Denna kandidatuppsats undersöker eventuella risker för person till person kommunikation som kan härstammar i användning av moderna tekniken och de sociala medierna. Syftet är att ta reda på vilka konsekvenser som förekommer när man överkonsumerar modern teknik och diverse sociala medier (t.ex. Facebook, Twitter, instagram och Myspace). Undersökningen kommer sedan ligga till grund för ett gestaltningsarbete där fokusen ligger på att söka en teknik som kan förbättra kommunikationen person till person genom att introducera personer inför ett problem som enbart kan lösas genom person till person kommunikation inom gruppen. / This bachelor thesis examines the potential risks of face to face communication that may occur during the use of modern technology and social media. The aim is to find out what kind of impact may occur when people over consume modern technology and various types of social media (e.g. Facebook, twitter, Instagram and Myspace). The study will then form a base for a digital game witch will focus on finding a way technology can improve communication face to face. The game will introduce the players to a problem that only can be solved by working and communicate with each other.

Eye tracking technology has made it possible to accurately and consistently track a users gaze position on a screen. The human eyes center of focus, where it can see the most detailed information, is quite small at a given moment. The peripheral vision of humans have a much lower level of details than the center of gaze. Knowing this, it is possible to display a view that increases the level of resolution at the position of the users gaze point on the screen, while the rest of the screen keeps a lower resolution. An implementation of such a system can generate a representation of data with both detail and overview. The results indicate that even with simple gaze data processing it is possible to use gaze control to help explore details of a high resolution image. Gaze data processing often involve a compromise between stability, responsiveness and latency. A low latency, highly responsive gaze data filter would increase the risk for lens oscillation, and demand a higher concentration level from the viewer then a slower filter would. Applying a gaze data filter that allowed for smooth and stable lens movement for small saccades and responsive movements for large saccades proved successfully. With the uses of gaze control the user might be able to use a gaze aware application more efficient since gaze precedes actions. Gaze control would also reduce the need for hand motions which could provide a improved work environment for people interacting with computer.

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.

Keywords Gilbert Simondon, Bernard Stiegler, Mark B. N. Hansen, philosophy, media, technology, humanism, individuation, information Abstract This text has two parallel objectives. First, to introduce the original work of french philosopher Gilbert Simondon. Second, to show its potential of his philosophy in relation to our thinking about the current media-techno- logically conditioned environment in which we live and through which we understand the world. I have two motivations for the first objective. First, the work of Gilbert Simondon is still completely unknown in Czech Repub- lic, therefore I find it necessary to offer to the reader the introduction of his work. Second, without such introduction it would be very difficult to ope- rate with his crucial concepts in the work of his contemporary interpreters whose contributions I will discuss in the second part of the text. The se- cond objective is motivated with my interest in delimitation of speculative and materialistic line of thinking based on the work of Gilbert Simondon. Such thought with its description of the world is in clear opposition with anthropocentrism. Nevertheless, it cannot be considered as a part of object oriented ontology neither. I'm not going to show the importance of Gilbert Simondon for media theory in this text. Rather, I will...

In a digital world where many people use social media and consume a lot of content online, it may have an impact on our attitudes and behaviours. This paper explores attitudes surrounding recommender systems, filter bubbles and the perceived impact of these topics. It explores the users’ personal experience of social media and their thoughts about their situation, as well as the perceived potential positives and negatives of recommender systems and how people are being affected by them today, from a perspective of having used social media for an extended period of time, possibly seeing or experiencing the change which have been brought on with a changing social media environment with implemented recommended systems affecting the online viewed content.

