A Stationless Bikeshare Proof of Concept for College Campuses

Bikeshares promote healthy lifestyles and sustainability among commuters, casual riders, and tourists. However, the central pillar of modern systems, the bike station, cannot be easily integrated into a compact college campus. Fixed stations lack the flexibility to meet the needs of college students who make quick, short-distance trips. Additionally, the necessary cost of implementing and maintaining each station prohibits increasing the number of stations for user convenience. Therefore, the team developed a stationless bikeshare based on a smartlock permanently attached to bicycles in the system. The smartlock system design incorporates several innovative approaches to provide usability, security, and reliability that overcome the limitations of a station centered design. A focus group discussion allowed the team to receive feedback on the early lock, system, and website designs, identify improvements and craft a pleasant user experience. The team designed a unique, two-step lock system that is intuitive to operate while mitigating user error. To ensure security, user access is limited through near field ii communications (NFC) technology connected to a mechatronic release system. The said system relied on a NFC module and a servo working through an Arduino microcontroller coded in the Arduino IDE. To track rentals and maintain the system, each bike is fitted with an XBee module to communicate with a scalable ZigBee mesh network. The network allows for bidirectional, real-time communication with a Meteor.js web application, which enables user and administrator functions through an intuitive user interface available on mobile and desktop. The development of an independent smartlock to replace bike stations is essential to meet the needs of the modern college student. With the goal of creating a bikeshare that better serves college students, Team BIKES has laid the framework for a system that is affordable, easily adaptable, and implementable on any university expressing an interest in bringing a bikeshare to its campus.

NEW PERSPECTIVES: TRANSCRIPTIONS FOR VIOLA

One must only glance upon Franz Zeyringer’s 400-page, exhaustive Literatur für Viola to understand the error of the familiar but casual criticism of the paucity of the viola catalogue. Examining Zeyringer’s resource, however, we find a trend: while the viola repertoire contains many pieces (over 14,000 works) and does lay claim to many masterworks (Bartok’s Viola Concerto, Hindemith’s Sonatas, Mozart’s Sinfonia Concertante, etc.), many of the pieces originally written for the instrument are not widely recognized compositions and not often considered outstanding achievements. The violist, much like the double-bassist, bassoonist, and hornist, faces a certain challenge when selecting repertoire for a recital: a lack of large, important works that both fit the instrument and challenge the recitalist. This project will aim to expand recital repertoire for the viola through the development of new transcriptions, using the previously transcribed Fantasy Pieces by Schumann (trans. Leonard Davis) and Sonata No. 2 in E-flat, Op. 120 by Brahms (trans. Brahms) as an inspiration and guide. As a result, the catalogue of viola repertoire will not only be increased but the difference in tone and depth of the instrument may unveil previously unnoticed perspectives on the works. With a primary aim to expand the literature of the viola through the development of new transcriptions, this project will also strive to offer new, previously unnoticed perspectives on preexisting works. Through the changing of the instrumentation, listeners and performers will have the opportunity to explore the character of the compositions in a fresh and possibly illuminating way. Perhaps this project will encourage previously unexplored transcriptions to be realized and performed. While the recital repertoire for the viola boasts many and great works, the original transcriptions of this project attempt to infuse the collection with new and interesting possibilities for both study and performance. This dissertation project is comprised of three recitals featuring works transcribed for viola and, in most cases, newly transcribed by myself. All events took place on the campus of University of Maryland, College Park: Recital #1 on November 9, 2014 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center; Recital #2 on May 9, 2015, in Ulrich Recital Hall; and Recital #3 on November 6, 2015, in the Gildenhorn Recital Hall. 

A Worldwide History Spanning Genocide for the Sake of Corporate Profit

A Worldwide History Spanning Genocide for the Sake of Corporate Profit is the title of a thesis consisting of four stories. Crosky’s Knife is presented first for the sake of allowing potential readers to embrace a sense of amiable audience engagement and is based on a true story of a veteran of one of the many global conflicts currently raged on behalf of freedom. The three pieces following this feint are reworked versions of stories written from the heart and delivered to machines. As it presents numerous aspects of reality that the average person may not wish to consider, doing so with shockingly casual acceptance of such horror and/or banality, the conscious reception of the duty of engagement and possible appreciation of the text is not advised. Knives, rabid dogs, severed tongues, and a downpour of malnourished Iraqi babies are components intrinsic to the direction of this thesis.