I think we need to make this roof lift off for Michel Bras To translate his dear friend Jean-Pierre Hello Michel Thank you Maybe the first thing I want to say the first thing I want to say is that what you see here is that we see When you get in the the restaurant in Obrac there or on the souquet You come inside the hall and you see through your right hand the kitchen and every day somebody and many times Michel prepares these nice beautiful Flour of vegetable arrangement and it's sort of greetings the people who come I say that when you arrive at your house or to the right in the kitchen Yeah, yeah, it's the clean day in the vegetable garden. So this morning D'abord je voudrais remercier René parce que toutes ces éloges je les méritent pas Et puis tu me demandes en 30 minutes de te faire pénétrer dans ma tête comment j'ai pu créer le gargouillou ça va être difficile So you want to thank René and say that all in 30 minutes Explain and give the philosophy of the gargouillou just asking before the gargouillou ask to tell people every morning from 8.30 till 11 Alors ce que je n'étais pas dit René c'est qu'aujourd'hui je suis multimillionnaire parce que sur chaque copie du coulant j'ai touché un Santime And that is not true So he said that it here once and on every cologne in the world But that it's really not true and it's a lot and cologne is a chocolate cake We just saw and René it was at the scene he invent both at the mean time At the same time Yes, gargouillou and cologne are really contemporary So you haven't made a fortune of this chocolate cake So what he said is that The title of this demo today it's not leave from the cuisine but it's leave leave leave the cuisine leave with the cuisine So That's a big compliment Michel gives René and to this team is that doing the smart food camp you have put the man eating in his real dimension And his true dimension So feets in the ground and today in water This morning Par rapport à ce qui a été dit ce matin Je j'abonde tout à fait dans ce sens là mais moi je vais par entrer dans ce débat j'ai envie de vous faire Réveil So he don't want to that's really important and really I level speech from this morning. He want to make you dreaming Alors parmi tous les jeunes cuisiniers que tu as invité René moi je me sens un peu comme un dinosaureur Fait un comme un vieux Alors je vais essayer de raconter en quelques mots le parcours d'une vie parce que le gargoyle c'est le parcours d'une vie Alors un peu comme René comme bien d'autre A mon épouse parce que c'est le travail d'un couple c'est pas le travail de Michel c'est le travail de Ginette et Michel So it's the work from Ginette his wife and himself. It's not Michel only On habite un pays où il y a trois habitants au kilomètre carré alors on parle de la Finland mais chez nous c'est Compare lowbrack with the Finland where they have their three inhabitants per square kilometer donc c'est une espèce d'entêtement que J'ai cultivé par rapport à ma passion qui était la cuisine Autodidacte passionné J'ai toujours voulu poser un regard un autre regard Le regard de mon temps sur la siette So yet he was always Michel have always been obstinate to be to have passion to be and Mostly to be contemporary and to have a contemporary look at the plate Alors je vais pas Bon ça va peut-être être un peu difficile là mais je vais pas vous vous évoquer aujourd'hui les choix qu'on a fait en termes de cuisine que j'ai fait en termes de cuisine les choix qu'on a fait avec mon épouse en termes d'architecture en termes de Management de l'homme parce qu'on a beaucoup de respect pour l'humain parce qu'on était un peu la risée de notre profession à l'époque ça faisait jaser So Maison Brad, it's more than just cuisine the architecture is important and also the people and the way you treat the people is really important and He said that a lot of people from the you know the gastro world in France were laughing about them Because they had this specific philosophy alors pour moi la cuisine a toujours été une source d'émotion et j'ai voulu toujours Construir écrire mes assiettes avec ce but premier l'émotion So it's first goal when he's doing a plate since the beginning is giving emotion Et alors je trouve que dans des dans des territoires comme le nôtre Où on mange et on se nourrissait pour pas crever de faim parce qu'on n'était pas dans le lyonnais on n'était pas en Alsace On n'était pas dans le sud-ouest donc c'était vraiment une nourriture quotidienne qui se suffisait de peu So what we can say that in this area where a lot of people emigrate from this area to Paris for instance Was not as rich as Lyon or other place or Provence So it was really an economy of scarcity even in the in the everyday meals alors j'étais toujours fasciné par parce quand même on est posé on aime beaucoup voyager amérique du sud l'aine de 8 fois en fin tout ça on a toujours été fasciné Bon la street food ça devient un peu tendance mais nous il y a 20-30 ans qu'on l'a découvert mais ce que j'ai ce qui m'a fasciné c'est que avec rien on arrivait à faire quelque chose de gourmand et c'est là où j'ai un peu enfin j'ai un peu c'était parce que c'était dans ma culture aussi redéfinis un peu les codes qui habitaient la cuisine il n'y avait de gastronomie surtout que j'aime pas ce mot comme un gendu au mar du foie gras du caviar ou autre So that is really avant-garde Michelle speaks first from his love they love both to travel and So he says that more than 20 years ago he went to Asia India to Latin America and He looks at very carefully at the street food and that's if Inspired him because with nothing people Make something really tasty and this also part of his philosophy doing something tasty and good and gourmand as he said About with nothing, but people say nothing I have a fascination for the pain for the stage well the pain you know it was when I was young We had large tables at home here with a piece of a drawer where there was the mix of the pain and so Wait, he was always there, you know, in the middle of the pain like that at the bottom of the drawer Here and I like to mix that with sugar to put on a cream. You know, it's a pleasure to laugh. It was caramelized. It was good No if you can see this here. So You know at the family table there were always some bread, you know in And There were some remaining the bread crumbs, but just normal bread crumbs and Michel always liked to To try to transform this at sugar and to put that on a cream or just, you know Really a product that you normally throw away and he makes something good and And with this okay using the squeezing So there is a phrase of Soulage that I really like, Pierre Soulage, you know this painter who originated at home, by the way Yeah, so he's thinking about Pierre Soulage and also that's you will open a restaurant in this museum, no? Do you want to go to Soulage? There will be a new Michel Bras restaurant to scoop maybe In which city? Wow So More less you have more your expression is strong So So in his travel memories he went back to breads or swedish bread for instance, but also once in the in the dessert about the tour awake They They served him a bread just cooked on the sand And that was also goat meat, but meat was as he said goat meat was like this But the bread was so so delicate so so much taste and so much texture No Okay, so We go back we go on on on the travel and one of the product he looked he likes to look at When it's traveling is the different is the milk and the different expression you find in every country From ducé de leche from to tell the po deli that michel does In this restaurant and or many other places so all people with the same product express something different So Okay, so in they said that maybe you know his tendons, but in the year 70 he was serving a milfeuille with this milk skin and strawberries just pressed with the fork because When they are pressed like this when they must Little bit little bit much like this you have more the expression of the juicy of the of the strawberry So today to finish with the po deli, I'm going to come to garouille. Yes, don't be afraid The po deli today, I'm a great happy father I have four little children and I'm the king of the tarts because as a father and a mother It never knows how to make a tart with the good balance between the bread So my little daughter who is called the flora, she asks me the fabulous tarts at each meal So I just take the crust that needs I put the po deli Chocolat rapé de l'autre So something also really important in all the life of michels and vignette lapis the family and it's really important there when you go to the To the restaurant you see in the kitchen when the kids are there the kids of Sebastien are there and michel for grandchildren and he's always Loving to prepare a tartine for them. So a slice of bread, but each shows the juice proportion between The center and the crust and after you have this meal skin some salt some rask chocolate some Red berries and flora ask Is a granddaughter ask always the Wonderful start in jenny, yes, yes, yes, yes That I would say we come to garyou so my approach to nature in all that you will say good I live in a country where there are three inhabitants who have to be like I said we are blessed with nature and nature Well, at home, it is really I don't want to say aggressive but it is austere it is impenetrable and how I penetrated it by Two ways by the foot race that I still practice By the way, I'm doing the marathon of new york this year with david, I don't know where he is He gave me the challenge And then the photo With the photo we put our eyes on By the frame we put our eyes on things on humans and that's how I was able to understand a little better this Nature and Responding to a sentence from the martin who says the nature is there who invites and who loves So first I finished with la martine We say that nature is there who invites you and who loves you like you loves you Michelle says and that that's really true when you go there, you know when when you're the swindies call and so on You know the obrack is really austere really strong. It's not So nature gives you immediately So the way if you find to be more comfortable with this nature There's two ways first the jogging every day at five o'clock. I think afternoon a 5 o'clock to go to cournot. No This year I live at 4 o'clock. I've been doing three hours and a half so Every day in the afternoon after service is going for for this jogging and also michel is a really great photographer In this book. I think you have seen the picture if talk all over the world and also the way you look at the nature For your your lens, you know, it's giving you another relationship with nature and other understanding La cuisine c'est pas c'est pas sérieux c'est c'est pour faire du bonheur c'est pour offrir du bonheur okay, so Like first for full Is is soon 65 but who want to know that? and Is but it's still a child and What is really important for for him is to give to transfer to transmit happiness That's the first thing when he's doing something The child who doesn't play is not a child, but the man who doesn't know how to play has always lost the child who lived in him And who will never encourage him So no Pablo Neruda city Child is not playing. It's not a child, but the man Who kind of is not able to have to play have lost forever the child who was living inside himself And with what he will miss forever Okay, so start So um nature is talking but it's experience with working is that The nature is talking is that experience Which translates So it's the experience So no it's the experience So Okay, so um michel