerne Copenhagen and Vargas Museum Manila. Kristoff is affiliated with Hardworking Goodlooking, a publishing and design hauz interested in decolonization, horror vacui and tropical diaspora. He runs Temporary UnReLearning (URL) Academy, a parallel school with no permanent address, interested in de-centering art and cultural production in the Philippines. Conference No. 3 with Dir. Bernardo Rafaelito R. Alejandro IV, CESO IV, MNSAand Mark Cashean Timbal12 Aug 2021, 3PM PHT / 9:00 CET SLI by Ms. Ana Bellia Ico Dir. Bernardo Rafaelito R. Alejandro IV, CESO IV, MNSA is the current Lead of Operations Service and is the concurrent head of the Rehabilitation and Recovery Service of the Office Civil Defense Department of National Defense. He has extensive experience in the field of Disaster Risk Reduction and Management or DRRM, specifically in setting and developing policies and implementing strategies and mechanisms on disaster risk reduction, preparedness, rescue, relief and rehabilitation. His technical expertise in Incident Command System ​(ICS) , crisis management, and civil-military coordination, have allowed him to efficiently manage the major high impact events and natural disasters during his ten-year term as the Regional Director of Bicol Region and in his subsequent leadership roles in the bureau. He is a Career Executive Service Officer with a Rank of CESO IV, and a Naval Reservist with a Rank of Lieutenant Commander.—Mark Cashean E. Timbal is the spokesperson of the Office of Civil Defense (OCD) and concurrent spokesperson for the National Disaster Risk Reduction and Management Council (NDRRMC). He is also the Officer-in-Charge of OCD’s Public Affairs Office. As an educator, he has more than 10 years-worth of experience and is currently a parttime faculty member of the Polytechnic University of the Philippines (PUP)’ College of Communication. He is an alumnus of PUP, one of the nine (9) Magna Cum Laude graduates of Batch 2005, with the degree of bachelor’s in journalism. He has taken units of Master’s educational management and public administration. He has completed various and international training programs on disaster risk reduction and management, defense, communications, and public service. He has been in government service for almost 15 years. As a government spokesperson, he attends to various media engagements to represent NDRRMC and OCD. He facilitates press briefings to report information to the public during various occasions and emergencies. He responds to public queries and requests through interviews and program appearances/guesting’s during both peace times and emergency operations. He advises the NDRRMC Executive Director and Civil Defense Administrator on the treatment and handling of the various issues involving the agency and related programs and advocacies. He is also a member of the various task forces who are responsible for strategic communications, public information, and risk communications. Conference No. 4 with Abigael Castro14 Aug 2021, 4PM PHT / 10:00 CET SLI by Jerwin Darag I am a Museum Researcher at the National Museum of the Philippines under its Geology and Paleontology Division since 2009. My usual day at work alternates between collections management and laboratory works. Pre-COVID19, I was also doing guided tours for our museum viewers and field works around the country. I finished my bachelor’s degree in Biology at the Baguio campus of the University of the Philippines. Currently, trying to finish my master’s thesis at the National Institute of Geological Sciences in UP Diliman. On my spare time, I enjoy binge watching tv series and movies, reading mindless Wattpad stories and, back when times were much nicer, travelling. Conference No. 5 with Isola Tong17 Aug 2021, 11AM PHT / 5:00 CET SLI by Maan Tugade Isola Tong (b. 1987, Manila) is an artist and architect engaging Filipina shamanic and autochthonous transgender imagination through