BACKGROUND—Over 25,000 UBC students over the age of 18 have a Facebook account. The Digital Tattoo Project’s goal is to help these and other students become aware of their rights and responsibilities as creators and consumers of digital information in their personal, academic and professional lives. PRESENTATION—This Digital Tattoo presentation was one of several presentations delivered at the Canadian e-Learning Conference Program 2009 held on June 17-19, 2009 at the University of British Columbia. For more information, please visit the Canadian e-Learning Conference Program 2009 website at: http://celc.sites.olt.ubc.ca/.

I will write about product placement in film from a Swedish point of view. This entails writing about Swedish films with different types of product placements, not only how they are done but also discuss how they succeed from a sales perspective. In my earlier work I have written about the product placement of watches. In this thesis I focus on the film series about the Swedish agent Carl Hamilton, since here you can see how Swedish film has developed during the past 30 years with regard to product placements. Both world politics and the concrete placements are illustrated in a clear way. In such an international context it is also of value to compare recent Hollywood remakes of a Swedish film, in this case Män som hatar kvinnor that was turned into The Girl with the Dragon Tattoo. Both are based on the same book by the Swedish author Stieg Larsson, Män som hatar kvinnor.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa “Entre Peles: memorial de um processo de criação em arte” está ancorada na linha de pesquisa Prática e Processos em Artes, especificamente no campo das Poéticas da Imagem. Trata-se de um conjunto de ações experimentais em interconexão entre linguagens artísticas. O desenho, a tatuagem, a fotografia, a gravura, a performance e a criação do objeto artístico perpassam a pesquisa artística, caracterizando o perfil híbrido da mesma. O texto dissertativo apresenta as relações da prática com as referências teóricas e com a arte contemporânea, e descreve o processo de criação desde as primeiras intenções na busca de subverter e reinventar a prática da tatuagem até as relações que se colocam entre arte e cotidiano. Estão apresentadas também as reproduções das imagens que são o resultado da pesquisa e os documentos da exposição dos trabalhos conclusivos da pesquisa. / The research "Between Skins: memorial of a process of creating art" is anchored in the search line Practice and Processes in Art, specifically in the field of Poetic Image. It is a set of experimental actions in interconnection between artistic languages. The design, tattoo, photography, printmaking, performance and the creation of the artistic object permeate the artistic research, featuring the hybrid profile of the same. The argumentative text presents the practical relations with the theoretical references with contemporary art and describes the process of creation from the first intentions in seeking to subvert and reinvent the practice of tattooing to the relationships that arise between art and everyday life. Also presented reproductions of images that are the result of research and documents the exhibition of works of conclusive research. / Dissertação (Mestrado)

The theses named Subculture of a tattoo, Content analysis of a magazine Inked is primary focused on the nowadays phenomenon of a tattoo, there then the whole development of this social subculture. The aim of this thesis is to sum up and analyse the term of subculture, to see in detail the historical beginnings and development of tattooing, to describe functions, motivations and the reasons of an actual act of a tattoo. The main focus will be set on the American lifestyle magazine Inked. I will try to analyse this printed media, which targets on the tattoo subculture, culture itself, style and art. This thesis will characterise the magazine and will basically follow the Inked in two year time period. Which are the years 2009 and 2010, my interest is focused in this theme agenda and its development during this period of time. The researching method will then be a quantitative content analysis. Key words: Tattoo, tattouage, subculture, history, phenomenon, skin, motif, colour, development, function, analysis, research, Inked, magazine.

This work deals with the phenomenon of tattoo in hardcore subculture. In the theoretical part it reflects the transformation of the concept of subcultures in his historical progress, with an emphasis on the concept of style in the connection of the Center of contemporary culture Studies and post subcultural theory, especially the writing of David Muggleton. The diachronic perspective, this work also deals with the phenomenon of tattoo and its functions and meanings to it in today's society ascribed. An integral part of the theoretical part is to describe hardcore only in terms of its progress in the USA and in Czechoslovakia or Czech Republic, but also in terms of the side of music and shared ideology, which is the main key featuring to this subculture. Concepts described in the theoretical part are then used in actual research, which is conducted by using qualitative methodology. Exploration aims to describe the meanings and functions of the hardcore subculture and determine whether they are content and motivation ascribed to tattoo influenced subcultural ideologies, or whether it is primarily an expression of the contemporary individualistic discourse. In this work tattooing is examined in terms of its individual nature with regard to the subcultural, or wider, societal context, which together...

