Denna undersökning är en komparativ studie som utgår från hur Fredrich Nietzsche och hans Gud är död kan ha betydelse för hur utvecklare såväl som konsument uppfattar cookies i webbläsare. Syftet är att genom Fredrich Nietzsches ögon undersöka hur cookies död påverkar webbläsare och med den kunskapen problematisera användning av cookies i webbapplikationer. Undersökningen grundar sig i frågeställningen: Hur uppfattas cookies som ett maktförfogande väsen? Genom att titta på hur cookies idag används till andra ändamål än vad grundtanken en gång var, går det att utläsa hur cookies pålitlighet idag är tveksam. Cookies som länge dominerat utveckling av applikationer på Internet framstår idag i många forum som ett hot mot integritet och säkerhet. Cookies som en gång var en symbol för trygghet och robusta applikationer står under förändring och kan inte längre fungera som meningsbärare för en hel värld av Internetanvändare. Undersökningen påvisar att det inte går att utläsa för- eller mot argument som ensamt kan tala för om vi skall ha kvar cookies eller inte. Däremot kan Gud är död fungera som ett tillvägagångssätt för att betrakta cookies som en innehavare av makt eftersom att utvecklare såväl som konsument påverkas av att dödförklara cookies. / This study is a comparative study based on how Fredrich Nietzsche and his God is dead may be significant for how developers and consumers perceive cookies in the browser. The goal of the study is that through Fredrich Nietzsche's eyes examine how cookies death affect the browser and with that knowledge problematize the use of cookies in webapplications. The study is based on the question: How are cookies perceived as a being with power at its disposal? By looking at how cookies are currently being used for purposes other than the basic idea they once had, it is possible to see how cookies reliability today is doubtful. Cookies that have long dominated the development of applications on the Internet appears today in many forums as a threat to privacy and security. Cookies that were once a symbol of security and robust applications is undergoing a change and therefore can no longer serve as a meaningful vehicle for the whole world of Internet users. The study demonstrates that no pro or con arguments can be made that alone will tell if we are to retain cookies or not. However, God is dead serve as an approach to consider cookies as a holder of power because the developers as well as consumers are affected by the death of cookies.

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.