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#(as working under the nexus usually entailed)
christnarr · 4 months
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marriage counselors HATE THEM!
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"nexus dick grayson could split me in half like a pistachio" IM WHEEZINGGGGGG
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@dandeeliion you all share a braincell. also, the last anon omg you're so sweet babe. i,,,still have a bunch of nexus dick grayson stuff in my drafts, so look forward to that, nexus dick grayson isn't done yet.
iwas debating whether or not i should send in the thirsty part of the angsty part. instead i just sent in the part of dick being kinda motherfucking scary, and let you all use context clues to figure out how much i love bamf!dick grayson.
“You’re wrong,” Dick said, shouted, screamed. It didn’t matter. His voice rang out above every bit of the cacophony Zatanna could hear right now, and she would have winced and covered her ears, but something about the fierce in anger in Dick’s tone kept her listening.
Dick was standing in the middle of the rings of destruction, rubble scattered around him like rings of a solar system. If what Zatanna was hearing was true, then that’s exactly what Dick was: a sun simmering under that tan skin keeping the entire multiverse in check and spinning. 
“I’m right,” the demon hissed, though Zatanna wasn’t exactly sure ‘demon’ was the right word for the behemoth of a creature with far too many eyes and wings and astral forms for even her magic-drenched mind to comprehend. “But you don’t matter much to me. Nexus beings’ power has always been in their name, not in their fight.”
“You think the fucker would learn,” Constantine muttered, and Zatanna fought the urge to snort inelegantly, because the quip wasn’t at all funny, it was just that Constantine was saying it. It wasn’t like the man was wrong, though.
Zatanna steadied her grip on the man’s waist. “Obviously, multidimensional weapons don’t work on Dick. He may try something else next.”
The wind was whipping up, unconsciously surrounding Dick, forming a flimsy protective barrier. Zatanna was sure Dick didn’t even know he was doing it. Honestly, Zatanna wasn’t sure Dick was doing it. She had no idea what a nexus being entailed, and having shown zero proclivity for the supernatural his entire life, she wasn’t sure it was his own power surfacing right now.
It sure was something, though, because the demon raised a shifting, flickering fist and brought it down on Dick’s head, roaring. Dick roared right back. Not out loud, but the anger was evident on every line of his face, on every limb of his body, on every hair of his head. 
There was nothing outwardly different about him, and Zatanna thought that was the scariest part. He looked perfectly normal. The last few hours had proved that Dick was far from perfectly normal. 
The demon made his play, a strike that had brought Superman to his knees. He failed, because Superman wasn’t apparently the one of the few constants that the fabric of the universe pivoted around. Dick attacked. 
It was no different from how he usually fought, yet fundamentally different in every way. Zatanna watched, entranced. She wasn’t sure she was even capable of helping right now, not with the way the demon’s presence was affecting her magic, but that didn’t seem to slow Dick down one bit. He swung from the demon’s arm to wing to tail to head, as fluid and graceful as ever, his escrima sticks sizzling with electricity as bright as a speedster, his blows never once failing to connect. 
His eyes were alight with fire too bright to be his own. It was as if every Dick Grayson from a thousand different worlds had flared up in righteous anger, intent on showing the demon what exactly happened to someone who hurt his friends, his family, in a pathetic attempt to steal a title Dick didn’t even know he had. 
You tracked me down, Dick seemed to say. You looked me in the eye and asked me to fight, knowing what I was and knowing that I didn’t. You hurt my family. Now you reap the consequences. 
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There is No Glorious Purpose Chap. 2
Hello, you beautiful Tesseract-loving bastards!
I've been meaning for a long time to update but I've been having a really bad time with the whole motivation thing, and what I had first thought of doing with this fic got thrown in a wood-chipper and sunk with the Titanic... so, I'm trying to pick up the pieces and decide where I want to go with this. I also wanted to do it episodically: Chapter One aligned with Episode One and so on. That has not worked partly due to the issues of the above so, well, I guess we'll find out together!
So sorry for any grammar issues, I did my best to look it over but got too sick of staring at it over and over again in my drafts.
Small Thor cameo!
Chapter Two: You Oafs
“Yeah, well, you’re a mischievous scamp--or at least, the other you is. Been killing our minutemen and stealing our reset charges. Been happening for quite a long time….” Mobius whistled lowly. Loki nodded slowly.
“If you know me or us as well as you say, what need have you of my help?”
“Like I said, mischievous scamp. And I know what makes a Loki tick, sure, but even Sherlock needed Watson sometimes--you do know about them, right? Really fun stories with a super smart detective and his below average side-kick--.”
Loki ignored the rambling, “I agree.” Perhaps then… after… peace? “Just tell me, please… is it true that I directly led to my mother’s death?”
“Hm? Oh, yeah, definitely. Thor was pissed and then he dragged you along to Svart--Svartle… anyway, the planet of the Dark Elves with Jane because she absorbed the Aether. Then you faked your death, again . There’s that ‘doing a horrible thing then getting away,’ again. But Thor totally gets you back on Sakaar with those Obedience Disks. Yeah, yeah… oh, right, you don’t know--and won’t. He slaps one of ‘em on you when you betray him again, then dials it up all the way while he returns to Asguard. For a god, you get put down a lot .” Mobius chuckled.
Loki sucked in a shuddering breath, reverently laid the Tesseract down and stood, “let us catch this scoundrel then.” He faked a smile for the agent.
“Ok,” Mobius clapped and rubbed his hands together, “what a therapy session!”
Loki had a fleeting thought of, “he must be some Midguardian fool, possibly in some relation to Thor,” before he remembered that the all powerful Time Keepers had created the oaf in front of him.
“Ya know, for the record, maybe ‘undying fidelity,’ wasn’t the right thing to say to Thanos. Just saying. But this is good! We’re gonna be a great team.”
~~~@%*^*%@~~~
“Loki,” the orange clock whined on his ‘gifted’ desk. Though still somewhat transparent, Miss Minutes was a fairly good illusion.
“Yes?” He replied pleasantly, blue hand turning the page of a magazine. His slack-clad legs were propped on the desk, fine business shoes not too far from where she stood on a rather large book. The suit replacement of the prison wear wasn’t bad, he, of course, would have done better had he access to his seidr. But it was fine for the time being.
“Are you paying attention?” The angry little clock motioned to the old Midguardian computer screen which read in that same horrible orange color:
LET’S SEE WHAT YA KNOW!
Q2. Thanos has two apples. He eats both but realizes he wants more. He goes back in time 20 minutes and eats the apples again. Does this mean the apples will not have existed in the timeline he left?
No, because time is constantly happening
The question doesn’t matter because a branch cannot change another time branch
Thanos would’ve been hungry prior because the Grandfather paradox already accounted for the change in matter before it’s move.
TVA FILE EDIT VIEW MODE HELP
Of course he was paying attention, and of course he chose not to amuse them! One order after another; feeding off of each other even. He may have bowed to Thanos but he had never kneeled. Not truly. And he clung to that remaining dignity.
“Naturally,” he returned pleasantly. She sighed.
“What happens when a nexus event branches past red line?”
“Ragnarok.”
“Come on, Loki. What is it?... Loki!”
“It is when the TVA can no longer reset a nexus event. Are you satisfied?’
“Right. And that would lead to the destruction of the timeline and the collapse of reality as we know it.” He lowered the magazine lower into his lap and took his feet off the desk.
“Yes, indeed. Are you alive or a recording? Clearly, you can hear me.”
Her big cartoonish eyes moved around, “uh… sorta both?”
“So not an illusion or projection?” He swiped at her with the rolled up magazine.
“Ah!” A small smirk ghosted his face and he went after her again.
“Watch it! Where are your manners? Oh! Hey! Quit it! That is not nice, ya jerk!” She floated and then fazed back into the computer. He gave that ugly thing a few whacks as well. She pouted on the other side of the screen.
“Trainin’ going wel--is that my jet ski magazine? Put it down, Blue-Raz.” Mobius ripped the magazine from him, swivelled to his desk then swiveled again to flop a jacket in front of Loki.
“Gear up, there’s been an attack. Let’s go.” The agent commanded. Loki picked up the jacket. It unfolded from the collar, back facing him. “VARIANT” was emblazoned across it.
“Ah,” was all he commented as he moved to slip it on before his handler got any ideas while he was led down hallways. Norns knew the agent would have plenty of examples in his own life up to that point, much less his future or other variants.
“Good. Yeah. Smart.” Mobius commented with his fists in a move reminiscent of excited warriors as said human stopped to look back at his charge and the newly bestowed article of clothing. B-15 gave her usual droll stare. Her minutemen stood around her in a group.
“ C-20 and her team went dark shortly after they jumped into the 1985 branch. All signs point to another ambush. We've grabbed enough temporal aura to know it's our Loki Variant.”
The “actually dangerous” sort, Loki groused silently. Then Mobius opened his mouth.
“Here's the deal. When we get out on the branch, we're not just looking for a Time Criminal. We're looking for a Loki. A variation of this guy. A type we should all be very familiar with, because the TVA has pruned a lotta these guys, almost more than any other Variant. And no two are alike. Slight differences in appearances, or not so slight. Different powers, although, powers generally include shape-shifting, illusion-projection, and my favorite... Duplication-casting. Illusion-Projection.”
Mobius gestured to him when applicable in his little speech, also projecting other variations of Loki with his TemPad--all assumedly pruned likewise. Variation 8: L6792 looked exactly like he would now had he’d been afforded the luxury of keeping his clothes, but also with slight differences that led Loki to think that that variant must have been favored royally in some way he was rejected.
Variation 8: L1247 looked like a Midguardian sportsman happily holding a trophy of some kind. Variation 8: L6792 was an atrocity of him and the Hulk combined. Variation 8: L8914 was more strongly built with more prominent hair curls in their longer hair. They stood like dignitary with their hands behind them. Variation 8: L7803 looked like an oaf. A full, half-face helmet emblazoned with the horns in the wrong direction and even a piece of turf over the shoulder like a cape. Oh, dear….