performance, installation, print, painting and moving image to disrupt the hegemony of western understandings of nature and identity. Her interests include: Ecological Drag as a practice of embodying precolonial indigenous genealogy of gender-variant women in the context of a world at the brink of ecological collapse to discover new pathways to self-determination. Vernacular Fiction as a practice of articulating and centering contemporaneous figurations of marginality and transness in decolonializing patriarchal and racialized narratives. Feral Poetry as a practice of conveying the interconnectivity of biological agents in subaltern and transfeminist terms. Encounters with the environment, locality and objectification informs her fictive speculations and feral poetics as modes of dissidence from normative notions through queer vernacularity. https://eternalconferences.cargo.site/Impormasyon-About Sat, 05 Jun 2021 17:01:58 +0000 Eternal Conferences https://eternalconferences.cargo.site/Impormasyon-About IMPORMASYON / ABOUT Inspired by never ending zoom calls and conversations as journeys, Eternal Conferences&nbsp;is a live educational resource and art space that aims to bring together people from different fields and practices to talk about intersections between (real) time, digital anthropology, and various forms of communal and decolonized knowledge production. Livestreams happen quarterly! For 3Q 2021, we launched with five (5) Conferences. They will be available for 24 hours after broadcast until they are archived here as audio recordings. Should you desire to view the full streams, please reach out to us and/or our past collaborators via our Resources. 👾 twitch.tv/eternalconferences ✉️ eternalconferences@protonmail.com 📸 @eternalconferences Special thanks to Kulturrådet for our seed funding. <img width="1081" height="234" width_o="1081" height_o="234" data-src="https://freight.cargo.site/t/original/i/2adafdd859b3d66c6f31ecc5b9a483cb253246f535917d679a9a8e8a8e9f8277/ArtsCouncilNorway_Endorsed_Black.png" data-mid="113959683" border="0" data-scale="40" src="https://freight.cargo.site/w/1000/i/2adafdd859b3d66c6f31ecc5b9a483cb253246f535917d679a9a8e8a8e9f8277/ArtsCouncilNorway_Endorsed_Black.png" /> &nbsp; &nbsp; https://eternalconferences.cargo.site/Conference-No-1-Translated-Transcript Mon, 27 Sep 2021 11:13:42 +0000 Eternal Conferences https://eternalconferences.cargo.site/Conference-No-1-Translated-Transcript Conference No. 1 w/ Jord Earving Gadingan 7 Aug 2021, 7PM PHT / 13:00 CET Sign Language Interpretation by John Lester Go Dig and Jun Sevilla Livestream transcript/English translation by Tricia Velez 📝 Download full transcript (Filipino Version) 📝 Download full transcript (English Version) Matingkad na kahel ang namamayaning kulay ng iskrin. Tila may manipis na belong kahel na itinaklob sa kabuuan ng eksenang matutunghayan ng mga viewer ng livestream. Sasalubong sa manonood ang footage ng bangkang lumalayag. Mabilis at banayad ang andar nito. Nakabaling paharap ang pananaw ng footage, umaayon sa direksyon ng paglaot ng bangka. Paminsang lumilingon sa bandang kanan ang tumatanaw. Maliliit lamang ang alon, ngunit mararamdaman sa punto de bista ng footage ang bahagyang nakakahilong pataas-pababang pag-alog ng bangka. Makikita sa harapan ng punto de bista ang patulis na dulo ng sinasakyang bangka, na hinaharangan naman ang tanawin nito ng bundok sa malayo. Mayroon ding mala-tungkod na bagay sa mismong harap ng tumatanaw, na maaari marahil nitong kapitan kung sakaling mawalan siya ng balanse. Batay sa anino ng nasabing tungkod, maipagpapalagay na tanghaling tapat noong kinuha ang video na ito. Mukhang maulap ang himpapawid. Maririnig ang paghampas ng alon sa bangka. Dalawang uri ng bagay ang makikita sa ibabaw ng footage ng paglayag. Una, sa kaliwang gilid ng iskrin: mistulang kanang bahagi ng maikling dulo ng kuwadrong taluhaba. Kahel din ang dominanteng kulay nito, ngunit may mga luntian at bughaw na linya ring nagsisilbing disenyo ng kuwadrong ito. Lubos na naiiba ang makinis at solidong tekstura nito sa (bagaman purong kahel na) realismo ng footage. Maaalala rito ang karaniwang ideya ng “futuristic” noong katapusan ng dekada nobenta hanggang sa pagpasok ng bagong milenyo.