He was 33 when he uh, when he He set up the the gargoyle and he says it was not maybe possible before because you need some knowledge you need how to cook or to select even how to slice Okay, so it's the gargoyle it's it's uh, what he the way of looking to nature, but you speak about happiness joe flowers And mostly leaving nature So first first first thing to make the gargoyle that's the the farmers for which you were from the lot from which you work since 40 years So Okay, so About foraging you say okay There's moment where he he chose to to collect leaves to collect flowers, but he don't want And in his restaurant to start to deep freeze to you know to froze the sorry to froze them The the the the the plants and the flowers and so on he want he just is concentrated On some season and some some plants for the foraging So you have Also garden made about if you remember what magnus told with the the benches and all these things made of the same principle So you have compost you have these wood things and uh, he's How many are you at planche? De variété You see So 25 different, you know, like rectum, but you have to do the aromatics. Yeah, and uh, it's mostly As you say aromatic plants and and so herbs and things but also he it's not only, you know, uh Local it's also he is influenced by plants. He finds so crony under from bolivia She's of course sun show and all these things Well, and they able to he able to exchange for instance, we found a new brings things and yeah So he's waiting that you send him or you give him something back to plant his garden Uh It's true when you arrive in the kitchen you see always michelle first thing is slicing with the mandolin And it's something you don't want to give to other other people. It's really important for him So Okay, so there's Not the every day the kangaroo change, but what is important also the technique he will apply to Use for one type of vegetable could change from one day to another one. It could be cooking olive oil. It could be just Just poaching in stock or in water or row depending of what he feels and what he just they've seen And what is feeling from the product on the same day So That's uh, the tools are coming on the on the table The most important is this one, but you have you have the japanese one no from kai Ah, okay So, uh, you know, it's you then before I was using this one I remember the last year's he get one the big one from kai because michelle is also developing Knives we've come you know the collection and now he's developing um, you could like mandolin a mandolin With kai who will be precise at 10 of millimetre Or uh, it's the gargoyle of mad so he's a little bit crazy. I think it's the english terminology. No mad. It's not Who Okay, so it's a mad gargoyle today because we had a mad food camp Yeah, nobody is laughing So, okay, so you went with oliver to to make some shopping And come on So forget about the the cooking the different style of cooking now He wants to just explain the philosophy or the way or he approached the vegetables He cleaned all the roots and all the all the dirty part with this sort of thing Variety of pommes chez moi qui s'appelle la canne et Qui a rapport d'acidité de sucre que j'aime beaucoup Et donc je la fais cuire sous vide Et je la laisse 48 à 72 heures sous vide et il y a Une migration de la pigmentation de la boue qui rentre dans la chair. C'est assez étonnant. C'est tout rouge c'est beau So, oui à quelle température tu puis ça? Oh Okay Disciple who's called a canne and he chose this apple because the Proportion between acidity and sweetness is what he likes the balance is what he likes and he cooks sous vide at 50 degrees For one or Because what he likes in in the sous vide and after the the apple stays for 40 or 48 hours sorry sous vide And the effect normally if you that sous vide is that you have a migration from the pigment red pigment who are here inside And it's quite beautiful I Okay, so um is why I like seeing the in the apples the the seeds and Michelle no in some dishes use the seeds and he made a plow with uh the dish sorry with foie gras and on the edge of On the on the on the plate you add this this this seeds Who just appealed you to taste them and to have some bitterness some almond taste to match with the foie gras Alors So The models the mama everywhere what's what you call everywhere in the world At in in the countryside did not throw away nothing they they they use everything and he says michel think that's a responsibility that every cook in the world Mustive for respect for the environment for and for the nature and In front of the for for the society. It's a social behavior And So he's taking the broccoli leaves and just poach in boiling water So for the center part he's always using uh slicing 45 degrees it's something he just Now For instance for for the center part because it's a bit um not not tender enough so he will slice quite finally and and just cook a bit in olive oil because you want all with some taste. When I look at this, well, we are in the Choux family. Cabbage family from Romanesco? When I look at Romanesco, he is all baby and he suffers from me. I don't even want to cook him.  So the Romanesco is quite young, he says it's a baby. So he's so tender that's a baby and he will just put for one second in boiling salt water just to keep the color but the filling in the mortar will be raw. When I cook my garouillou in the morning, I don't need too much poison, I don't need to complicate the food, I'm in the universe. So and when he's doing this gagu and that's true, he's experienced it.   It's like, I think it's like you pray when you make your own. There were 20-30 years ago, the style of the products that we would have thrown away, we would have only looked at the flower and today it has completely changed the gift. So I remove the cellulose that is all around. So what I want is that my garouillou too, I told you that I wanted to live it. I want it to be alive, to move, to see that it is voluminous. So the size of the vegetables counts too. If I have long vegetables, croquins or not, I'm going to make vegetables a little more confusing. I play a little with the textures, with the cooking. My garouillou, I live it as I cut my vegetables. So the garouillou, as we already said, evolves in function of what he's doing. And what is important is that he will adapt just any technique at a minute. So he's changing at a minute what he's doing. For me, they are very tender. We could confit it with butter, for example, a half-salt butter. But they are so tender that I rather want to cut them in this way. And that is an evolution of 15 seconds, and it breaks. So from the broccoli marrow, you've seen that it was really tender. So first it starts like this, and after it changes, and it will cook it 15 seconds in boiling water. We have a little more time, but I can have 10 more minutes, right? You want to change? I will ask for more time. They have a technique in South America too, for the petit marron. It's to soak it in a warm milk. It makes a kind of cooking. It's quite surprising. This one is a little green, but... So it's a technique from Latin America? When they use some kind of calcium... It's a kind of a hot milk, it's a carapace around it, and then you can cook it in a kind of confectionery or a dish that is much more expensive. It's quite surprising. You have to ask for it, Alex. I have the report, I could give it to you. Alex, how do you say hot milk? It's not there? It's not there? No, it's not there. It doesn't want to answer. So it's like a calcium compound, water, you know? No. Sorry? Calvation. Calvation. Is it an exclamation?  I'm sorry, I have no clue. Cal. Cal. Limestone. It's not limestone, it's different. It's really what they use in the building. I have a question for Michel. Could you ask, since he changes his recipe every day... Because you change it every day, right?  Can it be? What do you mean? What I mean? I mean that... I mean what I... I mean what I say. What do you want to... Is the recipe... Maybe you can ask that then.  Or is it the recipe that does the magic, or is it the hands? It's the taste. Because I eat, I... Yes, yes, absolutely. So I have cooking types that are adopted by the team. And I tell them, well, since today it's a carrot, it's all young, all beautiful, but in the gargoyle we're going to put it raw because I want to crush it.  I'm going to cook it, I'm going to cut it, maybe a tronçon. In that sense, you see? And then I'm going to cook it in a bouillon of vegetables with a tronçon of jambon, of renda, and I'm going to cook it again. Really fondant, you see? This one is beautiful. If you cook this one, the color changes completely. So I don't want to deteriorate it. So, no show, let's go. But this is very, very interesting because how do you... How does it tell a chef this, you know? You know, he's telling the chef to his team, you mean? Yeah. You know, he's there. You have a team there in the back. They're all facing each other. And it's okay. You say, okay, this carrot is like this, please. Do it like this. So in, for instance... But each chef is different. What do you mean, each chef? The guys in the back? Yeah. They are 10. Yeah, and each of them is different. Yeah? So... I think Michel... You know, I think what I... First time I heard from Michel was from on the Pussel Brothers. And he said that in Michel, really, the organization and the structure is really, really strong. I think he communicates really quickly with his team what he wants and they know what he wants. Yeah. That's true because, in fact... I think Laurent Porcelik of... No, but what I mean is that, so he trusts that the chef does the magic, not the recipe. Yes. No, I think... I think... He said that you think that the chef does the magic and not the recipe. It's the recipe that makes the magic. Because it's the chef that makes the magic or the recipe. Well, it's linked. Well, it's linked. Well, it's linked. It's linked. It's linked. It's linked. Making, you know, like... Just giving a guidance, yeah. Yeah, the guidance... And I think... On varn des bacres ce soir sous le pont. No, we'll talk with you tonight. It was a private. But I think... It didn't look like, because it looked like a poet. You see, I'm trying to get into the head of Michel Brass. Yeah, yeah, you see, but actually what my own... my experience is that he's really, really strong in what he's saying.  