“No.”
“...Huh?”
“Those two powers are completely different, although, I am unsurprised you cannot comprehend it.”
“Loki, what are you talking about--look, I’ve dealt with more of you than you’ve dealt with yourself.”
“The truth remains that those powers are not the same.”
“Then, please, Loki, tell me.”
Loki smiled easily and supplicatingly at the contempt and patronization, just like talking to anyone in Asguard.
“ Illusion-projection involves depicting a detailed image from outside oneself, which is perceptible in the external world, whereas duplication-casting entails recreating an exact facsimile of one's own body in its present circumstance, which acts as a true holographic mirror of its molecular structure.”
“Ok, take a breath. Noted. We’re gonna break into two teams, including myself and Professor Loki here”
B-15 still looked unamused and dubious.
“Whoever the Variant is, we haven’t been able to find them so I’m the Sherlock and he’s my Watson. Look, this’ll work.” Mobius said to her. She side-eyed Loki, Loki who had nothing but a branded jacket to protect himself with.
“And so my agency in this is to… tell you how brilliant you are.”
“Go outside, maybe touch some grass.” Mobius returned with a tilted smile under his twisted nose.
“Ah. I shall protect myself with your wit, then, should this superior being choose me as a next target.”
Mobius chuckled and mimed “talky-talky” again.
He passed through the portal B-15 had summoned, closed in on both ends by TVA agents. Immediately, he could feel his seidr swell within him again and redonned his Aesir glamor. The choker chafed as he glanced around, and he found himself much preferring the biting metal of the chains he was usually imprisoned in. The place they passed into was a celebration of old Midguardian times, further back than what the TVA modeled itself after, in direct juxtaposition of the modern technology with the humans held in their hands, and had used to both get to the location and create their sometimes elaborate costumes.
“Apex of nexus signature located, ma'am,” a minuteman said as they walked.
“Allow me to ask you this, why do we not travel to the moments prior to the Variant’s attack, to when they arrive.” Loki asked as the tent grew ever nearer.
“Nexus events destabilize the time flow. This branch is still changing and growing, so you gotta show up in real time. Did you watch any of the training videos you were supposed to?”
The minutemen twisted their batons, the ends glowing a shade that seemed to haunt the TVA as they neared.
Loki chuckled a laugh that was never and would never be heartfelt, “my dear Sherlock, you should know I am quite the scholar. But these ‘reset charges,’ they ‘prune’ a branched timeline which ‘allows time to heal all wounds.’”
Mobius made an odd gesture towards him, “he’s on it.”
Within the dark, torch-lit tent, limp minutemen laid about the displays which held real weapons and a large, stepped seating construct. Their bodies were splayed out in obvious struggle. Unactivated batons laid around as well, a few clenched in hands. A helmet bearing “C-20” laid, discarded within the scene. Loki hovered a hand over one display as he passed and they grouped around the scene.
“So he's taking hostages now?” B-15 spat.
“The Variant's never taken a hostage before,” Mobus returned.
“Maybe he's upping his game.”
“Or he pruned her,” a minuteman remarked.
“A Loki couldn't have gotten the jump on C-20.” B-15 returned.
“Fan out and search for her. And hurry up, we're at three units until red line.” B-15 ordered, her minutemen immediately moving to obey.
“Let's go. She's right.” A peon echoed.
Mobius concurred, “Come on.”
“Wait….” Loki said, brow knit as he studied the scene.
“What do you see?” Mobius asked as he stepped away from the entrance.
“I see wolf’s teeth.”
“Yeah, ok,” Mobius motioned for him to hurry and Loki got brief satisfaction that the human had no idea what he was talking about.
“‘Where there are wolf’s ears, there are wolf’s teeth,’” Loki echoed one of many sayings he heard during his childhood, especially before bed. He swallowed down the thought of a certain story about blue, darkly lined and vicious monsters.
“Ridiculous, really,” he laughed hallowly, “my people are gullible fools by nature. You remind me of them; the Time Variance Authority and the great gods of Asgard. One and the same. Drunk with power, blinded to the truth. Those you underestimate will devour you, and we’ve just walked into a wolf’s mouth.” He raked his eyes across his audience as he spoke, kneeling down in front of the helmet and stroking his hand in the grassy turf. The minutemen seemed to falter ever so slightly, B-15 rolled her eyes, and Mobius stared.
A TemPad beeped, “two units, he’s wasting our time.”
“No, step outside this tent and my other Variant will devour you,” Loki stated plainly. It was easy, nearly in a terrifying way, how he fell into the usual routine he had had with his oaf of a brother and his lackeys, who, similarly, never headed his words.
“We need to look for C-20.” B-15 repeated.
“Come on, Loki, we don’t have time for your lies.”
“Oh, I am not lying, and out of curiosity, when you find them, will you prune us both seeing as you will not have any need of me?”
Mobius sighed and gesticulated like a frustrated middle-aged Midguardian, “he’s lying.”
Loki’s head turned to the side minutely, in a ghost of a head shake. His stomach turned the way it usually did when he knew things were about to--.
“Aghr!” A minuteman had exited and had been consequently slaughtered. A brawl broke out just outside the small entrance. Innocent event-goers made exclamations outside as well. Batons revved, and B-15 and Mobius stalked to the opening. Loki walked behind them.
“The charge!” Someone yelled. The fight continued. A cloaked figure with amazing skill in combat fought them all while a crowd of civilians formed around them. There were a few smiles and jeers, no doubt thinking it was all a show.
“On behalf of t-... the Time Va-...Variance Authority, I hereby-... arrest you for-... for crimes against the… Sacred Timeline, V-… Variant!” B-15 huffed between blows.
“Ergh!” A minuteman got pruned. Loki’s cloaked variant said nothing, only continued fighting. He backed back into the tent, took aloft a jousting lance, broke it half and reemerged. For all their combined ability, the TVA was losing. The glow of pruning swung around arbitrarily. He dipped into the fight and caught his counterpart’s cutlass in the cross the two ends of the lance made.
“Pardon me, I mean no intrusion,” he said calmly to his other self, noticing a similar collar of metal that had adorned his own garments. He could feel the other’s tension as they reclaimed their sword and focused solely on him. It proved more of a poor decision than anticipated and he found himself holding his breath in pain more than he’d wanted. The wood was also useless and even though both it and he put up a valiant fight, his other self had taken hold of a baton along the line. His weapons were useless as they continued to share blows. He lowered the stubs of wood and opened his arms. The glowing end came close.
Then it wasn’t.
The grunting that followed was B-15 and Mobius disarming the variant of the baton and nearly restraining them.
“About to redline!” A remaining minuteman nearly yelled. B-15 and Mobius shared a look. A door was opened and Loki found the cloaked figure disappearing into a flurry of gold.
“What in the Rolling Stones was that, Blue-Raz?!” Mobius had him hard by the shoulder of both his jacket and dress shirt.
Loki blinked once then made eye contact with Mobius, “what ever do you mean?”
“He was about to kill you!”
“Prune,” Loki politely corrected. Mobius gawked.
“I kno--what were you thinking?!”
“Your only use of me is to capture me, I was assisting in that.”
“By letting you be killed by yourself?!”
“A mere distraction to the larger goal, Mobius.”
“And it almost worked,” B-15 piped from somewhere beside them. Her voice had dropped a tone or two.
“Yeah… almost had ‘im too.” Mobius admitted, letting Loki go. “But seriously, man, what was that?”
“Nearly fulfilling my role, as you yourself stated.” Loki replied pleasantly.
“We also barely pruned it in time and got outta there with our lives.” B-15 stated.
“Yeah…” Mobius rubbed the back of his head with his other hand on his hip as he stared at the floor. I was not lying, Loki wanted to say. To push. To scream. But he instead focused on the ache in his back. It should be fine in a matter of a few more hours given the time he had for recovery before the Tesseract opened the portal in New York and he was knocked from the Mind Stone’s, and thus Thanos’, direct influence.
~~~@%*^*%@~~~
Loki subconsciously touched his hideously blue palm as he waited outside of the judge’s office for his handler. The doors were decorated with sandglasses. How quaint .
Mobius finally emerged, stalking right past him. Loki fell in step behind him. He realized such only after he’d done it.
An angry finger wagged in front of him as they walked, “one thing, Loki, that’s all I asked.”
“The ‘talk’ from earlier.”
“No! Catching the superior version of yourself. We lost guys out there today-- good guys!” Good, yes, ‘good guys’ who also happened to have erased who knows how many people from existence.
“There would have been a lot more had I not been there and, likewise, a lot less had I been heeded.”
“And there you go again. That narcissism! Do you ever stop? Get tired of yourself?”
Loki didn’t respond as Mobius stopped and whirled on him, only gave him his schooled expression.
“I’m on thin ice ‘cause of you. I saved you, remember that? Didn’t that mean anything to your Asguardian standards or personal morals or anything?”
“If you recall, I was about to meet that fate regardless as I helped you bring in my Variant. I also have little doubt you will delete me if I survive assisting you in their arrest either way.”
“Oh, so I’m the bad guy? Ok. Well that other you is worse, remember that. He’s killed a lot of people--more than you. You’re just a little blue ice runt, crying in the cold.”
Loki chuckled and didn’t even need to bite back the urge to correct this “Loki expert.”
“Ever get tired of playing this same old part?” Mobius continued bitterly, “I’m getting sick of your constant need for sympathy, Loki!”
“Mobius?” He asked after allowing a few minutes to pass.
“What?” Mobius mumbled.
“This other Variant is after reset charges, why not supervise another ‘pruning’ in case we find the correct branch they target. How many happen in a day, usually?”
~~~@%*^*%@~~~
Loki almost choked when they entered into an Aguardian hall. The was beautiful and towering and held stones and architecture he could rewrite the books about. For one blissful second, he closed his eyes and inhaled the scent of his homeland--or the place he was raised. His glamor fell over him unconsciously.