&nbsp; Katabi nito ang ikalawang uri ng bagay na nakapatong sa footage: mga salita. Mga pag-anunsyo at iba pang impormasyon hinggil sa Conference ang mababasa. Sa tuktok, kahanay ng kanang sulok ng tila piraso ng kuwadrong katabi nito, makikita ang “LIVE IN” kasama ng countdown timer. Magsisimula ang timer na ito sa tatlong minutos. Malaki ang font, puti ang mga titik, at naka-highlight ng pula. Sa ibaba nito, sa parehong malaking font, mababasa naman ang WELCOME TO ETERNAL CONFERENCES! Mayroong ombre effect ang kulay ng mga letra: mula puti rin sa simula, dahan-dahan itong magiging kakulay ng pinakamalinis na tubig-dagat sa dalampasigang puti ang buhangin. Itim naman ang highlight nito.&nbsp;HAVE A GREAT TIME!!! 😊 Itim ang kulay ng mga titik, at puti ang highlight ng linyang ito. Pagkaabot sa 00:00 sa countdown timer, panandaliang lalakas ang tunog ng along humahampas sa bangka. Lubusang magbabago ang pagkakaayos ng iskrin. Tulad ng naunang disenyo ng iskrin, nasa unang layer kumbaga muli ang litratong nagtatampok ng realistikong larawan ng natural na tanawin. Mababasa sa kaliwang sulok ng iskrin ang tila pagkakakilanlan ng tanawin: TaalVolcanoVTMC2019/01/07 08:51:16, sa maliit na puting sans serif na font. Sa ibabaw ng litratong ito, matutunghayan ang tatlong kahel, luntian, at bughaw na kuwadrong taluhabang iba’t iba ang laki. Tila naging patikim ang naunang pagsasaayos ng iskrin sa ngayo’y matatagpuan ng mga viewer sa kanilang harapan, sapagkat pareho silang disenyo ng lumang “futuristic.” Mababasa sa puting font ang ETERNAL CONFERENCES sa itaas na kanang bahagi ng iskrin. May katabi itong kumikislap at umiikot na kulay gintong bilog. Sa ibabaw nito, mayroon ding 3D na graphic ng mala-pusit na nilalang. Kulay puti, mayroong manipis na kahel na outline, mistulang anino. A bright orange dominates the screen. There appears to be a thin orange veil over the entirety of the scene before the viewers of the livestream. Meeting the viewer is footage of a boat sailing on, fast and steady. The footage perspective is oriented forward, toward the direction the boat’s destination. At times, this perspective casts glances to the right. The waves are gentle, although the rising and falling of the boat from may cause mild motion sickness. The boat’s pointed end is seen right in front of the footage point of view, partially blocking the view of a mountain ahead. There is a staff-like object is right in front of the video’s perspective, that a person might hold on to, should they lose their balance. Based on the shadow of this object, it may be assumed that the video was taken at high noon. The sky above looks overcast. The continuous sound of waves hitting the boat can be heard.&nbsp; There are two kinds of objects seen overlayed on this sailing footage. First, on the left margin of the screen: resembling the right-hand end of a rectangular frame. Its dominant color is also orange, though there are green and blue lines along its length, comprising its aesthetic design. Its smooth and solid texture also differs vastly from the realism of the footage (though bathed in an orange filter). One might recall how we imagined “futuristic,” back in the days of the late 90s to the beginning of the new millennium. Next to this is the other kind of object placed over the footage: text. Announcements and other information about the Conference. At the very top, aligned with the right corner of what appears to be the rectangular frame, we see “LIVE IN” with a countdown timer. This timer begins at three minutes. Large font, white letters, highlighted in red. Below this, in the same large font, we read WELCOME TO ETERNAL CONFERENCES! The colors