Yes / Purpose: To demonstrate methods that enable visual field sensitivities to be compared with normative data without restriction to a fixed test pattern. Methods: Healthy participants (n = 60, age 19–50) undertook microperimetry (MAIA-2) using 237 spatially dense locations up to 13° eccentricity. Surfaces were fit to the mean, variance, and 5th percentile sensitivities. Goodness-of-fit was assessed by refitting the surfaces 1000 times to the dataset and comparing estimated and measured sensitivities at 50 randomly excluded locations. A leave-one-out method was used to compare individual data with the 5th percentile surface. We also considered cases with unknown fovea location by adding error sampled from the distribution of relative fovea–optic disc positions to the test locations and comparing shifted data to the fixed surface. Results: Root mean square (RMS) difference between estimated and measured sensitivities were less than 0.5 dB and less than 1.0 dB for the mean and 5th percentile surfaces, respectively. Root mean square differences were greater for the variance surface, median 1.4 dB, range 0.8 to 2.7 dB. Across all participants 3.9% (interquartile range, 1.8–8.9%) of sensitivities fell beneath the 5th percentile surface, close to the expected 5%. Positional error added to the test grid altered the number of locations falling beneath the 5th percentile surface by less than 1.3% in 95% of participants. Conclusions: Spatial interpolation of normative data enables comparison of sensitivity measurements from varied visual field locations. Conventional indices and probability maps familiar from standard automated perimetry can be produced. These methods may enhance the clinical use of microperimetry, especially in cases of nonfoveal fixation.

The focus of this research paper is to analyze three Swedish travelogues and news paper reportage of Yugoslavia between the years 1950 and 1970. This is achieved through applying three theoretical concepts on the source material: Yugoslavism, Tourist gaze and Gender. The theoretical structure has aimed to understand how the sources define and write about Yugoslavia and how it relates to the concepts. With two research questions that focus on how Swedish writers saw Yugoslavia, the paper aims to build an understanding of what Yugoslavia as a tourist destination was like according to the source materials. This is achieved and the results of the paper are discussed. They include how the writers construct their own image of Yugoslavia according to the concept yugoslavism, how they don’t see the reality (tourist gaze) and how much they describe women and their role in the society (gender). These results are not accompanied with a negative undertone, which nuances the material as the writers simply were fascinated by the region. The results are analyzed and set in context with previous research and their relevance for research are discussed.

