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The purpose of this conceptual paper is to demonstrate how memes perpetuate trauma with a schematic. This conceptual paper uses the “begin with the end in mind” meme to format the presentation of the necessary components for the schematic of how trauma persists across generations. It is the third paper in a series of applications of the recursive, test-operate-test schematic to the systemic effects of the information processes involved in trauma. The schematic presented permits evaluations of solutions to interrupt the generational trauma cycle.

The required schematic components are described. Trauma (actual or perceived threat to survival) will be briefly discussed. Evolutionary processes that create the psychophysiology necessary to support nominal social expectations (NSEs) memes and metaphors will be summarized. The development of NSEs will be discussed. Metaphors and memes necessary for the creation of the schematic and esoteric events at level Learning IV will be briefly described. Finally, Figure 3, which illustrates the maintenance of NSEs and attempts to prevent their violation, will be explained.

It is asserted that functional human social behavior requires NSEs. Trauma is found to persist through the presence of anti-nominal NSE memes that are transduced by the individual into anti-nominal metaphors, which then damage grid, place and dentate gyrus cell (GPDG) neurophysiology. The damaged neurocircuits allow the use of anti-nominal NSE metaphors within our individual neurophysiology. Furthermore, anti-NSE memes interfere with the self-organized criticalities (SOCs) of genetic-epigenetic processes necessary for the intergenerational transfer of functional social behavior. When anti-NSE nominal metaphors are transduced back into anti-NSEs, social niche memes, the trauma process is reiterated. Anti-NSE memes and metaphors are found to be inappropriate criteria central to the maintenance of persistent trauma. Therefore, anti-NSE memes have hijacked our epigenetics and our social niches. Solutions are available because during our evolution, the Homo clade developed esoteric capabilities and the ability to bring back what information we can from those encounters. This physiology operates around the 5HT2A neural receptors that process hallucinogens, such as psilocybin. Accessing this resource system, either through naturally occurring altered states of consciousness or through micro-dose pharmaceutical psilocybin and related neurotransmitters, produces a significant structural change in the GPDG system to reset the NSE system illustrated in the schematic to its nominal status so that we can maintain nominal NSE relationships within our meme niche(s).

The source of persistent trauma in our social niche(s), the means by which the trauma is maintained and the means to mitigate and perhaps eliminate persistent trauma are identified. Based on these three conclusions, it is difficult to make decisions regarding corrective actions because of ubiquitous anti-NSE memes and because of the limitations of our ordinary consciousness.

If we wish to survive as a species, we will need to discover the criteria necessary to maintain our niche(s) congruent SOCs and use them instead of tyrannical memes described by Dawkins (1989) to make decisions about ourselves and our niche(s).

Significant courage is required to identify the memes that maintain trauma because many of them are culturally sacred cows. Unfortunately, we have known since Bremner's (1995) MRI study of posttraumatic stress disorder that trauma causes brain damage. Fortunately, our NSE genes compel us to pursue restitution of the memes that maintain our trauma-inducing cultures.

Several original assertions are presented. While the Homo clade ancestors began the creation of the social niche(s) that led to Homo sapiens sapiens, it is asserted that the australopiths created the NSE memes which are the foundation behaviors that permit our social niche(s). Furthermore, NSEs were produced by enhanced intentionality skills and NSEs were created by both genetic and memetic processes. The evolution of intentionality-NSE neural networks is asserted as the source of intentional material manipulation. While anti-NSE memes are claimed as the source of persistent trauma, the practice of esoteric technologies is presented as a solution to persistent trauma.

This conceptual, multi-voiced paper aims to collectively explore and theorize family entrepreneuring, which is a research stream dedicated to investigating the emergence and becoming of entrepreneurial phenomena in business families and family firms.

Because of the novelty of this research stream, the authors asked 20 scholars in entrepreneurship and family business to reflect on topics, methods and issues that should be addressed to move this field forward.

Authors highlight key challenges and point to new research directions for understanding family entrepreneuring in relation to issues such as agency, processualism and context.