As permanent tattoos are becoming more popular and common, an increased number of allergic reactions to tattoos is reported. The purpose of this project was to analyze tattoo inks for hazardous substances, and whether they comply to current Swedish and European legislative requirements. The tattoo inks were qualitatively analyzed for pigments, and quantitatively analyzed for metals. A total of 73 tattoo inks were collected from various sources such as a tattoo ink supplier, online retailers, and provided directly from tattoo artists. The labels of each tattoo ink bottle were inspected to investigate their compliance with the Council of Europe and the Swedish Medical Products Agency. Matrix assisted laser desorption/ionization time of flight mass spectrometry (MALDI-ToF-MS) was used to qualitatively analyze 20 selected tattoo inks for different pigments. Inductively coupled plasma mass spectrometry (ICP-MS) was used to quantitatively analyze trace metals in 70 of the samples. A large majority (90%) of the tested samples violated the requirements and criteria in the European resolution ResAP 2008(1), such as information on name and address of the manufacturer, minimum date of durability, sterility, batch number, and storage. Patch and allergy testing were incorrectly recommended for many samples in a way that is not accepted by dermatologists. In a worst-case scenario, this testing could be a sensitizing step. Also, it can not prevent future allergic reactions from occurring or provide any juridical insurance. Only one brand, World Famous, fulfilled the requirements for labeling for six of the seven samples (one sample failed due to a faulty declared pigment). The brands Tang Dragon and Dynamic did not fulfill any of the requirements listed in ResAP 2008(1). The list of ingredients was incorrect for all samples from Tang Dragon (bought prior to 2019 online). Also, six of the other 50 samples from different brands (World Famous, Intenze, Fusion Tattoo Ink, Eternal Ink, Solid Ink) declared at least one pigment incorrectly in their ingredients list. 25% of the declared and theoretically detectable pigments were detected by means of MALDI-ToF-MS, whereas the other pigments were either absent or below the limit of detection. Future analyses should include an MS/MS analysis. Polyethylene glycol (PEG) was identified qualatively in 15 of the 20 samples analyzed with MALDI-ToF-MS but was not listed in any of the ingredients lists. ICP-QQQ-MS is a very sensitive technique and could both detect and verify the presence of all metal-containing pigments, as well as the level of impurities. Copper was clearly more present in green and blue colors, regardless of the brand. The metal content was evidently dependent on the brand for arsenic, aluminum, bismuth, chromium, nickel, zinc, and strontium. Elevated levels of barium and strontium (partially very high levels: up to 727 mg/kg barium and up to 8.06 g/kg strontium) were found in several samples. High amounts of aluminum (4 to 11,0 g/kg) and titanium (as judged from white precipitates and ingredients lists) were present in most samples. Nickel (0.1 to 41 mg/kg) and chromium (0.1 to 139 mg/kg) were also present in the samples. Some other impurities were also present (arsenic – 3.8 mg/kg, mercury – 1.6 mg/kg, and lead – 5.4 mg/kg for one sample, respectively). Known sensitizing pigments were declared and partially confirmed by MALDI-ToF-MS in 17 of 53 samples of the brands Radiant Colour, Eternal Ink, Fusion Tattoo Ink, and Kuro Sumi. Four samples (from Intenze, Eternal Ink, and Kuro Sumi) also declared pigments listed as non-suitable substance according to the European Commission regulation on cosmetic products from 2009.

