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May 2009 - Drawing on a critical examination of both theory and empirical evidence, how can the role of resistance be best understood in organizational change programmes?
published in counselling at work, (bacp magazine)
Resistance to change is the expression, within the whole organization field, of a powerful and complex energy which can be both destructive and creative and which plays a crucial part in constantly evolving corporations. Metaphors, combined with psychoanalytical theory, could be an effective way to understand the conscious and unconscious reasons why resistance occurs, from all angles, and how its transformation can contribute to the change process.
This article is constructed on the basis that organizations, as with the people who form them and everything in existence in our universe, are complex nonlinear adaptive systems (Morgan, 2006; Dent, 1999), combined with field theory notions (Lewin). The amplitude of this definition may suggest a discursive post-modern approach. I will take this stance while exploring the subject matter through the concept of metaphors. I will however combine this view with psychoanalytical theory, within an interpretive paradigm, in an attempt to look at both conscious and unconscious resistance. This paper starts to explore whether this multidimensional perspective could be useful in understanding the part that resistance plays in change programmes and the deeper meaning of resistance to change in organizations. It also questions whether further research combining the concepts of metaphors explored from a practitioner or academic point of view (e.g. Morgan; Sackmann; Cornelissen), in conjunction with a psychoanalytical perspective (e. g. Lacan; Jung; Freud), could contribute to a more holistic vision of the matter.
Most literature in the field of resistance to change in organizations is focused on observation, definition and resolution of mainly negative responses to change. Recent academic papers take the discursive route and set out to illuminate ways of understanding the targets, practice and consequences of resistance (Putnam; Grant; Michelson; Cutcher; 2005). Others offer empirical quantitative analysis of dispositional resistance (Oreg et al, 2008) or attempt to map resistance to change (Palmer; Dunford; 2008). All add to a better understanding of resistance to change and contribute to a multidimensional vision, but few address the core question of "why" resistance occurs in the first place. According to Bhutan (1995), it is important to distinguish between the symptoms of resistance to change and the causes behind them.
I disagree with Dent et al (1999) when they say that the belief in intrinsic resistance to change is a fundamental flaw. I believe that most change faces resistance, due to factors inherent to human nature (Krantz, 1999) and that it is through a deeper understanding of these factors that a shift in perception could occur, in order to unleash the creative energy behind resistance and highlight the part it plays in change processes.
As Eisenhardt (2000) mentions, the paradox of coexisting tensions creates an edge of chaos and the resulting ambivalence allows a pluralistic vision to emerge. In fact, resistance to change could be renamed as "reaction to change", in an effort to remain neutral and in order to include positive as well as negative impacts. In this instance, it is interesting to point out that insightful and well intentioned debates, criticism or disagreement, do not necessarily equate to negative resistance but rather may result in better understanding as well as additional options and solutions (Bolognese, 2008.) Political mechanisms within organizations as well as, for example, governments, often function on this basis, which contributes to democratic decisions. Fleming (2005) emphasizes the epistemological importance of metaphors for visualizing political activity.
Intentionally or not, people commonly make sense of the world through metaphors. Their use can be seen within all paradigms. From a cognitive point of view, the main ideas behind the use of metaphors are: to render vague and abstract ideas concrete, to transmit a large amount of information holistically and principally to trigger a perceptual shift (Sackmann, 1989). More than just communicative or rhetorical tools, metaphors can be used creatively and can help to gain profound new insights and conceptual advances that were previously inconceivable (Cornelissen et al, 2005). Metaphors have already been explored as a way to identify resistance to change and unearth emotions associated with change (Broussine & Vince, 1996). Palmer et al (1996) highlighted the ontological and epistemological conflicts within organization theory, in relation to metaphors, and they attempt to re-conceptualize their use in the field of organizational change. More recently, Cornelissen et al (2005) produced an empirical paper aiming at identifying the heuristics that have been used by organizational researchers in developing and selecting metaphors.
I suggest that psychoanalytical theory, being by nature highly symbolic, could provide a solid basis for the use of metaphors, while respecting the infinite variety of the concept. It seems difficult to reach a higher level of success in organizational change programmes without understanding the profound meaning of reaction to change and how unconscious internal conflicts are being reenacted within the organization. In a review paper, Gabriel & Carr (2002) expose how Psychoanalysis has been productively applied to organizational studies. Since the work undertaken by the Tavistock Institute, Psychoanalysis has triggered an increased interest amongst academics (cf. bibliography)
Through this lens, it seems clear that people at all levels of organizational life certainly resist change because they use familiar existing arrangements to help protect themselves against the anxieties stimulated by membership in group life (Krantz, 1999).
