What is meant by the dynamic and high-risk environments in which some groups do their work? How does this
affect the team dynamic?
What contextual factors influence small groups in this case study?
Choose four of the leadership behaviors in Table 1 of the article and describe how they are similar to internal or
external leadership actions in Hill’s model in the text.
derstandings of who museums are for can be interrogated. The closest examples of how physical museum spaces intersect contemporary posthumanist practices lie within the realms of postmodern and deconstructivist spaces. Typically postmodern museum spaces consider how architecture can respond to collections, but also act as tools and drivers for urban renewal in considering a wider ecology surrounding the museum – termed the ‘Bilbao Effect’ following construction of the Guggenheim. Deconstructivist spaces embrace non-recto linear spaces disrupted by architectural elements and pioneer definitive exteriors that manipulate structural surfaces and materials. The Imperial War Museum North (IWMN) [Appendix A] illustrates deconstructivist spaces, both inside and out. These spaces house objects of war, but also serve a wider civic function, in how its impressive monumental architecture attracts tourists. By applying Michaela Giebelhausen’s concept of the museum as a monument and museum as instrument to contemporary museum spaces, it becomes apparent ‘the rise of postmodernity has blurred the boundaries of these two distinct modalities.’ This hybridization of these once clear distinctions can be suggested as a symptom of posthumanist and facilitate humans and nonhumans operating within these spaces – evident through the following illustrative example of experiencing the Imperial War Museum North first hand. This fractured aluminum-clad homage to war, lies on the former site of Trafford Park’s munitions factories used for both World Wars; this site suffered extensive damage during the Manchester Blitz. Architect Daniel Libeskind’s concept of a globe is shattered into three pieces; the EarthShard, WaterShard and AirShard proudly claim Manchester’s Salford Quays as a monument. Its interior spaces instigate sensory and emotional responses for humans; in being disorienting by altering angles, perspectives the temperatures. The AirShard represents a ravaged and vacuous husk-like shell, which is neither an outdoor nor indoor space; while offering some shelter, it is also exposed to the elements. This architecture harnesses the weather to facilitate a sensory museum experience. The weather and wind contributes to this space as nonhuman actors, in dancing and swooping to fill this monumental shard, creating an audio and haptic experience. Beside human audiences, these nonhuman participants also have agency over the AirShard. Human audiences complete their humbling IWMN visit with this experience; a stark and visceral reminder of the harsh cold that comes with grief and the powerlessness of the individual without agency within the context of war. Therefore this experience indicates th>GET ANSWER