Then he had to play follow-the-leader with the TVA peons. He rounded a large corner and immediately knew how many steps it would take to get to his room, his mother’s and Thor’s.
“Loki?” A familiar voice boomed. Loki tensed. Mobius cast him a “good luck” glance and mumbled, “I’ll be back for ya, Blue-Raz”
Loki had the urge to run him through followed by his brother who should not—it didn’t matter, the timeline would be reset. The Thor bounding up behind him would be pruned with everything else… why did that hurt? He turned to face his adopted sibling.
“Loki, it is you? Isn’t it? I mean you look horrendous in that getup, but it’s you!” Thor held his hands out in what could only be described as reverence. But the esteemed Asguardian Prince was wearing dirty Midguardian clothes and had a beer gut to match. How? Barely any time had elapsed between that moment and when they were facing down in New York.
“It is me but what happened to you, brother?”
A shadow came over Thor’s face. His hands lowered and he reached out to Loki.
“Tell me the truth,” he whispered, “did you just escape the dungeons?”
Loki held his gaze for a few long moments. The timeline will be reset. There is no harm in it.
“No, Thor, I never—this me never went to the dungeons. Never came back to Asguard.”
Thor hissed an inhalation of breath as his eyes widened.
“Thor what happened to you? Why do you have mismatched eyes? Where is your armor? Or Mjolnir?”
“Oh, Loki! Loki. Loki. Loki.” Thor’s voice trembled with false laughter and an emotion Loki didn’t know, “what--you look horrendous. What in the Nine Realms are you wearing?”
“Thor, it is good to see you, but I’m afraid I don’t have the time for a chat.” Loki returned, clipped. Redline grew ever nearer.
Thor’s face fell again, “Loki… just tell me you’re alive. That I didn’t fail you on the Statesmen--Thanos is dead now, I-I killed him! I-... I killed him… I avenged you.”
“Oh, Thor,” Loki found himself saying as Thor’s eyes shined and tears spilled onto his cheeks. He allowed himself to be squeezed in the other’s arms… and found it to be the best hug he’d ever received… or the only hug….
“Thor… Thor, are you listening?” Thor only sobbed into his shoulder, holding Loki up against his beer gut and off of the actual floor.
“Y-yes?”
“Very soon, this timeline will be reset which means you will have never seen me here. So tell me, what happened to you?”
Thor whined in the back of his throat and plopped Loki back down, it was just hard enough to make pain spike up his nearly healed spine.
“I--You--Thanos--.”
Loki laid his arms on Thor’s biceps, squeezing gently, Thor shuttered then took a breath and smiled fondly at him. Fondly. Thor never did that. What sort of--how is he not the Variation?
“So after Ragnarok, Thanos… had all the Stones and killed half of what was left of Asguard including you. I wasn’t able to--I’m sorry.”
“Just tell me, Thor, I am right here.”
“Then I was found by the space morons and went to Nidevelir to forge Storm Breaker because Hela broke Mjolnir before Sakaar--Ragnarok happened because of her. Then we battled with the Avengers in Wakanda and… I didn’t go for the head! How could I have not gone for the head?! Thanos snapped and…. It was horrible, brother. Absolutely horrible. The whole universe. And so many extinctions followed and more tragedies. I-....” He hung his head. “I tried to drown my worries like the ‘oaf’ I am….”
“I thought your annoying little group was the ‘Avengers’ not the ‘Alcoholics.’”
“... Ha!” Thor slapped him on the back. The statement seemed to have brought about the intended reaction.
“Yes! Of course! So five years later, we found him and I slayed him! But Tony and Scott found a way to move through time to get the stones to undo it all, and so we did, and we succeeded! But still, Thanos haunted us and we had a final battle--which we won!” Thor seemed to have noticed himself that he was about to go into one of his long winded stories of victory, and cut it short.
Then his smile abated and his beard fell, “Loki, Steve and Tony lost the Tesseract in 2012 to you…?”
“Yes, yes, that would be me, brother.”
A gasp of breath as Thor readied himself for the most bone crushing hug in the universe was all that was afforded to Loki.
“Thor,” he wheezed slightly, “I know I was not kindest to you but must you kill me prematurely?”
“Oh, Loki! I never threw you off the Bifrost, and I-!”
“Charge is set, we gotta boogie!” Mobius interrupted, jogging over.
Thor allowed the interruption if only to interrogate him, “and who are you? How and why do you command my brother? If you are with Tha-!”
To Loki’s astonishment, a few electrical charges emanate off of his brother.
“No, time to talk. Put Loki down We gotta get outta Dodge.”
Thor’s grip tightened, “Thor, just do it!” Loki groused. Thor did. Mobius opened the portal.
“Sorry, big guy, big fan but I need your Buddy. You ever think of trying Old Spice?”
“Ah--I just--Loki just returned to me as he always does and you expect me to just give up?!”
“Thor, do not follow us, I would rather not see you get deleted.”
Heavy feet crossed through the yellow threshold and left 2023 Thor in 2014 with a gaping mouth and tear stained cheeks.
“So no Loki!” Mobius announced as he clapped his hands together, “that means we gotta get to work!” He went on to walk at a brisk pace. Loki trailed after, blinking back the stinging in his now red eyes.
“I was of the understanding that is what we were doing,” he put a hand over his throat while he cleared it.
“I need you to go over each and every one of this Variant's case files, and then, give me your... How do I put it?... Your unique Loki perspective. And who knows? Maybe there's something that we missed.”
Seeing as how you are so hypocritical, I would be surprised if you had not missed anything. Honestly, “all you Lokis are the same” yet in the same breath, “no Loki variant is exactly alike.” I think as I do.
“You are the expert, I trust your judgement” Loki said instead.
“That's why I'm lucky I got ya for a little bit longer. Let me park ya at this desk. And don't be afraid to really lean into this work. Here's a good trick for you: pretend your life depends on it. I'm gonna get a snack.”
For all his countless hours spent in not only the Grand Library, but others around Asguard and the other Realms, he found himself having little interest in sifting through all the instances in which that other version of him overcame the great TVA and triggered more animosity against themselves--and all other Lokis.
“Any motive, Sherlock?” He asked dryly.
“That’s what you’re for!” The agent chuckled, poked at his chest and walked away.
Out of the corner of his eye, he watched the agent walk away then turned his attention to the paperwork. The pattern was known to begin with but became… inane the more pages he flipped through: nexus event, dispensed TVA agents, the team goes silent, they’re found dead and without the reset charge, Mobius, the expert, is called in for investigation and then the branch is reset before redline.
One Loki… only one to best their happy little teams. I was bested, but I also have extenuating circumstances of the past year. Without Thanos’ interruption, could I have?... Yes, I fought alongside Thor and his foolish troup of warriors, I would have been able to exact my own damage. For a ‘timeline protection force,’ how are they schooled in combat?
“Pardon me,” he tapped the librarian’s bell. She turned to him with a nonplussed expression.
“Could you show me to the combat regimens of our dear agents?”
“No.”
“Infographics?”
“No.”
“Battle end-games?”
“No.”
“Well, you have been very helpful, thank you.” It was still a library after all and he more than knew his way around one seidr or not; his mind was still intact--somewhat intact and that had always been his greatest weapon.
So he sat back down at the table to form a plan of action, so to speak, of how he could find the files he wanted in the fastest and most assured way. But, he still had all the paperwork of this other Loki, dripping in red. Oozing. Gushing. Like Thor’s cape as yet more enemies were put to ruin under his brother’s sheer might. He never envied that red; never thought he could own it or have it become him… yet this other version had jumped--leapt into that pool of blood and ended all who stood in their way. Incapacitation would have sufficed. Has sufficed in innumerable cases. He’d both saved lives of his comrades and stupid brother, and saw the end goal in such a way.
He gasped and leapt up, running along the railing of the library.
“Mobius--.”
“No, I said, ‘don’t bother me until you’ve read all the files,’ and I know you don’t read that fast.” Mobius set his Js\osta down with a hard thonk .
“I have, but unimportant--.” Loki slid into the seat across from the agent in the cafeteria.
“No, read every file pertaining to the Variant.”
“The answer does not lie in the files, it lies on the timeline!” Mobius gave him a dangerous look at the slight raising of his voice. Loki took a breath.
“Look,” Loki began again with his arms fanning over the table, “they’re hiding in apocalypses.”
“Which one? There’s, like, a million?”
“Take Ragnarok, I assume you are familiar?”
“Yeah, total destruction of your weird coin planet and most of its people because of your sister Hela. I’m sorry.”
Sister? Hela? Thor mentioned her--unimportant now.
“Yes, well, that recent visit with Thor got me thinking…?”
Mobius regarded him but eventually sighed and sat back, making a small gesture, “yeah, sure, ok.”
“Nexus events happen when someone does something that is not meant to happen--.”
“A bit more complicated but yeah.”
“These can culminate into entire other timelines--.”
“Chaotic alterations of a predetermined outcome.” Loki did his best to ignore the interruptions. He forced animation into his movements as if trying to explain it to Thor. That was best, pretend he was explaining something that now seemed so basic to the warrior.
“Alright! So this is Asgard,” he plundered the agent’s salad bowl. Said agent gave sad push back. Loki continued.
“I could travel back to Asgard preceding Ragnarok and do whatever I wished; switch crowns, resoil linens, topple some columns. I could destroy the Rainbow Bridge.” He grabbed the small salt shaker and started pouring some in. Mobius mourned his food. Loki was not fed.
“None of this would matter. Not if I set fire to the courtyard. Or even killed the Allfather!”
“Why--Lo--God, Loki!”
“Excuse me,” Loki greeted Casey kindly at an adjacent table, “are you finished with this?”
Casey, who had his bunched napkin thrown on his plate in clear sign of being finished looked from his crumpled juice box to Loki, “you!”
“Yes, very nice to see you again,” Loki took the drink container and poured it into the salad, secretly relishing how the agent utterly deflated.
“Due to Surtur!” Loki finished.