It's really, and the guys have to understand really quickly, but it takes time to teach them for these two. It's passion for the guys. I say, I'm not sure with the people, and you take the time to teach them. Yes, yes, yes. And then I talked about the human relationship too. The human relationship with the company, we never called the bosses, we always call them Michel. And I find that it creates a climate of trust. When they have something that... The boss has to put on a statue. We are gods, semi- gods today. And the younger or the younger ones, they have trouble learning. You say, Michel, we're going to run together. The Monday, we're not going to talk about that. No, okay. So just, no, no, but the human aspect of his team is really important for him. For instance, they are jogging together. They have a sort of team. Do you want to break them? Do you want to break them? Yes, yes, yes. So they have t-shirts, they, you know, they do things together, but not all the time, but they have something they do together. And it's important, he never asked that people, that the guys called him chef is Michel, because he thinks that, and more know and more older, the top chef are like statues, living statues. So he wants to be more accessible, as much accessible as possible from the guys, and the young guys who are there. You know? You don't have to forget, René, that we are happy merchants, and so on. We are happy merchants. If you are happy merchants, you have to love your men, you have to love your producer, you have to love your clients. There's no mystery. So, okay, I, that, you know, I don't know if merchant of happiness is enough. Happy merchant of happiness is so nice in French, but it's, it's, that's what he wants. He wants to give happiness to his clients, and that's the most important thing for him. I'm back to carrot. I'm back to my carrot. When I see this carrot... Back to the carrot. I find it beautiful. So if you squeeze it with the beautiful texture, the beautiful structures, the ones there, if you squeeze it, it stings. So I also have an advice for the mandolin that I've been using for a long time. It's that I make a 45-degree cut so that the bite of the vegetable is always the way it should be. Because if you make a, a mandolin approach like that, you can't do regular cuts. You say that with this bite there, you can adjust, adjust a cut really at 1000 meters. That's it. So I'm back to my carrot. There it is. So this one, it's beautiful. So just quickly, quickly. I want to crush it. So what I want is to treat it really fine, fine, but at the maximum, you see? And then there, it's going to come, flower the garbouillon somewhere. That's all. It's not going to be cooked. I'm going to keep it like that. You will see the metaphor. That's all. Yeah, you are really metaphoric. So one important, just from metaphor to practical things. So each slice always is vegetable 45 degrees. So it's more easy to come back like that. So you come back like that. Like that, voilà. So you have an even... Because the knife is stuck. So... But it's like that. The knife is there, the carrot goes right away, slipped underneath. The angle is complementary, you see? And also about this, it's true that if you cook this one, you lose the color. So, and it's so delicate, but what he wants is to express, I think, the transparent. So slice as thin as possible. And he says, this will flourish my dish. Well, there is a cooking that I like a lot, that I'm going to talk about here. It's a cooking... Young, I had fun making chardonnets. You see, the typical things here. Really, it's distal. Chardonnets. It's typical. It's the problem of the Ecosée, or the country of Gaul, you know, in the city. Distal, distal, yeah. Distal, yeah. So we have distal. With grains, and then there was an oxidation like artichaut. And then, well, in the cooking industry, artichaut, how do you cook it? We put flour, we put... What do we put? Citron. He makes a white one. White one? No, you make a white one. You make a white one. I don't know. Yes, it can make a white one. Ah, ah, ah. And when we cooked the artichaut, the artichaut, I said, he had fled. He had no more. So, back? The artichaut, he had more taste. He had more, he had... So, he was... You used chardon, no? Yes, when I was young, I enjoyed it. OK, so when he was young, he used distal, so the already white plants, and he was explaining the classical cuisine with blanc, so we have flour, you have lemon or vinegar, and but when you cook in order to avoid oxidation, when you cook the artichaut in this, you lose all flavor. So he was not agreeing with this technique. So, the cooking I do is a broth that I make very aromatic. So, I have a fascination for orange. So, you make a really aromatic... I don't want to explain it today. So, he loves, he's fancied by orange, eh? Yes, it was the friend who had the grandparents at the time, at Christmas, I mean, yes, it was the king, I know all that, that's it. And so, it's a broth with coriander. Coriander? Coriander, a little herbs from the garden I had in the morning. Some herbs. Garden? And with an oil film on top, which can be smoked or not. And this oil film prevents oxidation of the vegetables that are below. Okay, and so on top of the water, you have, because it's lighter, you have like a film of oil, just a really thin oil, sorry, and this oil evolved to have oxidation. And I like this kind of cooking because the artichaut, the artichaut, the celery rave that I have here, it's white, it's transparent, and the taste of celery rave, that's it.  So, to be clear, the oil avoids the contact with the air and with the oxygen. How many minutes, how many minutes do we have? Ah, well, we're way over. Do you want to eat that? Well, is he going to cook it or? I think we'll explain. Yeah, yeah. Well, let's turn on the flame. Okay, but he's cooked, we're going to put it on, for the dressing, there's four minutes and 30, that's it. I'm talking about four or five products, that's it. Okay, you give four or five examples and then we move on. Yes. Okay. Putting the mushrooms like that, I like the mushrooms that are open because they have an advantage in taste. So, he likes the open mushroom because they are more tasty. The mandolin, wait a minute. And so, I cook it, I make a mushroom broth and I make a liaison that we find in the Middle Ages with peanut crust, with roasted peanut. It brings aromas that are quite extraordinary. So, he cooked the mushroom and he bind his binding with old recipe from the Middle Ages based on bread crust. So, as I just looked at, yeah, the broccoli, I look at it in the same way, if you want. He looked at the cabbage, this sort of cabbage there, all cabbage in the same way. Si je cuis cette feuille, la cote va être crue, la feuille va être archi-tuite, donc ce que je fais, je vais traiter la cote. So, like you do for chicken. So, it's cooked in... De manière différente, voilà. You cannot cook the old leaf together in the meantime, because in the same time, because this one is less tender, that is more tender. So, you have to separate and give the best presents. When je regarde ça, j'ai pas envie d'être le cuisinier irresponsable, ça et... Hop, non, non, non. Don't want to throw away the leaf. Everybody got that one. So, eat everything from now, eh. À la maison, je fais souvent le tour des poubelles, là, parce que... Yes. Et donc, ça, je vais le traiter avec une type de cuisson qui va être différente, suivant que la tige est creuse ou n'est pas creuse. Okay, so, if you have an empty stem or non-empty stem, again, the way of cooking will be different. I think it's more, it's working a lot on tenderness, you know what I mean? Looking really tender, not tender and adapt, you know? I think he's also making vegetables more than just a side. Ah, of course, it's full. It's it's the dish, it's... Il y a des assaisonnements que j'aime faire aussi. On l'atomate, on l'émondes, je garde la peau, je la fais sécher, et je la mets avec du sel pour faire un petit gnat, parce que mon gargouillou, il est pimenté, il est, comment dire, il est dynamisé. Boosté, boosté par des petites touches, voilà. So, okay, that he will come to other things, it's the long story, it's the nyak. So, for instance, for the tomato, he's taking the skin off and he's drying the skin and adding some salt and doing something that will be a seasoning, so tomato skin, salt, and it's one of the seasoning that they do, the nyak, they call the nyak in the book, you know? Le nyak, c'est l'orbit de vie, là, tu sais. C'est de la coup, oui. On m'a gagné la coupe du monde, d'ailleurs. Je m'arrête un peu, mais... The nyak is a word used in the riddy, when you give, you know, you have to give the effort in order to... Derricko, derricko, je veux derricko. The beans, je vais les donner. C'est la pagaillée, non? Derricko, verre, là, il n'y a pas, là. C'est si, j'y avais, j'y avais. So, we have two movies, it's Bean, Michel, Brian, Lost in Translation as well. Sorry? What do you say? It's always... It's always... Attends, alors, où ils sont les cuites? I see, I see. Oh, c'est qu'on a les cuites, on en a, là, non? Attends. There was something here, yeah. What's missing? C'est comme le haricot verre, mettons. Quand je le regarde, moi le haricot verre, alors, j'aime bien les tailles. Alors, le haricot verre, moi, j'arrache toujours la pointe où il est attaché. Ça, je sais pas pourquoi il y avait des maniérismes autour de la cuisine, où on enlevait ce goût, parce qu'il y avait du film, et si il a haricot verre de qualité, j'ai l'impression que tu enlèves un oeil, c'est comme une belle fille, tu vois, que tu enlèves un oeil. Alors, voilà, il y a haricot verre, je laisse ça. So quickly on the bean, so it's just taking away the part which is attached to the plant, and this one is saying, OK, why do that? Why not keeping this? And he says it's like a beautiful girl if you take her away her eye. Et j'aime bien, oh yeah, it's strong huh, beans and girls. Non mais, c'est pour rire, comment j'aime le légume quand même. So let me see if I got this right. So a bean without the tip is like a girl with only one eye. Yes. So you have a better translator. We need two steps. Alors, j'aime beaucoup les haricots, si tu veux, qui ont de la marche. Les haricots fin, là, j'aime pas trop ça. Moi, j'aime bien que ça croque. Et donc les haricots verts pour préserver la couleur et tout ça. J'ai une taille de légumes que j'adore, c'est celle-là, tu vois. Et j'ai pas trouvé le bon haricot verre. C'est les refendrandeux comme ça. Voilà, j'aime bien les refendrandeux. So he like the beans where you have to shoo, you know, not just thin and sparse quickly. So he like to shoo so and he show you or he slice the beans back in the middle. Sur un radis noir, mettant, je vais garder la peau. Et ça, je vais le confier avec du beurre. Ça a un goût de terre qui est intéressant et ça me servira de nyac dans la siète, tu vois. So the skin of this black radish, it will cook in butter. Je le blanchis. Like confit. And after that, he will use as a nyac again, so seasoning. Bon, alors ce matin, j'ai parlé de pommes, j'ai parlé de ça. Bon, maintenant, alors ce matin, avec... Ah oui, là on avait des topines à mouc, on a fait cuire ce matin avec Olivier. Des petits aubergines, des petits aubergines. Small aubergines, small eggplants. Voilà, on les a cuits et puis bon. Voila, cooked. It seems good, OK. Alors, c'est vendredi soir, on a fait ça à la braise. Ça, je l'aurais fait à la braise, tu vois, si j'avais plu. That's corn, c'est du maïs ça. OK, sauce. Or, mon gargouillou, maintenant je vais vous montrer comment on fait. Olivier, comment on allume là. And now, the gargouillou. Donc au départ, le gargouillou, il peut avoir plusieurs signatures suivant que c'est l'hiver. Or, le gargouillou, suivant qu'il est du printemps, de l'été ou de l'automne. Il n'a pas les mêmes connotations. Au printemps, c'est de la ciduler et sur l'automne, c'est davantage du confit, du sucre. OK, so the gargouillou, of course, evolves from... Michel, tu ouvres au début avril, hein? Oui. Tu fermes le fin octobre? Fin octobre. OK, so the Maison Bra is open from early April, first April to end of October. So you have many three seasons for the gargouillou. Spring, summer and autumn. And quite clearly in the spring, you have more acidity and you evolve at a fall to something more round, more sweet. Et donc, en règle générale, il est axé sur du jambon, mais bon, il y a des... parfois ça peut être sur de l'anchois, ici, pourquoi ça serait pas du haram, pour amener cette connotation un peu puissante des régionalistes aussi un peu. OK, donc dans chaque gargouillou, il y a un peu de protéines animales. Il y a une tranche de jambon. Aujourd'hui, on l'a pas eue. Quel genre de jambon? Du jambon de pays cru. OK, on a fait que du bécon aujourd'hui. OK, so what's important also, you have this meat of fish states in the gargouillou.  