A presente tese de doutorado insere-se na área de interação pelo olhar. A interação pelo olhar é uma forma de comunicação com o computador utilizando os movimentos oculares do usuário. Pessoas com deficiência física, que não conseguem usar dispositivos convencionais como um teclado e um mouse de computador, podem se beneficiar da interação pelo olhar para se comunicarem e se inserirem na sociedade. Para isso a entrada de texto ou digitação pelo olhar é um recurso importante e assunto principal dessa tese. O instrumento mais comum para entrada de texto pelo olhar consiste de um teclado virtual onde os caracteres são selecionados por tempo de latência. Essa forma de interação, embora simples, sofre de seleções involuntárias (problema conhecido como toque de Midas) se o tempo de latência for curto (menos de 500 ms). Já para tempos de latência mais longos, a interação se torna lenta. Alternativas para entrada de texto pelo olhar são os gestos discretos ou contínuos do olhar. O uso de gestos discretos permite reduzir o toque de Midas, porém o desempenho é inferior ao tempo de latência. Já nos métodos baseados em gestos contínuos, o olhar está sempre preso ao controle da interface. Uma técnica de interação proposta recentemente, chamada de \"alternância entre contextos\", permite reduzir o efeito do toque de Midas, utilizando apenas uma sacada para cada seleção. Além disso, essa técnica permite aos usuários manterem o ritmo de interação sem ajustar nenhum parâmetro na interface. A presente tese de doutorado visa melhorar a usabilidade e experiência dos usuários na interação pelo olhar com teclados virtuais. Os objetivos específicos são: investigar a relação entre a manipulação do contraste dos estímulos visuais e o tempo de reação sacádico para facilitar os movimentos oculares e tornar a interação mais rápida e agradável; propor e investigar novas extensões e aplicações da alternância entre contextos, visando reduzir o toque de Midas e ao mesmo tempo generalizar o método para outras tarefas de navegação e seleção de objetos pelo olhar; e desenvolver novos métodos de entrada de texto pelo olhar para melhorar a velocidade de digitação dos usuários, sem incrementar a carga de trabalho e mantendo a interação simples e fácil de aprender. A avaliação dos novos métodos e modelos propostos foi feita por meio de vários estudos com usuários. Os dados coletados nos estudos, tanto quantitativos quanto qualitativos, foram analisados com métodos estatísticos utilizados na área de interação homem-computador. As contribuições originais apresentadas na presente tese são: a proposta e a avaliação do efeito gap gradiente como feedback visual para facilitar a execução de movimentos sacádicos durante a interação pelo olhar; a proposta e investigação de contextos dinâmicos como extensão da alternância entre contextos, para permitir um melhor aproveitamento da área útil do monitor com uma baixa taxa de erros de seleção, assim como de meta-keys para navegação e execução de comandos de forma geral; e a proposta e a avaliação de AugFix, um novo modelo de feedback visual que melhora a velocidade e a experiência dos usuários na entrada de texto pelo olhar, com aplicação em teclados virtuais baseados nos paradigmas do tempo de latência e a alternância entre contextos. / This PhD thesis lays in the context of gaze-based interaction. Gaze-based interfaces allows the user to control a computer using his/her eye movements. Gaze interaction is specially useful for people with physical disabilities who cannot use conventional devices (such as a keyboard and/or mouse) to communicate. Entering text by gaze (also known as eye typing) is a very important activity and the main focus of this dissertation. The most common eye typing technique uses a virtual keyboard, where the letters are selected by dwell time. Though simple, this interaction technique suffers from involuntary activations (known as the Midas\' touch problem) for short dwell times (shorter than 500 ms). On the other hand, with longer dwell times the interaction becomes slow. Alternatives to dwell time are discrete and continuous gaze gestures. The use of discrete gaze gestures reduces the Midas\' touch problem, but