This study offers a compilation of multiple perspectives and leverage recent developments in the fields of entrepreneurship and family business to advance research on family entrepreneuring.

Institutional framings of doctoral education mostly do not recognize the existential dimension of doctoral experience. This paper aims to offer an expanded understanding of experiences of doctoral researchers in the humanities with the concept of entangled becoming. This concept is developed through an existential lens by using Søren Kierkegaard’s philosophy – particularly his emphasis on emotions such as passion, anxiety and despair – and Denise Batchelor’s derived concept of vulnerable voices.

The conceptual framing is used for an empirical study based on ethnographic interviews with 10 doctoral researchers and supplementary observational notes from fieldwork at a university in Denmark. Two of the interview cases were selected to showcase variation across lived experiences and how doctoral researchers voice their entangled becoming.

Common experiences such as loneliness, insecurity(ies), vulnerability(ies) or passion for one’s research were identified across the interviews. On the other hand, this study shows that each doctoral journey in the humanities envelops a distinct web of entanglements, entailing distinct navigation, that makes each case a unique story and each doctoral voice a specific one.

Combining an existential philosophical perspective with a qualitative study, the paper offers an alternative perspective for doctoral education. It connects the humanities doctoral experience to the broader condition of human existence and the sophisticated uniqueness of each researcher’s becoming.

This paper illuminates our journey as accounting educators by exploring accounting as a technical, social and moral practice towards decolonising ourselves. It lays the foundations for decolonising the higher education curriculum and the consequences for addressing the Sustainable Development Goals (SDGs).

This paper focuses on the potential to foster a space for praxis by adopting dialogism-in-action to understand our transformative learning through Jindaola [pronounced Jinda-o-la], a university-based Aboriginal knowledge program. A dialogic pedagogy provided the opportunity to create a meaningful space between us as academics, the Aboriginal Knowledge holder and mentor, the other groups in Jindaola and, ultimately, our accounting students. Since Jindaola privileged ‘our way’ as the pedagogical learning process, we adopt autoethnography to share and reflect on our experiences. Making creative artefacts formed the basis for building relationships, reciprocity and respect and represents our shared journey and collective account.

We reveal our journey of “holding to account” by analysing five aspects of our lives as critical accounting academics – the overarching conceptual framework, teaching, research, governance and our physical landscape. In doing so, we found that Aboriginal perspectives provide a radical positioning to the colonial legacies of accounting practice.

Our journey through Jindaola contemplates how connecting with Country and engaging with Aboriginal ways of knowing can assist educators in meaningfully addressing the SDGs. While not providing a panacea or prescription for what to do, we use ‘our way’ as a story of our commitment to transformative change.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.

This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

This conceptual paper seeks to critically evaluate and illuminate the diverse autoethnographic methodologies that are pivotal for understanding the dynamics of contemporary workspaces. The objective is to contribute to the ongoing scholarly debate on the value of autoethnography in workplace research and explore how it can shed light on complex organizational phenomena.

The paper adopts a narrative literature review approach, focusing on four main forms of autoethnography: realist, impressionistic, expressionistic and conceptualistic autoethnographies. Each form is discussed and dissected, emphasizing their specific sub-forms and illustrating their application through representative examples. The paper engages in a critical debate on utilizing autoethnography in workplace research.

The findings illuminate how autoethnographic methods can be used to gain nuanced and complex understandings of personal experiences situated in workplace culture, as well as how broader social and cultural contexts shape these experiences. The study also highlights the potential of these methods to explore marginalized and silenced stories within workplaces and contribute to the knowledge on power dynamics, inequalities and injustices embedded in the organizational culture.

The following contribution discusses approaches for conducting autoethnographic explorations of selected work environments, offering researchers valuable insights into these methods' application. Through better comprehension and application of these methodologies, researchers can enhance their contribution toward cultivating more inclusive and equitable workplace environments.

The paper stands out in its extensive review and critical discussion of the autoethnographic methods as applied in workplace research. It expands upon individual autoethnographic studies by providing a comprehensive, multifaceted perspective, delving into the merits and limitations of these approaches in particular context of researching contemporary places of work.

