Matching Items (6)
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- Genre: Case studies
- Genre: Art music
- Creators: Arizona State University
Description
Informal public transport is commonplace in the developing world, but the service exists in the United States as well, and is understudied. Often called "dollar vans", New York's commuter vans serve approximately 120,000 people every day (King and Goldwyn, 2014). While this is a tiny fraction of the New York transit rider population, it is comparable to the total number of commuters who ride transit in smaller cities such as Minneapolis/St Paul and Phoenix. The first part of this study reports on the use of commuter vans in Eastern Queens based on a combination of surveys and a ridership tally, all conducted in summer 2016. It answers four research questions: How many people ride the vans? Who rides the commuter vans? Why do they ride commuter vans? Do commuter vans complement or compete against formal transit? Commuter van ridership in Eastern Queens was approximately 55,000 with a high percentage of female ridership. Time and cost savings were the main factors influencing commuter van ridership. Possession of a MetroCard was shown to negatively affect the frequency of commuter van ridership. The results show evidence of commuter vans playing both a competing and complementary role to MTA bus and subway transit. The second part of this study presents a SWOT analysis results of commuter vans, and the policy implications. It answers 2 research questions: What are the main strengths, weaknesses, opportunities and threats of commuter vans in Eastern Queens? and How do the current policies, rules and regulations affect commuter van operation? The SWOT analysis results show that the commuter van industry is resilient, performs a necessary service, and, with small adjustments that will help reduce operating costs and loss of profits have a chance of thriving in Eastern Queens and the rest of New York City. The study also discusses the mismatch between policy and practice offering recommendations for improvement to ensure that commuter vans continue to serve residents of New York City.
ContributorsMusili, Catherine (Author) / Salon, Deborah (Thesis advisor) / King, David (Committee member) / Kelley, Jason (Committee member) / Arizona State University (Publisher)
Created2017
Description
Bicycle sharing systems (BSS) operate on five continents, and they change quickly with technological innovations. The newest “dockless” systems eliminate both docks and stations, and have become popular in China since their launch in 2016. The rapid increase in dockless system use has exposed its drawbacks. Without the order imposed by docks and stations, bike parking has become problematic. In the areas of densest use, the central business districts of large cities, dockless systems have resulted in chaotic piling of bikes and need for frequent rebalancing of bikes to other locations. In low-density zones, on the other hand, it may be difficult for customers to find a bike, and bikes may go unused for long periods. Using big data from the Mobike BSS in Beijing, I analyzed the relationship between building density and the efficiency of dockless BSS. Density is negatively correlated with bicycle idle time, and positively correlated with rebalancing. Understanding the effects of density on BSS efficiency can help BSS operators and municipalities improve the operating efficiency of BSS, increase regional cycling volume, and solve the bicycle rebalancing problem in dockless systems. It can also be useful to cities considering what kind of BSS to adopt.
ContributorsCui, Wencong (Author) / Kuby, Michael (Thesis advisor) / Salon, Deborah (Committee member) / Thigpen, Calvin (Committee member) / Arizona State University (Publisher)
Created2018
Description
ABSTRACT
This research reveals how governments cut budgets during fiscal crises and what pattern may emerge based on the cuts. It addresses a significant gap in literature by looking into the details of an agency for a full recession period to explain how cutback requirements were met. Through investigating a large Arizona state agency during the 2008 recession in the United States, the research reveals that cutback management is a stage-by-stage process lagging the immediate deterioration of the state’s economy and that patterns found among cuts are more often rational than not.
Cutbacks in this agency proceeded through three stages: the beginning, middle and the end period of cuts. In each stage, the author used descriptive analysis, process map analysis and cause and effect analysis to explore the features of cuts made. These methods of analysis were used to break down an annual budget reduction into original appropriation budget cuts, mid year reductions and the final budget cuts required to end the fiscal year in balance. In addition, the analytical methods permitted more detailed analysis of specific appropriation line items. The information used was secondary data collected from seven fiscal years around the recession and from various sources, including budgetary materials, legislation, accounting materials and many program reports related to budget cuts.
