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The Positionality Radar worksheet is an activity to help teams visualize where they may need to calibrate its inner diversity. Each color represents the profile of a different user. The team can then reflect on the shape of the image created by the overlapping profiles and understand how the team profile affects how they address the issue they are tackling. (Created by Noel & Paiva, 2020.)

The Positionality Radar worksheet is an activity to help teams visualize where they may need to calibrate its inner diversity. Each color represents the profile of a different user. The team can then reflect on the shape of the image created by the overlapping profiles and understand how the team profile affects how they address the issue they are tackling. (Created by Noel & Paiva, 2020.)

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Context 1
... recently created a visualization as a variation of the Positionality Wheel (Figure 1)-the Positionality Radar chart. Teams would be able to visualize how "off-balance" their perspectives may be by using this chart (see Figure 2). ...

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... While there is a lot of focus on intentional exclusion and rightfully recognizing the malevolence they are often born out of, unintentional or absent-minded actions that become exclusionary are harder to think about. Such unintentional exclusion almost happens instinctively, likely because of tendencies ingrained within individual cultures and histories (Noel & Paiva, 2021), which lead to the practice of ableism. Talia Lewis (2022) defines ableism as "a system of assigning value to people's bodies and minds based on societally constructed ideas of normalcy, productivity, desirability, intelligence, excellence, and fitness... ...
... This tool was designed by Caribbean design educator Lesley-Ann Noel (2020). Originally designed for the education space, this tool has been widely used across multiple settings, organizations, group collaborations, and co-design practices (Noel & Paiva, 2021). While it presents a portable and applicable method for encouraging autonomous identification of bias, it lacks the ability to recognize existing place-based constructs of positionality. ...
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This article is a reflection on an attempt to create a space of flux through the concepts of positionality, vā and talanoa within the design academy. This was presented as an academic course, originally intended to address a gap in established learning, and to make space for intergenerational knowledge systems that were originally being shared outside of the studio (shared at the knee, through office hours, and in passing conversations). This sharing led to key questions regarding how we (re)craft our ways through our practices and what cultural conditions are needed to enable safe design and cultural production. Five students enrolled in the course and are featured as co-authors in this article. They whakapapa as Tangata whenua (Māori, people of the land) or Tagata o le Moana (specifically Sāmoan). They are enrolled in a range of design disciplines such as spatial design, fashion design, and concept design. Classes were held once a week over a 12- week semester period. These in-person classes involved reflecting and re-presenting our positional contexts, a sharing and setting of kai, hikoi to gallery exhibitions featuring Māori and Pacific art practitioners at an institutional level and a community level, alongside the sharing of scholarship developed on the concepts of vā and talanoa, while coming back to ourselves and our familial, generational social settings.
... The technology industry prioritizes people from dominant groups "unless careful and explicit priority is given to support a marginalized group" (PenzeyMoog, 2021, p. 4). Design teams narrowly focus on serving 80 percent of individuals, assuming that the problems of these majority groups are the essential ones to solve (Holmes, 2020;Noel & Paiva, 2021). In modern design, humans are imagined "as white, cis-male, Anglo-Saxon, Christian, heterosexual, affluent, ...
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... A taonga was presented by tauira of a preceding course (exploring moana-centric methodologies) as a koha to guide our kōrero. The taonga prompted members of the rōpū to share: ko wai koe, who am I? A place-based response to Lesley Ann Noel's Positionality Wheel (Noel & Paiva, 2021). In a circle, we passed a pōhatu while responding to four kōrero prompts that were centred on common values and aspirations of te moananui-a-Kiwa. ...
... A taonga was presented by tauira of a preceding course (exploring moana-centric methodologies) as a koha to guide our kōrero. The taonga prompted members of the rōpū to share: ko wai koe, who am I? A place-based response to Lesley Ann Noel's Positionality Wheel (Noel & Paiva, 2021). In a circle, we passed a pōhatu while responding to four kōrero prompts that were centred on common values and aspirations of te moananui-a-Kiwa. ...
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... Indeed, involving users from early stage as much as possible, through methods of participatory design, co-design or personas can mitigate and try to address different perspectives in the design process. However, positionality would provide additional skills for designers and UX practitioners to recognize bias and assumptions, leading to better and more inclusive products and approaches [2,6,8,9,11]. Our goal is to raise awareness of positionality among the Human-Computer Interaction (HCI) community as it aligns with SIGCHI goals of self-reflection and towards more diverse representation. ...
... We invite people involved in teaching and learning (T&L) activities in HCI to review, evaluate and develop new tools to inform and discuss the impact of representation in user studies and human factors of technology design. Our influences include published literature on reflexivity and positionality in HCI such as [7,8] and related areas, our disciplinary backgrounds (e.g., in anthropology), and our beliefs as educators that positionality and representation are key topics for HCI curricula. T&L positionality brings an important contribution and should be further explored in higher education courses such as Interaction Design, Software Engineering, Computer Systems. ...
