‘Quo Vadis’

2000 ◽  
Vol 1 (1) ◽  
pp. 6-6
Author(s):  
Mark Radford
Keyword(s):  
New Age ◽  

The new millennium has now arrived in style, with appropriate hype and fireworks we are truly in the dawn of a new age. However, if you were working I have been reliably informed that Cuba will be holding the ‘true’ millennium party in twelve months time. At the end of 1999 it was a time for reflection and the year looking forward into the future of 2000. What of anaesthetic and recovery nursing? What does the future hold?

2014 ◽  
Vol 291 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Elisabeth Simoes ◽  
Sara Y. Brucker ◽  
Bernhard Krämer ◽  
Diethelm Wallwiener

2019 ◽  
Vol 12 (2) ◽  
pp. 145-150
Author(s):  
Vasudevan Alasingachar

This article addresses two vectors of VUCA interwoven in the narratives, a summary of personal theories about VUCA. Such theories are anchored and arise from experiential learning in my practice as HR/L&D and OD consultants over the past four decades. The implication for HR and OD profession is to consider their relevance when organisations navigate VUCA. Next is the culling out of the specific learning about HR and OD interphases that has worked in my experience, supported by examples and metaphors. The premise I put forward as conclusion are: In order to be at the centre stage of partnering with business, HR and OD have to complement and innovate new-age VUCA strategies. VUCA competencies with appropriate metrics are in the formative stage. The competencies are emerging from the real-time stories of consultants, companies and academia (TATA 26/11 and DuPont safety mandate). Only when HR and OD integrate and work together can the future of leadership or start-up entrepreneurs learn from their insights to ‘thrive in VUCA’.


2001 ◽  
Vol 42 (1) ◽  
pp. 74
Author(s):  
John M. Budd ◽  
Stan A. Hannah ◽  
Michael H. Harris

Author(s):  
James Lerman

They say if you drop a live frog into a pot of boiling water, it will jump right out. But, if you place the same frog into a pot of water at room temperature and then gradually raise the flame under it, the frog will not notice the changes and remain in the pot until it is cooked. Now, you might ask, what is the connection between a frog in a pot and what a millennium teacher should know and be able to do? My view of the connection is that there are events and processes happening around us every day. Most of the time, we do not pay them much attention because they occur so frequently or gradually that from moment to moment they do not seem to signify very much—like the gradually rising temperature in the pot of the cooking frog. Once in a great while, a potentially transformative event occurs and it makes us jump: September 11, Columbine, sending a man to the moon, or Y2K hysteria. Usually though, we conduct our routines and make our way through the day or the semester and tend to rely on the comfort of the familiar, seemingly unchanging, landscape. Yet, were we to carefully study and reflect upon that landscape, we might discern important trends that hold meaning for how we conduct ourselves presently, and in the future.


2009 ◽  
Vol 53 (1) ◽  
pp. 129-135
Author(s):  
Jacob Gallagher-Ross

Art—or at least the kind we most like to write about—is almost always political, whether it is inter/national or personal; and though TDR has already taken this up in its “War and Other Bad Shit” issue, the topic remains center stage. In his review of Dutch theatre troupe Dood Paard's medEia, Jacob Gallagher-Ross notes the emergence of “a new age of the chorus” in which spectatorship becomes inseparable from paralyzed witnessing and Medea's tragedy is reconceived as a metaphor for the West's tragic relations with the East. Laurietz Seda explores Guillermo Gómez-Peña's recent performance/installation Mapa/Corpo 2: Interactive Rituals for the New Millennium, a fluid piece that, like much of the artist's recent work, addresses the xenophobia and “war on difference” that underlies the US's ongoing War on Terror. The Burmese stand-up trio the Moustache Brothers is the subject of Xan Colman and Tamara Searle's personal account of how performance can be both art and resistance in a contradictory and charged political regime.


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