There are two major ways to practice ‘evidence-based management’ – analytics and experiments. Please describe a situation in your professional life where you believe one of these methods could provide valuable information but where neither of these methods are currently being applied. You need to write this in the form of a memo to your boss recommending the application of which ever method to a specific situation.
Design an experiment: find a situation or a problem at work that you want to link into to find some answers.
The post-war Caribbean Diaspora, and its going to stylish ascent in poetics, is established in a festival of mystery - in the confusion and uneasiness of a clashed social character, and considerably, the self-examination and investigation it incites. John Agard and Fred d'Aguiar are no special case as both are of Guyanese root, and both wind up investigating the present in Britain, a present submerged in social and political turbulence to which the war in Afghanistan is inseparably connected. We end up in an isolated Age, wherein troubadours and writers never again jot from a faraway trench nor enroll by any stretch of the imagination, yet rather battle in a socio-political field against apparently unlimited mounted forces of frustration and bureaucratic control. The stanzaic Rebel-Yell is, today, fighting distance on a pseudo-home front arranged by huge and unoriginal powers, and therefore Fred d'Aguiar's announcement, that "house is dependably somewhere else", says a lot for our present condition. Agard and d'Aguiar, artists fit for melding profound creative energy with social and political substances, appear on the double pertinent voices in their capability to reveal insight from a dumbfounding insider-and-pariah viewpoint. Customarily, Agard and d'Aguiar have shown firm handles on nonconformist parody and political feedback. Their lyrics, 'In Times of Peace' and 'War on Terror', individually, remain consistent with this custom while sharing numerous different subjects including; the mental effect of current fighting, disengagement, uncertainty, short life, and the sky is the limit from there. For each closeness be that as it may, there are contrasts, most significantly in tone. Where 'War on Terror' is overwhelmingly elegiac with hints of nostalgic abdication, 'In Times of Peace' appears to be insubordinate and provocative. Through these and other shifted vehicles, the sonnets touch base with the same instructive aim of moving us into an indispensable mindfulness and curiosity. Indeed, even at a first look, the auxiliary contrasts between the two ballads are as striking as they are intelligent, in that we are looked with the juxtaposition of d'Aguiar's tasteful moderation and Agard's educated exactness. In 'War on Terror', the aggregate avoidance of accentuation showcases the part of tenacious impetus for translation. The absence of heading made, while being significantly representative of the convoluted war itself, likewise incites a dynamic readership in which the group of onlookers is constrained into subjectively communicating the structure of the ballad. This provocative nonappearance nearly develops an exchange amongst peruser and artist, a beautiful discussion and disclosure free of political talk yet rather advancing individual understanding and unlimited potential outcomes for articulation. Alongside this seeing however, outrageous uncertainty - the 'haze of war' - is ever-present and is just highlighted by the last non-conclusion. The way that the last line is left open-finished leaves a lingering flavor of "nightmare"2 inconvenience, wherein the vaguely prosperous war stays unanswered for and conclusion is left unfound; therefore this intentional oversight goes for a figurative rehashing and scan for answers. Conversely, John Agard's think consideration of question-marks as the main accentuation loans to a more straightforward approach whereby he consequently prevents any degree from claiming conclusion or conviction, yet in its place offers us the correct inquiries. This watchful position, in conjunction with a prophetically calamitous 'falling' trochaic meter, attracts consideration regarding the gravity of the inquiries being asked, or the inquiries that ought to be asked and replied. Strain appears to ascend as 'In Times of Peace' advances along a progression of inward rhymes, with every quatrain developing more like an entire Canzone verse - a generally old frame customarily saved for the shocking, funny or elegiac in subject; and is in this manner not strange here. Along these lines, as the inflexibility of Agard's showdown symbolizes the homogenous creation lines of Capitalist war, d'Aguiar's free-verse compliments the absence of accentuation in anticipating a disturbing familiarity with entropy3. The two lyrics show a freak anaphora, with similarly noteworthy impacts. In 'War on Terror' the reiteration of "as