As part of my PhD practice‐based research on Tlicho lands (a self‐governed Indigenous region in Canada's Northwest Territories), drawing is being used to embody intangible cultural heritage (which includes activities such as oral history and the social practice of walking). Recent work to emerge from this research consists of two drawings created by Tlicho elders, and an animated film made of 900 graphite drawings referencing regional oral history. The process of rendering these drawings embodied experiences on the land that are repetitive, albeit transformative, such as walking or listening to multiple versions of a single story. The entanglement of continually moving lines, evident through the animation, provides a counter‐narrative to colonial interpretations of the land – particularly narratives constructed through Cartesian coordinate systems (on which computer graphics and the geometry of built environments are based). This article will describe the production of this film, while also inquiring into how line‐making provides a trace of memory, rhythmic movement and epistemology.

Storytelling can be associated with temporality, memory, emotion, embodied ways of individually experiencing life, and social ways of collectively experiencing the world. Storytelling is also a kind of re-storying of human experience that has the potential to drive design solutions in very significant directions. We believe that storytelling has the potential to be a cornerstone towards breaking down assumptions about others and revealing beliefs and values about the people that designers call their users or audiences; and as such, storytelling can be significant to human-centred design processes and towards building empathy in design thinking. This paper highlights some of the central ideas around storytelling, re-storying and empathy from the fields of design studies, contemporary literature, psychology, and philosophy. This includes explorations into how designers invest time into storytelling and how this can lead towards deepening empathy and understanding of others’ circumstances. Our core assumption is that storytelling and re-storying are key ways to connect one person with another and to bring together groups of people through sharing and exploring details about individual experiences including intimate and emotional qualities of the human condition. Moving from our highlighted core concepts we put these to work through three projects created by authors and presented as case studies to better understand temporality, memory, emotion and embodiment, and to explore how empathy can be enacted. The three case studies are: a self-knowing activity called Embodied Maps; an activity that has been made into a short film called Evolving Lines; and an ethnographic film created to explore low vision and the urban environment called Light in the Borderlands. Each of these case studies are examples of different types of re-storying, woven together to shed light on and facilitate deep reflection and meaningful conversations about oneself and among people who carry distinct cultural knowledge and disparate lived experiences. Storytelling and re-storying in each of these case studies are developed through sustained and respectful dialogue over hours, weeks, and months as part of design inquiries leading to and facilitating meaning-making processes. This paper promises to illuminate how storytelling and re-storying can be used as a means to being a more empathic design thinker and move towards innovative design solutions that are more suitable, functional and, ultimately, valuable to people.

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Descriptions of legal blindness, as lived experience-involving continual movement between the world of sightedness and blindness-are largely absent within medical models of disability. In an effort to challenge depictions of blindness as pathology, researchers in this project worked with participants who are legally blind, in a co-designed exploration of built spaces in the city of Edmonton, Canada. In this article we describe a collaborative research method through which participants shared stories while recording their movement through a shopping mall, an art gallery, and a gym. Through this project, participants often took the lead, determining the content and context of urban journeys. Stories and images shared through this collaboration suggest that legal blindness is an alternative way of knowing the world, with unique perceptual experiences, navigational strategies, and complexity that is often unacknowledged within a medically constructed blindness/sightedness binary. In describing the complex relationship between participants, researchers, architecture, and technology we will combine narrative forms of writing with actor-network theory. The sharing of stories, along with lived experiences has led to a project that revolves around ability, as opposed to disability. A link to the film is provided at the end of this article.

El tiroides lingual es la presencia anormal del tiroides en la línea media de la base de la lengua, entre la vallécula y la epiglotis, en el foramen caecum, del que no se conoce su historia natural por ser una rareza. Debe sospecharse, ante una clínica inespecífica de irritación local, junto con pruebas de función tiroidea alterada.