of the letters have an ombre effect: it begins with white, then slowly takes on the hues of the clearest sea water on a beach with white sand. This is then highlighted in black. Further below this, in much smaller font, are additional information about the current conference. Information about the name of the speaker, the schedule, the language, and the inclusion of sign language interpretation are in a black, sans serif font. Under this, in even smaller font, we read invitations for viewers to create their own Twitch account so they can participate in the chatbox within the livestream, as well as promotions for the Eternal Conference social media profiles and website. At the end, at the very bottom, in the same font as the first two lines though the same size as the line just above this, we see HAVE A GREAT TIME!!! 😊&nbsp;The letters are in black, and its highlight is in white. Once the countdown reaches 00:00, the volume of the sound of waves hitting the small boat increases for a few seconds. The appearance of the screen then drastically changes. Much like the design of the previous screen, there is again a photorealistic image of some natural scenery on the first layer. On the left hand corner of the screen we find what could be the identification of this scenery: TaalVolcanoVTMC2019/01/07 -8:51:16, in white sans serif font. Over this image, we see three varying sizes of rectangular frames in orange, green, and blue. The arrangement of the screen in the beginning of the broadcast now seems to be a “peek” into this present design, as they both have the same sort of vintage “futuristic” look. On the top-right area of the screen, we find ETERNAL CONFERENCES in white font. Next to this is a shining, rotating golden wheel. Placed over this is a 3D graphic of a mollusk-like creature. White, with a thin orange outline, resembling a shadow. &nbsp; &nbsp; https://eternalconferences.cargo.site/Mga-Pagtitipon-Archive Sat, 05 Jun 2021 17:00:32 +0000 Eternal Conferences https://eternalconferences.cargo.site/Mga-Pagtitipon-Archive <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/af0e49655c2810df21f3786dcb6bce914c83c95df2739ef8ada758dea236841b/Conference-No.-1-with-Jord-Gadingan.png" data-mid="115676023" border="0" src="https://freight.cargo.site/w/1000/i/af0e49655c2810df21f3786dcb6bce914c83c95df2739ef8ada758dea236841b/Conference-No.-1-with-Jord-Gadingan.png" /> Conference No. 1 w/ Jord Earving Gadingan 7 AUG 2021&nbsp;~ In our first livestream, Jord and Alfred talk about conversations as research, citizen science, the politics of gossip, listening, his own position as a narrator, the luxury of sustainability, and personal stories in the fields of community and environmental work.&nbsp; Sign language interpretation by Jun Sevilla and John Lester Go Dig; Duhol Matapang Snap Cam filter by Close Isn’t Home. Transcript/English translation by Tricia Velez (click here). <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/43239a6e23061555456b70354fdea15ebc477c05c6c53693614ca2f29b78f308/vlcsnap-2021-08-11-00h25m20s050.jpg" data-mid="115994773" border="0" src="https://freight.cargo.site/w/1000/i/43239a6e23061555456b70354fdea15ebc477c05c6c53693614ca2f29b78f308/vlcsnap-2021-08-11-00h25m20s050.jpg" /> Conference No. 2: Oras de Peligro w/ Czar Kristoff&nbsp; 10 AUG 2021 ~ In Oras de Peligro, Czar shares his heartfelt and rigorous practices in photography, publishing, pedagogy rooted in stories of reconstructing memory, confronting disaster, embracing ephemerality, and seeking home. Readings include: The Body Keeps the Score: Brain, Mind and Body in the Healing of Trauma, Bessel van der Kolk; Decolonial Listening, Rolando Vasquez; 03 24/7: Late Capitalism and the Ends of Sleep, Jonathan Crary; Grief Is The Thing With Feathers, Max Porter; Not Dead but Sleeping, Anna Della Subin. Sign language interpretation by Jun Sevilla and Renato