Author Archives: Stephen Cuyos

Film Review: The Insider

An Analysis Of “The Insider” Movie From A Journalistic Point Of View

Synopsis of the movie
An “insider” is one who has special knowledge or access to confidential information. He/she is usually an officer of a corporation or someone who has access to private information about the corporation’s operations. The movie “The Insider” centers on the true story of such a kind of person.

Jeffery Wigand (Russell Crowe) was the insider. He was the head of research and development for Brown & Williamson Tobacco Company until he was fired for objecting to the company’s desire to spike the nicotine content of their smokes with chemical additives, causing the addictive substance to be more rapidly absorbed into the lungs and body tissue. He was laid off with a huge severance pay and was obliged to sign a confidentiality agreement to keep him from revealing inside information.

Everything was relatively going well until Wigand met a media insider named Lowell Bergman (Al Pacino), the producer of “60 Minutes”, a regular CBS show. The long and short of it is that Bergman was able to convince Wigand to sit for a videotaped interview with Mike Wallace (Christopher Plummer). In the interview Wigand told Wallace that tobacco companies, despite their denials before a congressional hearing, knew full well that cigarettes were addictive and harmful. When the tobacco company executives learned of the interview, they wasted no time to try to suppress Wigand. In not time Wigand got pressured by death threats, the collapse of his marriage and the restrictions of the confidentiality agreement he previously signed.

The CBS management objected to the airing of the Wigand interview in the “60 Minutes” show. The reason behind their objection is the management’s fear of a possible legal action that might be taken against the CBS network by Brown & Williamson and also because it might derail the network’s impending billion-dollar merger deal with the Westinghouse Electric Corporation.

Both Wigand and Bergman faced a lot of challenges, but in the end the interview was finally broadcasted which eventually had tremendous effects both for Brown & Williamson and the CBS network. In sum the movie tells us that: a huge tobacco corporation lied, an insider had damning information, and investigative journalists put it on air. On the whole, the movie is not just about the outcome of the courageous actions of Jeffrey Wigand and Lowell Bergman, but it also about how these two insiders became victims of the schemes, corruption, frauds, distortions, lies and manipulations of the media.

Journalistic problems presented in the movie
One of the dialogues that made a deep impression on me was that of Don Hewitt and Lowell Bergman.

DON HEWITT: You’re exaggerating
LOWELL BERGMAN: I am? You pay me to go get guys like Wigand, to draw him out. To get him to trust us, to get him to go on television. I do. I deliver him. He sits. He talks. He violates his own fucking confidentiality agreement. And he’s only the key witness in the biggest public health reform issue, maybe the biggest, most-expensive corporate-malfeasance case in U.S. history. And Jeffrey Wigand, who’s out on a limb, does he go on television and tell the truth? Yes. Is it newsworthy? Yes. Are we gonna air it? Of course not. Why? Because he’s not telling the truth? No. Because he is telling the truth. That’s why we’re not going to air it. And the more truth he tells, the worse it gets!

I think that dialogue summarizes the main point of the movie and shows the complexities, challenges and moral conflicts of journalism. The movie tackles a number of journalistic problems – foremost of it is how a media network would try to suppress truth in order to protect its own financial interest. It’s an obvious matter of conflict of interests on the part of the network. The main reason why the CBS executives tried to hamper the airing of Wigand’s interview was that it would imperil the potential merger of the network to Westinghouse – a deal which some CBS executives would have profited from.

Another journalistic problem presented in the movie is how some journalists would bow to the pressures exerted by media owners. Mike Wallace was on the side of the CBS management when the conflict emerged. He was more particularly concerned with his legacy than his journalistic integrity. And Wallace was not alone. Don Hewitt also blinked under pressure from CBS’ corporate eye. In short, there are some journalists who give in to corporate demands over truth.

I think the worst journalistic problem explored in the movie is how journalists, network executives and media owners manipulate people, truth, and events. The validity of Wigand’s claim that tobacco owners manipulate nicotine levels and lied to Congress about nicotine addiction was unquestionable. It was truth pure and simple. But rather than broadcasting this truth, the CBS managers and editors wanted to squash it completely. They have censored the truth to please the rich and powerful owners of their network. The CBS management also even wanted to keep under control the people responsible for bringing it into the open. For me it is a kind of self-censorship and it is a grave danger to the freedom of the media. It is a lapse of journalistic integrity to mum journalists and their sources, and it has made the impartiality in journalism a mere pretension.