Mobius rubbed his hand down his face, “what am I lookin’ at?”
“Apocalypses, Holmes.”
“Loki, you just apocalypse my lunch, I wanted to eat that!”
“You want my other Variant.”
Mobius leaned onto the table, “cut to the chase.”
“That is how they have escaped you for so long; no matter what happens, an apocalypse negates anything that would otherwise summon the TVA.”
“Oh, not bad. Not Bad. Hey, so, how do you weigh over five hundred pounds?”
That was a “jackknife”--as Midgaurdians may say--that he did not expect.
Mobius raised his hands, “hey, I’m not judging, just curious.”
“Focus, Mobius, please.”
“Ok, ok. My salad. Destroyed.” Another despondent hand waved at the bowl.
“I can show you my theory is true.”
Mobius laughed, “I’m not letting you go.”
“You come with me, naturally,” Loki pushed.
“Well, I’ve had enough of your troublemaking for one day.”
“No one has to know unless I am correct--which I am.”
“TVA agents can’t just go running around anyway. Waltzing into the White House would be a Nexus event.”
You are not listening!
“Pompeii, for instance, you Midguardians like talking about that catastrophe, we could go there!”
“Pompeii?”
“Pompeii. Everyone died and that town was not even the worst hit of the eruption of Vesuvius.”
“Yeah, yeah, yeah. Talk, talk, talk. Oh, you’re so smart!” Mobius sneered and wiped his mouth with his napkin despite not having spilled anything much less eaten enough to make a mess of his face. No food for either of them it seemed.
“If I go along with this and you stab me in the back, you’re getting erased. Capische?”
“Understood,” I am fully expecting that regardless.
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greencrusader13 · 4 years
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All Were Innocent Once: Chapter 12 - The Job
This chapter is one in which Cirak’s...tendencies come a bit more out to play, and as such I tweaked the chapter a bit for my audience on FF.net compared to my audience on AO3, since the former has the fic at a rating of T while the other has an M rating. Please keep that in mind when clicking a link to follow. The chapter below is the T-version, so if you want the more risque version go to the story on AO3.
FF.net: https://www.fanfiction.net/s/13118981/12/All-Were-Innocent-Once
AO3: https://archiveofourown.org/works/17043032/chapters/66526336
Summary: having now been assisted by the bounty hunter Braden and his associate - a Mandalorian by the name of Dekon Arrun - Cirak listens to their proposition, one that might entail a payday unlike any he’s earned before.
“So let me get this straight,” Cirak said, watching the swirling ice cubes in his glass like racers around a track as he flicked his wrist. “You want our help tracking down an infamous criminal who - supposedly - has near unlimited resources, his own private army of paid mercenaries, and is known for being able to vanish without a trace the moment anyone shows up on his doorstep.” He leveled Braden with an inquisitive look as he downed the remainder of his alcohol. “Sounds easy enough. Why can’t you and the wonder-Mando do it?”
Cirak shot a glance towards the Mandalorian as he mentioned him, Braden’s answer fading into the background as he searched. He’d taken to a booth alone at the far side of the cantina, back turned to the ambience it so welcomingly provided. It felt like a small slice of Nar Shaddaa jam-packed into a desert hovel, unclean to the point of pungency and so loud he could barely hear either of his companions when they spoke, not that he paid them much attention anyways. Mere feet away from their table a green-skinned twi’lek woman made her way around center-stage as violet light illuminated her aggressively-sensuous movements. On occasion she’d shed another article of what little clothing she already wore, eliciting a whoop or holler from the patrons, Cirak himself included.
The dancer drew closer, and for the briefest of moments they locked eyes.  “You come here often?” she asked in Huttese, her voice barely audible over the din of the music.
“Not often enough,” he responded in kind. “Maybe I should start, if the desert really holds such beauty.” Cirak flashed a rakish smile and raised his glass to her.
She winked, and then returned to her dance.
Grinning, Cirak turned his gaze back to Dekon, who had now taken apart his blaster on the table, either oblivious or - worse - disinterested by the life around them. Stupid Mando doesn’t know how to have fun, Cirak thought, watching the dancer’s body move around the shimmering pole.
Taelros snapped his fingers in front of Cirak’s face, breaking him from the trance. “Kid, when you ask for clarification, don’t let your ears wander with your eyes. These gals aren’t anything you wouldn’t find anywhere else in the galaxy, and with the right job you could buy yourself a hundred dances. Now pay attention: there’s credits to be earned.”
“It’s alright Tael,” Braden said, raising a calming hand. “We’ve all been young before. Although-” he leveled a stern look at Cirak- “Bounty hunters who let themselves think with anything other than their heads tend to not last very long in the business. Keep that in mind.”
“Braden, you have no idea how often this kid thinks with just his blaster, if you follow my understanding. A few years back on Onderon-”
“Stars not this again.”
Taelros took a drink and waved Cirak off. “It’s a fun story, but we shouldn’t get sidetracked any longer. Not when there’s credits to be earned. To save Braden the time of recapping, in short, Cirak, too many hostiles for a two man job, too closely guarded for something requiring precision. And we have more resources than them, what with Meruna and Deim making up for what they lack in specialized roles. We’ll hit hard and hit fast before he can flee and vanish again.”
“Rell Syrn rarely ever sticks around for very long in one place for very long,” Braden continued, “He tends to avoid drawing attention to himself. Keeps away from personally conducting business on overly-populated planets like Coruscant or Nar Shaddaa and sends agents whenever he can. Has a pleasure yacht that nobody ever boards and that he very rarely ever leaves, which he keeps floating around various moons around the galaxy for short spans of time. Never the same one twice. Has a hobby for trophy hunting large game, which is when we’re gonna hit him.” He reached into his pocket and produced a holomap, which he displayed on the table. “He’ll be heading to Cholganna next.”
Cirak leaned in closer, studying the forest planet. “So...what, he’s gonna hunt Nexu? Hardly a unique hobby.”
Braden shook his head. “Cholganna has an indigineous population that’s not yet achieved spaceflight. Separate tribes and whatnot. Hardly capable of resisting blasterfire or more advanced toys.” He pursed his lips, allowing his expression to tell the rest.
“Ah. So he’s scum.”
“Pretty much, but that’s not why we’re getting paid to take him down,” Taelros said. 
“Last week some corsairs under his employ struck an Imperial stealth cruiser. Usual raid and whatnot, except they found something on there that the Imps want back. Badly. Some sort of information they were carrying really wasn’t supposed to fall into anyone else’s hands. And he recognizes it too; supposedly he killed all the corsairs who were on the raid just to keep it from leaking out. They don’t want him alive. Dead only, six million credits.”
Cirak’s eyes bulged at the bounty value, and he gagged on his drink. He wiped the spillage from his lips with the back of his hand. “I’m kriffing sorry, how much?”
“Six million, kid. Split six ways is a million for each of us.” Taelros smirked. “Now aren’t you glad you’re listening to me and not oogling some dancer?”
“Don’t blame me for knowing how to spend a good time, unlike Mando-boy over there.” Cirak pointed back at the Mandalorian’s booth with his thumb.
Braden’s gaze drifted over to where Dekon sat. “You ever heard of the Great Hunt, Kiht?”
“Can’t say I have.”
“It started out as a Mandalorian tradition out on Dxun, but has since opened up to any interested bounty hunters in the galaxy. You’re given the hardest contracts, the most dangerous of the dangerous, and have to hunt them down. At the end a Grand Champion is determined the winner. Rumor has it that Mandalore is considering holding another one soon.” Braden pointed at Dekon, who was just finishing loading a blaster pistol. “That man right there is the next Grand Champion, I guarantee it.”
Cirak shrugged, grimacing. “He doesn’t seem like all that to me.”
“He has hunter’s instincts like nothing I’ve ever seen. Brains just as much as brawn. I’d bet credits on him to take down a rancor with just his fists if the wager came up.”
“Then why doesn’t he just do this himself?”
Braden took a drink. “Like I said, this job has accentuated circumstances.”
“You sure it isn’t a trap? This job I mean. If the Imps want this data so badly, and it’s this valuable, what’s stopping them from just offing us once it’s done?”
Taelros shrugged. “We can burn that bridge when we get to it. Meanwhile, if we get this done right, and if we don’t get double-crossed, we’ll have good friends in the Galactic Empire, plus some cash for spending.”
Cash for spending felt almost like an insulting understatement. During all his years since joining Taelros’ crew, he’d never been a part of a job that held such a vast reward. Most of their contractors were petty crime lords wanting a rival dealt with, or some local government putting a warrant out on someone too dangerous for their own people to handle. On a rare occasion they’d get a contract from a Hutt, but those situations were far and few between. Even then, most of their earnings just went right back to The Reaper’s Prophet for upkeep, or towards their own resupplying for future jobs. By the time things were said and done, he had little money of his own for spending. When he did…
Cirak nodded towards Taelros. “Was the contact at the spaceport, the one for Woth?”
“Yeah, he was, and I’ve forwarded your credits to your account. Already did the deductions for you this time. Go do your thing.”
“What’s this?” asked Braden.
“It’s nothing. Not worth-”
Before he could finish speaking, cheers erupted from across the cantina again. He looked up in time to see the dancer twirl one final time in a rush of silver and scarlet cloth. She bowed, and then strode confidently back behind a curtain on the stage’s end.
Cirak smirked. “I’ll be outside. As wonderful as the sights are in here, I think I might get too distracted when the next one hits the stage.”
“You do that kid,” Taelros said, rising to his feet simultaneously with Cirak. “Braden and I will finish loading up the ship, get her spaceworthy by tomorrow. Might even try to pick up a few more bounties while we’re here.” He shoved a stern-yet-playful finger into Cirak’s chest. “Have your fun, but make sure you’re aboard before we take off. I don’t want a repeat of Chandrila.”