Or this, you have sort of bacon. Sometimes you can have anchovy. You say, if I would do here in this country, gargouillou, I will use herring, for instance. Et là, c'est des connotations de fumée qui vont ressortir. C'est pas ce qui m'enthousiasme. Moi, je préfère le jambon sec. OK, so. Avec ce côté plutôt orange. OK. So it don't like in this gargouillou to have the smoky aspect. So really the dryness of the ham. And what else? T'as su chercher? Ah bon, d'accord. Donc je le fais un peu rissoler, le minimum, pour qu'il dégage son parfum. Après, je fais un déglasage avec de l'eau, là. So you see, it's cooking just to have a bit of grease. And after, it's... Là, c'est un peu le camping. You say there's camping here. It's a mad food camping. Et donc tout à l'heure, on avait, tu sais, j'ai parlé des knyaks, tu vois. Speak about knyaks. Tu écris ça N-I-A-C, c'est ça? N. Que tu écris ça comment? N-I-A-C. C'est ça. N-I-A-C, knyaks. Donc là, c'est de l'huile d'olive. Alors si tu veux, quand je construis une assiette, quand je construis un gargouillou, c'est un peu comme une page. C'est comme une pagination. J'aime bien les assiettes blanches, immaculées, parce que j'ai envie par des touches de couleur ou des touches de... par des textures guider le regard du consommateur. Voilà. So that's important too. So first, you like to use white dishes. It's like a drawing, like writing a page, or drawing a page. And the white is there. It says, even immaculate.  Là, j'ai reinventé, c'est du gomazio comme on a au Japon. Eux, ils le font avec du sésame. Et moi, je le fais avec de la noisette, avec de la noix. So it's the principle of gomazio but done with asin, for instance, and not sésame. Donc là, je pourrais avoir ma touche de pain, aussi, si je voulais. Dry bread is coming. That's your middle olive, non? C'est pas le noir, c'est pas de l'olive? Donc c'est de l'olive confit à la grecque, à l'huile, qui est séché. So dry Greek olive. Et avec ça, je fais l'huile qui est couleur ébène. L'huile que je fais avec ça est couleur ébène. So it's mixing that with olive oil and the oil is totally black. And he made this dish with monk fish. I don't know if people remember. There is the monk fish dish, black ombre-lumière, so light in shadow and he made doing this sort of falling with this olive, black olive. T'as une autre cuillère. Quoi? Non, je demande l'oliver. T'as pas une autre cuillère. The spoon? Ah, ok. J'adore beaucoup les supports lipediques que j'utilise toi, Tarelle Inègre. Mais moi, j'utilise beaucoup les supports lipediques pour les fleurs, pour le mélis l'eau, pour la reine et pour... So, in a multitude of... He likes the only medium because in this sort of substrate or medium he can incorporate flowers greens, herbs and different things. He likes very much to use the only texture. And... Le rouge, là, c'était la tomate? Oui, c'est de la tomate. Ça change en permanence. Ça bouge, ça... It's evolving always. So, right there, what you see is tomato. Or ce matin, on a cuit plein de légumes avec oliveur. So, t'as cuit tout ça, c'était cuit au bouillon? So, t'as cuit tout ça, c'était cuit au bouillon? So, t'as cuit tout ça, c'était cuit au bouillon? Et donc on cuit les légumes le matin d'individuellement. Et après on le monte dans des barquettes, on en monte à peu près 80 par jour. That's normal. Just one thing I see because about Michel doesn't want to throw away. I remember one morning six o'clock in his garden at home and, you know, he had the order from the cuisine and when he speaks about the plant it's 63 leaves. It's not, you know, a full hand. So, it's 43, it's 40. So, it doesn't want to really you want to spare every product. So, on la je mets un peu de beurre pour faire une liaison. Better in order to bind. And you put a bank et quand tu as du jambon tu fais la même manière tu cuit ton jambon aussi. So, it's when it's like country hem style of parmesan, serrano or all this things or bayon this ham is also cooked in the same way. And the garbouillou, I don't want it I don't want it to be dynamic. I don't want it to be cooked again. It's nothing when it's heating up because the vegetables will get fried and it won't be beautiful. It won't be alive. So, there, you are not cooking the vegetable just giving a bit of temperature. I'm a bit old. No comment. No comment? He's just too old, not strong. It's just because he wants no, no, no, no, it's not true. So, no, I think, Rene it's done. I want to know one thing. How does Michel Bras He's the garbouillou of the match. So, now he's playing with flowers. That's a mad garbouillou you said. Normally, you know, we have seen the picture Rene show, it's more... This morning with Oliver we cooked a pan in the oven with a paper and we mounted it with butter. So, it could be hot and we brought a touch there. That's a... parsnip cooked in the oven in aluminium and added with some butcher and so on. So, that is your this morning. So, I like to play with flowers because flowers... There are flowers in texture. So, first the herbs. Well, I don't know, we have a lot of things there. Well, why not a kitchen knife an oxalis. So, you have oxalis an astrucium. Sturgeon, sorrel wild chervil adding plants The dish. I don't know if it's going well but I like it very much. Oh, there's a button there. I like when you discover the garbouillou like that is that you have the eyes everywhere.  But you have a question, really. Well, I want to know how it feels that this is probably the most copied dish in the world in fine dining ever. What do you feel knowing if you should know that it's one of the most copied dishes in the world in fine dining? You don't like gastronomy but it's good. What I said earlier is that I said I was a dinosaur but I'm particularly happy to be with young people like René Alex and all that. I have the impression that they have how to express that. It's that they don't live in the kitchen. They live in the kitchen. What I was saying earlier because I was part of a generation that used to do this type of kitchen. You used to talk to your heart but you really used to treat cats and dogs all that but you were crazy. So he said that as he said he named himself sometimes a dead dinosaur but he's really happy to be here with young guys like Alex, like René because also he feels that they also live the cuisine and not live and they do the same thing and he said when I started doing this and doing pig stock using this this product where they have no bless it was really really not very well seen by the... If you want somewhere I'm happy because for a long time with my wife we were a little disappointed because we really went for a walk this movement and here to comfort us in the approach we had 23 years ago. This summer when we count the vegetables there were 80 different varieties they count all varieties there were 80 different things on the plate 83 is first vegetable so it's first vegetable dish in 83 at this time you had the vegetables and you know it always is the idea of scarcity and products secondary he was using really the non-normal parts for example for a rabbit so the brain the kindness all these things that normally you don't serve last question I think we agree I want to see the finished dish you are the boss he's the boss here we are here we are Mark so is this the move? no this is Melillo no it's the what is it? it's the the weight weight of center I forgot to say in English but it's decorative it's a type of pee nobody I know let's stop here because I'm not alone it's finished


Good morning. Good morning, everyone. I hope you can hear me well and good Welcome to the Graduate Students' Feminar. This event is in cooperation with a DLSU Feminist Philosophy Graduate School class and the Philosophical Association of the Philippines. So the idea to come up with this Feminar came about after a small class pseudo-conference with graduate students attended by myself, Hazel Diana, Dr. Gina Apegno, and Miss Sally Domingo. Oh, by the way, according to the Orban Dictionary, a Feminar is a discussion or meeting about feminism. So anyway, we decided that it would be interesting to share some of the papers to the public to illustrate various ways and trends of thinking feminism and gender. Incidentally, it is also feminist activist and cultural critic Bell Hook's 68th birthday today. And what better way to celebrate her life and her work, so happy birthday Bell Hooks. So you might notice that all of our speakers are male. This is a function of the composition of the class, but this doesn't mean though that males cannot engage feminist topics, a common misconception, which we would like to debunk. So on this Friday morning, let us give our thanks to our speakers who have agreed to share their time with us. So as for the format of our Feminar, our three speakers will each present their papers after which an open forum will follow. You may send your questions through the Zoom chat box or comment section of our FB Live. May we also request everyone to please mute your audio and hide your videos as courtesy to the speakers. Now, please allow me to introduce our speakers. Our first speaker is Aron Maika Esteban. So he's an assistant professor in Assumption College Makati and is currently a PhD student in philosophy at De La Salle University, where he also received his master's degree in philosophy. His public education and research areas include digital game studies, philosophy of mind, and artificial intelligence. Apart from his academic duties, he spends most of his time playing visual novels and RPGs. Francis Kenneth Rathera, our second speaker, took his undergrad degree in philosophy at De La Salle University. He is currently taking his MA and PhD in philosophy at VLSU. His current research interests are on the philosophy of fashion, metaphysics, and the philosophy of science. Rodney De Leon is an educator and took his undergraduate degree in secondary education major in English at De La Salle University. Because of his interest in philosophy, he is now taking his master's and PhD in phyllo at the same university. His current research interests are on sexual ethics, mostly based on Vaiduva and Aquinas' philosophy. So may we please call on Mr. Aron Esteban to start with our first lecture. Thank you very much, Dr. Biana. I will be sharing my PowerPoint now. So is it sharing? Yes, please proceed. All right. So my research is entitled Exploring the Gender-Based Interplay of Modern Role-Playing Games. The goals of my research is to draw on Judith Butler's theory of performativity and as I expand the understanding of modern role-playing games as an embodied performative practice that provide opportunities for alternate gender performance. I also want to analyze the inclusive mechanics of a virtual environment as a space for exploring as a space for exploring identity and standards outside of what society considers normal. You would see later on how the potential of different activities can be done in these virtual environments, specifically role-playing games. So I'm going to start with the theory of performativity as my framework. What is the theory of performativity by Judith Butler? For her, there is no objective ideal gender aspires. That means that there is no essence that expresses or externalizes gender. You might have the idea that probably gender is socially constructed, but for Judith Butler, it's something more than being socially constructed because gender is the app that is constructed regularly and somehow it conceals its origin or genesis. In the series of acts and repetitive acts