Towards journalistic integrity
The movie has given us an insightful look into the world of media networks and investigative journalism. Its spotlight is thrown on how people, truths and facts can be manipulated by the media. It has particularly shown us the lowering of CBS network’s journalistic standards. When the balance sheets of the media network are at stake, they will do everything to protect their finances, including suppressing truth even. The movie has also shown us that there is some legitimate concern involving the worries that mass media mergers may result in the network being compromised and pressured to advance their corporate bosses’ interests. And this is only the tip of the iceberg. As has been discussed above, many other violations against journalistic integrity are dealt with in the movie.

If there is one thing that needs to be emphasized after watching the movie, it is that news gatherers, reporters, journalists and editors must reaffirm their responsibility towards journalistic integrity. Journalism is about truth-telling, independence, and objectivity. A good journalist is one who reports the news objectively, pursues the truth aggressively, and acts within the network independently. Conflicts of interest occur when journalists face competing loyalties: to a source or to their own self-interest, or to their network’s economic needs, as opposed to the information needs of the public. News gatherers, reporters, journalists, and editors should embrace objectivity and truth closely, not only as standards and core principles of journalism, but also as essential elements of accuracy.

France

The Arc de Triomphe du Carrousel. This triumphal arch was built to celebrate Napoleon’s military victories in 1805.

The Moulin Rouge. The film of that same name was based on this cabaret. It was built in 1889 and made famous by the French CanCan dance.

La Pyramide du Louvre.

At the EuroDisney.

A Night With Urban Trad

Banneux, Belgium

Immediately after our evening prayer last night, the school director announced that there would be a concert in a village called Louveigné at 8:30 pm. The village he said was just a kilometer away from our school. He was looking for interested people to go with him and his wife to the concert. I raised my hand to indicate my immense interest. Three more others raised their hands.

Long lines had already formed when we reached the concert venue. It seemed that the whole village was there – the children, the teenagers, the adults, and the gray-haired ones. Even those on wheelchair also fell in line. Louveigné (caution: just read the name with your eyes, don’t try to vocally pronounce it. he he he. French has a weird pronunciation) is a rural village which is about as big as Gun-ob but the population is just as little as the whole of Sacred Heart Village. Because everyone was exchanging pleasantries with everyone, it seemed that everyone knew everyone else. More than anything else the concert gave me an opportunity to be with the whole population of Louveigné in one setting.

The concert started thirty minutes late. Yet not a single soul complained. Or maybe some did, and I just didn’t comprehend since everyone spoke French. The concert venue was microscopic compared to the vast tracts of flat, open and grassy spaces that characterize Louveigné. My personal space was so tight that if I wanted to dance I would only be able to move my head and shoulders. I could not move without hitting another person. If, say, I’d go to the restroom it would be impossible for me to find my way back. Yet fortunately we were very near the stage, just about 10 feet from it, and we could see everything and everyone on it. Unfortunately we were very near the stage, just about 10 feet from the speakers, and our ears got blasted because of it.

When the performers went on stage the audience shouted so loud that a deaf could hear it. Or at least feel the roar with eyes closed. Belgians, or at least the villagers of Louveigné, danced generally in the same way – jumping up and down. I thought it was simply due to lack of danceable space, it was actually because the Belgian national dance involves lots of jumping and thumping. Taking cue from how they danced last night, it seemed that the Belgians were headbanging since the Middle Ages.

The band was called Urban Trad. Its rhythm was a mix of modern rock, new age, jazz, celtic, and belgian traditional music. The main man of the band never sang a word. Instead he played different kinds of wind instruments – a bag pipe and around 6 flutes of various colors and lengths. Sometimes he played three different flutes one after another in a single song. Aside from the drummer and the bassist, another man played the accordion, another the violin, and a woman played two traditional drums with bare hands. Two lady back-up singers provided the vocals. I don’t know if you’ve come accross with something like that before, but the singers’ voices were really just back-up to the flutes.

Urban Trad is for now the biggest band in Belgium (big in the sense of being famous). The band represented Belgium in this year’s intereuropean songfest called Eurovision. Turkey got the first price, and the second went to Belgium. So Urban Trad does not only enjoy staying on top of the Belgian music charts, it has also become a symbol of pride to all Belgians.