“For the record Tael, you’re the one who took off without checking if I was on board.” Cirak yelled back as he turned, waving a playful farewell as he moved across the cantina. “And it was worth it! You wouldn’t have wanted that noise on the ship!” From the corner of his eye he saw the Mando turn towards the noise, his unseen eyes watching Cirak from beneath the helmet. He could only imagine the glare the armored mercenary was shooting at him. Cirak felt his own mood sour at the sight, even amid the music and lights. He pressed on.
Once outside, Cirak stopped and looked around. Mos Ila had grown quieter as dusk approached. Earlier the streets had been filled with an eclectic mix of all the strange species the galaxy had to offer, bartering and browsing and aimlessly wandering about. Most had returned to their homes; only a small collection of three Jawas remained visible on the block, poking away at some dysfunctional droid they would later take and scrap for parts; it sat there lethargically, seemingly oblivious to its inevitable fate. 
Off in the distance a binary sunset colored the sky in hues of orange and violet. It had a sort of contemplative calm to it. Such natural beauty was uncommon on typical adventures, and for a moment it took Cirak by surprise. He could only stare in silence, watching enraptured as they inched closer to the horizon line. Something stirred in his chest, a longing he hadn’t felt for several years
Cirak shook his head and returned to his task, removing his personal holopad from his pack and logging onto the holonet. The banner at the top of the familiar website read “Coruscant Horizons Mutual: Your #1 provider for all your banking needs” in thick black lettering, the skyline of the planet clear in the background. A mixed family stood in the foreground, the human mother holding up her daughter while a Mirialan father stood beside them with his hand on his wife’s shoulder. Typical image crap, meant to deceive the average person into unearned trust, true of any bank. In reality any banker would set fire to that little family if it meant turning more of a profit. He may be the one killing people for money, but at least he was honest about it.
Sure enough, just as Taelros had said, the earnings from their most recent hunt had been transferred into his account, all eight thousand credits-worth. At least a thousand of that would go to armor maintenance, and another thousand for his blaster pack refills. He frowned, staring at his current balance of fourteen thousand credits, soon to be even less. The swoop bike he’d seen on the holonet had been twelve thousand. If he withheld his normal plans he could afford it, barely. The thought egged him on, the bike’s roar calling him like a siren’s song. 
He blocked it out with a sigh, and continued on with his usual routine. It would have to be some other time. Cirak tapped the link that read “transfer” and selected the alternate account with the new funds.
“Are you sure you would like to transfer four thousand credits to the account “Tyar’s Savings” Mr. Kiht?”
Cirak tapped “confirm” and leaned back. He wasn’t even sure if Jedi were allowed banking accounts, or if their life of monasticism prevented them from having any personal belongings. They already lead such a restricted life, one that Cirak himself couldn’t imagine living. Perhaps they’d brainwashed him into all of their tenets, maybe he didn’t even remember his own brother, but either way the money would be there for him when he came of age.
He glanced back down at the screen. “Would you like to include a message for this transaction?”
Cirak tensed, then leaned back over his holopad. “Hey kid, hope Jedi training is going well-”
He immediately backspaced. The message sounded dumb, especially for having no contact for the past several years.
“Brother, I hope this message finds you wel-”
Backspace.
“Tyar, I’m sorry I haven’t reached o-”
Backspace.
“Take this kriffing money.”
Backspace.
Cirak sighed, refreshed the page, and then declined to send a message. If Tyar wanted to make contact another time it would be his decision, not Cirak’s. The best he could hope for was that the kid would seek him out when the time came, and that both would still be alive for that reunion.
While his holopad remained open, Cirak decided to check his mail. There was already a confirmation regarding his transfer, complete with a hackneyed thank you message from the bank, which he promptly checked for deletion. He scrolled down, deleting as he went. Most of the messages were junk anyways: advertisements for various weaponry he could find at suppliers around the galaxy, new starfighter models worth checking out, possible clients reaching out to him not realizing that he wasn’t the one who handled the new jobs, etc. One message caught Cirak’s eye, though, from a Zeltron man he’d spent time with on Manaan. The message was flirtatious in nature, requesting that Cirak look him up again if he should even be on that side of the planet again. As sweet as it was that this paramour had taken the time to look him up, Cirak only remembered parts of that night, even if those parts were good and involved drinks and dancing. He deleted that piece of mail too.
Tucking his holopad away, Cirak made his way back to the cantina. A new dancer - some human woman with blonde hair and tanned skin - had taken the stage while a fresh series of beats accentuated her steps. Tael and Braden were both gone, their seats taken by a pair of faces Cirak had seen earlier at the bar who now had their holopads out, burning credits that flickered onto the stage and floated down around the dancer as they were spent. Some thugs pushed each other in front of the bar, attracting the attention of a weequay bouncer, whose approach turned them docile once more and retreated back to their seats.
And still the Mandalorian sat in his corner booth with his back to the action, the contents of his own pack strewn out on the table.
Cirak took a seat across from him, waving down a waitress as he did. The Mandalorian didn’t even bother to look up from his assortment of junk, instead continuing to wipe at his rifle with unwavering devotion. There were at least five blaster rifle packs on the table, along with three hunting vibroblades, a thermal detonator, and various blaster parts.
“You know, in most cantinas you can get thrown out for this kind of weaponry being out in the open,” Cirak said. The Mandalorian said nothing in response, not even so much as an acknowledging grunt. “Come on, you can do maintenance when you’re on the ship. You’re missing out on the fun right now.”
The Mandalorian looked up for a moment, then turned his head back towards the dancer. “Not my idea of fun.”
“Of course it isn’t. You Mandos don’t have a concept of fun.”
“I’m focused on what’s ahead of me. The hunt. The fact that I’m focusing on that instead of skirt-chasing is what’s going to keep me around much longer than you.” He slammed a pack into his rifle and then set it on the table.
Cirak rolled his eyes. “Yeah, whatever. Doesn’t matter how much focus you have when things can go kriffing sideways on any given job. Might as well enjoy life while you’re living it, or else when will you?”
The Mandalorian shook his head. “Mir’osik. Short-sighted.”
“I don’t speak Mando’a, so don’t bother.”
“That you don’t speak it is the point.”
“Look,” Cirak said, leaning over the table, “I’m not any happier about working with you on this than you are, but it looks like we’re going to be stuck together for awhile, so can you cool it before I feel like putting a blaster bolt through your skull? After this job’s done we can go our separate ways, forget the other exists, and maybe, if we’re lucky, we can wind up shooting at each other on some later job when we’re on opposite sides. Okay?”
The crimson helmet twitched, and Cirak could feel the heat of the Mandalorian’s glare from underneath it. “Let’s not forget that you insulted me first when you insulted my people,” his voice crackled.
“And your people massacred mine generations ago.”
“You see history only through the lens supplied by the Republic and the remnants of your species. That you are descended from people who survived mine should fill you with pride. It speaks that you have a survivor’s soul.”
Cirak opened his mouth to speak, but found himself without words. While he found the words themselves insensitive, there was resembling complete sincerity in Dekon’s words. Without the genocidal context, it bordered on being a compliment, however harsh the tone might’ve been.
He shook his head. “Look, I didn’t want to spend my evening arguing with a warmonger. I-”
Sounds of conflict drew his attention away from his soon-to-be associate and towards the bar. The previous dancer - now clad in a more modest lounge robe - stood across from a group of three armored humans, her arms folded with a drink in hand. From the appearance of their scrappier designs and cavalcade of scars across their face, it was clear that these three were outlaws of some kind, or at least individuals as used to braving the dangers of the galaxy as Cirak was himself. Their leader wore a coy expression as he spoke to the dancer, though there was no amusement in her face, but rather one of annoyance-bordering-contempt. One partner kept a stern eye on the bouncer and a hand on his blaster, while the other seemed equally amused as the ringleader.
“I’ll be back,” Cirak said, rising.
Their words became clearer as Cirak approached. “For the last time that’s not the kind of work I do,” the dancer said, still speaking Huttese.
“Come on baby, just think of it like a different kind of pole, different kind of dance,” the man said, albeit in Basic. “Don’t be such a tease. I’ve been throwing credits at you all night. Isn’t that a good enough deed for some time with you?”
“I said no. I dance, that’s it, and I don’t spend time with people just because they think their credits mean something. Go away and let me enjoy my break in peace.”
He lunged for her wrist. “Aw you don’t have to-”
His sentence ended prematurely as the contents of the dancer’s drink found his face. “Don’t touch me!” she seethed, backing away.
The bouncer started forward, causing the one minion to start for his blaster. Cirak found his own first - his father’s holdout - unholstering it and shooting the thug’s right out of his hand. All eyes in the cantina turned towards him, the atmosphere now tense from the sound of blaster fire. Despite the blasting beats from the speakers around him, the cantina felt dead quiet.
Meanwhile the bouncer searched himself for a blaster wound with apparent wonder that he hadn’t just been shot.
“Now that I have your attention,” Cirak said, “I think you owe this lady an apology. She’s been working hard all night up on that stage, so when she says for you to leave her alone, you do what she says.” He leveled the blaster at the leader as he stepped between them and the dancer, lining the sights right up with the man’s eyes.
The leader looked to his crew, then back to Cirak with a cocked eyebrow. “Do you have any idea who it is you’re talking to? We’re the-”
“Yeah yeah, some idiots who’re feared around these parts. Take what you want, want what you take. Heard it before. Shot them too.”
“We have you three-to-one.”
Cirak glanced between the three men. “I like those odds,” he growled, “I’ll have you all dropped before your buddy there pulls out that other blaster from the back of his pants.”
The group’s leader scoffed and looked back at his men as though this were the most ludicrous thing they’d encountered together. They chuckled along with him and shrugged. Then, at once, they drew. 
It all happened in seconds. Cirak brought his blaster down hard on the leader’s nose, shattering it. The man crumpled with a pained grunt, dropping his own weapon in the process, and as he fell Cirak turned his attention to the pair behind him. They couldn’t react fast enough to their leader falling out of the way of their aim, and it took them a moment too long to readjust. Cirak’s first shot found the leftmost one right square in the forehead. He made no sound as he fell, dead instantaneously. 
