- Describe some advantages and disadvantages of TMS’s move to a “hybrid” decentralized IS structure.
- How did the new structure change decision rights and accountability for IT project success?
- Why might business executives shy away from the new approval process?
upted 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 that spaces within Imperial War Museum North are not only vessels for understanding war, in standing as an instrument and monument, but as a hybrid by engaging human audiences with human participants, therefore challenging who museums may be for within posthumanist museum practices. Therefore museum spaces could be considered objects within their own right, in that it is used as a standalone vehicle to access collections by creating specific experiences for human and nonhuman actors. Arguably this museum space goes further than existing within a single spatial and temporal moment. IWMN does this insofar as, like an object, the physical museum structure and what it symbolises, combined with its geographical context; speaks to histories and millennia of conflicts. The Imperial War Museum North’s spaces not only utter past and current experiences of war, but the removed ‘war shapes lives’ narrative leaps into the future by framing war as a perpetuatin>GET ANSWER