You might be wondering by now why I seem to be writing a review of a concert, rather than telling you an interesting part of my day. Well, Urban Trad was the most interesting part of my day yesterday! What is so curious about Urban Trad is that they write songs no one can understand. Literally. Not even the band members themselves can understand a word of their songs. They invent all the words that they use in their songs and add notes to them. In fact the only memorizable part of their hit song is “ohhhhhhhhh”.

When I learned of that fact, all I could think of was Yoyoy Villame’s Botsikik. You see there are songs that become popular because of their rhythm and melody while others become so because of their lyrics. Botsikik has got no melody nor rhythm, not even discernible lyrics. And precisely because of its incomprehensibility that it became popular and unforgetable. You can even hum it yourself. Come on, the neighbors aren’t listening, sing it. He he he.

Well, Urban Trad has a sophisticated melody and danceable rhythm but it doesn’t sound unique. What only makes it unique here in Belgium is the incomprehensibility of its lyrics. And to think that Yoyoy can bring sophistication to his Botsikik too. He can opt for a more rhytmic drumming, more complicated bass playing, add some scratch and guitar riffs here and there. Or maybe a full orchestra should do it.

What I want to say is that we Filipinos are as good and creative as they are. Or probably better. And I am in the opinion that we Filipinos are at our best when we are original. There is nothing original about Urban Trad’s incomprensible lyrics – Yoyoy did it decades ago. When I am with well-meaning people here in Europe I am always proud to say that I am Filipino. The usual pleasantry I get to hear from them is that Filipinos sing well. And by that they don’t necessarily mean Regine Velasquez or Gary Valenciano – they usually refer to the usual Filipino whom they get to meet in their own homes and in some chance encounters.

We Filipinos sing a lot. We sing when somebody is born and when someone dies. We sing when we are heartbroken as well as when we are happy. We sing when there is a good reason to. And we also sing even when there is no reason at all for it. When I landed at Brussels International Airport two Sundays ago I was met by my cousin Gloria and her Belgian friend named George. Of all the things he could have surprised me with, George handed me a CD of Regine Velasquez as a welcome gift. He said he began liking Regine’s songs since the first time he heard them. There you go, a proof that Regine is not only popular among the hordes of Reginians in the Philippines but also among Europeans.

The Urban Trad concert ended around eleven in the evening. Not until the band had to do two encores. It was rejuvenating to see a sky overflowing with stars and to breathe fresh air after two hours of being flooded with artficial light and having a breathing space limited to a few centimeters. Our school director, accompanied by his wife, drove us home. We capped the night in their about-to-be-finished apartment with Croatian white wine and Belgian beer.

Belgium

The ATOMIUM. Designed by André Waterkeyn for the International Exhibition of Brussels in 1958, the Atomium is made entirely of steel clad with aluminum. The Atomium is a perfect replica of an iron molecule enlarged 165 billion times.

Room With A Western View

Room St. Bernard
Banneux, Belgium

When I decided to sit down and write something I thought that I have already organized in my mind what I am going to tell you. But maybe 5 minutes had already passed and still I have nothing to say.

Maybe I should begin by telling you about my room. In terms of size, my room is comfortable enough. All rooms here are named after saints – rooms for men are named after men saints, rooms for women are after women saints. My room is named St. Bernard. The walls and the ceiling are painted white, while the floor is between orange and brown. It has a soft bed, two wooden chairs, one study table, one two-door cabinet, four flourescent lamps, a sink with a mirror above it, a heater, a fire hydrant, and a window with a panoramic view of the western side of the Banneux landscape.

Yes, I said western side – that part of the horizon where the sun takes a daily bow. My room is on the highest floor of the house, and you can only imagine what kind of view my window affords me. As is my wont, last night I watched the sunset. And what a marvellieux sunset it was. By the way, sunset here in Belgium in this time of the year is around ten o’ clock in the evening, while the sunrise is about five in the morning. And the temperature averages a fresh 15-25 degrees Celsius throughout the day.

My day routinely passes this way: wake up at 6am then take a bath and put on new clothes, morning prayer and mass at 7am then breakfast after, classes from 8:30am til 12:10pm, lunch at 12:30pm then dishwashing, afternoon classes from 2:30 until 5:30. I usually spend the remainder of my afternoon washing and ironing my clothes, cleaning my room, or taking a walk around the immediate environs. Dinner follows immediately after the evening prayer which we say at 6:45pm. The rest of the evening is free and I usually spend it doing more walks or watching news on T.V. or writing my diary or reading a book or doing my homeworks. I usually sleep around ten to eleven in the evening.