Soriano, Jr. <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/805eedcc1272c70549123fb55664dd23259680ee32e5911051df260d067aefdc/vlcsnap-2021-08-13-13h09m14s238.jpg" data-mid="116370694" border="0" src="https://freight.cargo.site/w/1000/i/805eedcc1272c70549123fb55664dd23259680ee32e5911051df260d067aefdc/vlcsnap-2021-08-13-13h09m14s238.jpg" /> Conference No. 3 w/ Dir. Bernardo Rafaelito R. Alejandro IV, CESO IV, MNSA and Mark Timbal 12 AUG 2021 ~ In Conference No. 3, Dir Raffy and Sir Mark jointly tells us about the urgenct, enduring, and collaborative natures of their work in OCD as the National Disaster Risk and Reduction Management Council’s executive arm, during dangerous, and most especially peaceful times. Sign language interpretation by Ana Bellia Ico. Duhol Matapang Snap Cam filter by Close Isn’t Home.&nbsp; <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/9a52157835ce0bca9e00eb7308f78d1640ef03e9c6f4a9472e91340269061351/vlcsnap-2021-08-14-20h17m13s098.jpg" data-mid="116449782" border="0" src="https://freight.cargo.site/w/1000/i/9a52157835ce0bca9e00eb7308f78d1640ef03e9c6f4a9472e91340269061351/vlcsnap-2021-08-14-20h17m13s098.jpg" /> Conference No. 4w/ Abigael Castro 14 AUG 2021 ~ In Conference No. 4, Abigael shares the rewarding and challenging processes of excavating fossils from Lian, Batangas as a UP Diliman Nannoworks Laboratory research project. An offshoot of her echinoderm studies, the fragile and valuable nautilids made its way to public consciousness via the National Museum of the Philippines’s Geology and Paleontology division.Sign language interpretation by Jerwin Darag. Snail Snap Cam filter by Olivia 🦋. <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/5867800a8219831b84d5f44dd72bbaf3a6710dfcdae97e51539a7e703175b054/vlcsnap-2021-08-17-14h19m54s435.jpg" data-mid="116631455" border="0" src="https://freight.cargo.site/w/1000/i/5867800a8219831b84d5f44dd72bbaf3a6710dfcdae97e51539a7e703175b054/vlcsnap-2021-08-17-14h19m54s435.jpg" /> Conference No. 5w/ Isola Tong 17 AUG 2021 ~ In our second to the last conference, Isola links gender, nationhood, and architecture with spectatorship, power, and nature. By mapping cinematic, biographical, literary, and artistic references into a supernatural ecosystem, she asserts her agency as an artist, babaylan, and transpinay. Sign language interpretation by Maan Tugade.&nbsp; <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/35094f4a8077937912f08ac0bf4c7fca0274d4be47a7260addb49fd2b096c10f/vlcsnap-2021-12-12-13h46m37s403.png" data-mid="127170975" border="0" src="https://freight.cargo.site/w/1000/i/35094f4a8077937912f08ac0bf4c7fca0274d4be47a7260addb49fd2b096c10f/vlcsnap-2021-12-12-13h46m37s403.png" /> Conference No. 6w/ Guri Simone Øveraas 9 DEC 2021 ~ In our first regular broadcast and last livestream for the year, Guri speaks with us about inhabiting different bodies through performance, art wear, and care work. Collectivity, queerness, and disability manifests in our conversation as necessary for experiences and challenges of belonging and togetherness in our contemporary world. Sign language interpretation by Jerwin Darag. <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/cbbf738bdd93f6957fb3c5953556505f722706fc938203b211f2e0727a57c1a4/vlcsnap-2022-03-30-10h35m30s241.png" data-mid="137985238" border="0" src="https://freight.cargo.site/w/1000/i/cbbf738bdd93f6957fb3c5953556505f722706fc938203b211f2e0727a57c1a4/vlcsnap-2022-03-30-10h35m30s241.png" /> Conference No. 7w/ Mirjam Dalire 29 MAR 2022 ~ In our first broadcast this year, Mirjam shares with us her digital and installation works that generates a lively discussion about disinformation, internet humor, digital literacy, national politics, conspiracy theories, and a collective call to reevaluating daily media. She also generously tours us around Second Life ⁠— apparently a pre-metaverse wasteland that today hosts the residual communities of the mid-aughts ⁠— and there, we went scuba diving, visited an art show, and crashed a karaoke party. Sign language interpretation by Jerwin Darag. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/95ec21ab9bd6e46463d7a6253a84f2892b42110af681bc7716825e35ce37c729/vlcsnap-2022-09-20-11h27m48s398.png" data-mid="153397160" border="0" src="https://freight.cargo.site/w/1000/i/95ec21ab9bd6e46463d7a6253a84f2892b42110af681bc7716825e35ce37c729/vlcsnap-2022-09-20-11h27m48s398.png" /> Conference No. 8-9 / Cultural Remittance Pawnshoppe | Ep. 1: The Wound and the Shell w/ Meenakshi Thirukode and Alfred Marasigan 17 SEPT 2022 ~ In a special combined and hybrid episode held at and made possible by Page Not Found and Collecting Otherwise @ Het Nieuwe Instituut, To Be Determined (Primary Cell: Clara Balaguer and Meenakshi Thirukode) facilitate a soft and lively discussion with Thirukode and Marasigan about vulnerability, borders, intuition, exchange via the wound and the shell as archetypes. How can we balance compassion and militancy&nbsp; across intersectionalities like race, gender, and class? Sign language interpretation by Jerwin Darag. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3fbec1b1eb1ed2a31c8edd0ca3aa04ba3d0ccde0fd4cc3458fda6dac7ceafd0d/vlcsnap-2025-03-06-11h21m53s076.png" data-mid="227736784" border="0" src="https://freight.cargo.site/w/1000/i/3fbec1b1eb1ed2a31c8edd0ca3aa04ba3d0ccde0fd4cc3458fda6dac7ceafd0d/vlcsnap-2025-03-06-11h21m53s076.png" /> Conference No. 10-11 / RE-POSING: RESISTANCE, RESPIRATION, RESOLUTION with UltraSpirit Nest (Staci Bu Shea, Alfred Marasigan, Renan Laru-an, Jason Dy, SJ) and Ultradependent Public School [Eternal Conferences apologizes for the update delay and the large gaps of unrecorded audio from the event.] 16 APR 2023 ~ In conversation with Ultradependent Public School via Clara Balaguer and hosted in BAK,&nbsp;basis voor actuele kunst (Utrecht, NL), Eternal Conferences went livestream onsite again. Joined by Fr. Jason Dy n partnership with Talleres de Nazaret, Alfred Marasigan, Staci Bu Shea, and Renan Laru-an, they held conversations about coming to terms with “care/nurture and control/subjugation, mortality/death and existence/life, as well as rituals/gestures and mediums/objects”, all within the frameworks of community, art, collaboration, and design.&nbsp; Sign language interpretation by Jerwin Darag. https://eternalconferences.cargo.site/Mga-Sanggunian-Resources Sat, 05 Jun 2021 17:08:45 +0000 Eternal Conferences https://eternalconferences.cargo.site/Mga-Sanggunian-Resources MGA SANGGUNIAN / RESOURCES Eternal Conferences strives to maintain an evolving bibliography of learning materials that inspired and continue to inform the entire project, including but not limited to the Conversations held throughout its run. Feel free to contact eternalconferences@protonmail.com for contributions, insights, and/or concerns. References Al-Badri, Nora, and Jonas Tinius. “Technoheritage &amp; Restitution – An Exchange between Nora Al-Badri and Jonas Tinius.” YouTube, IFA Gallery Berlin, 10 July 2019, www.youtube.com/watch?v=uHiTk3fNXfM. Castro, Abigael L, et al. “Rare Occurrence of Nautilus Sp. Fossils from Batangas, Philippines.” Philippine Journal of Science, vol. 149, no. 3, Sept. 2020, pp. 495–501., doi:https://philjournalsci.dost.gov.ph/98-vol-149-no-3-september-2020/1202-rare-occurrence-of-nautilus-sp-fossils-from-batangas-philippines. Cherewaty, Ryan. Encoding Reality Through Techno-Magic. 2018. Piet Zwart Institute, MA Thesis. Academia.edu,&nbsp;www.academia.edu/36664479/Encoding_Reality_Through_Techno_MagicIleto, Reynaldo Clemeña. Pasyon and Revolution: Popular Movements in the Philippines, 1840-1910. 4th ed., Ateneo De Manila, 1997.&nbsp;Manapat, Ricardo. “Mathematical Ideas in Early Philippine Society: Posthumous Essay.” Philippine Studies, vol. 59, no. 3, Sept. 2011, pp. 291–336. Metahaven. Digital Tarkovsky. Strelka Institute, 2018. Money, Jazz. “Sacred Data.” NAVA, NAVA (National Association for Visual Arts), 27 Apr. 2020, visualarts.net.au/news-opinion/2020/sacred-data/. Odell, Jenny. How to Do Nothing. Random House US, 2020.