its performance is slower compared to dwell time. When using continuous gaze gestures, the user gaze is always controlling the interface. A recently proposed technique called \"context switching\" avoids the Midas touch problem by mapping selection to a single saccade. Furthermore, with this technique the users can keep their rhythm of interaction without adjusting any parameter of the interface. This PhD thesis aims at improving the usability and user experience in gaze interaction with virtual keyboards. The objectives are: to investigate the relationship between contrast manipulation of visual stimuli and saccadic reaction time, to facilitate eye movements and make the interaction faster and more comfortable; to propose and investigate new extensions and applications of the context switching paradigm, in order to reduce the Midas touch problem and generalize the extensions to other tasks such as browsing and selection; and to develop new methods of eye typing that can improve typing performance without increasing the user workload, while keeping the interaction simple and easy to learn. Several user studies were designed and conducted to evaluate the methods and models proposed in this thesis. The data (both quantitative and qualitative) collected in the experiments is rigorously analysed using statistical methods. The original contributions of this thesis are: the proposal and investigation of the gradient gap effect as a visual feedback to facilitate the execution of saccadic movements during gaze interaction; the proposal and investigation of two extensions to the context switching paradigm: dynamic contexts that improve the utilization of the screen space while keeping a low selection error rate, and meta-keys for browsing and executing general-purpose commands; and the proposal and evaluation of AugFix, a new method that improves eye typing speed and user experience without increasing the cognitive load, that can be used with virtual keyboards controlled by both dwell time and context switching.

Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuel. / We begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today.

The purpose of this study is to compare the contents, editorials and front covers of Sweden’s oldest girl’s magazine Veckorevyn during two different years, in which the magazine had two very different chief editors. In the year 2000, Emma Hamberg got the job as editor-in-chief for Veckorevyn, with a vision of changing the way the magazine represented young females. She wanted to add a more feminist viewpoint to the magazine, since she felt that Veckorevyn didn’t live up to its claim of being “a girl’s best friend”. Six years later, the famous Swedish fashion editor Ebba von Sydow became editor-in-chief for Veckorevyn, with the intention of making the magazine better, smarter and more fun for young girls. Her ambition was also to add more features about career and affordable fashion, since she felt that those topics were important for young women of today. Since these two editor-in-chiefs wanted to do so different things with Veckorevyn, we found it interesting to try to pinpoint what their differences and similarities as editors-in-chief were and how this was reflected in the magazines. The methods used were quantitative content analysis and qualitative text analysis, together with a comparative analysis between the two annual volumes. We also did interviews with the two former editors-in-chiefs, Emma Hamberg and Ebba von Sydow to get a clearer image of what they wanted to do with the magazine and how well they thought that they reached their goals. As guidelines for the study, we used theories about the survival techniques used by female journalists, feminism, personification, the male gaze and the female gaze. We found that the two versions of Veckorevyn were similar in which subjects they chose to write about. Both versions had a content based mostly on fashion, beauty, and celebrities. However, we found a noticeable difference in how they wrote about these subjects. Other differences were found in how the editorials were written, and in the choice of what kind of people got to appear on the front covers.