An in-depth analysis of resistance to organizational change through psychoanalytical theory and a comprehensive exploration of working environment metaphors would go beyond the scope of this paper. To give some examples however, it is possible to say that, in psychoanalysis, the compulsive act has a metaphorical meaning with respect to something previously repressed, against which the subject continues to defend him or herself (Arnaud, 2002). Resistance can be seen as a result of this compulsion. In a recent call for paper, Contu et al expose Lacan's suggestion that conscious constructs are based on an imaginary and a symbolic order in which the subject can know itself and fulfill its desires. Such order is constantly disrupted and the constant struggle is to face up to that "lack" and the failures of our imaginary and symbolic constructions. Metaphors could help a better symbolic construction and this could have a positive impact on resistance in organizations. Lacan says that there is a fundamental "lack" (manque) in all human beings, which creates impulsive desires to compensate as well as the need for "jouissance". Resistance could occur when the objects of jouissance used as compensation, are in danger due to an external or situational change. Zell (2003) uses the metaphor of death and dying and explores the psychoanalytical concept of loss and bereavement as explained by Kübler-Ross (2007) to understand resistance to change within the organization. Based on a ten year longitudinal study, Carr (2002) gives empirical evidence of the benefit of Jungian analysis for the organization, mainly through the mirroring stage metaphor. Jung's theory of the collective unconscious and archetype metaphors would deserve further investigation with regard to its potential application to reaction to change at the organizational level. Metaphorical analogies related to theatre are quite widespread in organizational behaviour. Based on Kleinian and Lacanian theories, Binalet (2007) uses Shakespeare's Othello to explore how workplace envy can cause organizational dysfunctions, which resistance could be a part of.
In a recent comprehensive study, Stavrakakis (2008) explains that psychoanalysis is usually conceived as limited to managing individual suffering and to theorizing individual identity. As a result, Psychoanalysis is often excluded from or marginalized within discussions of the field of organized social and political experience. Stavrakakis (2008) confirms that it is a misunderstanding, as Freud and Lacan have devoted considerable energy in highlighting the inextricable dialectic between individual and group life.
However, I believe that it is important not to view an individual humanistic approach as reductionist, and rehabilitate the importance of the emotional and psychological process without pathologizing it. Arnaud (2003) makes an interesting attempt to combine prescriptive or traditional coaching with a psychoanalytical approach. In fact, psychoanalytically inspired coaching is not prescriptive as such. It offers a very different methodology from the classic strategic approach to resistance, by giving to the resistant agent the power of understanding and shifting the resistance himself/herself. It is an intimate and empowering process which not only relies on external sources of learning but in this instance, goes far beyond traditional organizational development techniques. Ideally, the newly acquired agency could allow everyone within the organization to become a competent change agent and to establish their relationships with other employees at all levels in a more authentic manner rather than on an imaginary stage (Arnaud 2007) defined by unconscious patterns. It is important, however, to remain within the boundaries of the counselling or organizational development consultancy, without engaging in a psychotherapy which may not be desirable for either the employees or the company, particularly as psychoanalysis is a very specific theory requiring years of training and few practitioners are familiar with its complexity. Rotenberg (2000) argues that executive coaching and psychotherapy are highly distinct paradigms, though their methodologies overlap.
To this day, no single theory provides a comprehensive account of how people understand all kinds of metaphorical language (Cornelissen et all, 2005) and I question whether such a theory would be beneficial, as it would risk putting counterproductive limits on the concept of metaphors. However, handling such complex and powerful tools without solid foundations can lead to confusion, error and misunderstanding or even oversimplification. Provided that further research be undertaken, the use of metaphors set within psychoanalytical theory and aptly adapted to its application within the organization, could promote creativity and deeper understanding without losing ground. I believe that this combined knowledge could help the dynamics and suppleness of organizational action and as a result, reduce irrational resistance to change and make productive use of reactions towards change.
Arnaud, G. (2002) The organization and the symbolic: Organizational dynamics viewed from a Lacanian perspective. Human Relations. 55; 691
Arnaud, G. (2003) A coach or a Couch? A Lacanian Perspecive on Executive Coaching and Consulting. Human Relations. 56; 1131
Bolognese, A. (2008) Employee Resistance to Organizational Change. Unpublished paper. New Foundations
Carr, A. (2002) Jung, archetypes and mirroring in organizational change management: Lessons from a longitudinal case study. Journal of Organizational Change Management. Vol. 15, Iss.5; pg.477, 13pgs
Contu, A et all. Call for papers - Special issue on Jacques Lacan and Organization Studies. Sage. Deadline for submissions: 1 February 2009
Cornelissen, J.P, Kafouros, M. and Lock, A.R. (2005) Metaphorical images of organization: How organizational researchers develop and select organizational metaphors. Human Relations. 58; 1545
Dent, E.B, Galloway Goldberg, S (1999) Challening "Resistance to Change". Journal of Applied Behavioral Science. 35; 25
Dent, E.B, Galloway Goldberg, S (1999) "Resistance to Change": A Limiting Perspective. Journal of Applied Behavioral Science. 35;45
Eisenhardt, K (2000) Paradox, Spirals, Ambivalence: The New Language of Change and Pluralism. Academy of Management Revew. Vol 25, No 4, 703-705
Fleming, P. (2005) Metaphors of Resistance. Management Communication Quarterly. 19; 45
Gabriel, Y. and Carr, A. (2002) Organizations, management and psychoanalysis: An overview. Journal of Managerial Psychology. Vol.17, Iss.5, pg. 348, 18pgs
