With this project, I wish to question the processes of designing for normative, active bodies and create opportunities for more inclusive and democratic sports. It aims to render and re-engineer sports equipment as we know them.   The design thesis has been developed based on research and experiences of exclusion regarding accessible equipment for Parasports. From a norm-critical standpoint, my collaborator Ebba and I have therefore developed a new Paralympic seat and back support for the sport of rowing. As a norm-creative innovation, its design addresses the particularities of the individual body and its specific needs.  The project investigates the combination of co-creation, craft and norm-creative methods as a pragmatic and alternative approach to sports equipment. By 3D scanning Ebba’s body, digital and physical iterations were in combination with manual crafts, principles of the making. The result shows great potential as the equipment are fully functional, it consists of a sandwich construction with a (Nomex) core and layers of high modulus carbon fibre. The back support is adjustable in four axis points.  I state that if we want to engage in sustainable sports equipment, the notions of co-creation, norm-criticality and crafts have good potential in formulating inclusive and accessible outcomes that are both desirable, valuable and satisfying for people with disobedient bodies.

This thesis explores the interplay between copyright and tertiary education, and their roles for sustainable human development in Ethiopia. Access to learning materials is used as a context for the exploration. Despite its recognition of development as a human and constitutional right, Ethiopia emphasizes economic growth as the core of its national development objectives. To this end, tertiary education is often considered for its instrumental role in human capital formation. Given this narrow lens of development, the thesis observes the neglect of human development as the enlargement of human capabilities. It is underscored that development-oriented copyright and tertiary education are both vital in themselves and complementary for sustainable human development. Nonetheless, their complementing roles depend upon relevant policy and legal flexibilities that facilitate access to learning materials. As a major context for the interplay, access to learning materials is essential for both sustainable creative innovation and quality tertiary education. Noting a restrictive copyright system as one of the impediments, the thesis thus inquiries into the regime and finds out the non-incorporation of relevant international copyright-related flexibilities. Adopting a TRIPs-plus approach, the existing national copyright law in Ethiopia has left out a number of legal flexibilities relevant for increased access to learning materials. Stifling creative and learning freedoms or capabilities, this has serious ramifications for sustainable human development. From human development perspective, the thesis further unveils lack of coherence in the regimes and proper orientations towards human development. Therefore, it is imperative to revisit the regimes, forge a coherence, and retract the excessive protection. A comprehensive integration of appropriate flexibilities is recommended to promote creative and learning capabilities for enhanced human development.

Syftet med den här självstudien är att undersöka hur min kreativa process formas vid användandet av olika kompositionstekniker. De forskningsfrågor som studien har ämnat finna svar på är: Hur erfar jag att min skapandeprocess formas när jag komponerar med hjälp av två separata kompositionstekniker? Vilka likheter och skillnader erfar jag att det finns mellan de olika skapandeprocesserna? För att genomföra detta har två kompositionsmetoder använts för att komponera två stycken för solopiano, ett stycke och kompositionstillfälle per metod. Studien har sin utgångspunkt i det fenomenologiska perspektivet och genomfördes med hjälp av videoobservation och de skisser som producerades under observationstillfällena. Resultatet presenteras uppstrukturerat i sex teman efter linjär tid och består av de två metodernas skapandeprocesser och hur det upplevdes att komponera efter dem. Dessa teman har jag titulerat Den ursprungliga idén (när den första kreativa gnistan slår och exempelvis den initierande cellen skapas), Strukturskiss (när styckets form väljs), Första utkastet (där en helhetsbild ges av stycket och hur dess olika delar relaterar till varandra), Utvecklande (hur det unga stycket utvecklas och fylls ut med exempelvis ackord och andrastämmor), Andra utkastet (när de sista bitarna sätts på plats och styckets sektioner binds ihop), och Sista ändringarna (när kompositionsprocessen gås igenom och tidiga beslut revideras om de inte längre passar in i styckets slutgiltiga form). Avslutningsvis diskuteras resultatet i förhållande till tidigare forskning. Under rubriken Processen behandlas studiens resultat på ett mer allmänt plan, och under rubriken Kreativitet eller kunskap poneras det kring hur mycket av kompositionsprocessen som faktiskt grundar sig i kreativt skapande av nytt stoff. / The purpose of this self-study is to investigate how my creative process is shaped by the use of different composition techniques. The research questions that the study has sought to find answers to are: How do I experience that my creation process is formed when I compose using two separate composition techniques? What similarities and differences do I experience the different creation processes? To accomplish this, two methods of composition have been used to compose two pieces of music for solo piano, one piece and composition session per method. The study is based on the phenomenological perspective and was conducted using video observation and the sketches produced during the observation periods. The result is presented structured into six themes after linear time and consists of the two methods creation processes and how it was perceived to compose after them. I have named these themes The original idea (when the first creative spark hits and, for example, the initiating cell is created), Structure sketch (when the shape of the piece is chosen), The first draft (where a more complete picture is given of the piece and how its different parts relate to each other) Developing (how the young piece is developed and filled out with, for example, chords and secondary voices), Second draft (when the last bits are put in place and the sections of the piece are connected), and Final changes (when the composition process is reviewed and early decisions are revised if they no longer fits into the final form of the piece). In conclusion, the results are discussed in relation to previous research. Under the heading The process, the results of the study are examined on a more general level, and under the heading Creativity or knowledge, it is pondered on how much of the composition process is actually based on the creative origination of new material.