The Great Life is pointing me to a predominant direction—the field and creating art out of it. In the field (not just when walking), I am confronted by myself, my kapwa, lipunan, the trinity of these, and sansinukob that includes the more-than-human world. This pattern continues to present itself in whatever shape or form of walking is done, whether it is a pilgrimage, a fieldwork, or even a tour. To go out and engage with space is religious. The spaces of the developing world are even more important here because these are no longer spaces for neoromantic walks. They are divided spaces, specially suburbs, where the “rural” and the “urban” are constantly in tension, where capital and lack of it always present themselves. How do I turn the field into a church, much like I did in the past, but not a field of proselytization, but one of encounter, a witnessing, not of an invisible God, but of the assumed “creation,” which is none other than myself, my kapwa, lipunan, and sansinukob—an encounter possible without a supervisor.