Krantz, J. (1999) Comment on "Challenging 'Resistance to Change'". Journal of Applied Behavioral Science. 35; 42
Kubler-Ross, E and Kessler, D. (2005) On Grief and Grieving. Scribner. NY.
Morgan, G. (2006) Images of Organization. Sage Publications, Inc; Updated edition
Oreg, S; et al (2008) Dispositional Resistance to Change: Mesurement Equivalence and the Link to Personal Value Across 17 Nations. Journal of Applied Psychology. Vol. 93, No 4, 935-944
Palmer, I and Dunford, R (2008) Organizational Change and the Importance of Embedded Assumptions. British Journal of Management. Vol. 19, S20-S32
Palmer, I and Dunford, R. (1996) Conflicting Uses of Metaphors: Reconceptualizing Their Use in the Field of Organizational Change. The Academy of Management Review. Vol 21. N0. 21 (Jul. 1996) pp.691-717
Putnam, L; Grant, D; Michelson, G; Cutchner, L. (2005) Discourse and Resistance: Targets Practices and Consequences. Management Communciation Quarterly. 19; 5
Rotenberg, C.T. (2000) Psychodynamic Psychotherapy and Executive Coaching - Overlapping Paradigms. The Journal of the American Academy of Psychoanalysis and Dynamic psychiatry. 28: 653-663
Sackmann, S (1989) The Role of Metaphors in Organization Tranformation. Human Relations. 42; 463
Stavrakakis, Y. (2008) Peripherial Vision: Subjectivity and the Organized Other: Between Symbolic Authority and Fantasmatic Enjoyment. Organization Studies. 29; 1037
Vidallet, B. (2007) Lacanian theory's contribution to the study of workplace envy. Human Relations. 60;1669
Zell, D. (2003) Organizational Change as a Process of Death, Dying, and Rebirth.Journal of Applied Behavioral Science. 39; 73
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Home » Daily Dispatches
Trading imaginary gold gets easier in gold-savvy Vietnam
Submitted by cpowell on Mon, 2008-01-28 02:12. Section: Daily Dispatches
Gold Futures Trading Seen as Safe Bet in Vietnam
By Nguyen Nhat Lam
http://www.reuters.com/article/ousiv/idUSSP17030420080128?sp=true
HO CHI MINH CITY, Vietnam -- Business is brisk at the Saigon Gold Exchange in a grimy neighborhood of Ho Chi Minh City as Vietnamese investors bet on gold amid a turbulent stock market, rising inflation, and currency concerns.
While historically Vietnamese have invested in physical gold, buying up gold bars and even buying houses with gold, they are now looking to gold futures as a cheaper way of investing in a precious metal seen as a safe bet in uncertain times.
Professional trader Truong, who asked to be identified by only one name because he wanted to keep a low profile, buys and sells about $200,000 worth of gold futures a day at the exchange, a small room where customers crowd around a single 14-inch flat screen that displays buy and sell orders and international prices for gold, crude oil, and silver.
"Physical gold investment is highly risky these days because it requires a big investment, but more and more investors are switching to gold futures trading from the stock market," he explained.
"Gold futures provide more liquidity than stocks and are more attractive than physical gold because you need to pay only 7 percent deposits, lessening the need for capital," he added.
The exchange, which is run by Asia Commercial Bank, is the only gold exchange in the Communist-run Southeast Asian country. Opened in May 2007, its daily transactions average about 90,000 to 100,000 taels, worth about $100 million.
While gold jewellery purchases in Vietnam have fallen 30 percent in the past year, purchases have risen for gold bars, or taels, which are stored away as the best protection during times of economic uncertainty.
And there is much of that going on at the moment in Vietnam. In December, inflation reached double digits of 12.6 percent, far higher than other economies in Southeast Asia. The stock market is weakening and the dong will likely appreciate this year due to a soft U.S. dollar.
"For poor workers, gold is still the best protection against the declining value of the currencies," said construction contractor Nguyen Van Thang, a gold buyer. "My workers for the first time even asked to be paid in the gold equivalent."
In global markets, speculators and investors bought the metal as a hedge against the dollar's slide and record crude oil prices.
Investors in some countries are divesting themselves of their gold investments as gold hit record highs earlier this month, but the sentiment is far more ambiguous in Vietnam, where some forecasters predict $1,000 for an ounce of gold in 2008.
More investment in gold and property is cited by traders as among the reasons for the decline of the Ho Chi Minh Stock Exchange, which for the past two years has been among the fastest-growing in Asia.
It has fallen 12 percent so far in 2008 after gaining 23 percent in all of 2007.
In mid-January, when gold prices worldwide were hitting highs, Saigon Jewellery Corp., a gold trading house, said it sold about 15,000 taels of physical gold per day, or about $15 million worth of gold. It had four times as many buyers than sellers.
Compared with India and Thailand, Vietnam's is a small market. Vietnamese consumers bought only about 86 tonnes of gold in 2006, the latest year for which figures were available.
But much of those gold purchases were for bullion investments, making Vietnam the second largest purchaser of gold for investment, rather than jewellery, in Asia.
With rising incomes of a new middle class created by rapid economic expansion, gold consumption is expected to grow about 7 to 8 percent a year, gold traders said.
About 95 percent of Vietnam's gold is imported from Hong Kong, Singapore, Japan and Switzerland.
"Gold bar investment is more popular" than jewellery "as some people don't seem to trust the bank enough, so they use gold to store their wealth," said Ludo Drijbooms, President of Discovery Diamond Ltd.
($1 = 16,106 dong)
(1 tael = 1.2 ounce)
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text:
Q: Erro minha PROCEDURE Saúde e Paz para todos.
Por favor, tenho uma tabela tb_feriados_datas_tipo_procedure, que estou estudando.
As colunas tb_feriados_datas_tipo_procedure tem:
feriados_id         int(11) AUTO_INCREMENTO
nomes_feriados      varchar(255)
data_feriado        date
dia_semana_feriado  varchar(255)