in constant with the agent's performance of gender, gender becomes real because it is performed. This leads us to the idea of what we call sedimentation. What is sedimentation? Just like the picture on the lower right, these tiny bits of debris or sand or rock or whatever material is that gets deposited underneath the body of water would eventually manifest or crystallize into a future island or rock or whatever big material that you could think of. Same thing with gender is that the series of tiny acts that we build over time would create the legacy of a gendered body. We are those tiny actions that somehow sediment into a bigger one. That's why you can really pinpoint a particular act or a particular behavior because it's a combination of actions that build over time. So performance does not express real gender identity. It creates gender identity. There is no real or true gender. There is only the act of performing it, hence the theory of Butler's performativity. This means that gender is both socially established and performed with a little bit of making constant changes and eventually that would be what your gender identity would be. It is already and always will be an imitation with no fixed nature because in the first place it was just an imitation to begin with. So what about virtual environment? So that's the framework we're going to use and we're going to apply it with the virtual environments in what role-playing games or particularly modern video games offer. Most role-playing games offer a variety of safe environments. In this case, the virtual environment presents the player's opportunity to take on a role or an experience firsthand and could bring them different choices. And by exploring these identities to take on a role, the players have the opportunity to assimilate their own sense of self on what is employed in virtual situations. I'm going to give you examples later on how this is applied on particular games. I chose two most popular games later on. I will be introducing that to you later. So what about the gender identities in virtual environments? How does it manifest? So games can establish or problematize the concept of gender as the same as it could maintain or contest it. Players are free to explore and act in any way they want regardless of the starting point. The game might have particular gender roles at the start of the game, but regardless of what the game presumes, it is still the freedom of the player to perform the game. So different gender identities can be explored in independent of the pre-assigned gender roles of the narrative. The environment, gameplay, and narrative play vital roles in the construction of a player's in-game gender identity. So how is a game normalized, the culture in the game? How would you be part of the virtual environment and see that you, the role you're playing coincides with what the game wants or what you want and how it corresponds with your understanding of the narrative? Well, the game has a set culture and the player finds out through a series of challenges and players are rewarded for the following rules for following the rules of the game. So when the game repeats over and over, it settles within the environment and the player perceives everything eventually as something normal. Think about how gender is perceived as gender roles or performances are perceived as eventually normal in real life as well. But in this case, playing a video game is grounded on repetitive actions, just like what the butter is contemplating on gender performativity. As the player is being trained to act in a specific in-game, in a game world that follows predetermined rules. Now, sometimes there are variations in games that doesn't allow you to act in a certain way, even though you want to and those are some certain constraints. You could see it as kind of like the social constraints that prevents you to somehow challenge different gender notions. This leads us again to the idea of the embodied performance. The player or the player playing the game is an embodied performative performance of practice. Instead of being a passive of server, the player actively participates and takes on a role with their own sense of agency. In repeated playthroughs, players may pick up cues from video game characters or narratives such as the non-playable characters or NPCs, and they could construct their own cognitive script about gender roles and sexual objectification. So how does this work now? Here's an example of a very popular game, The Witcher 3. So you play as that guy, Geralt. Geralt, however, the game somehow leads you to see that he might be a womanizer and you might want to play his role. However, it was praised to somehow populate the game and its narrative on the empowerment of women and that most of the leaders here are actually women. However, the in-game constraint is that you might still lead to believe that you have to see the weaknesses of women instead of their strengths. So that's one of the dangers here. However, we're talking about the potential of a game to transcend to those in-game culture or values. Here's an example of the choices that you could make. And I mentioned earlier that the repetitive actions and rewarding behavior of the player could lead to that same behavior repeated over and over until they see it as normal. And in this case, the main character is having a choice, a dilemma, into either helping the woman in need eventually becoming his or her partner in the whole game.  And there are some clear characters as well, but that would be for another material. Here, this is another game called Skyrim and you would be amazed on how many hours or at least one hour or two where players try to construct their own avatar just so that they could look like these, different races and so on. But the question still remains, how does the player perform their gender roles here? How do they represent themselves? And in the virtual environment, they could be any of those gender identities. Now, take note, I only use single player games here, but there will be more pathways in research by multiplayer games. So I just imagine if the research is applied on multiplayer games and how gender identities and gender roles is conceived or constructed through a multiplayer game. So here are some of the quests and the quest would lead you to either progress within the culture of the game and learn about the lore and the narrative eventually being part of the game itself. And you would have this separate identity that you could play around with. So in conclusion, role-playing games for its virtual environment, which is culture narrative and gameplay, is this in providing imaginative methods which lead to the transmission of information and opportunity of its accessibility to players that contribute to the construction of gender identity. Well, the assimilation of the newly presented ideas and experiences within the virtual environment could proceed to overcoming a player's perception of different issues, such as cultural influences, gender representation, and gender roles. And that ends my presentation for this morning. Thank you for listening. Thank you, Mr. Esteban. May we call on Mr. Francis Jeterta for his presentation? Thank you, Dr. Liana. I'll start sharing my screen now. Can everyone see my screen? Yes, please continue. Thank you. Okay, so good morning, everybody. Today, I'll be presenting my paper called Visible Signifiers, Recognition and Unrecognition, Problematizing Vienna and Joaquin's Gender Galaxies. So this will be the outline of my presentation. First, I'll be discussing Ashley Taukert's fuzzy gender model, the model which Vienna and Joaquin argue against. Next, I'll discuss Vienna and Joaquin's proposed alternative model, the metaphorical gender galaxies. Third, I aim to establish a connection between what is visible and what its connection is with recognition. That's going to be tackled in the third section. Lastly, I'm going to present my identified problem with these metaphorical gender galaxies by incorporating the ontology to lesbian galaxies. So let's start. So what is the fuzzy gender model? According to Ashley Taukert, the model represents other genders as fits or fuzzy units located in between a gender line. So in this gender line, male and female are at the opposite ends of the line and treated as special cases. This model said to disempower the male-female binary and it accounts for while de-centering hegemonic sexual binaries. So this is what the model might look like or is wherein the male and female are at the opposite ends and all other possible gender categories that we can think of will be points or units in between the lines. So gays, lesbian, bisexual, transsexual, so on and so forth. So this is actually a, I googled up gender line. This is what came up. So this is basically what the fuzzy gender model looks like. So what's wrong with this model, the fuzzy model according to Biana and Joaquin? Biana and Joaquin argue that the fuzzy gender is problematic for two reasons. Number one, the model is self-defeating because it still defines the other genders in terms of the male-female opposition by treating the binary as special cases. So may privileging for the binary by putting them at the opposite ends of the spectrum and calling them special cases. Next, the model is theoretically inert since it admits of an infinite number of gender categories but feels to give a voice to each possible gender category. So again, if we consider, for example, number three and number four, according to the model, the fuzzy model, in between number three and four, there exists more finite, more diluted gender categories. So there are so many possible gender categories and according to Biana and Joaquin, if Tucker's goal is to give a voice to each possible gender category, she might fail to do so. So they propose an alternative model which they call the gender galaxy model. So in this model, each gender category will be treated as an independent galaxy within a single vast gender universe.  