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- All Subjects: Technology
- Creators: Arts, Media and Engineering Sch T
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
The problem we are trying to solve is that it still takes hours to search for and find unique non-touristy experiences around the world. At a time when people can use their smartphones to have a car show up to their doorstep in minutes, it is unacceptable that it still takes hours to find an non-touristy experience on the internet.
Our value proposition is that users will be able to be anywhere in the world and be able to find an authentic, non-touristy experience that interests them. iWaandr is the most complete experience discovery tool, providing the largest collection of unique and personal experiences around the world.
Our competition is the large incumbent travel and review companies like TripAdvisor and Airbnb. There are also less established competitors that see a similar gap in the market like Mapify and Cool Cousin. We also have niche competitors that are only focused on outdoor activities like AllTrails and Outbound Collective. Google and blogs would also be competitors because people search on Google for unique experiences.
Our innovation is that we are focusing on creating unique content while our competitors are focusing on new ways to display the same content. Our advantage isn’t in a feature we created because a company with more resources could easily copy it. In order to create unique and useful content, we had to figure out a way for users to intuitively and easily post an experience with as much relevant information as possible. This involved a lot of thought into our posting process. We believe our posting process allows users to consistently post unique and informative content.
The technology we are implementing is very similar to the FERN technology stack of Firebase as a database, ExpressJS and NodeJS as backend frameworks, and ReactJS as the front-end programming language. We chose this technology stack because it allows our platform to stay lean, and be efficient with data. This allows the platform to have increased performance and lower costs.
In this creative thesis project I use digital “scrolleytelling” (an interactive scroll-based storytelling) to investigate diversity & inclusion at big tech companies. I wanted to know why diversity numbers were flatlining at Facebook, Apple, Amazon, Microsoft and Google, and took a data journalism approach to explore the relationship between what corporations were saying versus what they were doing. Finally, I critiqued diversity and inclusion by giving examples of how the current way we are addressing D&I is not fixing the problem.
In the preface to On War, Clausewitz describes his work as a series of loosely connected pure nuggets of knowledge. He then states his hope that his nuggets would eventually be connected and consolidated into what he calls a “final casting without dross”. It is the goal of this work to begin that consolidation and take steps towards a final casting and a more comprehensive understanding of war, combining Clausewitz’s models with modern findings not available at the time of On War’s conception. Using Clausewitz’s combat equation as a foundation for a framework on the nature of war, this work will synthesize many of On War’s central concepts, while also expanding upon the terms and mechanics presented in Book One. It is hoped that the resulting model will combine the best of Clausewitz’s findings in a way that makes the sum of the parts greater than the whole, and allows previous findings which were isolated to a particular silo of study to be cross examined for exponential application to the study of war. This may in due time, with additional contributions, result in the ever desired revolution in military affairs and enhance the military sciences for years to come.
A friend of mine once told me that coding is like doing magic, and frankly, I am inclined to agree. With a keyboard, a development environment, and a little bit of language skill, you can build an entire world. Despite being heavily rooted in logic, math, and science, there is a certain mystery to it, a sense of illusion and wizardry. The sense of pride and power that comes from successfully finishing an app, program, or website is like no other. I recently watched the film Ex Machina (Alex Garland, 2014) for the first time, and I was struck by one of the lines. In thinking about the success of his creation and what that means for the world, he says, “I’m not a man, I’m God.” And although I wouldn’t say that is exactly how I feel when I turn in a coding assignment, I understand the sentiment. This thesis is going to be a bit different than the one I thought I was going to write. When I started this, I thought it would be about an amazing coding project I had completed. I would write about all the beautiful code and the nitty gritty of the technical aspects. But, the project that I intended to create is not the project I ended up with, and I couldn’t be happier. I finished with something a lot more meaningful, a lot more interdisciplinary, and a lot more me. In this essay and the accompanying coding project, I aim to take you on the journey of building my own piece of digital culture, an app titled “Exposed.” I begin by discussing how the motivation to create Exposed came from the desire to stop using an app made by an internet celebrity and how the values of Gen Z and their relationship with technology influenced and guided the creation of the app. Then I examine the relationship between code and the coder, and how external factors such as being a woman in technology impacts project development. Then I explain the results of the coding process and outline how Exposed turned out. Finally, I consider the meaning of digital culture and how it functions in the creation of Exposed. Along the way this project became extremely personal. I found that the deeper I dove into making the code work, the more I learned about myself and my relationship to technology. If I promise to be honest with you, will you promise to listen to what I have to say?
In this paper, I propose that taking an embodied approach to music performance can allow for better gestural control over the live sound produced and greater connection between the performer and their audience. I examine the many possibilities of live electronic manipulation of the voice such as those employed by past and current vocalists who specialize in live electronic sound manipulation and improvisation. Through extensive research and instrument design, I have sought to produce something that will benefit me in my performances as a vocalist and help me step out from the boundaries of traditional music performance. I will discuss the techniques used for the creation of my gestural instrument through the lens of my experiences as a performer using these tools. I believe that, through use of movement and gesture in the creation and control of sound, it is more than possible to step away from conventional ideas of live vocal performance and create something new and unique, especially through the inclusion of improvisation.
The paper is meant to serve as a base of reference material for future, real world, project proposals to historical organizations. A mock proposal to the Fullersburg Historic Foundation, proposing the digital mediums and methods discussed, is included at the end of the paper.
In concluding thoughts, Matt I appears to have the depth and breadth of skills needed to make impactful media. And the mediums of media have been as diverse as the subjects they cover. But upon reviewing his own review, it took someone else smarter had to tell me that though there is diversity abound in his portfolio, there is a single baseline: Keeping history alive. Every one of these mediums can be used to infuse a sense of digital energy, simulated life, back into historical artifacts and documentation. The historical characters return to live when a medium brings back the motion, the energy, of the thing it is showing. If the medium infuses this life back into the story. The results are nothing short of magic.