Gostaria que o resultado povoasse as colunas data_feriado com todas as datas do ano 2021 com os respectivos dia_semana_feriado.
Criei a PROCEDURE:
DELIMITER $$
CREATE PROCEDURE adicionar_data_feriado(
        IN data_feriado DATE,
        IN dia_semana_feriado VARCHAR(255),
)

BEGIN
DECLARE var_data DATE;
DECLARE var_dia VARCHAR(255);
DECLARE contador INT DEFAULT;
SET var_data = data_feriado;
SET var_dia = DAYNAME(data_feriado);
WHILE contador < intervalo DO
    INSERT INTO tb_feriados_datas_tipo_procedure(data_feriado, dia_semana_feriado)VALUES
(var_data, var_dia);
    SET contador = contador + 1;
    SET var_data = DATA_ADD(data_feriado, INTERVAL contador DAY);
    SET var_dia = DAYNAME(var_data);
    END WHILE;

    END;
    DELIMITER;

Resultado Erro:
1 erros foram encontrados durante análise.
Mensagens do MySQL : Documentação

#1064 - Você tem um erro de sintaxe no seu SQL próximo a ')

BEGIN
DECLARE var_data DATE;
DECLARE var_dia VARCHAR(255);
DECLARE conta' na linha 4

redpajama_set_name: RedPajamaStackExchange


text:
Der Jüdische Friedhof in Verdun, einer französischen Stadt im Département Meuse in der historischen Region Lothringen, wurde vermutlich im 19. Jahrhundert angelegt. Der jüdische Friedhof befindet sich in der Avenue du Commandant Raynal.

Literatur
 Henry Schumann: Mémoire des communautés juives. Meurthe-et-Moselle, Meuse et Vosges. Editions Serpenoise, Metz 2003, ISBN 2-87692-585-0.