Sub-categories of each gender will fall under their respective galaxies as galaxy systems. So for example, bears, twinks, twunks, these would all be considered galaxy systems under the gay galaxy. So what more can be said about the model? So a key, the key aspect of this model is that each galaxy is said to be socially conferred, meaning to say, what a given galaxy is like will ultimately depend on how a given system. So in this case, gender galaxies are highly context dependent. So different societies may recognize each gender, each gender galaxy differently. So for example, the Philippine society might recognize the gay community or the gay galaxy in a different manner compared to for example, the Canadian society. Last, they're also flexible in that people in a society can always redefine how they recognize the galaxy. So next, let's talk about bits on recognition and visible signifiers. Let's start with the rainbow pride flag. Notice that a key aspect of the six colored pride flag is that the political aspirations, societal goals, the identity, the unity of the LGBTQIA plus community is perfectly encapsulated in a single visible item which takes the form of a flag which bears the rainbow colors. So given this, there is, there seems then to be a connection between what's visible, such as clothes and collars with one's identity and social and political concerns and aspirations. In strategizing visibility, in making visible these things, the subject is able to express their number one individuality and number two, their membership with the community which they identify with. So how does this relate to recognition? Well, according to Samantha Brennan, strategizing visibility is intimately linked with a quest for recognition. I make visible these things, my societal concerns, my political aspirations, my identity because I want to be recognized as belonging to that community which I identify with. So according to Brennan, recognition has two aspects, recognition within one's community and recognition by a larger community. So given all of this, how can we problematize the pathology of gender galaxies? So I erase the problem with a socially conferred aspect of gender galaxies. Recall that each gender galaxy is dependent on how a given society recognizes them. So since there is a connection with visibility and recognition, signifiers, okay? So according to Lisa Walker, though performing the visible can be politically and rhetorically effective, it is not without its problems. A given identity that invests certain signifiers with political value, figures that do not present those signifiers are often neglected. So what I'm trying to say is, when a society recognizes a given galaxy, for example, based solely on the signifiers that they wear, it runs the risk of excluding members who do not bear those signifiers. So a perfect example would be to consider the lesbian galaxy. So in the lesbian galaxy, we have different subcategories or galaxy systems. We have the lipstick lesbians, chapstick lesbians, boy lesbians, butch, and so on and so forth. So according to a study done by Blair and Hoskin in 2015, they conducted a study involving 147, they're not mistaken, FEM identified individuals. And what they found out is that coming out as FEM is a different experience from coming out as a sexual minority.  So in their paper, they also highlighted that the butch look or lesbians who dress in a particularly masculine manner is seen as the paradigm in terms of how lesbians ought to look if indeed they want to be recognized as lesbians. So we can already see what kind of implications this stereotype is on the or how this would impact those FEM lesbians. So the queerness of FEM lesbians would be questioned since they dress in a typically feminine manner. They're not only will people outside the LGBT community question whether or not they are indeed lesbian, but the other lesbians themselves or for example the butch lesbians might question a FEM lesbian whether or not she is in fact a lesbian. So FEMs are only lesbian through her association with the butch.  So more problems for the FEMs. FEMs are forced to adopt a butch or even androgynous aesthetic because they want to be seen, they want to be recognized as lesbians. FEMs go out of their way to be identified as queer or lesbian or bisexual. There's a conflict there. There's a conflict between your self-expression, your gender expression, how you want to represent yourself. But on the other hand, you want to be seen as belonging to the community that you identify with. So let's take this point and put it into context in the gender galaxy ontology. So let's say you have a society on the lower right hand of your screen. My society and it recognizes the lesbian galaxy as having a set of societal concerns, issues, needs, political aims. But let's also say that this given society holds on to the notion or adopt the notion that lesbians ought to look butch or lesbians ought to look masculine. Now the problem with this confirming is that it assigns the butch look as a property which the entire lesbian galaxy has. So in this case, the only ones getting recognized by the society are those who look butch or those who dress in a masculine manner. Whereas the FEMs, those who dress in a feminine manner, they fail to get recognized or they remain unrecognized or invisible. So I argue the process of social conferment fails when the means of recognition, for example, the signifiers is over identified with the galaxy it represents. So as I mentioned, the butch look, the butch aesthetic is so overly identified with the lesbian galaxy that anyone, that any lesbian who does not resemble the butch is not recognized or is not acknowledged as a lesbian. This runs the risk of excluding members who do not bear the signifiers. So just to end my report, let me just summarize what we talked about today. First, I discussed the fuzzy gender model wherein the gender, other gender categories are represented in a line wherein the male and the female are at the opposite ends of the spectrum. Next, we discussed Biana and Joaquin's identified problems with the fuzzy model and their proposed gender galaxies, which as it turns out is very socially socially conferred and is highly context dependent. Last, third, we established the connection between recognition and visible signifiers. Lastly, I talked about my identified problems with the gender galaxy model by applying it to the lesbian galaxy. So that's my presentation. Thank you and Stacy. Thank you, Francis. Maybe call on Rodney for his presentation. Hey, good morning, everyone. I'm about to share my screen. Okay, can everyone see the PowerPoint? Hello, can everyone see my screen? Yes, please proceed. Okay, thank you very much. Okay, so good morning, everybody. Okay, names Rodney de León. I'm going to be presenting about the expounding the feminist critique on pornography, a reply to Causton. So to give you all an idea of how my presentation will go by, here's an outline. First, I'll be presenting for an introduction the paper of Amanda Causton, a feminist philosopher in Netherlands, which is the paper I replied to. And then we'll proceed to my suggested areas of expansion and for the conclusion of wrapping up of everything. Okay, so the goal of this reply paper is to simply suggest possible further areas of expansion for the new feminist critique on pornography as a reply to Causton. So as also to help those feminists who write or critique, write critiques on pornography. So first, let's have a brief introduction. In 2019, Amanda Causton from Tilburg University, Netherlands wrote a paper entitled the feminist case against pornography, a review and re-evaluation. In this paper, she revisited and critiqued three common arguments used by the anti-porn feminists, aka APFs, to argue against pornography. So these are the three common ineffective arguments according to Causton used by APFs. First, highlighting the harm or suffering associated with pornography, arguing that it has a causal relationship with rape or sexual violence. Second, arguing that it violates women's right to free speech. And third, equating pornography to sex in the context of patriarchy, thoughts furthering inequality and women's obligation. So to briefly present her reputations, here are they, here are the following. For arguments one and two, Causton argues that rape and sexual violence are not essential aspects to pornography. In fact, there exists a case of so-called soft pornography, which does not involve or romanticizing or fantasizing rape and sexual violence. Same goes for the second argument, wherein not all productions of pornography are done by coercing women. Some productions are done with the women's full consent. In fact, they would even argue that it is something empowering for them. And the case of Netherlands, which is a very liberal country with a widespread access to pornography, actually shows a very low case of sexual violence and rape. So therefore, Causton argues that it is actually hard to argue that there is a causal relationship with pornography and sexual violence.  So take note, Causton versus correlative. And third, for the third argument, for her, the problem with this argument is that it equates sex. It constantly argues that sex automatically means misogyny in the perspective of females. In other words, it seems to automatically assume that the males are the more dominant ones and that in sex the women are subjugated. When in fact that is refuted by some, my numerous women who claim that sex is an empowering or liberating activity for them. So that refutes the misconceived notion that sex is always under the context of patriarch and misogyny. Second, it also tries to perpetuate the sex equals immoral notion often pushed by conservatives. When in fact there's been growing studies on sex in the previous decades, even in the Catholic context, which actually argues that sex is good, although how they define good differs based on different schools of thoughts. Overall, there exists a egalitarian or soft pornography, which all of these notions are not present, rape, sexual violence, violating free speech, etc. So therefore, the case of soft pornography automatically refutes these arguments and actually helps the pro pornography crowd to argue that pornography is okay. Overall, what for Costin, what makes the three arguments ineffective is that it focuses on the pornographic object itself. So for Costin, the new argument, the new feminist critique on pornography should focus the critical gaze, I should shift, the critical gaze should shift from the pornographic object to the male consumers of pornography and the attitudes such consumption reflects and conceals. So I would like to take note here that the focus of Costin's paper is only on male consumers. So for Costin, the consumption of pornography among males reflects sexist attitudes and conceals them. For Costin to quote, we should think of pornography as an externalized form of prostitution, specifically a practice that allows externalized expression of the attitudes associated with prostitution. What does she mean by this? Okay, she made a comparison between John's, John's are males who are quote unquote buyers or consumers of prostitution.  How does this work? Okay, in case you know that it's striking similarity between the attitudes of John's and male consumers, both of which express domination, exploitation and objectification, all of which are sexist in nature. Furthermore, there's more social disapproval of John's as compared to male consumers and how the latter the male porn consumers do not feel or recognize that their behavior expresses power and domination, lack of empathy, or an indication of their objectification of women. And a major factor as to why it seems that there is a greater social disapproval of John's and seemingly greater social approval of male porn consumers is that there is a distance between the male and the female consumer, either female in the pornographic object. In other words, the male watching pornography and the woman being performed or the hymn consuming or watching, there is a distance unlike in prostitution where there is a direct contact between the male and the female, the prostitute. So because of this, it makes it seem more acceptable the distance that males consuming pornography.  