If sustainability is one of the future trends in OD, what do you think might be ways that a practitioner could help an organization become more sustainable? Which interventions described in the class would be most helpful or relevant? How does this apply to your course project/chosen organization? Also, think about the “Professor’s Topic”, below. Is employee giving a part of sustainability? Is it important for organization’s long-term planning?
racteristics also can provide an understanding of who museums are for. For instance this example demonstrates that war as a hyperobject is relative to various human and nonhuman actors. War speaks to and is a result of not just humans and lived experiences, but is also shaped by (and not limited to) machines, animals, and sounds. These human and nonhuman entities intra-act within the context of war, but also within the museum space, because the Imperial War Museum North can be asserted to be a ‘local manifestation’ of war as a hyperobject. Further evidence can be drawn between fluid and temporally unfixed notions of the museum space, with analysis by artist Hito Steyerl referencing a curious incident in 2014. A World War Two Soviet tank reportedly went to war in Eastern Ukraine by being driven off its museum memorial pedestal to a military checkpoint and killed three people. ‘One might think that the active historical role of a tank would be over once it became part of a historical display. But this pedestal seems to have acted as temporary storage from which the tank could be redeployed directly into battle. Apparently, the way into the museum—or even into history itself—is not a one-way street. Is the museum a garage? An arsenal? Is a monument pedestal a military base?’ Steyerl’s consideration within her research on ‘Museums in an Age of Planetary Civil War’ raises so many interesting implications, most of all that museum spaces could be inferred as providing temporary storage for their occupants, (in this case machine and humans) so that objects may be re-used. Therefore, the above examples demonstrate that when considering museum spaces within the context of posthumanist discourse, even physical museum spaces are more spatiotemporally fluid than they initially appear. This explores expanded notions of who museum audiences and participants are, in that these being solely human actors is flouted, with above examples illustrating museums are also for machines and weather, therefore broadening possibilities of who museums are for within contemporary practices. With an expanded understanding of who museums are for, the case for fluid museum spaces will be explored further in that spaces facilitate human and nonhumans as audiences, but also provide an environment for diverse participants and curators. Gurian’s ‘Threshold Fear’ exemplifies barriers preventing people from accessing museums and provides guidance as to how these are overcome – similar to a toolkit format. In advocating for ‘congregant spaces’ Gurian hopes ‘we readjust the way we build, repair and reinstall museums, we will invite more citizens to join us. I once said I wished museum audiences to be as diverse as those to be found at any given moment in Grand Central Station.’ This comparison to a diverse train station is broad, in that stations are for people, machines, animals, bacteria, plant>GET ANSWER