Weblinks

Verdun
Erbaut im 19. Jahrhundert
Friedhof
Verdun
Bauwerk in Verdun
Verdun

redpajama_set_name: RedPajamaWikipedia


If you're shopping around for the best photo booth rental for your annual corporate event, don't settle for just any type of kiosk. One of the prime advantages of digital photo booths is that virtually everything can be customized, immersing attendees in well-rounded experiences involving your brand.
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Quick tip: An open-air photo booth is a great option for easy accessibility for those attendees with disabilities!
When renting a photo booth, remember that its main purpose is to entertain your guests. Look for a kiosk that's interactive and playful. Physical props are a must, but digital props, green screen backgrounds, and drawing tools let your guest have more fun by allowing them personalize their photos.
Consider a GIF booth as well for an extra dose of entertainment. Most companies have separate kiosks for GIFs and photos, in which case you may have to choose between the two. However, our kiosk takes photos or gets your guests moving with our Animated GIFs feature!
One of the most important factors you should consider when renting a photo booth is the quality of customer service that comes with it. Think about what your preferences are in terms of a stand-alone photo booth, or one that comes with an attendant.
There are many great advantages to having an attendant present at your event. For one, if any technical difficulties arise, the attendant is there to resolve them with no extra stress for you. Attendants are also great facilitators, and help keep lines moving—keeping everyone happy. Best of all, they can keep kids entertained (read: excellent babysitters!) while the adults mix and mingle.
Whether you're renting a photo booth for photo marketing purposes, or simply for a custom experience for a social event, look for a vendor who will consult with you and provide guidance. After all, they are the experts!
Quick tip: Opt for a photo booth rental that compliments your event, instead of being in the way. Look for a kiosk that's sleek and occupies minimal space.
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Most people are aware that smoking and sun exposure can increase their risk of cancer. But now we have more information to share. We needed to clearly and simply explain that dietary choices such as too much wine and red meat and not enough fruit and vegetables and lifestyle factors such as obesity and not enough exercise could also impact their risk.
Many people believe that cancer is either completely random or based on a genetic lottery ie; you have to live with the cards you're dealt.
1 in 3 Cancers are preventable.
You hold the cards to cutting your cancer risk. Minimising your risk of cancer can be as simple as discarding bad habits and picking up a few healthier habits.
To make our message palatable we needed to be as clear and non-judgemental as possible.
Using the concept of a card game we took the old saying "Stuck with the cards you're dealt" and turned it around to "You hold the cards".
In our TVC we were able to show that cancer is not a fixed hand by having our dealer reduce their risk by discarding cards that represented bad eating or lifestyle habits and picking up cards that represented good habits.
Testing one month after launch showed the campaign had a high recall amongst the target market of 23% - well above the benchmark 16%.
The campaign was considered memorable and persuasive.
The campaign was shown to increase the acceptance of ideas around what has potential to contribute to cancer risk, and on average scored 7 out of 10 for encouraging them to adopt healthier behaviours.
White Space Concepts delivered the strategy, concept, creative development, art direction, copywriting and supervision of marketing materials for design agency Designer Rice.


text:
Ashley Tisdale Selling Her Gorgeous Los Feliz Home for $5.8M
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"High School Musical" star Ashley Tisdale has graduated from her Los Angeles home. She's selling the Los Feliz abode with her husband, Christopher French.
Claudine Zap, provided by
"High School Musical" star Ashley Tisdale has graduated from her Los Angeles home. She and her husband, Christopher French, have listed their abode in the Los Feliz neighborhood for $5,795,000, Variety reports.
If the couple secure a sale at that amount, they'll be singing a happy tune. They purchased the place for $4.1 million in 2019.
Built in 1923 but since updated, the Mediterranean villa is described as a "reimagined" space with designer finishes, which retains its original character.
The five-bedroom, 4.5-bathroom home features European oak floors and lime-washed walls, for an Old World-style warmth. Other details include bold wallpaper prints in the entry, multiple fireplaces, and handsome light fixtures.
The actress has posted photos of her eye-catching home on her Instagram account, including this appealing pic of her gorgeous kitchen.
"I never thought how nice it is to have a fireplace in your kitchen," Tisdale wrote. "We use it morning and night, especially since it's the coldest around that time. Old homes with new charm."
A post shared by Ashley Tisdale (@ashleytisdale)
With 4,214 square feet, the layout includes a living area with fireplace, dining room, as well as the stylish kitchen with a breakfast nook, and clearly, a working fireplace. Upstairs, the four large bedrooms with views and bathrooms include a master bedroom that opens to a private deck.
Outside, the grounds, on one-third of an acre, offer privacy and lush landscaping. A covered seating area has space for dining and lounging. The pool includes a sundeck.
The property also comes with a garage and a two-story guesthouse with a spacious living room, powder room, updated kitchen, and a bedroom and bathroom upstairs. This appears to be where the creative couple have set up a recording studio.
Watch: We Just Idolize Ryan Seacrest's Beverly Hills Compound
Tisdale has popped up on the real estate scene before. In 2016, she and French placed their Studio City home on the market for around $2.66 million, after owning it for just about a year.
The two reportedly sold the five-bedroom spread with a resort style backyard to Haylie Duff, who has since sold it.
The couple last owned a historic Hollywood Hills house purchased for about $2.66 million in 2017, which they sold at a profit two years later, Variety reported.
When not flipping real estate, the former Disney star has appeared in many movies, such as "Grounded for Life," "Scary Movie 5," and "Bring It On: In It to Win It."
Most recently, she starred in a CBS sitcom, "Carol's Second Act." In 2019, the singer released her third studio album, "Symptoms." The busy star is also a panelist on the Fox competition show "Masked Dancer."
French is the frontman of the band Annie Automatic.
Anthony Paradise with Sotheby's International Realty holds the listing.
The post Ashley Tisdale Selling Her Gorgeous Los Feliz Home for $5.8M appeared first on Real Estate News & Insights | realtor.com®.
SEE HOMES FOR SALE UNDER $1M
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[Excuslive] Added Rescue Mode! if whatsapp crashes, Rescue Mode will be shown to give you options to fix!
[Added Finally] Added Gradient Colouring, with preview!
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When it will be fixed ? Can someone tell me ?
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And you said that send original picture option is already in it where is the tap or option??? Send high resolution pic is another thing.
Send high resolution and send original picture is different admin plz fix these two options..
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when someone changes its profile pic a notification sound or notification toast displays in chat screen it's a wonderful feature if you could it would be very helpful for others users also..
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John, an agoraphobe, hasn't left his apartment in two years. Living in New York City has made life easier. He gets delivers, cooks, works from home, and has plenty of visitors. Aside from being afraid to step out his front door, his life is pretty normal. That is, until his new therapist challenges him to leave his apartment in thirty days.