So it makes the consumer feel less aware of the sexism his consumption reflects. So given that given Costin's new feminist critique on pornography, I decided to suggest further areas of expansion so as to help expound the feminist critique on pornography. First, on female consumers. First, I'd like to suggest that why not try talking about the effect of pornography on female consumers too, since pornography consumption is not exclusive to females. The number one challenge for APFs like Costin and others is that is the notion that pornography is quote-unquote empowering to women. According to the studies of Atwood Smith and Barker and Marx, that is the biggest challenge for APFs. For example, in the study of Atwood Smith and Barker, four women were all interviewed and all claim to consume pornography regularly for various reasons. And for the study of Marx, 26 Canadian women are interviewed about their perceptions and they're finding the motion that pornography is female degradation as based on a radical feminist discourse. And another study from Matibo et al is that pornography actually affects women's sexual views and lifestyle. For example, higher rate of sexual activities for consumers. Now as to whether they feel empowered or not is beyond Matibo et al's scope and limitations, but for these two, they both argue both of their results claim that pornography is actually empowering to women. So that is a challenge. So therefore, given these three findings, feminist critiques may use these as a springboard to analyze further the attitudes of female consumers and try comparing them to males as to whether they do they exhibit the same sexist attitude as males or not. Or if such attitudes of women are also concealed by pornography and whether it contributes to their gender hegemony or not. Next, on varying degree, general genres of pornography, we all know that there are now new genres of pornography, queer pornography, feminist pornography, lesbian, gay, et cetera, most of which are often overlooked or excluded in feminist discourses in pornography. In fact, Costa herself clearly stated at the beginning of her paper that the focus of her critique is only on heterosexual pornography and its male consumers. So given these, maybe it might be good to tackle the varying genres, so particularly how it could further expound the feminist critique on pornography, particularly in how it affects consumer behaviors, since the focus of Costin's perspective are the consumers. The study of Mokkotchan and Bishop studied 14 women's perception of gay pornography. They had a generally positive perception about it, but they elicited negative stereotypes on gay men. But one of the notable reasons why they consume is power dynamics, because they seem to perceive gay pornography as having a better atmosphere of equality, since the performers are of the same sex, unlike in heterosexual porn, where there seems to be a power competition between men and women performers. Next, for Kornu et al., it's basically the same.  And their perspectives are quite complex. It was a mixture of positive and negative. Therefore, findings of these two studies may allow feminist critiques to further expound the feminist critique on pornography by exploring and analyzing the attitudes of the consumers. And even the pornographic object itself, given its difference from heterosexual pornography. For my second to the last point, the pornified or hypersexualized culture. It might good to explore as well whether pornography has a causal or a poor relative relation to the hypersexualized culture. And where their continuous proliferation and open access to pornographic magazines or lab mags actually contributed a prevalence of such sexist attitudes. This is according to a study by Mooney in 2008 in London, UK.  Okay, according to Gail Dines, a popular APF and Professor Robert Jensen, pornography undermines the Me Too movement.  Further perpetuating the hypersexualized culture. So the question remains, is pornography the cost of this hypersexualized culture? Or is it just one of the many factors, hence a correlation? Lastly, further reduction of consumption. Costs and highlighted that pornography is not simply one form of sexist oppression among a myriad of others, which does not deserve attention. And that rather, it is a particularly insidious social practice that functions to conceal and normalize sexism. So the bigger question is whether the reduction of its consumption by males would actually reduce two attitudes, two sexist attitudes. No, by reduction there's a clarify. We don't mean censorship, because censorship has not known to be a good idea when it comes to tackling pornography. So it was identified that pornography is one of the major variables which increases the likelihood of men objectifying women, particularly to body evaluation and making unwanted sexual advances, both rooted in their adherence to traditional masculine gender adherence, particularly playboy attitudes, power over women and violence.  And next for the study of Seabrook Ward and Gikaribe, consumption of pornography is associated with a greater acceptance of objectification of women and rape myth acceptance. And lastly, this one from my last point here, in the case of Japan, Professor Giliot, in an opinion piece in the Japan Times, noted that Japan's female objectifying culture in which pornography in a different form, hand-by-art, is one of the factors blamed for its perpetuation. Although it is a global problem, he recognized that, what sets Japan apart is that many young women seem to accept and emulate this objectified image of themselves. And lastly, another study from Marma and Morita, the greatest foe of the anti-porn feminist movement in Japan is pornography. So the aforementioned opinion piece and study goes to show how pornography is a major factor in perpetuating the sexist and women objectifying culture in Japan. So given these claims, the new feminist critique and pornography might look into these and analyze and answer the question as to whether reducing pornography consumption would decrease the incest of sexist attitudes among men, as well as unmasking it or its unmasking or concealment. To conclude, the three main points mentioned are suggested by men, or rather for, I'm sorry, four main points mentioned are suggested possible areas for further discussion on the new feminist critique or pornography based on Costa's attitudinal approach. But those four points are attitudes of female consumers of pornography, the varying genres of pornography such as gay, lesbian, porn, the nature of its connection to the hypersexualized culture, and whether the reduction of its consumption would lead to the decrease of sexist attitudes. And lastly, the writer of this paper categorically sides and agrees with Costa. In fact, I find her new feminist critique quite groundbreaking, I would say. But I believe that once these underlying questions I've suggested have been settled and clarified to a more sustainable and expounded feminist critique of pornography could be explored and established. Lastly, Costa clarified as well that her critique or study, it's not meant to compete with other critiques, but rather it is meant to complement them, even the critiques focusing on the pornographic object and often the consumers. So that ends my presentation. Thank you very much. Thank you so much, Rodney. May we call on Dr. Gina Apinyano to take care of the open forum? Good morning. Sorry about that. Dr. Gina's having some technical difficulties. May we call on Dr. Wachin instead to take care of the open forum? So good morning, good afternoon, and good night for everyone. So let's start with the open forum for this segment. Okay, for the speakers, please open your video so that people will see who you are again. Okay, let's start with a question coming from Jonathan James O. Canete. I think he's from DLSU. So for the first speaker, namely Aeron, could it be possible that a video game avatar is a virtual representation of the real self of the player? Can there be a possibility that a video game avatar's sense of self is being embodied in the real and concrete by the player himself? So let's start with that question first. Okay, thank you. For that first question, my answer is yes. The real or authentic self can be represented. However, please be reminded that the game also allows the player to experience different viewpoints and narratives in a safe space that is otherwise limited outside of the game. That's my answer for the first question. Okay, so the other question will be, is there a possibility that an existential frustration on the part of the player, due to the fact that what is seemingly impossible in the material world becomes a possible in the cyber world? So in this question, I'm not really sure what you mean by existential frustration, but I'm just going to connect it with, I guess, gender identity conflict, I guess, because somehow if it's in connection with the first question, that let's say you are, you have this certain gender identity, and then you play the game, and now you have access to different roles, and so you could form different identities with different narratives and performances, and you would now be in conflict with what your identity is supposed to be, and that's the goal of performativity, of the theory of performativity, and also with video games is that there is access to gender fluidity, and so it gives you a sense of leeway into understanding different narratives and experiences, and so you don't get, it actually challenges certain heteronormative standards as well, so that's my answer for the second question. Okay, very good, so for the second speaker, namely Francis, now is the gender galaxy model of Joaquin and Diana? In the gender galaxy model of Joaquin and Diana, that's me, could there be an instance where in a fusion of horizon can happen? It's the idea of a contextualized approach towards understanding the guy like fused respectively, signify absolute distinctiveness, and the impossibility for a connoia, coming together to exist. Is there a possibility of fusion of horizons here? Thank you Jonathan for that question. By fusion of horizons, do you mean an overlap of two distinct gender galaxies? Is that what you're asking? Is it possible for two independent galaxies to overlap? I think that's the main idea whether there's a fusion of these galaxies. Well, in itself, based on my reading of Dr. Bian and Dr. Joaquin's paper, the galaxies themselves do not overlap, but that doesn't mean that a person cannot identify with the two galaxies, for example, if I could identify with the trans galaxy, and at the same time I could also identify with the queer galaxy. So I think that's the best take I can give on regarding the fusion of horizons happening. So with regards to the second question, thus being us positing independent galaxies lead to the impossibility of coming together? No, of course not. I would think that Dr. Bian and Dr. Joaquin proposed this model because they just want to highlight that each gender category has their own unique set of concerns, needs, and whatnot, their own unique identity. But as stated in their definition, each gender galaxy is part of an entire gender galaxy. So in a way, although independent, independent of the galaxy for example of straights, gays, lesbians, interconnected, we all belong in a single vast gender galaxy. Right. I think that's the model we're trying to propose as well. I love your take regards Francis, that's a good presentation. I just wonder whether it's my personal take on your criticism, which is, well, good observation. But I wonder whether your idea of signifiers and recognition really would be vital in so-called recognition. Just a follow-up concerning that point. Yes sir, because I argue that, for example, when talking about signifiers, I'm talking in this case about obviously clothes or colors, the visible ones. But we can also talk about recognition in terms of, you recognize, for example, societal concerns or issues or political goals. So what if those goals become overly identified with the galaxy? So would that necessarily mean that, for example, members of that galaxy who did not share those aspirations, those goals, does that mean that they're not legitimate members of the galaxy? So that's the line of thinking. It's the thought process that I came up with regarding that. I just used visible signifiers because it's one of the easiest, most measurable ways wherein we can identify people. Okay, for the third speaker Rodney from Joy Lim, I think pornographic videos are the representations of what in real life, male and female, especially a couple do. Looking at the different pornographic videos, pornography seems to be a job.  