This thesis investigates the use of virtual avatar heads to enhance local video see-through collaboration in a mixed reality environment. When users engage with each other using a head-mounted display, the device sits atop their head and obstructs their view, concealing their gaze and facial expressions while collaborating. This makes communication harder by removing non-verbal hints. The proposed solution aims to restore them by rendering virtual avatar heads on top of users heads. The study examines the impact of different avatar styles, including the potential effects of the uncanny valley, as well as the use of lip syncing versus facial tracking to animate avatar mouths. An application was developed using Unity3D to implement this solution, allowing two users to collaborate in a mixed reality environment with avatars on their heads. An experiment was conducted with 56 participants, where users collaborated in two tasks: the twenty question game and a collaborative object placement task. A between-subject design was used to compare with and without avatars, avatar rendering type and avatar lip animation. During the experiment, social presence, user experience and performance were measured through questionnaires (Networked Minds of social presence, NASA TLX and User Experience Questionnaire) and eye gaze data. The study found that although there was not always a strong difference between no avatar and avatars, the use of cartoon avatars with lip syncing was the most favorable option, enhancing the user’s comfort and facilitating interpretation of their partner’s emotions and feelings, as well as receiving more attention from them, which could be due to the Uncanny Valley. However, no evidence of performance improvement was found. The findings of this study have important implications for the design of collaborative mixed reality environments, highlighting the potential benefits of using virtual avatars to enhance communication and social presence. The study also underscores the importance of avatar style and facial animation as well as the potential impact of the uncanny valley on user experience. / Denna avhandling undersöker användningen av virtuella avatarhuvuden för att förbättra lokalt samarbete med genomskinlig video i en mixed reality-miljö. När användare interagerar med varandra med hjälp av en huvudmonterad display sitter enheten ovanpå huvudet och skymmer sikten, döljer blicken och ansiktsuttrycken medan de samarbetar. Detta försvårar kommunikationen genom att ta bort icke-verbala ledtrådar. Den föreslagna lösningen syftar till att återställa dem genom att rendera virtuella avatarhuvuden ovanpå användarnas huvuden. Studien undersöker effekterna av olika avatarstilar, inklusive de potentiella effekterna av uncanny valley, samt användningen av läppsynkronisering kontra ansiktsspårning för att animera avatarernas munnar. En applikation utvecklades med Unity3D för att implementera denna lösning, så att två användare kan samarbeta i en mixed reality-miljö med avatarer på sina huvuden. Ett experiment genomfördes med 56 deltagare, där användarna samarbetade i två uppgifter: spelet med tjugo frågor och en samarbetsuppgift för objektplacering. En mellanobjektsdesign användes för att jämföra med och utan avatarer, avatarens renderingstyp och avatarens läppanimering. Under experimentet mättes social närvaro, användarupplevelse och prestanda med hjälp av frågeformulär (Networked Minds of social presence, NASA TLX och User Experience Questionnaire) och ögonstyrningsdata. Studien visade att även om det inte alltid fanns en stark skillnad mellan ingen avatar och avatarer, var användningen av tecknade avatarer med läppsynkronisering det mest fördelaktiga alternativet, vilket förbättrade användarens komfort och underlättade tolkningen av deras partners känslor och sinnestämming, samt fick mer uppmärksamhet från dem, vilket kan bero på Uncanny Valley. Det fanns dock inga bevis för att prestandan förbättrades. Resultaten av denna studie har viktiga konsekvenser för utformningen av kollaborativa mixed reality-miljöer och belyser de potentiella fördelarna med att använda virtuella avatarer för att förbättra kommunikationen och den sociala närvaron. Studien understryker också vikten av avatarstil och ansiktsanimering samt den potentiella inverkan av uncanny valley på användarupplevelsen.

When having travelled one returns to, or revisits, a place. Unaware of the personal transformation that has occurred, one realizes the change when confronted with familiar things. In a desire to understand what objects and places mean to people, the project An actual house looks at three objects from a childhood home: a staircase, a window and a curtain and their relation to memory and autonomic consciousness. It reflects upon the importance of memory and imagination in art, architecture, and design - memory as well as imagination as a tool to create a different future. This art-practice-based work uses a hybrid form method. Exploring phenomenology trough writing, creating objects from memory and conveying the work to a perceptible form in a curated exhibition. It wants to contribute to a discussion on the relation between humans, objects and places in time.

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

This essay deals with recurring grotesque motifs in Mikael Niemi’s novels Kyrkdjävulen, Populärmusik från Vittula (Popular Music from Vittula), Fallvatten and Koka björn (To Cook a Bear). It aims to widen the academic understanding of Niemi’s works by focusing on their aesthetics in relation to previous studies, which have mostly been concerned with placing Niemi in a context of Tornedalian minority literature. With the grotesque defined as monstrous and boundary breaking imagery that challenges common rational, ideological or moral world views, this study shows that these motifs can both strengthen, nuance and undermine postcolonial interpretations of the novels.Through Mikhail Bakhtin’s theory of the grotesque, emphasis is placed on the subversive and utopian aspects of the grotesque motifs. With the use of Sigmund Freud’s term the uncanny (das unheimliche) and Julia Kristeva’s term the abject, psychological and emotional aspects of the selected motifs are drawn to the surface. And, by turning to Sara Ahmed’s thoughts on emotions and performativity, the function of disgust in said motifs is examined. The grotesque motifs in question are: the degradation of the mouth, the lower animals, the boy with the knife, the witch mother, and the androgyne. The first part of the analysis shows that in Niemi’sworks the mouth is associated with storytelling, power, agency and the subject’s ability to both knowand express himself, but also to take the world into himself and be changed by it. The mouth is often degraded, which in a carnivalesque manner results in a linguistic revival. The second part of the analysis argues that lower animals, such as rats, reptiles and bat-like devil spawn, are symbols of the abject – that which man must cast out in order to exist. The motifs of the rats and devils are associated with themes of language, identity and writing, but also allude to a threatening feminine principle. In the third part of the analysis, the motifs of the boy with the knife, the witch mother and the androgyne are found to be juxtaposed to and interwoven with each other in narratives concerning gender, sexuality and coming of age. The results of the study show that Mikael Niemi utilizes grotesque aesthetics to give shape toprocesses of growth and change, captivity and liberation, and a complicated sense of identity that eludes clear and rational definitions. The grotesque in these novels is not purely utopian in a Bakhtinian sense, but more emotionally ambivalent. A determining factor to whether the grotesque image brings true renewal or only a repetition of past pain is the will and choice of the individual. Thus, Mikael Niemi’s novels speak not so much of the power of a minority identity, as of the power and potential of the individual to reinvigorate that identity. They form an individualized, existential project in a Tornedalian context.