My Path Led Me To Belgium

Brussels, Belgium

I am a person in constant search for new paths. The path I have chosen for myself this summer was French language study. Plus traveling, of course. I had two reasons to do French: first was my immense love for the language, and second was that as a mass communications student, knowledge of the French language will always come handy.

I have opted to study in Belgium, not in France, because Belgium, unlike France, is at the geographical heart of the European Union. Which meant traveling to other E.U. member states would be relatively easy and affordable. The railroads from Brussels (Belgium’s capital) run like arteries to the country’s nearest neighbors – Netherlands to the north, Germany to the east, Luxembourg to the southeast, France to the south, and the U.K. to the west.

My plane from Rome arrived on time in Brussels. My cousin Gloria and her friend George met me at the airport and brought me to my language school in Banneux the following day.

To Say Nothing Except What Can Be Said

The Function of Language According to Ludwig Wittgenstein’s TRACTATUS LOGICO-PHILOSOPHICUS
“The right method of philosophy would be this:
To say nothing except what can be said.”
Ludwig Wittgenstein (1889-1951)
Tractatus Logico-Philosophicus, proposition 6.53

The brilliant and influential but long and rather technical Tractatus Logico-Philosophicus (Logische-Philosophische Abhandlung) is the only book Ludwig Wittgenstein (1889-1951) published in his lifetime. In the preface he says that the value of his book consists in two things: “that in it thoughts are expressed” and that “this value will be the greater the better the thoughts are expressed.” And at the end of the book Wittgenstein says, “My propositions are elucidatory in this way: he who understands me finally recognizes them as senseless.” The book deals with the problems of philosophy and endeavors to show that traditional philosophical problems can be avoided entirely by application of an appropriate methodology, one that focuses on analysis of language. But the fact that the author himself assesses his book as senseless makes it obviously clear that to understand the whole sense of Tractatus and the propositions contained in it is no easy matter.

Whereof one cannot speak, thereof one must remain silent.
As Wittgenstein himself writes, the whole sense of the book can be summed up in the words: “What can be said at all can be said clearly; and whereof one cannot speak thereof one must be silent.” The Tractatus consists of numbered propositions in seven sets. Proposition 1.2 belongs to the first set and is a comment on proposition 1. Proposition 1.21 is about proposition 1.2, and so on. The seventh set contains only one proposition, the famous line just quoted above. The main schematic structure of the Tractatus is as follows:

1. The world is everything that is the case.
2. What is the case, in fact, is the existence of atomic facts.
3. The logical picture of the facts is the thought.
4. The thought is the significant proposition.
5. Propositions are truth-functions of elementary propositions. (An elementary proposition is a truth-function of itself.)
6. The general form of truth-function is: [ , , N( )]. This is the general form of proposition.
7. Whereof one cannot speak, thereof one must remain silent.

It is the conviction of Wittgenstein that language mirrors the world, and that things that are in the world are expressible through language. The world is a collection of facts, which are comprised of states of affairs or atomic facts . States of affairs can be reduced to a collection of objects. Language is also reduced in this fashion and each level of the structure of language matches a level of structure in the world. So, language can be reduced to a collection of propositions, which match facts in the world. These propositions can be broken down into elementary or atomic propositions, which correspond to states of affairs in the world.

The first proposition of the Tractatus states that “the world is everything that is the case.” As has already been mentioned above, on Wittgenstein’s view, the world consists entirely of facts. This means that the world is a representation of what is not incorrect: a representation of what is incorrect can always be clarified by replacing the incorrect elements with correct ones.
The second proposition states that “what is the case, in fact, is the existence of atomic facts.” Everything that is true—that is, all the facts that constitute the world—can in principle be expressed by atomic sentences. Imagine a comprehensive list of all the true sentences. They would picture all of the facts there are, and this would be an adequate representation of the world as a whole. In other words, the fact is a representation of what is not inappropriate: the fact with redundant elements can always be clarified by simplifying it.

The third proposition states that “the logical picture of the facts is the thought.” Human beings are aware of the facts by virtue of our mental representations or thoughts, which are most fruitfully understood as picturing the way things are. These thoughts are, in turn, expressed in propositions, whose form indicates the position of these facts within the nature of reality as a whole and whose content presents the truth-conditions under which they correspond to that reality. In short, the picture of a fact can always be clarified by reconstructing it logically: it cannot be illogical.

The fourth proposition states that “the thought is the significant proposition.” Wittgenstein asserts that reality is dependent on our use of language. This precisely means that the thought can always be clarified by its application to the appropriate representation of the true facts, giving it sense.

