Generativ AI är ett fenomen som har blivit populärt under de senaste åren vilket har medfört utvecklingen av AI-verktyg. Dessa verktyg kan lösa specifika lösningar inom olika fält inklusive inom UX-design. Där en ny aspekt av Mänsklig-Dator-Interaktion (MDI) har utvecklats mot Människa-AI-Interaktion (MAII). Syftet med denna studie är att undersöka UX-designers användning av AI-verktyg inom skissandet. Studien genomfördes med sju semistrukturerade intervjuer och en tematisk analys. Resultatet presenterar respondenternas perspektiv och tankar kring tillämpningen av de AI-verktyg som används idag. Alla respondenter är överens om att användningen av AI-verktyg gjorde att arbetet blev mer effektivt. Begränsningarna alternativt utmaningarna var att företag bör överväga att införa en tydlig AI-policy för att säkerställa att AI-verktyg används säkert och ansvarsfullt. Studien avslutas med att en stor vikt läggs på mänsklig kreativitet och förståelse för användarens behov är en viktig del gällande användning av AI-verktyg. / Generative AI is a phenomenon that has become popular in recent years, leading to the development of AI tools. These tools can solve specific problems in various fields, including UX design. This has led to the development of a new aspect of Human-Computer Interaction (HCI) towards Human-AI Interaction (HAII). The purpose of this study is to investigate UX designers' use of AI tools in sketching. The study was conducted with seven semi-structured interviews and a thematic analysis. The results present the respondents' perspectives and thoughts on the application of the AI tools used today. All respondents agree that using AI tools made their work more efficient. Limitations or challenges were that companies should consider implementing a clear AI policy to ensure that AI tools are used safely and responsibly. The study concludes that a great deal of emphasis is placed on human creativity and understanding the needs of the user is an important part of using AI tools.

Bruhn (2008) and Griffiths (1978) have referred in passing to Messiaen's use of non-Western content as an appropriation, but a consideration of its potential moral and aesthetic failings within the scope of modern literature on artistic cultural appropriation is an underexplored topic. Messiaen's first encounter with India came during his student years, by way of a Sanskrit version of Saṅgītaratnākara (c. 1240 CE) written by the thirteenth-century Hindu musicologist Śārṅgadeva. I examine Messiaen's use of Indian deśītālas within a cultural appropriation context. Non-Western music provided a safe space for him to explore the familiar, and served as validation for previously held creative interests, prompting the expansion and development of rhythmic techniques from the unfamiliar. Chapter 1 examines the different forms of artistic cultural appropriation, drawing on the ideas of James O. Young and Conrad G. Brunk (2012) and Bruce H. Ziff and Pratima V. Rao (1997). I consider the impact of power dynamic inequality between 'insider' and 'outsider' cultures. I evaluate the relation between aesthetic errors and authenticity. Chapter 2 considers the internal and external factors and that prompted Messiaen to draw on non-Western rhythm. I examine Messiaen's appropriation of Indian rhythm in relation to Bloomian poetic misreading, and whether his appropriation of Indian rhythm reveals an authentic intention. Chapter 3 analyses Messiaen's interpretation of Śārṅgadeva's 120 deśītālas and its underlying Hindu symbolism. Chapter 4 contextualises Messiaen's Japanese poem Sept haïkaï (1962) in relation to other European Orientalist artworks of the late-nineteenth and early-twentieth centuries, and also in relation to Michael Sullivan's (1987: 209) three-tiered definitions of japonism.