Permission systems are a common security feature in browser extensions and mobile applications to limit their access to resources outside their own process. IDEs such as Visual Studio Code, however, have no such features implemented, and therefore leave extensions with full user permissions. This thesis explores how VS Code extensions access external resources and presents a proof-of-concept tool that emulates a permission system for extensions. This is done through static analysis of extension source code using abstract syntax trees, scanning for usage of Extension API methods and Node.js dependencies. The tool is evaluated and used on 56 popular VS Code extensions to evaluate what resources are most prevalently accessed and how. The study concludes that most extensions use minimal APIs, but often rely on Node.js libraries rather than the API for external functionality. This leads to the conclusion the inclusion of Node.js dependencies and npm packages is the largest hurdle to implementing a permission system for VS Code.

The question of the existence of the right art has been solved by many theorists and artists themselves. The first half of the twentieth century was affected by the coming world wars, Nazism and socialism. The establishment of avant-garde was associated with it and new movements tried to confront such society. Along with avant-garde artistic critics appeared, those who more or less influenced artists themselves. Theories of Friedrich Nietzsche, Theodor Adorno, Jean Francois Lyotard, Clement Greenberg and Leo Steinberg are different, but are also consistent with the fundamental thing. That is the desire for a change and accuracy of art. The first two authors think that the right art was already there, but it was destroyed. Others are looking into present and future. In the shadow of modern technologies they try to find something that will be unique and original. These thoughts come to the imagination of unrepresent-able things and abstraction. Abstract Expressionism is a movement, which was originally established in the thirties in the USA. Along with it, the art center moved from Paris to New York. Abstract Expressionists were divided into two groups. One of them, artists such as Jackson Pollock and Willem de Kooning, has been called action painters. The second group, in which Barnett Newman and...

This thesis project will focus on the symbolism and artistic interpretation of how I perceive reality. This thesis project uses all artistic skills that I have acquired throughout my lifetime and combines them into one mixed digital media video. This is a mix between the two digital media formats 2D and 3D. Each animation and segment syncs with the music selected manually or technically. The process of creation for each segment and explaining which software I choose to use for each task. It also dives a little further, noting the artistic decisions and why. The symbolism used within the art piece is addressed and explained. Anything not discussed is open to personal interpretation and encourages the viewers to think individually further into the topics. The usage of this art style / art form is discussed and researched on where it can be found in usage outside of the music industry. Also, stating the popularity and accreditation this style receives from casually mass viewing. In summary, the art style of surrealism and abstract shapes in addition to the art form of mixed digital media, consumers indulge this art archetype worldwide. It can be useable within music visuals, ambient relaxation, modern art galleries, video games, and progressive advertising. Thus, making this art viable in multiple parts of the economy and creating consistent trends of revenue increasing. With the consistent growth of technology use, complimentary style to electronic music, and viable formatting for social media this art style is predicted to drastically grow in demand within the next coming years.

Denna uppsats har ett fokus på den pågående pandemin, covid-19, och experters roll i samhället. Uppsatsen bygger på två enkäter, tre opinionsundersökningar, fyra artiklar, ett tv-klipp och Stefan Löfvens tal till nationen. Studien är av kvantitativ metod, resultatet från enkäterna har bearbetats i spss och resterande resultat har fungerat som ett komplement till de resultatet som har framkommit i enkäterna. Syftet med denna uppsats är att undersöka experters roll under en kris. I studien används teorier om förtroende för experter, subjektiv och objektiv verklighet, riskperception teori och moderniseringsriskernas beroende av kunskap.     I det resultat som framkommer i uppsatsen går det att se att experter har en central roll under en kris. Experter behövs för att en risk eller en kris ska ses som just detta, de behövs också för att människor ska kunna uppfatta osynliga risker som denna typ av moderniseringsrisk är. I resultatet går det också att se att det finns ett oförändrat eller ökat förtroende för experter, det går också att utläsa i resultatet att det finns faktorer som påverkar hur människan agerar under en kris. Dessa faktorer kan vara exempelvis kön och ålder. / This essay focuses on the ongoing pandemic, covid-19, and the role of the experts in society. The essay is based on two surveys, three opinion polls, four articles, one television clip and Stefan Löfven's speech to the nation. The study is of a quantitative method, the results of the questionnaires have been processed in SPSS and the remaining results have served as a complement to the results that have emerged in the questionnaires. The purpose of this essay is to investigate the role of the experts during a crisis. The study uses theories of trust in experts, subjective and objective reality, risk perception theory and the risks of modernization to knowledge.   In the results that appear in the exam, it is possible to see that the experts have a central role during a crisis. Experts are needed for a risk or a crisis to be seen as a risk, they are also needed for people to be able to recognize an invisible risk that this type of modernization risk is. In the result it is also possible to see that there is an unchanged or increased trust in experts, it can also be seen in the result that there are factors that influence how a person acts during a crisis. These factors can be, for example, gender and age.