In the fourth instalment of a special series timed with the specially-themed November-December issue of frieze, we asked four curators whose work has been involved with the challenges of decolonizing culture, to discuss the projects that have informed their thinking.
Clémentine Deliss is a curator, researcher and publisher. In 1996 she founded the itinerant Metronome magazine which expanded in 2005 to become experimental publishing house Metronome Press.
In March 1992, I met the artists and activists El Hadji Sy and Issa Samb in a studio-courtyard in the city centre of Dakar. This space, which was destroyed following Samb's passing in 2017, functioned as the headquarters of the Laboratoire Agit'Art, an interdisciplinary group of philosophers, theatre directors, visual artists and actors established in the late 1970s. The place was overflowing with strange props made from weathered wood and basketry, oxidised metals, faded photographs, handwritten notes and blackboards scrawled with manifestos. Neither El Hadji Sy nor Samb were worried about the conservation of these objects of performance and felt no desire to speculate on future sales. Dust and leaves would cover the discarded elements, and cats in the courtyard swung from the frayed tatters of paintings. I was thrown back to my earlier research on the history of looting that had underpinned the constitution of European ethnographic collections. But this site with all its performative traces contradicted the colonial museum's focus on permanence, on salvage anthropology and preservation.
Matariki Williams (Tūhoe, Ngāti Hauiti, Taranaki, Ngāti Whakaue) is a Curator Mātauranga Māori at Te Papa. She is also Editor - Kaupapa Māori at the Pantograph Punch, and has guest edited at Radio New Zealand's The Wireless. Her writing has appeared in various print and online publications including The Spinoff, The Wireless, Pantograph Punch, Counterfutures Journal, New Zealand Books, The Sapling and PhotoForum. She is a Kāhui Kaitiaki representative on the Museums Aotearoa Board, and Kaihautū Māori on the board of the National Digital Forum.
Within the curatorial team at the Museum of New Zealand Te Papa Tongarewa, I am the only curator that has 'Mātauranga Māori' as my title. Translated simply as 'Māori knowledge systems', my perspective on the term is that it is boundless, that Māori cannot be constrained by any external understandings of what our worldview is and can be. It is within this understanding that I see how my predecessors have forced museum practice to evolve; that they brought our tikanga practices into the museum and pushed the museum to react, absorb and adapt. These practices are now embedded in the museum and are advocated for by all staff.
Bringing tikanga Māori into the museum – to 'keep our taonga warm', as the late Mina McKenzie would say – is not an act of decolonizing. It is indigenising, Māori-fying. The impetus to involve tikanga in museum and gallery spaces comes from the need to ensure that our taonga are surrounded by our language and our people, working in a way that respects them and their mana. We practice as such because it is what is right for our taonga. To speak of decolonizing is to speak of something entirely different, as it requires a comprehensive disestablishment of a structure that is not of, or by, Māori. Should that be our burden to bear?
Māori in museums are still in a mode of reclamation as we work to be represented in institutions in the first place. To decolonize, to undo 250 years of being collected and catalogued without agency, is a massive ask and we're busy. We're making these spaces ours, on our terms.
Megan Tamati-Quennell is Curator of Modern & Contemporary Māori & Indigenous Art at the Museum of New Zealand, Te Papa Tongarewa, Wellington, New Zealand.
Described by artist Michael Parekowhai as the 'beating heart' of his 2011 Venice Biennale exhibition, 'On First Looking into Chapman's Homer', He Korero Purakau mo Te Awanui o Te Motu: Story of a New Zealand River (2011) is a 'magnificent riddling object'; a clever interplay between old worlds and new. From its Maori/English title to the collaboration between Parekowhai and others during the making process to the players and audience members required to complete the work, this dazzling virtuoso, a carved, fully playable Steinway concert grand, is at once a Maori artwork and a European one.