The fifth proposition states that “propositions are truth-functions of elementary propositions.” According to Wittgenstein’s picture theory of meaning, it is the nature of elementary propositions logically to picture atomic facts or states of affairs. He claimed that the nature of language required elementary propositions, and his theory of meaning required that there be atomic facts pictured by the elementary propositions. On this analysis, only propositions that picture facts—the propositions of science—are considered cognitively meaningful. Metaphysical and ethical statements are not meaningful assertions.

The sixth proposition states that “the general form of truth-function is: [ , , N( )].” Since propositions merely express facts about the world, propositions in themselves are entirely devoid of value. The facts are just the facts. Everything else, everything about which we care, everything that might render the world meaningful, must reside elsewhere. According to Wittgenstein, a properly logical language deals only with what is true. Aesthetic judgments about what is beautiful and ethical judgments about what is good cannot even be expressed within the logical language, since they transcend what can be pictured in thought. They aren’t facts. Therefore, the proposition can always be clarified by reference to its general form as a logical representation of the appropriate elements: it is not correct alone.

The book concludes with a single statement: “whereof one cannot speak, thereof one must remain silent.” This shows that what can be represented at all can be represented clearly; and what cannot be represented is beyond the boundary of propositional language. In more simple terms, what Wittgenstein means is that there is simply nothing to be said about what cannot be said. It is essential, therefore, to say nothing except what can be said.

——————————–

It appears that the central claim of the Tractatus is that propositions are meaningful insofar as they picture states of affairs or matters of empirical fact. Anything normative, supernatural or metaphysical is to be considered nonsense. In other words, to talk of things that fall outside reality is to engage in meaningless discourse, because there is nothing for such thoughts to picture. That is why it is necessary to say nothing except what can be said.

To say nothing except what can be said
My general assessment of the Tractatus as a book is that it is very technical and requires great effort to understand. Wittgenstein’s arguments and conclusions are difficult to follow. He asks many questions an
d his views are complex and not easy to grasp. I find it ironic that he is attempting to understand and explain the functions of language by using a language so technical that it is only accessible by a few. I think the only way to understand what Wittgenstein tries to convey is to let go of some of our intuitions. We need to know and always bear in mind that the meaning of our thoughts and expressions do not exist independently of language. Only in this way can we appreciate and understand what Wittgenstein wants to elucidate to us.

What I appreciate very much about the Tractatus is that it is a sincere attempt at acquiring an understanding of how language functions. A good understanding of how language works is very important because I believe that before we can even begin to solve philosophical problems we need first to understand how we use language and how it relates to the world around us. Our main weakness, it seems, is that we fail to notice that we are always doing things with language.

What is the function of language? Wittgenstein defines reality as the totality of facts about the world. And for him, the function of language is to picture reality. Words only gain their meaning by naming objects in the world. I agree with Wittgenstein when he concluded that reality as we know it is dependent on our use of language. It is our language that shapes reality, not the other way around. We cannot represent the world to ourselves before acquiring language and we cannot mean anything without language. It is only by learning language are we able to understand and conceptualize the world in which we live and to make sense of our existence. I am totally in accordance with Wittgenstein when he said that the limits of our language are the limits of our mind. All we know is what we have words for. That is why if we spoke a different language, we would perceive a somewhat different world.

As has been stated in the first part of this paper, Wittgenstein maintains that a properly logical language deals only with what is true, with what is real. To speak of things outside of reality is to speak nonsense. That is why Wittgenstein himself said that philosophers are oftentimes engaged in nonsense talks – they attempt to solve problems that are not really problems and answer questions that are not questions at all. In Tractatus he says, “Most propositions and questions, that have been written about philosophical matters, are not false, but senseless. We cannot, therefore, answer questions of this kind at all, but only state their senselessness. Most questions and propositions of the philosophers result from the fact that we do not understand the logic of our language.”

Philosophers, I believe, should be self-critical. They must admit that sometimes their theories are nonsense. It is my opinion that one of the main tasks of philosophers is to present the logic of our language clearly. This will not solve important problems but it will show that some things that we take to be important problems are really not problems at all. Through it we will be able to focus only on things that really matter and are meaningful to our everyday existence. As Wittgenstein himself said: “The right method of philosophy would be this: To say nothing except what can be said” (proposition 6.53).