Well, what's your reaction to this? Thank you very much, Sir Joaquin and to Jay Lim for your comment. I think the notion that pornographic videos are representations of what in real life male and female couples do, I think that's quite a subject for debate. Because in some schools of thought, they actually blame pornography as one of the causes of divorce. Why? It's because oftentimes in the case of the males, because of their addiction, if not addiction, frequent consumption of pornography, it gives them unrealistic expectations of what to experience in sex, particularly with their wives or with their partners in the case of Lee and Mary. Therefore, I think for one to say that it is a representation of what real life couples do, I don't think that's the case.   And no one could ever go for free sex unless he or she has a girlfriend, boyfriend, wife, or husband. Well, good point, but we might need to remember that free sex code and code needs to be consented. And it shouldn't be forced unless she has a free girlfriend. But yeah, but sometimes you can also get free sex code and code if it's a case of casual sex, wherein you're not in a relationship, but you just want to experience it and it's both consensual. So that's my reaction to her. Is this his or her comment? I don't know. Okay, so for Francis again from Dr. Eva, what are the educational implications of seeing, are you seeing in putting these orientation in galaxies? Thank you, Dr. Calwing for that question. Yeah, so I think that's a good question. Can these gender galaxies be applied educationally? For example, when teaching gender studies? Yeah, I think this ontology proposed by Dr. Biannagokin would help students understand the importance of distinguishing each gender category from one another as a unique community. Although they're part of the LGBTQ community as a whole, the proposed model by Dr. Biannagokin actually allows us to dive deeper into each gender category. So for example, if we teach in a school about lesbians, we can apply this ontology in such a way that we can expose what are the problems that are unique to lesbians, what are the problems unique to gays, so on and so forth. So I think that's a good educational implication that I see in terms of this gender dialysis. Okay, thanks for that. Here's another question. I think this is for all of you. How should philosophical organizations such as the PAP find these representations, these gender representations problematic? How would these organizations respond to these problematic representations? Let's start with Aaron. For me, I think we should have guide policies, gender and development policies, or guidelines to or more gender related programs such as this. This seminar is, I think, would be a start, would be really helpful to provide awareness. So again, policies, awareness-raising, and gender-related programs. Okay, so how about Rodney? Thanks, Aaron. How about Rodney? Thank you very much, dog walking. Maybe based on what my study, what I can suggest for the PAP is that, like what Aaron said, maybe they could also, these feminist critiques, particularly in the context of pornography, they might use them as the basis for coming up with policies, or if possible, if it is, I don't know if it is in line with PAP's goal or objective, but maybe they could make a stand on what is their real stand on pornography, or other gender, female or male gender representations. While taking a stand does not necessarily mean that you're going to close doors for criticism, because it defeats the purpose of the organization, but maybe if not taking a stand, they could also use this feminist critique by Costin on pornography as a gateway for other feminist scholars or researchers to further study on the subject of pornography. Say for example, you guys could open a seminar like this, revolving around the theme of pornography, or you could also promote her critique in a way that could be further expounded, or is there any flaws? Are there any flaws or mistakes in her critique, or does it have a good objective basis, or is it actually tackling questions which have already been tackled by other studies, things like that. So that is what I suggest. Thanks Rodney, how about Francis? Okay, so with respect to PAP and organizations in general, conducting feminists like this is a start. Getting speakers to talk about issues in representation, gender feminist issues, that's a good way to start, but I think we can go deeper in terms of the educational system itself. So you notice that in schools, for example in Lesale, let's take Lesale, gender studies is only offered as one subject, and it's not available across all courses. So before I was an engineering student, there was no gender studies in engineering, so that impacted a lot on me. So once I shifted to liberal arts, the knock on the expose, most of the things are gender studies, gender sensitivity, so on and so forth. So I think in addition to these seminars, to these feminist, to go to the educational system itself, to educate the students regarding the issues on gender feminism and so on and so forth. Yeah, thanks for those comments and highlights. Actually we're doing that, that's why we have this kind of activity, we have been doing these activities for the past few years, because we want to educate people, we want them to be socially aware of what's going on in terms of gender or oppression brought about by gender inequalities and so on. Any more questions from our audience? Here's another question. What about the case for Rodney, I think? What about the case of partners who are pornographic stars? About a case who are pornographic stars, partners who are pornographic stars. Well I must admit that that is beyond the scope and limitations of my study, so maybe you could use that as another springboard to expound the feminist critique on pornography, but as for them being pornographic stars, well if they're 100% okay with it, if it works for them, okay good for them, if they're remaining faithful to each other, although it seems unimaginable for me, but for the other case we cannot also deny the fact that sometimes pornography has been blamed to be a destroyer of marriage and okay, as I was stated by one comment here, they get educated, female married friends, they watch videos just to educate, okay good that they get educated, but how about the women, the wives who actually feel left out and who actually feel insulted because their husbands need to actually find another women just to satisfy, just for them to quote-unquote consume or just to satisfy their sexual urges and vice versa, so those are many factors which might come into play as well, so in other words what works for one may not necessarily work for all. Okay thanks, let me turn you over to Gina for some announcements. Gina are you here? All right good morning, so thank you very much for the participation of the three speakers and to the other participants, thank you very much, so in a little while I'll be sharing the evaluation link for today's activity, but before that let me just share the call for membership to the PAP organization, membership is still open and there's a registration form for this purpose and the membership fee, okay so that's the membership link which you can find in Facebook page and then call for abstracts for an upcoming world conference for women's studies, the theme is environment and gender equity in the post-COVID world, abstracts are accepted until September 30th, so deadline will be on the 30th of September at 11.59 p.m. New York City time, the conference dates will be October 30 to 31 2020, so if for those interested you may email your abstracts to www.cws.gmail.com, so these are the themes or some themes for the conference and then please like our Facebook group or I mean join the Facebook group, its Facebook name is Philosophical Association of the Philippines PAP Incorporated, all right, so this is the link to the evaluation of the event for those who would like to receive their e-certificate, I'll be sharing the evaluation link in the chat box, chat box in a little while, all right so thank you for joining, we hope to see you in the next PAP event. Thank you so much Gina and thank you to all our participants for the closing remarks, I call on Dr. Jeremiah Joaquin, the president of the Philosophical Association of the Philippines. Okay, so hello again, so just to close this program, it's one of the hopes of PAP as an organization to educate people about gender equality and issues about gender and any sort of oppression because of inequalities of identity, so I hope that you have learned a lot from this webinar, actually it's a seminar because it's a feminist seminar and we have a lot of things in store for you, one of the things that will come up in the next few months will be the PAP's General Assembly, so please do join the PAP organization and be a member because we will have a general assembly by November 15 I think, we'll make the proper announcement which will announce the winners of some of our activities like the Isabella de las Reyes essay prize, we will also announce the winner of the first PAP public intellectual prize and of course we will have an election, so we will call for nominations in the next few weeks for the next set of board members of the PAP. So to close, thank you very much for everyone who's here and for those who are watching on Facebook and we'll see you again next time, cheers.


Russian defense minister Sergei Shoigu told his Chinese counterpart on April 18 that their country's military cooperation was a stabilizing force in the world and helped to reduce the chances of conflict, Russian news agencies reported. China has emerged as Russia's most important international partner in the 14 months since Moscow invaded Ukraine. Chinese defense minister Li Shangfu is currently in Moscow as the countries look to deepen their military cooperation, which has raised concerns in the West. The coordination of our efforts in the international arena has a stabilizing effect on the global situation and helps to reduce the potential for conflict. The Interfax news agency quoted Shoigu as telling Li on Tuesday. Before his meeting with Shoigu at the Russian defense ministry in Moscow, Li took part in a wreath-laying ceremony at the flame to the unknown soldier at the Kremlin Wall. We are sure that today's meeting will serve as a further strengthening of the Russian-Chinese strategic partnership in the defense sector and will help to openly discuss the current issues of global and regional security. Welcome to Moscow. After the appointment of the prime minister, the first congratulatory letter was sent and after the appointment of the prime minister, the first visit takes place in Russia to demonstrate in the world a high level of development of the Russian-Chinese relationship and demonstrate the fourth regime of strengthening of the Russian-Chinese strategic cooperation. I am sure that the Russian-Chinese armed forces will be careful in the future to implement the agreements reached by the heads of the state and to promote the military cooperation and the military-technical cooperation and the exchange of military trade between Russia and China and we will definitely bring them to a new level. Thank you.