" Dwelling at the Margins" is an exegesis of the short film Boundaries. Boundaries is a journey into the world of marginalised young people in inner urban Brisbane seen through the eyes of a the female main character with an eye for gentle beauty. The film forms the first part of the research and in the exegesis the ideas unfold that were behind the making of the film and that emerged further through its production and audience reception. The exegesis discussion centres on the major aspects of the film which are visual representations, female narratives and the themes of home and dwelling. Boundaries is a political film that looks from the edges of society. The exegesis seeks to explain the ideas behind this intention.

A presente tese de doutorado insere-se na área de interação pelo olhar. A interação pelo olhar é uma forma de comunicação com o computador utilizando os movimentos oculares do usuário. Pessoas com deficiência física, que não conseguem usar dispositivos convencionais como um teclado e um mouse de computador, podem se beneficiar da interação pelo olhar para se comunicarem e se inserirem na sociedade. Para isso a entrada de texto ou digitação pelo olhar é um recurso importante e assunto principal dessa tese. O instrumento mais comum para entrada de texto pelo olhar consiste de um teclado virtual onde os caracteres são selecionados por tempo de latência. Essa forma de interação, embora simples, sofre de seleções involuntárias (problema conhecido como toque de Midas) se o tempo de latência for curto (menos de 500 ms). Já para tempos de latência mais longos, a interação se torna lenta. Alternativas para entrada de texto pelo olhar são os gestos discretos ou contínuos do olhar. O uso de gestos discretos permite reduzir o toque de Midas, porém o desempenho é inferior ao tempo de latência. Já nos métodos baseados em gestos contínuos, o olhar está sempre preso ao controle da interface. Uma técnica de interação proposta recentemente, chamada de \"alternância entre contextos\", permite reduzir o efeito do toque de Midas, utilizando apenas uma sacada para cada seleção. Além disso, essa técnica permite aos usuários manterem o ritmo de interação sem ajustar nenhum parâmetro na interface. A presente tese de doutorado visa melhorar a usabilidade e experiência dos usuários na interação pelo olhar com teclados virtuais. Os objetivos específicos são: investigar a relação entre a manipulação do contraste dos estímulos visuais e o tempo de reação sacádico para facilitar os movimentos oculares e tornar a interação mais rápida e agradável; propor e investigar novas extensões e aplicações da alternância entre contextos, visando reduzir o toque de Midas e ao mesmo tempo generalizar o método para outras tarefas de navegação e seleção de objetos pelo olhar; e desenvolver novos métodos de entrada de texto pelo olhar para melhorar a velocidade de digitação dos usuários, sem incrementar a carga de trabalho e mantendo a interação simples e fácil de aprender. A avaliação dos novos métodos e modelos propostos foi feita por meio de vários estudos com usuários. Os dados coletados nos estudos, tanto quantitativos quanto qualitativos, foram analisados com métodos estatísticos utilizados na área de interação homem-computador. As contribuições originais apresentadas na presente tese são: a proposta e a avaliação do efeito gap gradiente como feedback visual para facilitar a execução de movimentos sacádicos durante a interação pelo olhar; a proposta e investigação de contextos dinâmicos como extensão da alternância entre contextos, para permitir um melhor aproveitamento da área útil do monitor com uma baixa taxa de erros de seleção, assim como de meta-keys para navegação e execução de comandos de forma geral; e a proposta e a avaliação de AugFix, um novo modelo de feedback visual que melhora a velocidade e a experiência dos usuários na entrada de texto pelo olhar, com aplicação em teclados virtuais baseados nos paradigmas do tempo de latência e a alternância entre contextos. / This PhD thesis lays in the context of gaze-based interaction. Gaze-based interfaces allows the user to control a computer using his/her eye movements. Gaze interaction is specially useful for people with physical disabilities who cannot use conventional devices (such as a keyboard and/or mouse) to communicate. Entering text by gaze (also known as eye typing) is a very important activity and the main focus of this dissertation. The most common eye typing technique uses a virtual keyboard, where the letters are selected by dwell time. Though simple, this interaction technique suffers from involuntary activations (known as the Midas\' touch problem) for short dwell times (shorter than 500 ms). On the other hand, with longer dwell times the interaction becomes slow. Alternatives to dwell time are discrete and continuous gaze gestures. The use of discrete gaze gestures reduces the Midas\' touch problem, but its performance is slower compared to dwell time. When using continuous gaze gestures, the user gaze is always controlling the interface. A recently proposed technique called \"context switching\" avoids the Midas touch problem by mapping selection to a single saccade. Furthermore, with this technique the users can keep their rhythm of interaction without adjusting any parameter of the interface. This PhD thesis aims at improving the usability and user experience in gaze interaction with virtual keyboards. The objectives are: to investigate the relationship between contrast manipulation of visual stimuli and saccadic reaction time, to facilitate eye movements and make the interaction faster and more comfortable; to propose and investigate new extensions and applications of the context switching paradigm, in order to reduce the Midas touch problem and generalize the extensions to other tasks such as browsing and selection; and to develop new methods of eye typing that can improve typing performance without increasing the user workload, while keeping the interaction simple and easy to learn. Several user studies were designed and conducted to evaluate the methods and models proposed in this thesis. The data (both quantitative and qualitative) collected in the experiments is rigorously analysed using statistical methods. The original contributions of this thesis are: the proposal and investigation of the gradient gap effect as a visual feedback to facilitate the execution of saccadic movements during gaze interaction; the proposal and investigation of two extensions to the context switching paradigm: dynamic contexts that improve the utilization of the screen space while keeping a low selection error rate, and meta-keys for browsing and executing general-purpose commands; and the proposal and evaluation of AugFix, a new method that improves eye typing speed and user experience without increasing the cognitive load, that can be used with virtual keyboards controlled by both dwell time and context switching.