Eternally the art trickster, Parekowhai wanted to take something to the Venice Biennale that was known and familiar, but which he could reimagine, recode and return to Italy as something other, as something he could create 'as a stage for moments to happen'. He chose the piano, invented in Padua in 1655 and 'an emphatically European' object, as curator Justin Paton wrote in the exhibition catalogue.
A made-over readymade, He Korero Purakau is described by Parekowhai as an 'authentic fake', carved at his direction by a single non-Maori carver. Shiny red with an immaculate finish and enfolded in detail, it is an artwork that is determinedly individual but which is also informed by its cultural context. It explores concepts of the local and the global, but does not make a distinction between the two, instead appearing simultaneously as being from New Zealand and evocative of the many histories that come together within it, while also seeming extremely foreign.
The word 'Purakau' in the artwork's title translates as 'story'. But Parekowhai's piano is not only a story of the eponymous river, that which connects New Zealand's waterways with the canals of Venice. It is also a story of art, empire, culture, history and family; of colonization, adoption, adaption and transformation; of distance, centrality and perception.
Rolando Vázquez teaches sociology at UCR University of Utrecht, The Netherlands. In 2017, he curated the workshop 'Staging the End of the Contemporary' for MaerzMusik at the Berliner Festspiele. With Walter Mignolo, he coordinates the Middelburg Decolonial Summer School, The Netherlands.
Curated by Alanna Lockward, 'Be.Bop – Black Europe Body Politics' has been at the center of discussions on decolonial aesthesis. 'Be.Bop' brings together artists and thinkers including the project's main advisor Walter Mignolo, who coined the term decolonial aesthesis.
'Be.Bop' has been hosted by various institutions including Berlin's Volksbühne, Copenhagen's Trampoline House and London's Autograph ABP – but started as, and remains, primarily a non-institutional space. 'Be.Bop' has attained an understanding of itself as a maroon space, a sort of fugitivity in the interior of Europe, where diasporic trajectories and their enfleshed experiences of coloniality have come together to orchestrate and celebrate their dignity, healing power and love for freedom.
We came to understand 'Be.Bop' as a place of encounter generated in the confluence of spoken, visual and embodied languages, between theory and performance, memories and bodies. In the various editions of 'Be.Bop', artists such as Jeannette Ehlers, Mwangi Hutter, Patricia Kaersenhout, Raul Moarquech Ferrera-Balanquet, Teresa María Díaz Nerio, among others gave bodily reality to decoloniality: an experiential certainty, a solace. At the same time, the work of political activists and decolonial thinkers became for artists a mirror in which they found the words that they awaited for, the words that they already knew. Decolonial thought provided a vocabulary, an epistemic ground for what they have always already been doing.
Modernity, the western project of civilization, has established itself as the dominion over enunciation and the field of representation. Through its epistemology and aesthetics, political economy and institutions, it has monopolized the realm of experience and representation. But we know all too well that its monopoly over world-historical reality is appended to the exclusion and subjugation of other worlds of meaning. Coloniality has meant the destitution, erasure and silencing of other worlds. At the other side of modernity's monopoly over the real is coloniality's erasure. Decolonial aesthesis challenges the modern/colonial divide, contests the monopoly of modern aesthetics, the erasure of coloniality and the dominion of contemporaneity. It calls for 'the end of the contemporary'.
Where can the histories, memories, voices that have been erased and silenced under the modern/colonial order take place? Where can the relational temporalities that have been subsumed under the now of contemporaneity flourish? Decolonial aesthesis is as much a critique of the modern/colonial order as it is a response to go beyond it, to bring to their proper place those worlds and experiences that have been rendered out of place by coloniality. 'Be.Bop' is an example that shows that it is possible for the voices, the memories, the aesthesis that have been rendered out of place, to take place.
Read Decolonial Documents Part 1 here, part 2 here, and part 3 here.


