The Canonization of Bicycles and Bicycling on Philippine Online Media

8/12/2019 The Canonization of Bicycles and Bicycling on Philippine Online Media

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The Canonization of Bicycles and

Bicycling on Philippine Online

Media



“To bicycle, or not to bicycle, that is not a

question.”

To be, or not to be, that is the question.

~ William Shakespeare



“You must be the bicyclist you wish to see

in the world .”

You must be the change you wish to see

in the world.~ Mahatma Gandhi



“Not all those who bicycle are lost.”

Not all those who wander are lost.

~ J.R.R. Tolkien



Veni, vidi, bici. [I came. I saw. I bicycled.]»

Veni, vidi, vici. [I came, I saw, I conquered.]

~ Julius Caesar



Sa ikauunlad ng bayan, bisikleta ang

kailangan.

Sa ikauunlad ng bayan, displina ang

kailangan.~ Marcos slogan



Background of the Study:

personal interest

rise of bicyclers and biking events

Scope and Limitations of the Study:

Online media pertains to use of online blogs as the

major reference, but also comprises other online sites such as YouTube, Facebook and the like.



Scope and Limitations of the Study:

Focuses on non-electronic or human-powered bicycles

Will not discuss the detailed [world] history and

technicalities of bicycle

Statement of the Problem:

What are the bases of a good/beautiful/bad/ugly bicycle?

( Mimetic Plane/Aesthetics )

How is the bicycle integrated into the lives of the Filipino

bloggers (pro/hobbyist bicyclers) and the people around

them (as they portray it)? ( Thematic Plane )



Review of Related Literature

Definition of a Bicycle:

A bicycle, often called a bike (and sometimes referred to as a

"pushbike," "pedal bike," "pedal cycle," or "cycle"), is a human-

powered, pedal-driven, single-track vehicle, having two wheels

attached to a frame, one behind the other

The word bicycle was used in English print in the London The

Daily News in 1868, from the French term bicyclette which had

been used as an adjective in 1847, and as a noun by 1868. Before

that, and in some places thereafter, bikes were known primarily asvelocipedes .



Evolution of a Bicycle:

Source: http://www.environmentalgraffiti.com/news-bikes



Parts of a Bicycle:



Review of Related Literature

Philippine History on Bicycle:

No online record of the definite origin (as to who introduced etc.)

But a record on this can be found:

The Le Tour de Filipinas is an annual professional road bicycle racing stage

race held in Luzon, Philippines since 1955 as part of the UCI Asia Tour. It is

held in April every year. While the course changes every year, the tour

traditionally ends at Rizal Park, Manila. Its previous names included the Tour

of Luzon, Marlboro Tour , Tour of CALABARZON, Tour

Pilipinas and Padyak Pinoy, before carrying the current name. The 2013

edition of the race was won by Iranian cyclist, Ghader Mizbani.

1999 – 2001: End of Marlboro Tour

In 1999, Marlboro backed out as sponsor which proved to be a devastating

blow to the organizers. The tour lost about a possible 60-million pesos to

finance the tour. With this, there was no tour held from 1999-2001. To

compensate the loss of the so-called "Summer Cycling Spectacle", other

groups formed mini-races during the summer.



Blogs may be divided into the ff. categories:

personal bike diaries (bike rides, bike collection etc.)

business/advertisement (guide/tour-thru-bike, shops) organizations/advocacies/movement (environmental,

charitable, competitions, etc.)

random blogs but post bike-related things

combination of all



THE MIMETIC PLANE:

What are the bases of a good/beautiful bicycle?

What makes a bicycle beautiful?

Why/How do you consider a/the bicycle beautiful?















The more unique/unusual the

bike, thebetter.

“Bike-Shot- Bike” – the better the

picture, the better the bike andthe ride and vice versa

Bike makes you more awesome

than the general population.

The more expensive the bike, the better in quality.