&nbsp; Rachum, Ram, et al., contributors. PythonTurtle. Version 0.1.2009.8.2.1, Ram Rachum, 7 April 2009 of Release. Software. Download Site, https://pythonturtle.org/. 17 November 2020. Raju, Chandra Kant. “To Decolonise Maths, Stand up to Its False History and Bad Philosophy.” The Wire - History, The Wire, 26 Oct. 2016, thewire.in/history/to-decolonise-maths-stand-up-to-its-false-history. Scott, William Henry. “Some Calendars of Northern Luzon.” American Anthropologist, vol. 60, no. 3, 1958, pp. 563–570.,&nbsp;doi:10.1525/aa.1958.60.3.02a00120. &nbsp; 🔥🐍🐚 Directory Try out our Duhol Matapang filter with Close Isn’t Home from our Conference No. 1! Now available on Snapchat! The Duhol Matapang Snapcam filter is largely inspired by the ghost of a 19th- century sea snake specimen's online apparition to me, back in 2018. My research led me to its internment in the Museum of Comparative Zoology where it remains formless and unseen, only registered as a collected entry by Dr. Carl Semper in 1877 and Samuel Walton Garman in 1881. Today, it remains largely understudied, but since then Vhon Garcia and a team of scientists have found out more about its morphology and behavior.The duhol matapang / Taal sea snake / Hydrophis semperi is only one of two venomous freshwater sea snakes in the world, endemic to the consistently active Taal volcanic lake (as recent as two weeks ago). It was said to have evolved very quickly because of one of the volcano's strongest eruptions in 1754 that closed of the lake's access to the sea. It is listed as vulnerable by the IUCN Red List, and has a tenuous relationship with the lake's fishermen. It is more difficult to conserve due to its ambiguous niche in the local ecosystem compared to another endemic species in Taal, the edible tawilis / Sardinella tawilis. Sa Ngalan Ng Lawa (www.instagram.com/sangalan.nglawa/) is a citizen science initiative dedicated to the Taal Lake. Check it out and connect with Conference No. 1’s Jord Gadingan! TEMPORARY UNRELEARNING ACADEMY (unrelearning.tumblr.com/) is a migratory school currently based in CALABARZON, Philippines, interested in queering artistic and cultural formation/production through occupying common/uncommon spaces, embodying spirits, amplifying vernacular language and tools and through shadow work/library. The DRRM Knowledge Center (drrmkc.ocd.gov.ph/) is a one-stop shop for Disaster Risk Reduction and Management (DRRM) and climate change adaptation/mitigation knowledge resources&nbsp;The National Museum of the Philippines’ Geology Division (www.nationalmuseum.gov.ph/nationalmuseumbeta/Geology/Geology.html) undertakes geological research; systematically collects, preserves, studies rocks, minerals and fossils of plants and animals; and maintains the museum’s reference collection.Guri Simone Øveraas’ Trondheim Kunstmuseum performance (https://trondheimkunstmuseum.no/kunstnerens-valg-2021/guri-simone-overaas) illustrates her more recent work about care, belonging, and the body. ⏳🌏📲 Acknowledgements Naughty Luz Chatbot 3D Model (first apparition in March Winds at the Digital Artist Residency) and Duhol Matapang / Taal Sea Snake / Hydrophis semperi Snapcam filter by Close Isn’t Home Conference moderations and curation by Alfred Marasigan (Ateneo de Manila University, Department of Fine Arts)Project launch management by Audrey Ferriol (Rags2Riches, Inc.)Sign Language interpretations by Jun Sevilla, John Lester Go Dig, Renato Soriano, Jr., Ana Bellia Ico, Jerwin Darag, and Maan Tugade Video transcript/English translation by Tricia Velez Special thanks to the Trojan Horse Cell-TBD; Het Nieuwe Instituut's Collecting Otherwise; Save Our Schools Network; Ateneo de Manila University's Department of Fine Arts and School of Humanities; Dr. Emma Porio and Coastal Cities at Risk PH; Ruth Alexander Aitken; Hennies and Heathers; and Mia Lopez.&nbsp; ✨