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University Of California Has $8 Million Plan For Undocumented Students
By Kelly Ryan
SACRAMENTO (CBS13) — University of California system president Janet Napolitano unveiled a multi-year commitment to help undocumented students.
The commitment lasts three years with more than $8 million earmarked each year going to three priorities.
$5 million will go to the DREAM Loan program that makes funding available to students who don't qualify for federal aid.
$2.5 million will go to other student needs from fellowship programs to textbooks
$900,000 will go to the UC's undocumented legal services center.
Estafania Hermosillo is getting ready to graduate from UC Davis, something she wasn't sure she'd be able to do legally as an AB540 undocumented student. Born in Mexico, her parents brought her to the United States when she was 6 years old.
She flourished in high school.
"I took seven AP classes I had a high GPA," she said.
As she prepared for college, she was told a UC system goal was unlikely.
It was the same case for Adriana Lopez, who was also born in Mexico and wanted a university education.
Both students realized without a Social Security number, they couldn't get financial aid. They ended up going to community college and eventually received financial aid to enter UC Davis.
They applaud Tuesday's announcement.
"I think everybody should have access and resources available to make it to higher education; that is something they would like to do," she said.


The world now religiously worships the internet. At every corner of the world, the sound of a notification rings every second as the person itself inhales and exhales and Instagram has become the biggest photo-sharing social media service on the planet.
One of the biggest reasons behind the success of Instagram over its competitors was the fact that it was extremely easy to use. We should know all the Instagram tips to make it enjoyable. It's enough to pay attention to your Instagram account and IG post. But Over the years, it has added many new features to promote the app and stay ahead of the competition and that's why it has made it a little bit complex and so some powers get hidden and most users have no idea how to use it or even some don't get informed of these features.
Nametags let you create a special frame that people can scan with the Instagram Stories camera to follow you. It is like a QR code. It could make it simple to follow a friend you just met by having them open their Nametag and then you scanning it.
Once users have access, they'll be able to hit a QR scanner button on their profile to bring up the Nametag editor. The user's Instagram username appears in the center. And then, they can easily scan and yes, follow them.
Write your bio and add the URL to your website. You can also add hashtags or link to another profile by typing "@" followed by a username.
Mute will let you not see the posts from certain people without unfollowing them. By this new feature, things will look normal, but their annoying photos or Stories will no longer clutter your feed.
Once it's active on your account, tap (…) on the top-right of someone's post and select "Mute." You can then select whether you want to mute only people's photo posts, their Stories, or both.
You can also mute posts and stories by pressing and holding on a story in your feed.
You can combine up to 10 of them into a single post, filling your friends' feeds with a new level of storytelling.
You can edit pictures with different styles but just you can write one caption and location for the whole pictures. In a blog post, Instagram said the caption limitation is "for now," suggesting possible tweaks and expansions in the future. You can also change the order in which photos or videos appear and tag people in each one.
Instagram has confirmed that the feature is now live for a limit number of businesses including restaurants and salons. If you're one of the people with early access, you can register a payment card, set a PIN, and start splashing your cash without ever leaving the comfort of those little square photos. It lets users select tags on photos to see price tags and a link to the retailer's storefront, but the new tool keeps you within the Instagram app rather than ferrying you to a third-party site.
Instagram added an activity status feature which allows users to see when you were last online inside Instagram's Direct Messaging just as what's app.
But don't panic, there is a way to turn it off. It's enough to go to your Profile -> Options -> Show Activity Status and disable it.
It really helps in quickly scanning all the photos without having to open the images. The best part is that the long press action works for videos too.
This is one of the attractive things you can do to your story. However, it's not active for everybody yet. Just swipe left to right to activate the Story Camera. Now take a picture and swipe upwards from the bottom. Here select the GIFs option which will open a Giphy integration. Now you can search for GIFs and upload it to share your stories.
You may be tagged on photos which you might not want anyone else to see. So you can untag yourself from those photos. To untag yourself, first, you will have to open your profile page and then tap on the Your Photos button. Now tap on the photo you want to untag yourself from and tap again to reveal your username. Now, tap on the username and then all you need to do is to select the "Remove Tag" option and you will be untagged for the picture.
This is a really handy feature if you never want to miss posts from certain specific users. Once you turn it on for a user, every time she posts, you will get a notification on your app. It's enough to go to a user's profile and tap on the three-dot menu. Here select the "Turn On Post Notification" option and done.
Instagram Business feature which once activated not only gives your free insights into your accounts analytics but also allows you to add direct call and email buttons, promote your posts, and more. To do that, just go to Profile -> Options and then tap on the "Switch to Business" option. By activating your business account which you have access to all the above-mentioned features.
Instagram allows users to share links inside their Stories which comes in handy if you are promoting any product or services. This feature is only available for verified business users right now. If you are one, you can add the link by tapping on the link button after recording your Story.
One nifty feature that Instagram has added is the ability to hide your stories from everyone you want. If there are users who follow you but you don't want them to see your Stories, you can do that by opening their profile and then taping on the three-dot menu and selecting "Hide Your Story" option.
Instagram can automatically archive all your stories after they expire. To access all your archived Stories, just tap on the Profile button and then tap on the Archive button present at the top of the page.
With Story Archives, Instagram also introduced a new Story Highlights feature which allows a user to share their most important stories on their profile page. To create a Story Highlight, visit the Profile page and then tap on the New Story Highlight button.
Do you want to share your post on all of your social media? on Instagram, Twitter, Tumblr, Facebook, or any other social media website for that matter, instead of posting pictures on each website individually, you can do it just only by posting on your Instagram, and then that picture is automatically posted on all your other social media accounts.
It's enough to go to Profile -> Options -> Linked Accounts, and link your social media accounts.
When a friend's post attracts you and gives you this willing to share it, there is no need to save it or take a screenshot to be able to share it, easily you can share the post as a sticker directly to your story for your followers to see. To share a feed post to your story, just tap the paper airplane button below the post, just as you would send it via Direct. At the top, you'll now see the option to create a story. Tap it to see the feed post as a sticker with a customized background ready to share your story.
But remember, you can only share posts from public accounts. If you don't want your posts shared to stories by other people, you can change it in the settings of your profile.