Syfte – Syftet med denna uppsats är att undersöka fenomenet transmedialt berättande som marknadsföringsverktyg och hur Generation Z ställer sig till marknadsföring som kommunicerar information genom flera mediekanaler i olika format. Ur ett historiskt perspektiv används transmedialt berättande inom n jesbranschen och definieras som en interaktiv berättelse som finns på flera plattformar i olika format. Från fiktiva berättelser används fenomenet både som ett världsskapande berättande till ett användbart verktyg inom marknadsföring. För denna uppsats definieras Generation Z som personer födda mellan år 1995 och 2008. Metod – Uppsatsens unders kningsmetod är tillämpad utifrån en metodtriangulering som inkluderar en kombination av en kvantitativ metod i form av en enkät, en kvalitativ metod i form av semistrukturerade intervjuer samt en litteraturs kning. Resultat och slutsats – Resultatet från enkätundersökningen visade att Generation Z  är negativt inställda till att delta i en kampanj som stäcker sig över flera medier i olika format. Detta är baserat på respondenternas medievanor som visade lågt engagemang. Resultatet från intervjuundersökningen visades ytterligare fynd som menar på att geografisk plats kan vara en bidragande faktor till målgruppens låga engagemang. Empirin från undersökningen menade även på att respondenterna och intervjuobjekten behöver ha ett personligt intresse för en produkt, tjänst, företag eller kampanj för att vilja delta eller engagera sig.  Det mest signifikanta resultatet var sociala medier som visade sig vara det mest använda mediet vilket stärker tidigare forskning. De mest använda sociala medieplattformarna var Snapchat, YouTube och TikTok. Formaten som den undersökta målgruppen ställde sig mest negativt till var marknadsföring via traditionella mediekanaler, däribland TV och tryckt material. Format som målgruppen var positivt inställda till var marknadsföring ä r via influencers samt korta reklamvideor. Resultatet visade således att det är svårt att engagera Generation Z genom platsspecifikt berättande, det vill säga att närvara fysiskt där kampanjen äger rum. Däremot visade undersökningen mottaglighet för genomarbetat samt unikt innehåll, gärna igenkänningsfaktorer såsom musik. / Purpose – This paper aims to examine the phenomenon transmedia storytelling as a marketing tool and how Generation Z responds to marketing that communicate information through several media channels in different formats. From a historical perspective, transmedia storytelling has mainly been used in the entertainment industry and is described as an interactive narrative that exists on multiple platforms in different formats. From fictional stories, the phenomenon is used both as a world-creating narrative and as a useful tool for marketing campaigns. For this paper, Generation Z is defined as people who are born between the years 1995 and 2008. Methodology – The thesis has been using the approach of a method triangulation that includes a combination of a quantitative method by a survey, a qualitative method by semi-structured interviews, and a literature search. Findings and conclusion – The findings from the quantitative survey showed that the demographic cohort Generation Z has a negative attitude about marketing in several media in different formats. This is based on the target group's media habits that showed low commitment. The results from the interviews showed further findings that suggest that geographical location may be a contributing factor to the target group's low commitment. Through the qualitative interviews, further findings were shown that the respondents and the interviewees need to have a personal interest in a product, service, company, or campaign in order to want to participate or get involved with it. The most significant result was social media, that showed to be the most used medium, which strengthens previous research. The most used social media platforms were Snapchat, YouTube, and TikTok. The format that the target group showed the least engagement was marketing through traditional media channels, including television and printed material. Additional receptive formats for marketing are through influencers and short commercials. Also, the result suggested that it is difficult to engage Generation Z using site-specific storytelling, i.e., to be physically present where the campaign takes place. On the other hand, the thesis showed receptivity to elaborate and unique content, preferably recognition factors such as music.

The modern office environment requires employees to perform stationary work. This can cause them several health issues due to being sedentary for long periods of time. An exergame was developed with the aim to remedy these issues by encouraging short motion controlled game sessions during breaks. The game was a farming game developed using the Godot game engine and the ML based skeletal tracking software Mediapipe. The game was played for 86 two-minute sessions where data was collected to evaluate how to use farming game tropes within the design for more movement to yield better results. It was also used to evaluate how the game mechanics could be distributed throughout the game session to promote sustained exertion during an average session. It was concluded that for farming exergames, if the goal is to reward players who exert themselves more, the in-game rewards should not make the game easier to play effectively as they generally do in typical farming games. Furthermore, it was also concluded that interactions happening in a sporadic order help with keeping the average exertion consistent, in addition to the aspect that players always have something to do during the allotted game session time.

