At Forest Point Construction, your boss says that he can estimate the total project time based on his personal experience. You are trying to convince him that he should use project management techniques to handle a complex project. To prove your point, you decide to use a simple example of a commercial steel building construction project, with eight steps. You create a hypothetical work breakdown structure, as follows:
Prepare the site (3 days), and then set the building footers (3 days).
Finish the foundation (5 days), and then assemble the building (3 days).
When the building is assembled, start two tasks at once: finish the interior work (5 days) and set up an appointment for the final building inspection (15 days).
When the interior work is done, start two more tasks at once: landscaping (7 days) and driveway paving (3 days).
When the landscaping and driveway are done, do the painting (2 days).
Finally, when the painting is done and the final inspection has occurred, arrange the sale (2 days).
What is the correct total time?.
Create a Gantt chart that shows the WBS.
What is the critical path?
- (35) Atrium Bio-Medical Supply, Inc. (System Analysis)
Atrium Bio-Medical Supply is a medium sized regional supplier of medical and laboratory equipment. Since starting the company 12 years ago, Victoria Dawn has built Atrium into a competitive supply company across several metro areas, but her growth potential is limited because the firm does not have an integrated sales and logistics system. Victoria asked you to evaluate Atriumâs options for acquiring a new system.
Tasks
What options does Atrium have for acquiring a new system?
What are the pros and cons of in-house development versus purchasing a system?
If the decision is made to purchase a new system, what are three options for customizing the software?
Based on Part C of the Systems Analystâs Toolkit, what financial analysis tools should you use to evaluate the software acquisition options for Atrium? Explain how you would apply each of the tools.
.
- (35) Nothing But Net
Nothing But Net is an IT consulting firm that specializes in network architectural design. As a newly hired systems analyst, you have been asked to explain the advantages and disadvantages of a variety of networking concepts. Your answers will be incorporated into a FAQ section of the new marketing brochure.
Tasks
Should an organization choose a new system based on client/server architecture? Why or why not?
Explain the pros and cons of thick or thin client characteristics.
What is the difference between physical and logical topology? Provide examples.
Will mobile devices replace desktop system units and traditional laptop computers? How would networks have to change if that were to happen?
Sample Solution
the message on behalf of the audience, through their emphasis on the film as a medium, their work triggers a cognitive process within viewers, promoting critical thought through the combination of reality and imagination, thus empowering the autonomy of the viewer. In Amélie, Jeunet exploits the power of the image in our capitalist context to create opportunities for wonder, imagination and, as such, autonomy. In understanding the spectacle-as both the result and project of the existing mode of production- in the present model of socially dominant life, Jeunet exploits the value of the image through the surface of Amélie and the unreal visual aesthetic of the film. Returning from Hollywood, having finished work on Alien: Resurrection, Jeunet made a commitment to himself: that he would contribute to the national heritage of French cinema;as an homage, Amélie is a patiche, rife with references to French films. Controlling every aesthetic element, Jeunetâs shots are filled with intent. Beginning with the anamorphic format (2.35:1), Truffatâs Jules et Jim is conjured. Jeunet further references Truffat through the prologue of Amélie before showing Amélie watching a clip of Juels et Jim in a theatre. Jeunetâs shots at the Canal St Martin recall Carneâs Hôtel du Nord (1938) while the whimsy and colour red, prevalent throughout the film, are reminiscent of Lamorisseâs Le Balloon Rouge (1956). Jeunet even admittedly borrowed the title for his film from Guitryâs Destin Fabulux de Desiree Clary (1942), with the use of voiceover also recalling the same film. Montmartre as a setting is connected to Truffatâs 400 Coups (1959), and Claire Mauier-Madame Suzanne-having a role in both films, further establishes a bond. In addition to Claire Maurier, Mathieu Kassovitz-Nino Quicompoix-also has significant ties to French cinema. Jeunet employs the compressed zoom to focus on Amélie multiple times through the film. With using the compressed zoom, alongside the casting of Kassovitch, Kassovitchâs film, La Haine (1995),which made famous use of the zoom, is nodded to. Referencing the films of Marcel Carne, Jeunet highlights the artificial reality of Amélie. Carneâs films were not filmed on location, but on constructed sound stages, thus Carneâs City of Paris was entirely an artifice. Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet cre>
the message on behalf of the audience, through their emphasis on the film as a medium, their work triggers a cognitive process within viewers, promoting critical thought through the combination of reality and imagination, thus empowering the autonomy of the viewer. In Amélie, Jeunet exploits the power of the image in our capitalist context to create opportunities for wonder, imagination and, as such, autonomy. In understanding the spectacle-as both the result and project of the existing mode of production- in the present model of socially dominant life, Jeunet exploits the value of the image through the surface of Amélie and the unreal visual aesthetic of the film. Returning from Hollywood, having finished work on Alien: Resurrection, Jeunet made a commitment to himself: that he would contribute to the national heritage of French cinema;as an homage, Amélie is a patiche, rife with references to French films. Controlling every aesthetic element, Jeunetâs shots are filled with intent. Beginning with the anamorphic format (2.35:1), Truffatâs Jules et Jim is conjured. Jeunet further references Truffat through the prologue of Amélie before showing Amélie watching a clip of Juels et Jim in a theatre. Jeunetâs shots at the Canal St Martin recall Carneâs Hôtel du Nord (1938) while the whimsy and colour red, prevalent throughout the film, are reminiscent of Lamorisseâs Le Balloon Rouge (1956). Jeunet even admittedly borrowed the title for his film from Guitryâs Destin Fabulux de Desiree Clary (1942), with the use of voiceover also recalling the same film. Montmartre as a setting is connected to Truffatâs 400 Coups (1959), and Claire Mauier-Madame Suzanne-having a role in both films, further establishes a bond. In addition to Claire Maurier, Mathieu Kassovitz-Nino Quicompoix-also has significant ties to French cinema. Jeunet employs the compressed zoom to focus on Amélie multiple times through the film. With using the compressed zoom, alongside the casting of Kassovitch, Kassovitchâs film, La Haine (1995),which made famous use of the zoom, is nodded to. Referencing the films of Marcel Carne, Jeunet highlights the artificial reality of Amélie. Carneâs films were not filmed on location, but on constructed sound stages, thus Carneâs City of Paris was entirely an artifice. Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet cre>