The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Bystr​öm​, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as ​Vogue, Harper's Bazaar, i-D, Dazed, and ​Vice​. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.

In everyday communication, humans utilise eye gaze due to its importance as a communication tool. As technology evolves, social robots are expected to become more adopted in society and, since they interact with humans, they should similarly use eye gaze to elevate the level of the interaction and increase humans’ perception of them. Previous studies have shown that robots possessing human-like gaze behaviour increase the interactants’ task performance and their perception of the robot. However, social robots must also be able to behave and respond appropriately when humans act inappropriately, and failure in doing so may normalize bad behaviour even towards other humans. Additionally, with the recent progress of wearable eyetracking technology, there is interest to see how this technology can be used to help generate human gaze into a robot. This thesis work investigates how the eye gaze behaviour from a human being can be modeled into the robot Furhat to behave more human-like in a confrontational scenario. It further investigates how a robot possessing the developed human-like gaze model compares to a robot using a believable heuristic gaze model. We created a pipeline which concerned selecting scenarios, conducting roleplays between actors of these scenarios to collect gaze, extracting and processing that gaze data and extracting probability distributions that the human-like model would utilise. Our model used frequencies to determine where to gaze and head rotation, while gamma distributions were used to sample gaze length. We then executed an online video study with the two robot conditions where participants rated either robot by filling out a questionnaire. The results show that while no statistical difference could be found, the human-like condition scored higher on the measures anthropomorphism/human-likeness and composure, whereas the heuristic condition rated higher on expertise and extroversion. As such, the human-like model did not yield a significant benefit on robot perception to opt for it. Still, we suggest that the pipeline used in this thesis work may help HRI researchers to perform gaze studies and possibly build a foundation for further development. / I vardaglig kommunikation använder människor sig av blickar på grund av dess betydelse som kommunikationsverktyg. Då teknologi ständigt utvecklas förväntas det att sociala robotar kommer att bli mer involverade i samhället, och eftersom de integrerar med människor så bör de på samma sätt använda sig av blickar och ögonrörelser för att höja nivån på interaktionen och därmed förbättra människors uppfattning av dem. Tidigare studier har visat att robotar som använder sig av blickar likt människor kan förbättra deltagarnas utförande av uppgifter samt deras uppfattning av roboten. Sociala robotar måste dock även kunna agera och svara på ett lämpligt sätt när människor beter sig olämpligt, och gör dem inte det finns risken att det olämpliga beteendet normaliseras, även i interaktioner med andra människor. Med de senaste framstegen av portabla eye-tracking enheter finns det därför ett intresse att se hur denna teknologi kan användas för att generera människolikt blickbeteende som sedan används i en robot. Denna studie undersöker hur en människas sätt att blicka och titta kan modelleras i roboten Furhat för att bete sig mer människolikt i ett scenario där konfrontation behövs. Studien undersöker dessutom hur en robot som bär ett människolikt blickbeteende jämför sig med en robot som bär ett trovärdigt heuristiskt blickbeteende. Vi skapade en struktur som involverade att välja scenarion, utföra rollspel mellan skådespelare i dessa scenarier för att samla data om deras blickmönster, extrahera och bearbeta denna data, och extraherade sannolikhetsfördelningar som den människolika modellen skulle använda sig av. Vår modell använde sig av frekvenser för att besluta var roboten skulle blicka, medan gammafördelningar användes för att generera blickens längd. Vi utförde därefter en videostudie online med de två robotvarianterna, där deltagare bedömde någon av robotarna genom att svara på en enkät. Resultaten visar att ingen statistisk signifikant skillnad kunde påvisas. Trender visade dock att modellen med människolik blickbeteende bedömdes högre i mätningen av attributerna antropomorfism/mänsklighet och fattning, medan den heuristiska modellen bedömdes högre i expertis och utåtvändighet. Därav erhöll den människolika modellen ingen signifikant framgång för att föredra den. Vi föreslår ändå att strukturen som användes i studien kan hjälpa MRI forskare att utföra studier som involverar blickbeteende hos människor, och möjligtvis bygga en grund för vidareutveckling av strukturen.

Porträtteringen av kvinnor inom manliga hiphopartisters musikvideor har varit i debatt och forskningens fokus länge. Denna studie ämnar att genom en kvalitativ forskningsstudie bidra med ett nytt perspektiv där vi analyserar kvinnliga hiphopartisters musikvideor utifrån ett genus och historiskt jämförande perspektiv med hjälp av en visuell textanalys. I studien syns en tydlig åtskillnad mellan två musikvideor. Lauryn Hills musikvideo Everything is Everything lyfter samhällsproblem och hon vill skapa debatt om orättvisor i det amerikanska samhället. Hill’s musikvideo har hög representation av olika etniciteter i videon och anspelar på musik som räddningen för den afroamerikanska minoritetsgruppen. Denna typ av användning av musik för att föra samhällsdebatt är inget ovanligt fenomen inom genren hiphop.  Nicki Minajs musikvideo Super Freaky Girl objektifierar män, kvinnor och använder sig av självobjektifiering. Minajs musikvideo anspelar på sexuell njutning utifrån the male gaze och visar hur den kvinnliga artisten har tagit på sig rollen som hon har blivit tillskriven i decennier av hennes manliga kollegor. Studien ger ett nytt perspektiv på forskning inom hiphop och populärkultur och ämnar bidra till debatt om objektifiering av kvinnor i samhället. / The portraying of women in male hip hop artists’ music videos have long been in debate and in the center of attention. This study aims to through a qualitative study contribute to the research with a new perspective where we analyze female hip hop artists' music videos from a gender and historical comparative perspective using a visual text analysis. The study shows a clear distinction between two music videos. Lauryn Hill’s Everything is Everything brings society’s issues to light and aims to create a debate about the injustices in American society. Hill’s music video has high representation of different ethnicities in her music video and alludes to music as the savior of the afro-american minority group. This kind of usage of music to start a debate in society is not uncommon in the genre of hip hop.  Nicki Minaj’s music video Super Freaky Girl objectifies men, women and shows usage of self-objectification. Minaj’s music video alludes to sexual pleasure from the male gaze perspective and shows how the female artist has taken on the role that she has been given for decades by her male colleagues. This study gives a new perspective on research in hip hop and popular culture and aims to contribute to the debate of objectification of women in society.