... In social sciences, anthropology and qualitative research, it is good practice to teach students the meaning of positionality and reflexivity, which is the process of reflecting and defining the complex values of our subjectivity, on their roles as researchers. Some methods, tools and learning activities include positionality statements [1,8,10], role-play [12], identity maps [5,6,8], and reflexive writing [4], which can be used in many situations involving subjectivity. There are several challenges and risks in teaching topics relating to positionality and representation to HCI students, which include concerns about ethics, stereotypes and stigmatization. ...
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... have not described the method as visual anthropology, but rather as one that assists in cultivating a multi-modal literacy. This would translate into specific design educational contexts, such as that of Noel and Paiva (2021) who call for designers to recognise exclusion. Developing multi-modal literacies, such as through Noel's (2020b) critical alphabet, has the potential to impact practice through a playful game format, including visual triggers to remind designers to think about multiple perspectives (Noel & Paiva, 2021, p68;Noel, 2020b). ...
... Thus, any anti-colonial contribution to design needs to expand ways of knowing through alternative methodological combinations, for example this body of work that has a multi-sensory approach to go beyond the often-failed attempts from critical theorists to remove design education from that which only serves industry and the markets. Another example is where Noel and Paiva (2021) identify specific industrial contexts in which to implement their own design interventions. Methodologies that expand design are favoured, rather than those that do not recognise the patriarchal practices that marginalise and silence worldviews that oppose the dominant group in society (Smith, 2008, p166-176). ...
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This study aims to highlight co-existing perspectives in the decolonising debate by examining how geo-political historicity permeates throughout epistemologies and ontologies and manifests through creative practices such as design. The thesis sets out to study a small group of globally mobile designers in a transnational design community in Bali, Indonesia. This is a practice-led research project based on my working life and transcultural experiences as a design practitioner living and working in Bali. I recognised patterns in the expressions of the community of designers who I have named Designer Beyonders for the pragmatic reasons of selection and to draw upon the creativity research of Paul Torrance (1993) from the adjacent field of psychology. The Designer Beyonders (DBs) of this study demonstrated significant sensibilities that have implications for decolonising design epistemologies and practices. These included qualities such as dynamic, flexible, intersubjective, and creative action-led approaches to problem solving. In this study, the designers’ practices demonstrate deep-seated visions that address and challenge the epistemic injustice of colonialism through anti-colonial relationships, anchored in clear sets of values. The study perspective is framed within epistemic decolonisation, which creates a form of social hope via the emancipatory political creativity that the Designer Beyonders, working in Bali, and their world artisanship of design practices offer. These design practices contribute to a re-centring of the knowledge enterprise and how it is currently taught and practised in the West. There are three studies positioned within a critical constructivist paradigm that aim to rebalance the asymmetrical flows of power, knowledge, and resources between people, including during the knowledge recovery process, such as through life story interviews and a sensory cartography workshop where the participants could explore their own lives and emotions that could extend towards others in both social and political ways. The contextual review on decolonising design presents a pedagogical opening, by examining practice, that explores how to deliver the kinds of knowledge and understanding that can properly address longstanding systemic issues of power. For this reason, the qualitative and ethnographic research was designed with proximity in mind through a multi-method approach whilst asking the meta-question of the study: how to materialise decolonisation in design research and practice. This led to a conceptual action meta-framework, the Visitor's Hut, that acts to facilitate a self-awareness as a researcher through the complexity of global conversations; many worlds meeting. The key findings, across the three studies, indicate that the DBs embrace difference through the politics and ethics of interdependence, rather than domination. Their stories offer a social hope through an ecology of design knowledges recovered from their practices. This is an ecology that represents interculturality and assists in understanding both the circulation of knowledges and an ecological perspective. It is a critical metaphor for design that can embed new patterns of interculturality into design philosophy and practice. Thus, an ecology of design knowledge is an epistemological and political option for designers to ensure inclusion and optimise the opportunity for materialisation of decoloniality. These are active processes through material participation and practices such as a designer who keeps bees, fermenters, plastic eradicators, indigo growers, designers of waste management, beach cleaners, clay players, body mappers, game makers, anti-trend writers, and heritage preservers: others will be more deeply explored in the findings. These are knowledges that illuminate that the practice of inclusion is not diversity for diversity's sake but has the purpose of repair through the concept of creating opportunities for transposition. The three studies illuminate the deep connection between physical mobility and mental imagination.