Just as he was taking aim on the third the man another shot rang out, striking the thug in the chest, the force of which sent him careening over the bar counter. Cirak turned. There, still in the booth, sat Dekon of Clan Arrun, still looking through the scope of his blaster rifle. Without a word or even a gesture he set the rifle back down on the table and began cleaning it once more.
The rush of gratitude faded quickly, however, as Cirak turned his attention to the groaning man at his feet. Blood streaked down the thug’s nose and mouth as he looked up with hatred and fear in his eyes. “My men! You shot my men!”
“Career hazard. They should’ve known better.”
“You kriffing alien!”
“You really should know better than to insult a man who’s got a blaster aimed at your brain,” Cirak said. He pulled out his holopad and opened it to the Bounty Hunters’ Guild database. “What’s your name there handsome?”
“I ain’t telling you nothing.”
Cirak pushed his blaster to the man’s forehead. “I can just shoot you now if you’d prefer.”
The man was silent for a few moments longer. “Antelv. Antelv Langot.”
He entered the name into the database and scanned Antelv’s face. Several long seconds passed as it searched for anyone in the trillions of the galactic population who may have angered someone enough to place a bounty on their head, and which planets they were known for frequenting. 
No results.
“Well Antelv, seems no one has any strong preference for whether or not you live or die in this unforgiving existence, so I’m gonna let the lady decide.” Cirak looked over to the dancer. “What do you say,” he asked in Huttese, “Lives, or dies?”
“I’m sorry,” Antelv croaked, sending bloody spittle across the cantina floor. “I’m sorry!”
The dancer gave a cursory glance over the pathetic man bleeding in front of her, then nodded to Cirak. “Let him live with the humiliation you’ve shown him.”
Cirak shrugged. “Well, her decision’s final.” Just as a weary smile crept onto Antelv’s face, Cirak brought his blaster down once more on his skull, knocking him out cold. His unconscious form sprawled out onto the floor, and around them people began turning their heads away from the scene. Music took their focus once more, and life returned to the cantina. The bouncer approached, threw Antelv over his shoulder, and then vanished outside.
The dancer took a seat at the bar, draping one of her green lekku over her shoulder. “Thanks for the help,” she said, “Not often we see patrons here who are brave and handsome.”
“Not a problem.” Cirak twirled his blaster, holstering it. “Ordinarily I’d ask if I could take the seat next to you, but given the circumstances…” He glanced down to the bloody puddle by his feet.
“His problem was thinking that credits could control me,” she said, “I dance because it’s fun and I choose who I spend time with because I want to, not because I’m paid.” She rolled her eyes. “Besides he was quite rude, and you’re quite cute. So by all means, take a seat.”
Cirak smirked, taking the stool next to her while looking her over. “Seems he spilled your drink. How about I buy you a new one? The name’s Cirak, Cirak Kiht, and I’d love to get your name too.”
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armen1959 · 4 years
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Solar’s flexibility can be agriculture’s gain
Solar’s flexibility can be agriculture’s gain Solar’s voracious appetite for land means that the industry will increasingly come into conflict with other important concerns, especially agriculture, as installations continue to expand. Coupled with warnings that a holistic solution to the global food-energy-water nexus is needed to avoid any of the three shortages, it is a growing concern for many in the solar industry to find a way to play nicely with farmers. And it is an issue that is now being recognised at the highest level, underlined last month by the signing of a Memorandum of Understanding between the United Nations Food and Agriculture Organization (FAO) and the International Agency for Renewable Energy (IRE) promising wider cooperation and exchange of information between the two sectors. “For the transformation of agri-food systems, climate resilience and net-zero strategies, renewable energy is essential,” said Qu Dongyu, FAO Director-General, announcing the collaboration in January. We strive to create and share awareness, creative products and technologies, and data and information through our collaboration. This agreement will allow us to reinforce the position of renewable energy as part of FAO initiatives. In addition to promising to resolve concerns about land scarcity, Agrivoltaics (AV), where solar generation is incorporated into land already in use for agriculture, is also beginning to demonstrate useful synergies and potential benefits for both food and energy production. Simply allowing sheep to graze the grass under a PV installation has proven to be a successful partnership for no small number of projects, with the panel structures providing shelter for the animals and the sheep providing vegetation management at no extra expense. In addition to promising to address concerns about land scarcity, Agrivoltaics (AV) is also beginning to display useful synergies and potential benefits for both food and energy production, where solar generation is integrated into land already in use for agriculture. For no small amount of projects, simply allowing sheep to graze the grass under a PV facility has proved to be a fruitful collaboration, with the panel structures protecting the animals and the sheep providing vegetation control at no extra cost. Suitability of Crop Among the first issues to resolve is determining which crops to combine with PV. Most of the research and the installations seen so far have concentrated on plant species that are considered to have high shade tolerance. Blueberries and other perennial plants are cited by Max Trommsdorff, head of the agri-voltaics group at the German research institute Fraunhofer ISE, as a good example of crops that would be relatively uncomplicated to grow on land shared with a solar PV installation. Design of the system Given the very different growth profiles between crops, for agrivoltaics to see growth, PV will need to continue to be versatile in terms of system design. No radical modifications are needed for the components themselves. Modules are typically placed three to five meters off the ground on structures, but the combined use of land is normally adequate to cover the extra cost of steel that this entails. And an improved mounting height provides the advantage of less rear-side shading for bifacial modules. Climates of the Region In mild, dry climates, the greatest AV advantages are found. One example of this is Sun’R’s work in the south of France, where Italy and other parts of southern Europe have also seen successful projects. More sunlight usually means more PV production and a greater chance that plants in the hottest parts of the day will benefit from shade. Coverage by an AV installation in such regions will also help to avoid evaporation and reduce water requirements. While several gigawatts of agrivoltaics have already been deployed around the world, those employed in the sector are keen to point out that their full potential is still far from being realized by the definition.
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asiginaak · 7 years
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10 Advices That You Must Listen Before Studying metal fabrication.
Although classed as conveniently weldable, the austenitic stainless steels can be prone to distortion during as well as after welding. As they also conveniently function harden on cold working, localised partial anxiety relieving of machined or developed components could also be a reason of distortion. Motion both during welding and also after cooling down is occasionally a trouble specifically where accuracy components are being made. As compared to various other steels, including the martensitic and also ferritic stainless-steels, the austenitics toughness levels are increased substantially during any type of type of cold working. This includes creating or machining of any kind of sheet/ plate, bar, tube or various other item forms. Stainless-steel welding is extremely popular as a result of these reasons. Steel fabrication St Louis is everything about making steels helpful to be made use of in numerous locations. Since steels are difficult, they are utilized in a whole lot of industries. These steels have been refined to provide a certain shape. This procedure is called fabrication. Using this method, you can have metal objects like pipelines and also much more. These items could be utilized according to their forms and sizes. With precise manufacture, you can superb items. You can utilize these things in the way you want. Hence, it is vital to have exceptional manufacture services. With excellent solution, you can utilize various metal things in an effective fashion. Author: Claire Warrington Stainless steel manufacture is essential for the steel fabrication industry since it is an essential product which is utilized for several products and throughout several industries. Stainless-steel is easily welded, controlled and also is almost 100% recyclable. Author: Nathan Syngrem Stainless steel construction has actually gotten enormous value today because of the integral feature of this beneficial steel alloy. Learn about one of the most popular byproducts of made stainless steel.
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danlemlabourlaw · 7 years
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Constructive dismissal: A regularly misunderstood & often abused concept
Introduction:
As one of most regularly misunderstood concepts in South African labour law, claims of constructive dismissal often leads to lengthy and costly litigation. On the one hand, many employees seem to believe that the concept offers a paved way to “riches” in the form of a handsome award from the CCMA or other appropriate forum. On the other hand, employers are often restricted in doing “the right thing” for their business for fear of such a claim.
Employees often contact us, describing a set of circumstances and the inevitable question whether they can consequently claim a constructive dismissal as a result? Employers on the other hand, unjustifiable fear asking certain questions or taking certain actions, because of the same concept.
The following quote from the Labour Appeal Court decision of Jordaan v CCMA & others (2010) 12 BLLR 1235 (LAC) at 1239, illustrates part of the problem:
“With an employment relationship, considerable levels of irritation, frustration and tension inevitably occur over a long period. None of these problems suffice to justify constructive dismissal. An employee, such as the appellant, must provide evidence to justify that the relationship has indeed become so intolerable that no reasonable option, save for termination is available to her.”
By looking at established and recent case law and textbooks on the subject, we hope to clarify some of the misconceptions which exist in this regard.
The statutory nature of this kind of dismissal:
Grogan (Workplace Law – Second Impression 2015) describes constructive dismissal as a form of statutory dismissal. This kind of dismissal is however also recognised by common law – see Mafamane v Rustenburg Platinum Mines Ltd (2003) 10 BLLR 999 (LC) & also A van Niekerk & N Smit (Managing Editors). Law@Work. p. 232.
Section 186(1) of the Labour Relations Act deals with the meaning of “dismissal” and in sub-section (e) states:
“Dismissal means that:
(e)        an employee terminated a contract of employment with or without notice because the employer made continued employment intolerable for the employee”.
What makes this type of dismissal peculiar?
The employee, rather than the employer, ends the contract with or without notice, in contrast to the usual situation where a dismissal entails a decision by the employer. The “dismissal” thus occurs at the initiative of the employee, but the termination is nevertheless regarded as a dismissal because of actions or omissions on the side of the employer which rendered the employment relationship “intolerable” and thus “forced” the termination.
Requirements:
Generally, what needs to be proven by the employee is that the employer made continued employment intolerable. In other words, the employee resigned because he is of the view that the conduct of the employer was such that he had no option but to resign.
The following are critical issues involving claims for constructive dismissal:
-          Was there an employment relationship?
