You are working for a local department store in the Operations Department. You notice that their business practices and use of technology are not up to date. You have worked other places that have relied more on digital technology that have been extremely successful, in part because of their operating efficiency.
Your company is considering making upgrades to several of your operating processes. Because of your history of working in more technologically progressive environments, you are asked by your supervisor to create a visual presentation with a timeline of digital growth in the organization and compare it to the digital growth in society in general. In discussing this project with your boss, it is clear that digital growth can refer not only to Internet and computers, but it can also refer to other aspects of business operations such as cash registers, phone services, advertisements, various tools for communication, etc. Your supervisor asks that this timeline be created to help you, your supervisor, and other stakeholders determine the advantages and disadvantages of a proposed upgrade in technology in the workplace with the overall goal of understanding what systems can be put into place or maintained that can help the store run as efficiently as possible. You are told that the timeline can be in any visual format that you choose.
For this timeline, you are to reflect and address the following sets of questions:
What is digital growth? Where is the company now in terms of digital growth?
What are some examples of technological advances that could be used in a department store operation?
What are some possible advantages and disadvantages of using advanced technology?
What is Big Data? How might Big Data be used in this business?
What are some possible advantages and disadvantages of the store using Big Data?
Do you believe that updating technology and business practices will be advantageous? Why or Why not?
emporary museum spaces range from digital and intangible spaces, touring and temporary pop-up spaces, but also the pervading and pre-existing neo-classical, modernist, postmodern and deconstructivist spaces, which all operate within the context of contemporary practice. Through an exploration into physical and then digital spaces; expectations and understandings 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>GET ANSWER