This paper aims to introduce, unpack, explore, make sense and share Hiraya Foresight via the Engaged Foresight approach as a futures concept, framework and methodology to reconceptualize foresight and reframe anticipatory processes to enable the self and communities to reimagine visions of the future. This indigenous foresight process offers to strip the husk and break the shell of conscious, colonial anticipation and reveal and liberate unconscious imagination that enables ethical aspirations to emerge.

This paper introduces and examines the context, purpose and process of the four waves of the Hiraya Foresight Framework via the Engaged Foresight approach. These were constructed through the use of the Engaged Foresight approach, through workshops, a literature review and an action–learning approach. The first wave, lawak, looks into the breadth of foresight. The second wave, lalim, looks into the depth of foresight. Tayog, the third wave, looks into the peak of foresight. Finally, the fourth wave of foresight kababaang-loob contemplates the nature, values and wisdom of foresight.

This paper shares the processes, experiences and impacts through five case studies where the Hiraya Foresight Framework via the Engaged Foresight approach was applied. This paper shares the impacts of Hiraya Foresight in democratizing and indigenizing futures literacy.

This paper describes and offers Hiraya Foresight via the Engaged Foresight approach as an indigenous approach to decolonize futures studies and foresight practice.

The paper draws extensively from Aristotle’s Poetics, a classical work on the aesthetics of drama. Drawing from symbolic and thematic elements from folklore and mythology, this paper aims to illustrate how the Poetics can be referenced as an allegorical device in the design of culture-building strategies and interventions.

This exploratory paper examines Aristotle’s “Poetics” and the range of creative expression this literature provides as a conceptual design framework for the development of a culture map in creating a distinctive organisational mythology. The Poetics articulates an Aristotelian perspective on theatre which infuses itself as a new language in offering structural and archetypical plot devices in the development of an organisational narrative.

Findings from this explorative study can provide a creative roadmap to culture practitioners and leaders, to be used as a determining reference point in developing culture maps and change management interventions.

Poetics has its detractors, notably Bertolt Brecht and Augusto Boal. Boal examines how Poetics promotes a narrative that suppresses free thinking and encourages a cult of feudal personality, therefore encouraging industrial and cultural oppression, which he rebelled against through the development of his “Theatre of the Oppressed”. This new kind of theatre discarded the Aristotelian model of thinking. Ideas proposed in the Poetics may also lend verisimilitude to the propagation of obsessive consumerism through the definitive symbolism it offers in the development of institutionalised personality cults.

The Poetics as a creatively driven reflexive study provides a forward movement in the study of culture design templates. Its definitive allegorical devices and metaphors act as action principles through which an enterprise culture and its value system can be examined and developed.

This study explores the relevance of film texts in Indian social studies classrooms for students at the upper primary level. It examines how different types of visual texts can facilitate awareness, critical thinking, discussion and action.

Using multimodal discourse analysis (MDA), this paper critically evaluates five selective films from regional cinemas in India and explores their teaching implications for social studies. The study argues that films are vital multimodal resources that can challenge the prevailing narratives in social studies pedagogy. It conveys how the suggestive revised taxonomy could benefit the students. It proposes a classification system for film analysis with discussion and states how films can bring out interrelated themes and encourage deeper, critical inquiry within the curriculum. The study finds discourse around the films and qualitatively stresses dialogue exchange with sentiment analysis using MAXQDA software. Developed by VERBI software, MAXQDA is a product whose name is inspired by the German Sociologist Max Weber, while the ‘QDA' stands for Qualitative Data Analysis.

The films act as multimodal texts, navigators, metaphors, communicative circuits and catalysts. The paper concludes that films can improve and expand multimodal learning of social studies in three ways: films help learners connect emotionally with the concepts, films make the learning process more appealing and extend it beyond classroom boundaries and films offer a unique insight into the socio-cultural subtleties that are often limited in textbooks.

This research pioneers an intersectionality-driven framework for film analysis in the curriculum for Indian upper primary social studies, offering innovative pedagogical tools to enrich Indian curriculum insights and bridge existing knowledge gaps.