This thesis investigates the phenomenon of the contemporary ‘Medusa tattoo’ that gained traction on the social media platform TikTok in 2019 as a symbol of sexual assault survival, and which has since come to function as an instrument for digital feminist activism. The study aspires to provide a new, previously unexplored link to the long chain of academic research on the figure of Medusa by looking at the emergence, function, and potential of the Medusa tattoo. It makes use of multimodal discourse analysis followed by the application of a select number of theoretical frameworks by Hans Belting, Michael Baxandall, Roland Barthes, and Hélène Cixous. It is observed that historical representations of Medusa tend to draw upon her dualistic, transformative nature of beauty-monster, threat-victim, and powerful-powerless, in accordance with dominant thoughts and ideologies. The contemporary Medusa tattoo is identified as being comprised of a tripartite structure with three carrier mediums: the tattooed body, tattoo designs, and TikTok videos found under the hashtag #medusatattoo, all capable of acting both independently and intermediary. This form is a result of a decades-long process of thought influenced by various appearing and re-appearing factors, conditions, and agents. The thesis further identifies the ways that the Medusa tattoo functions as myth in accordance with the writings of Roland Barthes, its meaning becoming fixed through acts of repetition on social media. Lastly, it is concluded that while tattoos can act in accordance with Hélène Cixous’ concept of écriture féminine, the contemporary Medusa tattoo cannot, due to its iconography demonstrating postfeminist attitudes towards beauty and femininity that enforce instead of challenge patriarchal structures. However, it is noted that it retains its potential as a symbol of strength and healing on the individual wearer. / Denna uppsats undersöker fenomenet av den samtida ‘Medusatatueringen’ som 2019 uppmärksammades på den sociala mediaplattformen TikTok som en symbol för överlevnad av sexuella övergrepp och vilken därefter har fungerat som ett verktyg för digital feministisk aktivism. Studien strävar efter att bidra med en ny, tidigare outforskad länk till den långa kedjan av akademisk forskning om Medusa vilket sker genom analyserandet av Medusatatueringens uppkomst, funktion och potential. Undersökningen använder sig av multimodal diskursanalys som följs av tillämpningen av ett utvalt antal teoretiska ramverk av Hans Belting, Michael Baxandall, Roland Barthes och Hélène Cixous. Det observeras att historiska representationer av Medusa tenderar att spegla hennes dualistiska, transformativa natur av skönhet-monster, hot-offer och kraftull-maktlös i enlighet med dominanta tankeföreställningar och ideologier. Den samtida Medusatatueringen omfattar en tredelad struktur med bärare som kan agera både självständigt och som mellanhänder: den tatuerade kroppen, tatueringsdesigner och TikTok-videor under hashtaggen #medusatattoo. Formen är ett result av en decennier lång tankeprocess som påverkats av ett flertal nya samt återkommande faktorer, villkor och agenter. Uppsatsen identifierar vidare hur Medusatatueringen fungerar som myt i enlighet med Roland Barthes, då dess innebörd fastställs och naturaliseras genom repetitiva handlingar på sociala medier. Slutligen dras slutsatsen att trots att tatueringar kan agera i enlighet med Hélène Cixous koncept écriture féminine så besitter inte den samtida Medusatatueringen samma förmåga då dess ikonografi reflekterar postfeministiska attityder till skönhet och femininitet vilka upprätthåller snarare än utmanar patriarkala strukturer. Det noteras dock att den bibehåller potentialen att agera styrkande och helande på individen.

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Cette recherche propose une réflexion sur la pertinence d’un « art –action » actuel, à partir d’une analyse d’actes pour l’art, caractérisés comme « hors limites », à travers une utilisation de la présence physique comme essence et support de l’art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l’Actionnisme Viennois, ou l’Art Corporel.Nous étudions ici, aidés d’artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d’actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s’il y a lieu, aujourd’hui, de parler encore d’actes artistiques politiques, militants, après l’âge d’or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement « héros, sujet, matériau, objet, victime, écran » de cet art-action transgressif. Notre volonté est de saisir l’ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l’authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d’identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l’histoire de « l’art pour l’art », concept porté par la modernité.Ce « hacking » du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l’ultime recours, sauvé par ces modifications douloureuses et radicales ? / This research proposes a reflection on the relevance of a "art -action" current, based on an analysis of the acts for the art, characterized as "off limits", through a use of the physical presence, such as origin and support of the visual art, begun in the 1920s by Marcel Duchamp, and declined throughout the twentieth century with artistic groups as Dada, the Happening, the Viennese Actionnism, or the Body Art.We study here, through artists performers selected around the singular practices of Albrecht Becker, Ron Athey and Lukas Zpira, the possible limits of artistic acts, staging in extreme way, through performances considered shocking, aggressive, including piercings, tattoos, daring an art of faintness sometimes, being played of conventions, the taboos and the social-cultural codes in place. Thus we see whether it is necessary, today, to still speak about artistic acts political, militant, after the golden age of the Seventies, through a choice among many new esthetics of the human body, successively “hero, subject, material, object, victim, screen” of this transgressive acting-art. Our will is to understand the ambiguity contained in the representation, and all the shown symbolic system, compared to a first intention which is disintegration both thematic and formal in the plastic arts. The discussion is thus about the authenticity and the survival of these artistic extremists and transgressive practices, treating the concept of identity or even the genetics, the discussion being also about their avant-gardist position in the history of “the art for art” brought by the modernity, position to be reconsidered in a society called post-modern.Do this “body- hacking” bring us then towards a future virtual human being, a single existence in the digital universes? Is the body lost or, paradoxically the ultimate recourse, saved by these painful and radical modifications?