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Management performance

Find a recent news article on an ongoing project, evaluate the management’s performance, and explain how the project could be better organized and managed.
Discuss the pros and cons of the spiral project life-cycle model and the waterfall project life-cycle model. How are the processes in the PMBOK related to each other? Give a specific example.
2)Find an article describing a national project in detail. On the basis of the article and on your understanding of the project, answer the questions below. State any assumptions that you feel are necessary to provide answers.

Who were the stakeholders?
Was it an internal or external project?
What were the most important resources used in the project? Explain.
What were the needs and expectations of each stakeholder?
What are the alternative approaches for this project?
Was the approach selected for the project the best, in your opinion? Explain.
What were the risks in the project?
Rank the risks according to severity.
What was done or could have been done to mitigate those risks?
Was the project a success? Why?
Was there enough outsourcing in the project? Explain.
What lessons can be learned from this project?

Sample Solution

in the same state as when it is made’ [Appendix A]. This directly challenged that museums are for humans only with insects, microorganisms, and organic life. Upon asking Cummings how the installation accommodated these non-human entities, she noted ‘the material has agency in the work and how the environment is active.’ The below is an excerpt from a personal correspondence between myself and Cummings, which really summarises the intra-actions embraced by the artist and art: One of the aspects of clay that interests me is the way the material allows you to touch deep time; it contains the prehistoric landscape, it is the product of geological processes and was here before us and probably well after us. […] I think a lot about the pre-human world and the potential of a post-human future. In A Ripening Surveillance I wanted to combine a sense of something primordial but also ornate and at moments decorative. […] Materials, objects, plants all have voices to be heard and I hope the work enables those to come forward. Cummings’ treatment of objects and materiality recognises that clay traverses the past, present and future, notwithstanding her Baroque and Rococo influences, but also how clay is a highly fluid object that exists between multiple spatial-temporal moments. This awareness situates her practice within contemporary art and historical moments, but also acknowledges intra-actions between past and present non-human actors that have, and are, contributing to clay’s materiality and processes. This exemplifies how museums can widen conversations surrounding whom museums are for, in ‘understanding museum objects as themselves “complex material objects” rather than mediating specific learning about the world or lives of other humans has been written about in the wider museum literature.’ Therefore emphasising the notion can be amplified within a return to materiality within museology. This consideration of applying object-oriented ontology has the potential to disregard relating objects to humans as frequently, resulting in a wider consideration of human and nonhuman intra-actions that have, are, and will contribute to the object.
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