Complete bike gears or

accessories & having collections

of bike make you a die-hard biker

a.k.a. quasi-professional

The more bike

runs/adventures/mountaineering

you’ve done, the higher the

intensity of bike addiction (+)



THE THEMATIC PLANE:

Bicycles and bicycling as instruments for social realism

Integration of bicycles into the lives of the Filipinos (culture, traditions)

Multiplicity of meaning of bicycles/bicycling

















Bakit ganun, ang Storck piso na

Ang Marlboro dalawang piso naPero ang tanong

Bakit wala pa ring nagbabago sa aking panahon

Kung bakit ganun, wag ka ng magtanong

Wag ka ng makulit

Wag ka ng mag-isip, wag ka ng mag-isip

Bakit ganun

Ang presidente ko nage-aerobics na naman sa telebisyon

Pero ang tanong

Bakit wala pa ring nagbabago sa aking panahon

Kung bakit ganun, wag ka ng mag-isip

Wag ka ng magtanong


Sa ikauunlad ng bayan, bisikleta ang kailangan

Ang pangit mo

Bisikleta by Radioactive Sago Project

http://www.maxilyrics.com/radioactive-sago-project-lyrics-8397.html

http://www.maxilyrics.com/radioactive-sago-project-lyrics-8397.html



Bakit ganun

Pinag-aral naman ako ng nanay ko

Ng tatay ko ng apat na taon

Pero bakit sa utak ko wala pa ring bumabaon

Kung bakit ganun, wag ka ng magtanongWag ka ng makulit


Bakit ganun

Isang araw nagpakita sa akin ang Panginoon

At sinabi nyaKailanmay walang mababago sa iyong panahon

Kung bakit ganun, wag ka ng magtanong

Wag ka ng makulit



Ang pangit mo


Notes:



under chapter 1:

p.13 – aesthetic disinterest is a result of “disciplining the senses,” of perceiving something not as a means but as an end and achievement in

itself, of grasping something for its own sake and not for any other purposes – be it moral, social, political or the other.

p.14 - . . . “intrinsic approach” . . . insist that literature “has its own justification and aim” and that the chief prime function of art is “fidelity to

its own nature.” . . . The “intrinsic approach” finally freezes art in some transhistorical, crosscultural, classless, androgynous mode, and so

effectively repressing its sociological determinations. It teaches us to forget that art is always situational, historical, ideological, culture and

class specific, gender sensitive, and sexualized.p.15 - A reductionist or simplistic assessment would therefore just grasp a text as pure form or pure determination of the economic. It would

be blind and deaf . . .

p.17 – Culture is always part of the daily struggle to cut spaces in the process of social formation and representation

- The is no one world: there is no one society. There is no one culture: there is no one art.

- There are, however, assiduous and systematic attempts to set up and privilege norms, morals, and modes of social relations. In other

words, there is a canon or a set of cultural practices and productions propped up as the concretization of the “aesthetic” and of civilization of

“Art” and “Culture”

- The canon operates according to the inclusion/exclusion principle. if there are certain texts, discourses, knowledges, and practices thatare included and epitomized, there are also certain texts, discourses, knowledges, and practices that are excluded and preempted.

- It must be insisted that the canon exercises this dominative role from a position of power. The existence of the canon, undoubtedly,

spawns a network of problems.

p.20 – It is not only the concept of art that must be analyzed, but also that of artist.

- The contrivances (devices) that make people artist – the hype, the awards, the publicity, the reputation, the cult adulation, the artistic

license, the hocus-pocus of self expression – are simply that devices which we must dismantle in order to understand and explain the reasons

by which artists are “recognized,” “assessed,” and gain the credibility and credentials of artistry.

*p.18 good point on the change from non-art to art (urinal but when put in museum it became art)

*opposite is orthodox sociology p.15

*p.25 god point on story of art as story of the west, repressed yung other ideology

Notes:



Under cultural identity and development by felipe m. de leon jr.

p.127 - a serious impediment to the fullest development of Filipino artistic creativity is the persistence of a Western concept of art that still

prevails in our academic institutions and in the minds of the so-called “educated class.” This is the dea of art as a separate human activity – the

idea of art for art ’s sake.

--- The theory of art fro art’s sake postulates the reduction of art to “purely” formal relations

--- Experiencing a work of art with a decidedly aesthetic character gives us pleasure, makes us feel more alive because it holds together

separate parts into a seamless, integrated whole. This gestalt is satisfying to behold because it is an image which gives us power of perceptionor awareness itself. Without this integrative faculty, there is no perception at all. All art, we may observe, are made highly perceptible by their

inherently holistic character.

p.128 ::: As “content” gives way to “form” and even form is reduced to technical virtuosity, art loses much of its social relevance and

importance.

