This article posits a number of provocations for scholars and researchers engaged with Critical Disability Studies. We summarise some of the analytical twists and turns occurring over the last few years that create a number of questions and concerns. We begin by introducing Critical Disability Studies; describing it as an interdisciplinary field of scholarship building on foundational disability studies theories. Critical Disability Studies scholarship is being produced at an exponential rate and we assert that we need to take pause for thought. We lay out five provocations to encourage reflection and debate: what is the purpose of Critical Disability Studies; how inclusive is Critical Disability Studies; is disability the object or subject of studies; what matters or gets said about disability; and how can we attend to disability and ability? We conclude by making a case for a reflexive and politicised Critical Disability Studies.

The representational history of disabled people can largely be characterized as one of being put on display or hidden away. Self-representations have been a powerful part of the disability rights and culture movement, but recently scholars have analysed the ways in which these run the risk of creating a 'single story' that centres the experiences of white, western, physically disabled men. Here we introduce and theorize with Project Re•Vision, our arts-based research project that resists this singularity by creating and centring, without normalizing, representations that have previously been relegated to the margins. We draw from body becoming and new materialist theory to explore the dynamic ways in which positionality illuminates bodies of difference and open into a discussion about what is at stake when these stories are let loose into the world.Keywords: arts-informed methodology; representation; digital storytelling; body; story; disability and difference Points of interest• In this article we talk about a research project, Project Re•Vision, which is exploring representations and meanings of disability and difference through digital stories.• In our research project, we asked disabled people and healthcare providers to each make a digital story. We invite you to watch the digital stories as you read the article. Go to http://projectrevision.ca/videos/. Following the prompts, type in the password 'projectrevision'. • Digital stories are videos, two to three minutes long, that pair audio-recordings of personal narratives with visuals (photographs, short videos, artwork, etc.).• We end with the suggestion of being open to the possibilities -the creative, communal, and artistic possibilities -of how the digital stories made within our project disrupt problematic representations of disability.

In this article, we detail the politics and practicalities of co‐produced disability research with disabled young people with life‐limiting and life‐threatening impairments. We centre an ESRC‐funded arts‐informed co‐produced research project that has brought together a Co‐Researcher Collective of disabled young people. Co‐production is an established approach; however, our co‐researchers have led us to develop inclusive research practices that engage with online social research methods in innovative ways. As we detail our experiences, we aim to encourage disability studies researchers and others to adopt virtual environments when researching with and for the lives of disabled people.

This article details a thematic analysis of disabled men and women's accounts of past and present intimate relationships. Drawing upon the sexual stories of 25 disabled people, informants' intimate relationships are explored as a site of emotional work (Hochschild 1983), as well as a site of other forms of (gendered) work. This article critically questions the work carried out by informants and considers the ways in which it was shaped by their lived experiences of gender, sexuality, impairment and disability. It concludes that the requirement to carry out forms of work within intimate and sexual life constituted a form of psycho-emotional disablism (Thomas 1999).Keywords: disability; gender; sexuality; intimate; emotional work Points of Interest This article considers disabled people's experiences of "love" relationships. The research found that both disabled men and women carried out "work" within these relationships. Usually, this work was shaped by the ways in which they felt about, or experienced, their gender, sexuality, impairment and disability. I question what this work means for disabled people, and argue that it is a form of disablism.

This paper explores connections between affect studies and critical disability studies. Our interest in affect is sparked by the beginnings of a new research project that seeks to illuminate the lives, hopes and desires of young people with 'life-limiting' or 'life-threatening' impairments. Cultural responses to these young people are shaped by dominant discourses associated with lives lived well and long. Before commencing our empirical work with young people we use this paper to think through how we might conceptualise affect and disability. We present three themes; ontological invalidation in neoliberal-able times; affect aliens and crip killjoys; disability and resistant assemblages.

This article explores twelve short narrative films created by women and trans people living with disabilities and embodied differences. Produced through Project Re•Vision, these micro documentaries uncover the cultures and temporalities of bodies of difference by foregrounding themes of multiple histories: body, disability, maternal, medical, and/or scientific histories; and divergent futurities: contradictory, surprising, unpredictable, opaque, and/or generative futures. We engage with Alison Kafer's call to theorize disability futurity by wrestling with the ways in which "the future" is normatively deployed in the service of able-bodiedness and able-mindedness (Kafer 2013), a deployment used to render bodies of difference as sites of "no future" (Edelman 2004). By re-storying embodied difference, the storytellers illuminate ongoing processes of remaking their bodily selves in ways that respond to the past and provide possibilities for different futures; these orientations may be configured as "dis-topias" based not on progress, but on new pathways for living, uncovered not through evoking the familiar imaginaries of curing, eliminating, or overcoming disability, but through incorporating experiences of embodied difference into time. These temporalities gesture toward new kinds of futures, giving us glimpses of ways of cripping time, of cripping ways of being/ becoming in time, and of radically re-presencing disability in futurity.To watch the stories presented in our article, go to http://projectrevision.ca/videos/. Following the prompts, type in the password "futurities." Please note: these videos are intended for readers only and are not for public screening.In The Politics of Aesthetics, Jacques Ranci ere asserts that art can be political when it helps us imagine a world wherein things are arranged and meaning is made differently (Ranci ere 2006). Ranci ere is speaking back to the argument that aesthetics is pure and purely about satiation of the senses by positioning art as possessing the potential to become political. For Ranci ere, art, like politics, centers on ways of reconfiguring the world. When art reveals ontological reconfigurations, disrupting the

Project Re•Vision uses disability arts to disrupt stereotypical understandings of disability and difference that create barriers to healthcare. In this paper, we examine how digital stories produced through Re•Vision disrupt biopedagogies by working as bodybecoming pedagogies to create non-didactic possibilities for living in/with difference. We engage in meaning making about eight stories made by women and trans people living with disabilities and differences, with our interpretations guided by the following considerations: what these stories 'teach' about new ways of living with disability; how these stories resist neoliberalism through their production of new possibilities for living; how digital stories wrestle with representing disability in a culture in which disabled bodies are on display or hidden away; how vulnerability and receptivity become 'conditions of possibility' for the embodiments represented in digital stories; and how curatorial practice allows disability-identified artists to explore possibilities of 'looking back' at ableist gazes. ARTICLE HISTORY

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