And I think that is the essential function and value of language – to make sense of our lives and of the world we live in. Without language, our lives and our world would be empty and meaningless. And as people who are always communicating with others, the least that we can do is to say nothing except what can be said.

Affirming God’s Presence In Your Life

Many afternoons ago I was on a bus with a classmate. When we were seated I made the sign of the cross. She gave me a surprised look and then she asked, “Why did you make the sign of the cross? Don’t you trust the driver?” I told her that I made the sign of the cross not because I had no trust in the driver, but because I always place all my trust in God.

It was both my mother and father who taught me to make the sign of the cross. I cannot anymore remember if they themselves taught me to place my fingers first on my forehead, then on my belly and then on my shoulders and say the words at the same time. But I can recall that I always saw them making the sign of the cross before and after eating, before leaving the house, before and after sleeping, before entering a church, during prayer and also when they ride vehicles, etc. They taught me by example. My mother would gather us as at day’s end so we could pray the rosary kneeling together in front of our small house altar. My father is also a very prayerful man. Before leaving the house he kisses all the religious icons on our altar, and of course mother. He also makes the sign of the cross before driving his tricycle.

So, nagdako jud ko nga manguros before and after mokaon, inigsakay sa tricyle or jeep, before maligo sa banyo o sa dagat, etc. It is like second nature to me. I am so inured to making the sign of the cross that sometimes I seem to do it automatically. As in, inigsakay jud nako sa bus, for example, automatic na jud na ang akong kamot nga manguros. Labi na jud karon nga pari na ko, kadaghan jud ko manguros sa sulod usa ka adlaw. Am I just doing the sign of the cross out of habit? Or am I doing it as an expression of faith? The simple question of my classmate that afternoon as we were seated next to each other on a bus made me reflect on my faith in general and of my expressions of faith in particular.

The sign of the cross is a very ancient Christian practice. The Catholic Encyclopedia states that there is positive evidence in the early Fathers that such a practice was familiar to Christians in the second century. "In all our travels and movements", says Tertullian, “in all our coming in and going out, in putting of our shoes, at the bath, at the table, in lighting our candles, in lying down, in sitting down, whatever employment occupies us, we mark our foreheads with the sign of the cross”.

______________
I think the challenge is
to make the sign as the cross
always as an expression of our relationship with God.
_______________

Remember, Tertullian said those words around the year 200+ and he was already as if saying that one must make the sign of cross almost every time one does something. Morag ang kulang na lang kay to make the sign of the cross every time we breath.

But why do we have to mark ourselves with the cross? The sign of the cross began at Calvary when Christ first made it by hanging on the cross. The early Christians made the sign of the cross to identify themselves as followers of Christ. Tracing a cross on the forehead became common almost from the very beginning of Christianity. I think you yourself make the sign of the cross many times during the day – when you get up, at work, during tests, at play, before doing something important, when you get nervous, etc. And I believe that you too sometimes do it just out of habit. But I am sure that most often you make the sign of the cross to indicate your complete trust in God.

I think the challenge is to make the sign as the cross always as an expression of our relationship with God. When you meet your best friend, for example, you hug or kiss each other. Your exchange of hugs and kisses is an expression of your deep friendship. It should be the same with the sign of the cross. When we mark ourselves with the sign of the cross it must express our intimacy with God. It must express our complete surrender to God’s will. It must convey how blessed and happy we are to be loved by him.

____________
So next time you make the sign of the cross
do it with a smile,
knowing that God will hug you with his presence.
_________

There are moments in my prayer when I feel I have nothing more to tell God. That if I were to say some more words, I would only repeat what I have just said. At such times I just make the sign of the cross. In a way it puts across this message: “Lord, I have nothing more to say. I trust that you know what I need. I love to be in your presence. Bless me with your nearness”. Each time I do this in silence, I feel that as I make the sign of the cross, God is hugging me.

The sign of cross must shape our lives. During Gospel readings we sign ourselves with three crosses – one on the forehead, another on the lips, and another one on the chest. The sign of the cross on the forehead indicates that we believe in the good news of the Gospel. The sign of the cross on the lips indicates that we must preach the Gospel by word of mouth. And the sign of the cross on the chest indicates that we must treasure the word of God in our hearts.

So next time you make the sign of the cross do it with a smile, knowing that God will hug you with his presence. Next time you make the sign of the cross do it with joy, conscious that through this act you are affirming God’s presence in your life. Next time you make the sign of the cross do it with conviction that you have a mission to reveal God’s love to other people by your very life.