It becomes obsessed with its own devices and thus, intelligible only to its makers and art experts.

- This is in stark contrast t folk or traditonal art, where artistic forms act as the matrix for a host of contents representing many levels of

meaning appreciated by the members of a cultural community.

p.131 - In fact, if we examine many products of individual artist today, it is their works that oftentimes border on the absurd and non-art. Fr,ironically, in their excessive concern for individuality, only psuedo-originality in the forms of manneristic conceit; overvaluation of trivial

novelties; focus on the perverse, gross, and shocking; superficial, false or merely quantitative distinctiveness (e.g. commercial gigantism);

technical wizardry and pyrotechnics; and other forms of shallow sensationalism is usually attained by monospecialist.

- Disturbing phenomenon of the twentieth century: the cult of the professional ego (offshoot of monospecialization) which is clearly

a manifestation of the materialistic individualism of industrial society.

:::p.132 - Society becomes splintered into the ruthlessly competing self-interest tribes of experts (each with its own god or king

celebrity figures), church or temple (convention hall, museum) holy book (professional journal/manual), sacred language (jargon), and religious

attire (business suit, lab gown etc.)

- it is this elite/mass culture that is being rapidly exported by the industrial economies to every part of the globe, causingwidespread erosion of cultural knowledge in non-atomistic, more wholistic societies.

p.134 – Elite/mass/synthetic culture dichotomizes society into producers and consumers of art , making the masses vulnerable to synthetic, or

pseudo culture.

- People are reduced into mere consumers, into passive masses inhibit

Notes



Notes:

Under The Image and its context

p.120 – Subject in the visual arts is what the image is generally about: it is the image that we view and that we identify. It may be

representational or figurative (forming relationships and associations)/non-representational or non-figurative

p.121 – The dress or costume and accessories worn by the subject, as well as the background and surrounding objects should also be taken

into account in arriving at the meaning of the work. Dress and accesories are indicators of social class and cultural identity .

- They constitutes what may be called the “iconography “ of the subject

The Thematic Plane

p.124 – Beyond proving the documentary identification of the work, these data make it possible for us to situate art in a particular period

and social milieu. To arrive at the full meaning of the work, one should necessarily view it in its social and historical context as indicated by

text, symbols, and allusions or references.

- It is also in the thematic plane that symbolism and allegory operate . Symbols may be human figures, animals, objects, whether

natural or made by people, or geometric figures.

- Symbolism may be personal or it may be conventional or commonly understood.

p.125 – An allegory, on the other hand, is a system of symbols in which an image or narrative contains elements in a one-to-one

correspondence with another image or narrative with which they have a parallel relationship.- In order to understand an artist ’s vision, philosophy, or interpretation of reality, it is also necessary to go beyond the single piece to

the entire body of work and to see how the various themes and thematic elements interrelate.

- A work of art may also bear references or allusions whether personal, social, religious and political. The artist’s biographical data

may shed light on characteristics, tendencies, and preferences; or on personal allusions that appear in a particular period of his/her career.

These contribute their own meaning to the artist’s work as a whole, a meaning which derives from socio-cultural background and unique

psychology of the artist.

p.126 – An artist lives in a period marked by issues, debates, events of greater or lesser importance and crises. How does s/he respond to

the issues of his or her time?

- Of the artist as political being, Picasso has this to say in 1945: “What do you think an artist is? An imbecile who has only his eyes ifhe’s a painter, or ears if he’s a musician, or a lyre at every level of his heart if he’s a poet, or even, if he’s a boxer, just his muscle? On the

contrary, he’s a t the same time a political being, constantly alive to heart trending, fiery, or happy events, to which he responds in every

way. . .”

::: From the foregoing, from the medium and expressive elements, from the image and its larger social context, one arrives at the

meaning of the work of art, its valur and its espousals, its philosophy and vision of life and reality.

::: Art is a tproduct of a particular time and place o which it is primarily relevant, though often it has meanings that go beyond

there universal struggle for truth, freedom and equality.

::: Art thus reflects the concerns, interests, and ideologies of a society, more especially of particular sectors, groups, or classes, at

the same time that it may in its highest aspirations become a catalyst for change towards the people’s full humanity

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The Canonization of Bicycles and Bicycling on Philippine Online Media

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