long as"2, and all the more reliably, "long"2, serves both to give changing conditions of time and point of view, and to accentuate the seriousness of the incomprehensible "shorter"2 in the last stanza. The subject of Time and fleetingness is rich all through, with the first and second stanzas presenting an arrogance oddity that will be expounded upon bit by bit until resounding inconclusively in the open-finished stanzaic non-conclusion. Before doing as such in any case, the to some degree surrealistic slants of "paint behind the eyeballs"2 and plenty of working tropes prevail with regards to defamiliarizing the peruser from the broad communications desensitization to continuous war, so to offer route to the sudden and desperate substances where "bad dreams paint"2 Post Traumatic Stress issue and the cutting edge kicks the bucket for the present clash "in their sleep"2. The feeling of time and relative brevity is impelled by the changing allegories and points of view of short and long, of "as long as a bit of string"2 repudiated by "no longer than a bit of string"2, of "as long as nightmares"2 compared with the dissipation of "paint"2. Commonly, 'In Times of Peace' utilizes the complexities of Time inside the words, "start", "all there is", "wilting"1, and dire addressing of "are eyes ready"1, to make a feeling of promptness. Anaphora in Agard's ballad comes as quantifiers and modifiers ("that", "how", "when"1) toward the start of lines, empowering progression of the investigation. Metaphorical utilization of language structure is moreover found in d'Aguiar's funeral poem as, in the last stanza, possessive pronouns of "this", "our" and "their"2 are employed to delineate character and devotion - "this war in this time under this government"2 not just ventures a sentiment separation and sterile obscurity, yet the incorporation of "under"2 proposes a more profound anomie, mistreatment and savagery. Contrastingly, "our children"2 summons a possessive duty similarly as, "their sleep"2 epitomizes a human ideal to self-proprietorship (of destiny). The topic of cruelty, or even sub-humankind, is also uncovered when the main similar sounding word usage, a signpost for normal familiarity and consistency, can be found in the nostalgic "tamarind tree" and "kid crying"2. Besides, the unintelligible symbolism of "radar" and "whale"2 is established in incongruity, subjectively translated as an examination between the normal immaculateness of the whale, and the exasperating 'new nature' of innovative man. This similitude discovers its feet most drastically in Agard's analysis, where the arrogance allegory all through is that of present day man changing or reverting into something unrecognizable. By means of anatomical referencing of "finger", "skin", "feet", "bodies", "hearts", "human arms", "ears", and "eyes"1, Agard thinks about the long haul effect of cross-generational war on human nature4. The similar sounding word usage of "at home in substantial boots"1 conveys us to address whether the idea of present day humankind is established and dependent on war, driving onto our "venturing over bodies"1 to attract consideration regarding merciless Capitalist careerism, lastly addressing how we will "adapt to an air pocket bath"1 and whether terminal harm has been done and the thought of 'peace' is never again important, however has been diminished to indefinite quality, to hypothesis and vagrant positive thinking. Similar sounding word usage is available again in the orality of "projectile's blood"1, yet as though arousing in a savage acknowledgment the familiarity is ended suddenly by the line-finishing "rush"1. These tragic dreams stay key to the humorous and suspicious correlations of forefingers with "skin", "feet" with "froth", "arms" with the amusing "passing of weapons", and "ears" with the impractically normal symbolism of "wings"1. Thinking about these elucidations, the gathering of people can discover echoes of Rousseauian6 humanism in both Agard and d'Aguiar's point of view toward an iron deficient automated society. Inside our mental dark drama, our "Parade Sauvage"7, asylum can be found in the irregularity that is the self-sufficient domain of verse - no social bargain is offered, no vacant guarantee, yet in their places stands a condition of uncommon human uniformity and common investigation. John Agard's 'In Times of Peace' uncovers the revolting reality of our 'advancement' into the cutting edge Prometheus by veiling genuine thoughts, of the idea of Peace as a still-substantial probability or a blurred and fellatious delusion, with a dimly hilarious parody. Fred d'Aguiar's 'War on Terror', a title made figurative by its inceptions in broad communications and legislative thinking, reflects upon the long haul outcomes of war and leaves, open-finished, the possibility of a foreordained and doomstruck destiny for our up and coming age of youngsters.>GET ANSWER