Bibliography: pages 232-240. / This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.

Les travaux de cette thèse s'inscrivent dans la théorie des automates et des langages formels. ils peuvent se diviser en deux parties qui donnent également deux visions différentes de manipuler les langages dans la théorie des automates. La première partie s'intéresse à la notion de dérivation des expressions qui permet de faire passer le formalisme des quotients de langages au niveau des expressions rationnelles. en particulier cette thèse étudie les termes dérivés cassés d'une expression rationnelle. ces termes dérivés cassés permettent, sous certaines circonstances, et à l'aide d'autres opérations, une réversibilité de la transformation d'un automate en une expression rationnelle. Dans la seconde partie, la théorie des automates est utilisée pour traiter des problèmes sur les systèmes de numération. les systèmes de numération représentent des nombres par des mots. il est possible d'utiliser des automates et des transducteurs afin d'être capable de 'compter' sur un langage rationnel représentant les entiers. plus précisément ces automates sont étudiés pour le cas des systèmes de numération abstraits qui associent à chaque entier un mot d'un langage rationnel, ordonné par l'ordre radiciel. dans un tel système, la fonction qui permet de calculer le mot suivant est une fonction co-séquentielle par morceaux, c'est-à-dire qu'il suffit de lire deux fois le mot d'entrée de la droite vers la gauche pour qu'une machine calcule son image. / The works in this thesis lies in the automata and formal languages theory. in the first part, the notion of derivation of rational expressions is studied. more precisely the broken derived terms of a rational expressions. Theses broken derived terms allow, under certain circumstances, with some other operations on automata, to have the reversibility of the transformation of an automaton into a rational expression. In the second part, automata and tranducers allow to 'count' on a numeration system, where integers are represented by words on a rational language. more precisely, this part adress the problem of counting in an abstract numeration systems, which maps to any word of a rational language, ordored by radix order, the integer corresponding to the order of the word. in such a numeration system, the function which computes the successor of a word is a piecewise co-sequential function: it can be realised by a machine which reads the input two times to give the output.

The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.

The following work investigates the nature of the aesthetic experience of the abstract expressionist paintings of Mark Rothko. I suggest that the aesthetic experience in relation to his paintings best is understood in terms of the sublime. To support my position, I discuss the impact of abstraction in comparison to figuration in art on our aesthetic experience. Abstraction in art, I suggest, provides the basis for an aesthetic experience where the viewer can enjoy the visual features and composition free from connecting any depicted imagery to our physical world. This, I hold, provides the basis for a unique type of aesthetic experience. Further, I suggest that the visual complexity in the abstract paintings of Mark Rothko, as well as the aesthetic appeal of his artworks, provides a sense of great magnitude and depth whilst captivating our aesthetic attention. The notion of abstraction allows our minds to never reach a final conclusion as to what type of object we are perceiving. The artistically refined manner in which the artworks are presented captivates our aesthetic attention, allowing us to fully perceptually engage in the limitless sense of depth and visual complexity of his paintings. This, I suggest, provides an encounter in which we through means of perception encounter the idea of a complete form of which magnitude we can never fully comprehend. I argue that this suggests that the aesthetic experience of the abstract expressionist paintings of Mark Rothko best is understood as that of the sublime.

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The emphasis of this work ls on the common theme found in the three recent works of Stuart Hampshire (Morality and Conflict), Alasdair Macintyre (After Virtue) and Michael Walzer (Spheres of Justice). I call this theme "moral conservatism". While I believe that the "moral conservatives" are correct in their attempt to establish morality within society rather than in abstraction, their method of generating moral rules through social discourse seems to conflict with their own belief in certain vague notions of justice and equality. on close examination the method of the moral conservatives appears to be hermeneutic in that it involves the re-establishment of appeals to tradition and authority within the context of discourse. Given this hermeneutic element I have found that Habermas 's critique of hermeneutics can also be applied to their methodology. The result is a solution to the initial conflict. Habermas's analysis of universal pragmatics and the ideal speech situation provide a means of introducing constraints on the outcome of social discourse about norms. These constraints, because they are inherent in all social discourse, are universal. Nevertheless, they are not abstract in that they do not derive from an appeal to pure reason; rather, they are inherent in social discourse itself. This modification of the moral conservatives' approach indicates the possibility of combining the concreteness of historical relativism with a universal element usually found in a historical and indeed antihistorical ethical theories. / Thesis / Master of Arts (MA)