The findings suggested that across-the-board cuts are implemented at the beginning of cutback stage mainly to non-mandatory programs without jeopardizing the core functions of the agency. Later, in the middle period of the recession, selective cuts are made on large programs. Fund transfers and excess balance transfers are also preferred to reduce the budgets of other restricted funds. At the end stage of budget cuts, new revenue sources are established to support programs which had relied on general fund revenues in the past.
Overall, the cutback process observed in this research reflects decremental and rational patterns of decision making, contrasting with the randomness observed in previous research on cutback management. Across the board cuts are decremental; the remainders are rational, even strategic decisions. This investigation reminds researchers to be aware of the context and the level of observation when analyzing cutbacks.
This research reveals how governments cut budgets during fiscal crises and what pattern may emerge based on the cuts. It addresses a significant gap in literature by looking into the details of an agency for a full recession period to explain how cutback requirements were met. Through investigating a large Arizona state agency during the 2008 recession in the United States, the research reveals that cutback management is a stage-by-stage process lagging the immediate deterioration of the state’s economy and that patterns found among cuts are more often rational than not.
Cutbacks in this agency proceeded through three stages: the beginning, middle and the end period of cuts. In each stage, the author used descriptive analysis, process map analysis and cause and effect analysis to explore the features of cuts made. These methods of analysis were used to break down an annual budget reduction into original appropriation budget cuts, mid year reductions and the final budget cuts required to end the fiscal year in balance. In addition, the analytical methods permitted more detailed analysis of specific appropriation line items. The information used was secondary data collected from seven fiscal years around the recession and from various sources, including budgetary materials, legislation, accounting materials and many program reports related to budget cuts.
The findings suggested that across-the-board cuts are implemented at the beginning of cutback stage mainly to non-mandatory programs without jeopardizing the core functions of the agency. Later, in the middle period of the recession, selective cuts are made on large programs. Fund transfers and excess balance transfers are also preferred to reduce the budgets of other restricted funds. At the end stage of budget cuts, new revenue sources are established to support programs which had relied on general fund revenues in the past.
Overall, the cutback process observed in this research reflects decremental and rational patterns of decision making, contrasting with the randomness observed in previous research on cutback management. Across the board cuts are decremental; the remainders are rational, even strategic decisions. This investigation reminds researchers to be aware of the context and the level of observation when analyzing cutbacks.
ContributorsLiu, Xiaoqing (Author) / Miller, Gerald J (Thesis advisor) / Eden, Catherine R (Committee member) / Cayer, N Joseph (Committee member) / Lan, Zhiyong (Committee member) / Arizona State University (Publisher)
Created2018
Description
Advancements in marine and aerospace technology drive legal reform in admiralty and air law. The increased accessibility and affordability of these technologies demand and motivate lawmakers and federal agencies to anticipate potential threats to peoples’ rights and resources in the seas and skies. Given the recent applications of unmanned aircraft in the public and private sectors, developments in aircraft and air law are rapidly becoming more relevant to American Indian and Alaska Native tribes. In anticipation of legal reform, tribal nations are taking steps to assert, expand, and secure their air rights before agencies or the courts attempt to divest their sovereign authority. An analysis of two case studies through a lens of water and federal Indian law locates spaces in American jurisprudence that have the legal foundation and structural capacity to support a greater presence of Indigeneity in airspace. Research findings from these studies answer the following inquiries about tribal airspace sovereignty: where does Indigeneity reside in the US national airspace system and domestic air law, how are tribal air rights strengthened or weakened by American jurisprudence, what strategies do tribes employ to exercise their sovereignty in airspace, and how are tribes planning for future developments in aircraft and air law? Answers lead to proof of how meaningful consultation through collaborative rulemaking produces far greater mutual benefits than burdens for federal agencies and tribes, and much more. Most importantly, these discoveries celebrate a diverse and accumulative strategic legacy of strengthening and expanding tribal sovereignty in the face of imminent threats and possibilities in tribal airspace.
ContributorsKnight, Shelly Lynn (Author) / Vicenti Carpio, Myla (Thesis advisor) / Martinez, David (Committee member) / Riding In, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016
Description
Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.
ContributorsVillalta, Kevin (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2016