Huruvida kusliga fenomen, som psykoanalytikern Sigmund Freud beskrivit, kan användas för att förmedla kuslighet i realistiskt renderade 3D-modellerade miljöer, skapade till ett fiktivt dataspel, är vad som undersökts i detta arbete. Freuds teorier har redogjorts för och även kortfattat jämförts med relaterade ämnen. Två bildserier, den ena tänkt att vara hemtrevlig och den andra innehållande utvalda kusliga fenomen tänkta att förmedla kuslighet, renderades av ett 3D-modellerat vardagsrum. Dessa bilder användes sedan i en kvantitativ enkätundersökning som besvarades av 100 personer. Resultatet av undersökningen visade att de utvalda fenomenen lyckats förmedla kuslighet till respondenterna.

The primary aim of this essay is to analyse, contextualise and problematise the scientific and technological goals of android science. The starting point of this investigation is the history of automata and man?s attempts to recreate himself by technological means. Drawing on the no-tion of boundary work this essay also analyses the efforts of the proponents of android science to establish and demarcate a new interdisciplinary field. A secondary aim of the essay is to evaluate the scientific support for the uncanny valley hypothesis and to investigate how this hypothesis contributes to android science.

In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery.

The present essay aims to understand the work of art as place on the basis of Martin Heidegger?s conception of work in Der Ursprung des Kunstwerkes from 1935. That is, a place that cannot be understood in accordance with the physical-technological space, but which cannot either be thought of as mere temporal spacing. This is accomplished by reading Der Ursprung des Kunstwerkes through the shorter essay Die Kunst und der Raum from 1969. Despite the time difference, Die Kunst und der Raum opens up Der Ursprung des Kunstwerkes in such a way that the work cannot be understood as if it were only a temporal event ? as the cause initiating a temporal process or succession of truth.