Magnetic resonance imaging (MRI) is a critical diagnostic tool in medical practice, enabling non-invasive visualization of anatomy and physiological processes. Nonetheless, MRI has inherent spatial resolution limitations, which may limit its diagnostic capabilities. Recently, a new technology employing Radio-frequency Amplification by Stimulated emission of Radiation (RASER) has emerged to improve MRI resolution. Similar to a laser, RASER-MRI signals spontaneously emerge without the need for a radio frequency pulse(RF), which additionally enhances the safety of the process. However, RASER-MRI images frequently exhibit a significant presence of image artifacts due to the nonlinear behavior between image slices. This master’s thesis aims to determine whether image artifacts can be eliminated using deep artificial neural networks. The neural networks were trained on purely synthetic data, due to the complexity of real RASER experiments. The implementation was split into three phases. The first phase focused on the reconstruction of 1D RASER profiles. The test done during this phase showed that the reconstruction was preferably made with a Convolutional Neural Network (CNN). The CNN does not require knowledge of the total population inversion, and the ideal input was the most volatile RASER spectrum. The second phase was dedicated to reconstructing simulated RASER-MRI images. This phase started with the creation of a random RASER-MRI image generator which was used to generate the training and testing data. The reconstruction was successful and was further enhanced with an image-to-image Unet. The entire deep learning pipeline did not suffice for real data, which sparked the third phase. The third phase focused on simulating more realistic RASER data. The new data improved the result, however, the reconstruction did not suffice. Further research needs to be done into ways to make the simulation more realistic to improve the reconstruction of the real RASER-MRI image. However, this project concludes that simulated RASER-spectra can be reconstructed using deep learning.

Med detta kandidatarbete vill jag synliggöra datorns roll i digitalt skapande. Detta genom att se till den kod som utgör digitala objekt som ett materia, och utifrån Karen Barads teorier om agentiell realism samt forskning i digital materialitet bjuda in denna digitala materia som en aktör i skapandeprocessen. Jag har strävat efter en inblick i hur digital materia framträder när den tillåts verka som en aktör, hur den tar ett uttryck och yttrar sig. Jag har engagerat mig i digital materia med diffraktion och remix som metod, vilket tillåtit mig en djupare inblick i det samt en inkluderande process där jag och materiat verkar tillsammans; i intra-aktion. I slutändan ser jag hur digital materia inte framträder ensamt, både jag och dator finns sammantrasslade i dess framträdande som ett resultat av den intra-aktion vi mötts i. Mitt ingripande i digital materia blir synligt i form av glitches, spår av digitalt förfall som ger det annars flyktiga digitala materiat mer materiella och konkreta egenskaper. Det blir även tydligt hur digital materia innebär en svårförstådd komplexitet, som framträder visuellt när det tillåts påverka denna skapandeprocess. Men jag även erhållit en medvetenhet om hur digital materia inte har ett absolut framträdande, och mitt arbete kan ses som en undersökning i hur digital materia kan framträda. / With this bachelor thesis I aim to bring to light the role of the computer in digital creative work. This is accomplished by treating the code that make up digital objects as a form of matter, and with Karen Barad’s agential realism and other research into digital materiality as a point of reference this matter is invited to the creative process as an actor. I’ve been striving for a glimpse of how digital matter comes to life when it’s allowed an active part in the creative process, to see how it expresses itself. By engaging with the digital matter through diffraction and remix as methods I’ve been given an insight into the core of it, and through the process I’ve been working alongside digital matter in intra action. Ultimately I can see how digital matter won’t appear alone, I myself and the computer are both entangled together with the digital matter as a result of the intra actions we’ve been engaging in. My intervention in digital matter becomes visible as glitches, traces of decay that give the digital matter, which can be so fleeting, more concrete and material characteristics. The unintelligible complexity of digital matter also comes to light when it’s allowed influence, as it appears visually. With this knowledge I’ve gained the awareness that digital matter does not have an absolute appearance, and this thesis can be seen as an investigation into how digital matter can appear.

The thesis Media in Czech Fine Arts deals with the relationship between media and fine arts. The thesis aims to find, among other things, whether media can be considered a distinct theme in arts. The objective, methodology, and resources utilized are all addressed in the first chapters. A brief overview of how the topic was addressed in foreign fine arts follows; this was the main inspiration for the pursuit of this work. The main part consists of a selection of works of art where the topic of media appears and where the author of the work was a Czech fine artist. The thesis focuses mainly on painting, drawings, graphic arts and sculpture. The artworks are sorted into several subheads, primarily by the topic they portray, then chronologically. Each thematic unit makes a connection between history and theory of media, and the history of art.