komentaryo

InSecurity Bank #bankingcrises

Across the holidays, and until now, we saw a rise in even more stories of OTPs being requested out of nowhere, and scams happening through and across our banking system. It seems important to finally talk about my own story from early 2023, one that I feel is important to serve a public that is generally at the losing end of problems like this one which, by the way, is not necessarily the subscriber’s fault. Note too that I had the privilege to have legal assistance, and my lawyer had quickly sent word to the bank to contest their decision not give me back the money I lost.

That bank being Security Bank.

For a bit of context, I hold accounts across BDO, BPI, Metrobank, and Security Bank. This is not a measure of how much cash there is (haha), as it is a measure of how much interbank transfers cost (a whooping P25 pesos, at least), which is huge if you get, say, P900 peso cheques for your writing.

Now let me start by saying that across all these four banks, for the longest time, it was Security Bank that was my favorite. I thought it was the most secure bank across all the others I had. They call you to tell you when your ATM’s been cut because of questionable activity, and then tell you when the new card’s ready for pick-up. I had family who believed in Security Bank’s, uh, security, and I even got insurance with them because of it. It was for that reason that I also had most of my savings there, and have had it there for years. It’s also important to point out that when friends started to experience unauthorized transactions from other banks pre-pandemic, none of it was happening with Security Bank. So it was easy to believe that, well, it was secure.

Until it wasn’t. Early in 2023, when other banks already had multiple cases of OTPs being asked for by mobile numbers not connected with the banks themselves, I received a phone call that talked about my Security Bank account. The person knew all my details with the bank, including the last four digits of my account, the last time I did an online transaction, the last time I did a face-to-face bank transaction, even who I talked to in the bank to get my insurance. There was no reason to think this person was not from Security Bank. But here was the clincher: when the person asked for an OTP, it was not sent to my mobile number through an unknown or regular mobile number — which would have made me suspicious. Instead the OTP was sent through the number of Security Bank. The same one that sends me confirmation of my online transactions, the same number that sends OTPs. (more…)

radikalchick.lit

Disquiet #2024

We go through the motions, I think, as we shift from one year to another. There is little to celebrate outside of the personal, and when we are self-reflexive about our privilege, the middle class guilt can only kick in. We refrain from posting food photos. We keep from the usual displays of celebration. We stay distant from the predisposition to overshare on social media.

There are a multitude of reasons, of course, to tell the world the year was good for you. And gratefulness is a good thing. For some of us though, it almost feels excessive to put it on display. This is not to question what others are doing, as it is to lean into why it is that this shift from 2023 to 2024 has demanded differently of the self. It isn’t why has it been hard to celebrate, but how it’s been difficult to put that on display. It isn’t about why there is a refusal to flex, as it is about how this denial of the reflex to share speaks to a specific kind of processing of the present.

That this sensing of the act of biting one’s tongue, almost as if (and ironically) in resistance, is happening on the first month of a new year is expected — what better time to find these words than in preparation for how we re-live the coming year?

(more…)

komentaryo

“Gaza today has become the moral compass of the world” #FreePalestine

Excerpt from Bethlehem Pastor Rev. Dr. Munther Isaac’s sermon, during the Church service, 23 December 2023*

Christ under the rubble.

We are angry. We are broken.

This would have been a time of joy.

Instead we are mourning. We are fearful.

More than 20,000 killed. Thousands are still under the rubble.

Close to 9,000 children killed in the most brutal ways.

Day after day. 1.9 million displaced. Hundreds of thousands of homes destroyed.

Gaza as we know it no longer exists. This is an annihilation. This is a genocide.

The world is watching. Churces are watching. The people of Gaza are sending live images of their own execution. Maybe the world cares. But it goes on. (more…)

komentaryo

Ponder propaganda: Fueling the Duterte machine

If there’s anything that one has consistently been reminded about throughout 2023, it is that we still do not know how to deal with the propaganda landscape that the Duterte leadership had established for six years, and which, regardless of the Dutertes’s “lesser” position politically, is the game we are all stuck playing.

I speak of 2023 because in 2022, we were all just in a post-election haze, regardless of where we were / are on the political spectrum. If you were on the side of Marcos-Duterte, you were just on a high, doing the parties, enjoying the perks that come with having campaigned for the winner. If you were on the side of Robredo-Pangilinan, then you would fall under either of two groups: the ones who disengaged completely from politics and governance, maybe in disgust, probably as a by-product of despair; or the ones who tried to keep the anger going by carrying on as if nothing had changed — after all, a Duterte is still in power, and Duterte himself seemed to have set the stage for a Marcos win.

Presidential sister Imee has said it in so many words: President Duterte had eradicated their enemies.

But also, and this seems important to realize for all of us, Duterte had set the stage for this present, where the opposition, at best, has completely lost its footing, regardless of where we are on that spectrum that spans the Liberals and the Left. (more…)

kultura

Drag Them! The case of Pura Luka Vega, conservatism, and us

When Pura Luka Vega was arrested and detained in late September, one of the dominant reactions was surprise: how can this happen in the Philippines? What happened to creative freedom? How could they get jailed for a case they had no idea had been filed, when they had been going from one city to the next facing persona non grata charges, in full drag, with Instagram documentation, and stories about the openness of these spaces to seeing them and their artistry?

But the curse of the Philippine present is that we are reaping the outcomes of our refusal to have the more difficult, because complex conversations about arts and culture, much of which is not simply about data and history, but about fleshing these out, tearing these apart, so that we know better the state of discourse, freedom, and creative work in the present. At the very least, we need these conversations so that we might be reminded that our freedoms — including all those enshrined in the Constitution — are never guaranteed.

Especially not when we are talking about artistic freedom. A sense of (recent) history in fact reveals how in the post-Marcos leaderships from Cory to Duterte, censorship was a constant. Sure, not in the Martial Law era kind of way, but in ways that were equally dangerous because insidious and consistent. And yes, there’s the MTRCB and its mere existence as a regulatory board; but there are also the acts of censure, the bannings, the cancellations that are borne of an ever-growing conservatism, one that is bound to the ways in which Catholicism is practiced in these shores, and in the age of online platforms, a predisposition towards simply swinging between black-and-white, right-and-wrong, acceptable-and-unacceptable for the loudest voice, the bigger mob. There is also a constant mistrust of creative work, as there is an insistence that it must serve the purpose of espousing a certain kind of morality, that is about a fixed set of rules, a list of lessons to be learned.

It is for this reason that Pura Luka Vega—their artistic practice and their performance—would never be understood. It is also why they have been victimized by these acts of censure. Because there is nothing simple about drag, and certainly nothing simplistic about the art practice of Pura Luka Vega. But censorship lives off simplicity, the black and white, and in the case of the Philippines, it lives off feelings of offense.

Which is why the better question is not: when did this start happening in this democracy? It is: how has our democracy come to this? How did we come to this point when being offended by something, disagreeing about a specific portrayal, a kind of artistic work, has to mean actions that curtail artistic freedom, from the cancellation of individuals, to campaigns to boycott their work, from online bullying to legal cases filed?

(more…)