Cecile Alper-Leroux, a veteran of HR generation. for more than 20 years, she is Vice President of Products and Innovation at UKG (Ultimate Kronos Group).
For the most of our fashionable lives, we have understood paintings and life as clearly another: the paintings are between nine in the morning and five in the afternoon, and life is Array . . . the rest of the time. Covid-1nine temporarily demonstrated how imperfect this concept was. For more than six months, we have noticed that life and paintings are inseparable.
Our combination of rare life paintings would possibly seem fair, if not extraordinarily comfortable, as it is in our genes. Our nomadic ancestors created resilient tribal communities where life and paintings, connected to each other, helped us find more food and harsher predators. 19th-century America, the combination of painting and life was essential in agricultural societies that flourished in the West, neighboring farmers lent therself gadgets and accumulated for harvest celebrations with the same urgency, and the agricultural responsibilities of young people were fulfilled in parallel with Adult paintings We can see parallels between yesterday and today , as young people stay busy learning remotely while adults paint remotely nearby.
At the same time, we still have to distinguish between the paint-life overlay in antiquity and the fashion concept of ‘painting-life balance’. Before Covid, achieving a ‘painting-life balance’ was like succeeding in a very unlikely quest, with adventurous painters boldly seeking the balance between their private and professional lives. The pandemic has exposed the basic sophist of this concept. Life and paintings are so intrusive that we cannot see them as remote and distinct activities.
Accepting this truth is the promise of more successful lives and careers. Imagine if we allowed each other to interrupt a complicated task in paintings through a joyful moment in life. Imagine if we heard positive feedback from the co-painters, a complicated scenario in the house was what would happen if we stopped shuddering when a dog barked interrupted our team’s meeting?What if our circle of family and friends accepted that the intrusive paintings obligations do not reflect our love for them?
For more than six months, that’s been our reality. We have shared the paintings with our lives in a way that is very human. Our life-painting ties have forged a closer network despite our remoteness. As we move towards a long series of distributed pictorial spaces, we want to think about how our lives and paintings intertwine, and how we can leverage what we have learned from this delight to create more intentional and meaningful links between paintings and life.
Our un redeemed self
Although Covid-19 disrupted the physical and intellectual fitness of others around the world, the human spirit persisted. We had to replace the way we painted overnight. Now we paint from the “offices” of houses in kitchens, dining rooms and bedrooms, and rely on laptops, video conferencing platforms and other equipment and generation programs to continue our business.
The ray of hope of this rare arrangement?We shared bright portraits of ourselves dressed in casual clothes, among our families and roommates, our idiosyncratic furniture. This unprecedented non-public exchange is not a “one-and-a-fact” phenomenon. On the contrary, it marks a fork for the long term of work, creating an “expectation of humanity, active listening and connection”.
Connect as a community
I have already written about the unexpected origin of the word “company”, which derives from the Latin word past due compagnio – a loved one with whom bread is stored. This definition suggests that, for first-time co-painters, life and paintings However, in the mid-20th century, this intimacy — there is no greater word — gave way to a hierarchy of command and control oriented to the progression of more effective means of labor productivity. In this new paradigm, the orderly productivity of paintings may have nothing to do with the messy and emotional nuances of life.
The paradigms of today’s non-traditional painting have restored the important link between life and painting, with profound implications for painter’s paintings and professional goals. Companies no longer have to compare painters based on a linear series of works hired to retire. so it is painting: a multidimensional adventure interrupted by unpredictable occasions of painting and life.
At UKG, our recent paintings focus on creating a six-phase living environment for painters and managers. During our research, we discovered the price of managers who bond with painters for reasons that go beyond their professional responsibilities and functions. In the “risk” phase, which begins with a painter’s integration experience, anxiety about the functionality of the task is at its peak. In this first phase of travel, reimbursement and benefits are the main considerations and determine a person’s behavior to the fullest. therefore, a newly hired painter is unlikely to recommend a cutting-edge concept or contradictory opinion.
Clearly, no organization inadvertently needs to eliminate the new concept that can be just a competitive differentiator. During this stage, managers should seek to perceive the priorities of the employee’s life beyond paintings; Know them as other people with dreams and needs that go beyond the place of painting, not just as “human resources” or a pair of hands to accomplish the task. By doing so, we can better link their past lives and paintings in some way. that’ll be worth it.
Without the safety of a link between life paintings and paintings, the painter of this example will probably get little positive stimulus for explicit concepts and opinions. The connections of similar life paintings are established at other stages of painting, which are not entirely linear, such as life. Now, due to a catastrophic twist of nature’s destiny, paintings and life are linked.
The one ahead
Human resources managers deserve to adopt a Lifepaintings Journey painting framework for painters and allow uninterrupted connections of life paintings. Technology also has a key role to play here in connecting the lives and paintings of painters so that they are all components of something bigger than themselves – a community.
In the current article in this two-part series, I will explain why existing technological equipment for the control of human capital and control of pictorial force want to evolve to link paintings to life, as well as the optimization of paintings, to bring other people together, others to systems to systems to other people , at the service of business leaders Array executives, employees, colleagues and families.
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Cecile Alper-Leroux, a veteran of HR generation. for more than 20 years, she is Vice President of Products and Innovation at UKG (Ultimate Kronos Group). Read Cecile Alper-Leroux’s full control profile here.
Cecile Alper-Leroux, a veteran of HR generation. for more than 20 years, she is Vice President of Products and Innovation at UKG (Ultimate Kronos Group). Read Cécile Alper-Leroux’s full profile here.