-          Whether the employee brought the contract to an end;
-          Whether the reason for the employee’s action was that the employer had rendered the prospect of continued employment “intolerable”;
-          Whether the employee had no reasonable alternative other than terminating the contract.
We will deal with each of these requirements in more detail below:
Was there an employment relationship?
This requirement is clear and speaks for itself. An employment relationship must exist at the time the employee leaves the service of the employer.
Where for instance, the employee refused to sign a new contract of employment and “resigned” after the employer stopped his salary, the court refused his claim for constructive dismissal because the employment relationship had already ended – see Member of Executive Council, Department of Health, Eastern Cape v Odendaal & others (2009) 30 ILJ 2093 (LC).
Whether the employee brought the contract to an end:
Under “normal” circumstances a termination by an employee would constitute either a resignation or a breach by the employee. Since neither constitutes a dismissal, statutory intervention was required to “make” resignation by an employee, a specific form of dismissal.
Formal resignation by the employee, is clearly sufficient. Although not specifically specified anywhere, it is unlikely that an employee who resigns by giving notice in terms of the applicable legislation or his contract, would be successful in proving a claim of constructive dismissal.
It is however also accepted that simply leaving your employment may sometimes be regarded as a termination.
The reason for the termination:
The employee carries the onus to prove the reason for termination. It is necessary for the employee to have genuinely believed that the employer had rendered the continuation of the employment relationship “intolerable”.
The mere subjective belief of the employee is not good enough, the belief also has to be reasonable. The employee furthermore has to prove that the employer was in fact responsible for creating the conditions that induced the belief. Grogan, (Workplace Law. Second Impression 2016.11th edition. P. 176) states that employees who claim constructive dismissal must generally show that they were subjected to coercion, duress or undue influence. Mere unhappiness at work is not enough.
The test is thus partly subjective (perceptions of the employee) and partly objective (circumstances in which the termination took place). Grogan elaborates on this requirement and states that it need not be shown that the employer has repudiated the contract, what needs to be proven is that the employer “behaved in a deliberately oppressive manner and left the employee with no option but to resign in order to protect his or her interests”.
In the matter of “Pretoria Society for the Care of the Retarded v Loots” the court described this test as follows:
“When an employee resigns or terminates the contract as a result of constructive dismissal such employee is in fact indicating that the situation has become so unbearable that the employee cannot fulfil what is the employee’s most important function, namely, to work The employee is in effect saying that he or she would have carried on working indefinitely had the unbearable situation not been created. She does so on the basis that she does not believe that the employer will ever reform or abandon the pattern of creating an unbearable work environment. If she is wrong in this assumption and the employer proves that her fears were unfounded then she has not been constructively dismissed and her conduct proves that she has in fact resigned”.
Mere belief of the intolerability is not good enough, the court or arbitrator has to be satisfied that at the time of termination of the contract, the employee was under the genuine impression that their employer has actually behaved in a manner which made them believe that the relationship had been rendered intolerable and would continue to do so.
The employee also has to prove that the belief was reasonable.
-          Were the circumstances which induced the belief, such that it justified the claim;
-          That the circumstances actually existed.
It follows that there has to be as casual nexus between the actions of the employer and the decision to resign.
Whether the employee had no reasonable alternative other than terminating the employment:
Whether there were other alternatives, and if so, whether those alternatives were reasonable, is a question of degree.
Where the complaint is such that the employer could, and probably would have dealt with the cause of the unhappiness, the employee should file a complaint first before resigning. Where employees have failed to file a grievance, or lodge a complaint, they are unlikely to persuade arbitrators that they were constructively dismissed.
Grogan is of the view that the lodging of an internal grievance is not required “if it is clear that management is irredeemably prejudiced against the employee”.
The situation brought about by the actions of the employer, must have induced the employee to resign. This speaks for itself.
The employee has to show that it would have been “intolerable” for him or her to remain in employment.
In the matter of Asara Wine Estate and Hotel (Pty) Ltd v Van Rooyen and Others (2012) 33 ILJ 363 (LC), the Court considered the authorities and held that where a reasonable alternative to resignation exists, it cannot be said that the employer made continued employment intolerable for the employee.
In Kruger v Commission for Conciliation, Mediation and Arbitration and Another (2002) 23 ILJ 2069 (LC) the employee did not follow a grievance procedure as she believed that the grievance procedure was no longer an option. The Court found that employees should not second guess the outcome of lodging a complaint in terms of the employer’s grievance procedure, especially not where the employee is contemplating resignation coupled with an allegation of constructive dismissal and such employee had never raised the issue with the employer before.
In Albany Bakeries Ltd v Van Wyk and Other (2005) 26 ILJ 2142 (LAC) the Labour Appeal Court effectively took the view that an employee should make use of alternative remedies. This would obviously include an internal grievance procedure.
Onus:
Once the employee has proven that constructive dismissal occurred, the onus shifts to the employer to prove that it did not act unfairly.
A constructive dismissal is not inherently unfair and a court or other forum, will then have to determine whether the employer’s conduct was justified. Compensation may be reduced where it is found that the employee contributed to the creation of the conditions of which he or she is complaining.
Appropriate relief:
For obvious reasons, reinstatement is usually not granted in the event of a claim of constructive dismissal. It is nevertheless possible where the circumstances which made the employment intolerable no longer exists.
Conclusion:
Employees will firstly be well advised to seek proper legal advice before resigning from their jobs in the heat of the moment. Courts have generally not been very sympathetic to applicants in constructive dismissal matters unless they have fully complied with the requirements.
Employers on the other hand, should ensure that they are aware of the requirements set by the law and should, for instance, not be loath to try and negotiate a mutual separation agreement with a problem employee without being unduly concerned about a claim for constructive dismissal.
We submit that, as is the case with many disputes in South African labour law, employers can reach their objectives by following the right procedures and complying with the requirements laid down by the law.
D. Lemmer
SOE Keywords:
Constructive dismissal, statutory dismissals, case law on constructive dismissal, article re constructive dismissal, when does a resignation constitute a constructive dismissal, legal requirements for constructive dismissal, misunderstood & abused concepts in SA labour law
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What are the legal requirements for constructive dismissal?
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fredvincent765-blog · 7 years
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New Post has been published on https://punjabassignmenthelp.com/infs-5093-business-systems-analysis-textbooks/
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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New Post has been published on https://punjabassignmenthelp.com/infs-5093-business-systems-analysis-textbooks/
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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New Post has been published on https://punjabassignmenthelp.com/infs-5093-business-systems-analysis-textbooks/
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS
INFS 5093 | BUSINESS SYSTEMS ANALYSIS TEXTBOOKS | INFORMATION SYSTEMS
MANAGEMENT ASSIGNMENT HELP
Introduction
This document extends the instructions on the course website. Read the instructions on the course website in addition to this document.
This assessment consists of
A case study that requires you to apply your learning from the systems planning module.
An ethical analysis which requires you to apply one of the readings provided on the course website.
A conceptual development section that requires you to consider how systems planning tasks impact on a systems development project.
A peer review/learning reflection section; students who are working in teams are to answer the peer review questions; students working independently are to answer the learning reflection questions.
The feedback sheet lists the assessment criteria. Look for it on the assessment’s webpage. Take note of which sections carry the most marks.
Note that this document’s word count is 2881 without any answers, so
Don’t worry if the final word count seems high.
Also, there are some diagrams in this assessment so don’t worry if the final word count seems low.
Draw the diagrams by hand, photograph, and insert the photographs in this file. If you prefer, you can use Word’s drawing tools (or some other drawing or modelling software) but you may find working with pen and paper is faster, easier to amend, less cumbersome, and more reliable with respect to layout.
When referring to the exemplars on the course website, read the old assessment specifications carefully because the assessments differ every study period.
Instructions
In the previous study period, teams spent an average of 26 hours on this assessment.
Pace your team accordingly.
For best results
Do not attempt to complete the whole assessment in one session.
Work slowly and carefully.
In addition to the instructions on the course website
Do not overlook the ‘Why?’ questions.
Read the case study carefully.
Keep track of the hours you spend.
Make assumptions where necessary. Scope for assumptions has been deliberately included in this assessment because it is often necessary to make assumptions openly when dealing with a client who is under-informed with respect to information systems. Label assumptions clearly. Here’s an example from a previous study period,
Assumption: As the passengers of Titanic II may be from any nation, we have assumed a currency converter is required for the ticket-purchasing function.
Case study: Nexus Distribution
Nexus Distribution is a small film distribution agency that focuses on limited release art-house films. It has been in business for a decade and has an existing information system for administering its business processes. Joy Moody started Nexus with her long-time professional contact Deane Jackson. Joy has a leadership and marketing role and Deane manages operations. Louise Taylor and Elizabeth Page are spotters who attend film festivals (eg Sundance, Cannes, Sydney, Toronto, London, etc), identifying films that align with the Nexus Distribution focus, bidding for, and often signing, those films. This team of four work closely to sign 15-20 films each year, optimising the distribution of each film so that returns for Nexus and for their clients (the film-makers and the theatres) are maximised.
The existing information system consists of three databases.
Catalogue
DistributionNetwork
Travel
Louise and Elizabeth do most of their work while travelling and they communicate with Deane via email, text messaging and phone calls. Louise and Elizabeth attend only the largest film festivals together; usually they work independently of each other. When they are at a film festival, they work highly irregular hours and, in addition to the tasks outlined above, their work includes socialising with, and occasionally entertaining, potential and existing clients. Clients are entertained when the film they have made is of such high quality that more than one distribution agency is competing for its distribution rights. In these cases, Elizabeth and Louise take the clients out for dinner or to a bar in order to build robust working relationships and to create an opportunity for uninterrupted discussion of why and how the client’s interests are best served by Nexus. Louise and Elizabeth are consummate networkers; they are confident, good-humoured and charming in all social circumstances, building relationships with and between people working at all levels of the international art-house film industry.
