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24 September 2025 dans Uncategorized | von fazli
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The Agile Release Train (ART) is a fundamental concept in the Scaled Agile Framework (SAFe), a methodology used in product management and operations. The ART is a metaphor for a long-lived, self-organizing team of Agile teams, which, like a train on its tracks, moves along a predetermined path and schedule to deliver incremental value in the form of working, tested software and systems https://menrich-press.com/.
The Safe Agile Release Train operates within the Scaled Agile Framework (SAFe), which provides structured guidance on scaling agile practices across enterprises. The SAFe framework ensures that multiple agile teams work in synchronization towards a common goal.
ART promotes productivity and efficiency by enabling teams to work in a synchronized manner. With aligned goals and a shared understanding of priorities, teams can focus on delivering value, minimizing time wasted on conflicting objectives or duplicated efforts.
Agile Release Train (ART) has become a popular approach in software development. It offers numerous benefits such as enhanced team collaboration, streamlined processes, increased productivity, and improved software quality. However, adopting ART can also pose challenges, such as resistance to change and managing the transition. In this article, we will delve deeper into the concept of ART, explore its role in software development, discuss its benefits, examine the challenges faced when implementing ART, and provide best practices for a successful implementation. We will also explore the future of ART in software development and discuss emerging trends and its long-term impact on the industry.
As a product manager, it is your responsibility to not only to set the long-term strategy and vision for the team, but to also correlate that to the work the team is going to be undertaking as part of the ART team. In essence, it’s to prioritize and ensure that the team is working on the most valuable thing during the two-week sprint cycle that brings a valuable outcome for your customers and the company as a whole.
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Empire of the Sun artwork
Toshio Fukada (Japanese, 1928-2009) The Mushroom Cloud – Less than twenty minutes after the explosion (4) 1945 Tokyo Metropolitan Museum of Photography © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum
In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…
“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the war zone. It was very interesting to be taken into the war zone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremberg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”
Toshio Fukada (Japanese, 1928-2009) The Mushroom Cloud – Less than twenty minutes after the explosion (4) 1945 Tokyo Metropolitan Museum of Photography © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum
In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…
“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the war zone. It was very interesting to be taken into the war zone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremberg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”
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