Thought Leadership post
YES, remote work is the future of work, but we need to realize a few things.
It is TRUE that tech companies have indeed generated much more money from people working remotely during the pandemic.
BUT some people suffer loneliness.
It can be perfect for some people; while not suited to others.
👉 Certain people NEED to be alone and focus better at home.
And it’s OK.
Work in the space you thrive in; if you desire the company of your colleagues, go to the office.
Many of the people working for Latched are fully remote.
This improves their quality of life considerably.
On any given day, they will brush shoulders with those they work with many given times.
Providing collaboration and fostering unity through online platforms.
However, some people prefer the buzz of an office.
👉 Everyone works well in their OWN environment.
Maybe that’s the actual direction work is going → precisely this: trusting the people you work with and letting them decide. ✌🏻
#workingmodel #thefutureofwork #officework #workingfromhome
Hybrids post
Marianne Nicolson’s work is situated within many cross-cultural hybridizations, using art to de-construct stereotypes and historical representations by creating imagery reflective of both the traditional and contemporary experiences of Aboriginal peoples. She addresses the shifting boundaries of territory through images and words to “… investigate native philosophy and traditional beliefs and her efforts to reconcile the European way of life to her indigenous value systems.” (Hassan). House of Origin and A House of God are two works by Nicolson which exist as “… acts of de-signification [to] both signify as well as displace the history of colonization.” (Emberly, 407)
Nicolson’s House of Origin was a part of Reservation X: The Power of Place in Aboriginal Contemporary Art held at Canada’s Museum of Civilization in 1998. It references the Big House of the Kwakwaka’waka nation where ceremonial work takes place. Nicolson states in searching for identity she created an installation of a house as, “The house is a symbol of that development, of seeking self. It is a strong symbol of identity, home, family, and community.” (Kramer, 177) She uses imagery and language to explore the themes of memory and identity and creates a structure that is permeable “… to be viewed from all sides, from both the outside and the inside.” (Kramer, 178) This tenuous enclosure is an architectured space mimicking public/private dichotomies drawing upon imagery of both a personal and communal cultural identity. It is a visibly permeable structure of glass set in the housing frame, which also acts as a frame for the photographs and text panels. In choosing textual language to self define she questions the Western notion of comparing “… language with calculus proceeding according to exact rules. This is a very one- sided way of looking at language…” (Wittgenstein, 25) There is room for interpretation, not everything can be reduced to understanding within the codes of text. Nicolson suggests a third space where the embodied experience of oral tradition, imagery and text can interact; reflective of both traditional and contemporary Aboriginal experience. The imagery of these panels are charged with memory which refer to the relationship between individual and group, environment and history. In an effort to “… express ideas about perspective and how people view other people’s lives” the difference between interior and exterior imagery is marked.
Nicolson provides a viewpoint of her home and experience as “In a large part, [Aboriginal people’s] lives have been highly documented, because others have imposed their perspectives.” (Kramer, 178) This invitation for an external audience to engage with highly personal content via text and imagery highlights the Western fabrications in framing ‘other’ and moves to the real of self definition. In House of Origin Nicolson refuses “… to allow outsiders the right to define who she is by setting the terms of engagement with the non-native world… By choosing to install her work in the museum, she acknowledges that they should exist in a space of interaction.” (Kramer, 178) She is hospitable, but only to a certain extent, there are layers of meaning… – excerpt from “Hybridized Spaces”
Emberley, Julia. “(un)Housing Aboriginal Possessions in the Virtual Museum: Cultural Practices and Decolonization in civiclization.ca and Reservation X.” Journal of Visual Culture 5. 3 (2008): 387- 410. Google Scholar Search. Web. 15 Nov. 2011
Kramer, Jennifer. “Figurative Repatriation: First Nations ‘Artist- Warriors’ Recover, Reclaim, and Return Cultural Property through Self-Definition.” Journal of Material Culture 9. 161 (2004): 161- 182. Google Scholar Search. Web. 15 Nov. 2011
Wittgenstein, Ludwig. The Blue and Brown Books. New York: Harper Row, 1958. Print.
Is Everyone Doing CrossFit?
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