However, the communication practices between Nexus staff are not up to date and this has led to inefficiencies and wastage of Louise and Elizabeth’s talents and efforts. As their time at film festivals is expensive (flights, accommodation, registration fees, entertainment costs, etc) it is desirable that their time is not wasted. For example, a new film may be shown at several film festivals simultaneously; if Elizabeth has already seen it at Toronto and passed on it (or bid for it and signed it), when Louise is at the Venice film festival, she does not need to waste her time viewing that film and can focus on other films. There are many other instances in which their communication practices fail to optimise the (mostly asynchronous) day-to-day collaborations between Louise, Elizabeth and Deane.
While Louise and Elizabeth work on building Nexus’s catalogue, Deane builds its distribution network (in addition to hissignificant administrative role). This entails signing various distribution service providers (both independent and chain) to the Nexus distribution network. A distribution service provider might be a VOD (Video on Demand) provider, a chain of theatres, an independent theatre, etc. Deane spends about half of his recruitment effort approaching providers that do not already screen art-house films. The other half is spent on providers which already adopt an art-house focus. While it is a key facet of the Nexus business model, building the distribution network does not consume anywhere near as much effort, money and time as spotting films. Deane estimates that for every dollar spent on building the distribution network, a hundred are spent on spotting films.
Deane is directly responsible for accounting, travel arrangements and reporting. Also, he is indirectly responsible for contracts, which he outsources to a legal firm specialising in contracts for this type of work.
Joy’s role is largely centred on vision and leadership. However, prior to starting Nexus she built a reputation in film marketing and her practical skills in this area are an essential ingredient in Nexus’s success. Every time a new film is signed to Nexus, Joy, Deane, Louise, Elizabeth and the film-makers have a four hour meeting. Occasionally, these meetings are in person, but more often they are held online. These meetings can be hard to schedule because participants are very busy and in different time zones.
During these meetings, in order to design the film’s marketing strategy, they leverage Louise or Elizabeth’s observations of the film, Deane’s knowledge of the Nexus distribution network, Joy’s marketing expertise and the client’s vision. A marketing strategy includes artistic vision, media, release windows and release schedule.
Artistic vision is primarily driven by the client and Joy with input from Louise or Elizabeth. It is actioned by Deane, who reviews the artists who have worked with Nexus in the past, considers the artistic vision, and prioritises the artists according to how well their unique talent, reliability and experience match up with the marketing strategy’s artistic vision. After the meeting, Deane approaches the artists one by one to discuss their availability and to eventually establish a contract.
Media (film, video, television, DVD, VOD, etc) is negotiated between Joy, whose mission is to optimise returns, and the film-maker, whose mission is exposure. With input from Louise and Elizabeth, who have viewed more films than anyone else in the meeting and who therefore have the most comprehensive view of the international market, a binding consensus is reached and documented.
Joy and Deane, who aim to maximise the size of the audience, are largely responsible for determining release windows and schedule, however the client’s needs are taken into consideration. This is achieved by application of market intelligence and expertise. In most cases, a film is screened in theatres on a schedule that will maximise the audience (eg avoidance of major cultural events, avoidance of similar films, knowledge of forthcoming films, etc). Also, films are screened in theatres (primary distribution service providers) prior to being released via secondary distribution service providers (eg VOD service providers, DVD runs, etc). The duration for which the film is screened in theatres depends upon various factors (audience, the film’s performance in other markets, the agreement between Nexus and the film-makers, the agreement between Nexus and the theatres, etc). For most films, the theatrical release date is preceded by four weeks of postering and trailers, wherever possible working with the film-makers in order to leverage the social profiles of those who worked on the film (eg the actors and crew). For highly anticipated films, these four weeks may extend to six or eight and may require Deane to schedule interviews for the film-makers or actors with local media.
Although the existing IS meets Nexus’s administrative needs, the ongoing daily communication problems and the difficulties of scheduling and running online meetings need to be addressed. Deane thinks Nexus needs its own app so that database updates can be done by anyone at any time and he has contacted your workplace, IT Foundry, to enquire further. You have been allocated the task of systems planning for the development of an app for Nexus.
Also, although they are very talented, experienced and respected in their fields, the entire Nexus team are inexperienced in systems analysis and design. They are confident you will come up with relevant ideas, they anticipate your suggestions and they expect you to catalyse and drive all technical aspects of the project. These clients are very much open to suggestion.
As you have never worked in this field before, you begin by reading about film distribution on Wikipedia. Then, you move forward with systems planning.
Recall: you can make assumptions in this assignment (as noted in the instructions above). Also, you can use the course forum if you have any questions.
Develop a business profile for Nexus Distribution. The profile must include mission, functions, how the app will be organised, products, services and customers.
Put your answer here.
List four of Nexus’s business processes. Aim to identify business processes that are related to the proposed Nexus app.
Put your answer here.
Draw models for two of the business processes listed above, including events, processes and results. Examples are available on p10 and p11 of Tilley & Rosenblatt (2017).
Put your answer here.
Next, you define the project’s scope and constraints.
Write must do, should do, could do and won’t do lists for the Nexus project.
Put your answer here.
Write a scope statement for the Nexus project.
Put your answer here.
Prepare a constraints map for the Nexus project. There is an example of a constraints map on p60 of Tilley & Rosenblatt (2017).
Put your answer here.
You prepare for fact-finding.
What approaches to fact-finding will you adopt for the Nexus project? Why?
Put your answer here.
The next step is to evaluate the project’s feasibility.
List four questions that will enable you to investigate the feasibility of the Nexus project.
Put your answer here.
List two tangible and two intangible benefits of the planned Nexus app.
Put your answer here.
Next, you make time and cost estimates for requirements modelling tasks.
Section 4.2.1 of Tilley & Rosenblatt (2017) lists various systems analysis tasks. Which of these tasks are likely to be applicable to the Nexus project? Why?
Put your answer here.
In your previous answer, you stated which requirements modelling tasks are applicable to the Nexus project. Estimate the time required to complete each task and estimate the time required to create system models.
Put your answer here.
IT Foundry costs your services at $80 per hour. Derive a cost estimate from your time estimates in the previous question.
Put your answer here.
Finally, you present your findings to your manager and to Nexus. Your manager and clients have requested a 15-minute meeting.
Preparefor this meeting. Identify and list the four most important discussion topics.
Put your answer here.
Ethical analysis
Through your work analysing Nexus’s data requirements, you become aware of some unusual entertainment expenses on Elizabeth’s account. While she may have incurred these expenses legitimately, there are no similar transactions in Louise’s account. You are fully aware that Elizabeth and Louise regularly entertain potential clients and you are aware that this is an important method of developing clientele and industry knowledge. You are also aware that Elizabeth and Louise drive the Nexus business processes, creating business opportunities and building good-will for Nexus. However, these transactions are unusual and, according to your personal moral points of reference, sensitive. You are undecided as to whether you should inform anyone, and if so, who.
Analyse this scenario by responding the following questions. These questions encourage you to apply the stages of the ethical decision-making process described in O’Boyle (2002). This reading can be located on the course web site. Do not overlook the ‘Why?’ questions as these support the development of your certitude.
Stage 1, perception. Identify all ethical issues suggested by the scenario above.
Put your answer here.
Stage 2, discernment. Which of the ethical issues is the most significant? Why?
Put your answer here.
Stage 3, resolution. Articulate your resolve with respect to the most significant ethical issue.
Put your answer here.
Stage 4, assessment. Are you qualified to act in accordance with your resolve or do you need to seek the advice of an independent expert? Why?
Put your answer here.
Stage 5, decision. What are your professional duties in this situation? Why?
Put your answer here.
Stage 6, action. Have stages 1-5 enabled you to form a commitment to action? Why?
Put your answer here.
Conceptual development and risk identification
Consider the Nexus case study and the systems planning you have completed. You may have completed the planning tasks with a lot of care. If so, your planning is more likely to be effective in supporting future project activities.
Consider a situation in which planning was conducted in a careless manner.
With respect to the systems planning tasks your team completed above, identify problems that may arise for the following stakeholders. The answer should have six unique problems (two per stakeholder).
Hint: what problems arise if the constraints map is incomplete?
Nexus
Put your answer here.
Nexus’s customers or the wider community
Put your answer here.
Your own future work tasks (systems analysis tasks)
Put your answer here.
Select two of the problems from question 23.
With reference to these two problems, what are your conclusions about the importance of attention to detail with respect to system planning?
Note: future assessments will ask you to reflect on the answer you give.
Put your answer here.
Peer Review – for students who completed this assessment in a team
Your peers are the people in your team (and you are their peer). When you review your peers, you are performing a peer review. When your peers review you, you are receiving a peer review.
How do peer reviews support the development of professional skills?
Put your answer here.
Are learning outcomes meaningful if peer reviews are untruthful?
Put your answer here.
Everyone in your team must visit SparkPLUS and review their peers.
When reviewing peers, tell them three things they did well and three things they can improve.
NOTE: the systems design assessment will ask students to consider the reviews provided here and in the systems analysis assessment.
Warning: If one person skips the peer review, the whole team will receive a lower grade.
Learning reflection – for students who completed this assessment as an individual
Think about the tasks you completed in this assignmentand reflect upon any knowledge you have gained from completing these tasks. Consider the UniSA Graduate Qualities.
Name two learning outcomes.
Note: although the Course Objectives on the Course Outline can be informative, please consider your personal learning experience. As you have a unique history, you will have unique learning outcomes; that is, someone who knew a lot about defining a project’s scope before starting this course cannot identify it as a learning outcome from this assignment; they will identify some other learning outcome.
Put your answer here.
Foreach of your learning outcomes, name one relevant UniSA Graduate Quality.
Example: “As noted above, my first learning outcome is _____________. This learning outcome correlates to _____________. My second learning outcome is _____________. This learning outcomes correlates to _____________.”
Put your answer here.
In your previous answer, you correlated two learning outcomes to two Graduate Qualities. Focusing on these two Graduate Qualities, and addressing each one separately, explain how this assignment’s tasks enabled you to further develop these qualities.
Put your answer here.
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