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

In this article, we explore our experiences as researchers and participants in multimedia storytelling, an arts-informed method wherein we work with artists and aggrieved communities to speak back to dominant representations through film. In positioning ourselves as storytellers, we do research with rather than "on" or "for" participants, allowing us to connect in practical and affective ways as we co-create films. Drawing from dialogues about our workshop experiences, we outline four themes that make the storytelling space unique: reflexivity; structure and creativity; transitional space and reverberations; and fixing versus being/becoming with. We analyze our self-reflexive films on mind-body difference as "biomythographies," as films that situate stories of ourselves in technological-temporal-spatial relations and that highlight how we make/experience change through creative research. Multimedia storytelling, we argue, allows us to enact reflexive creative praxis in a way that opens to difference rather than trying to fix it, forging an ethic we find all too rare in the neoliberal university.

Re•Vision, an assemblage of multimedia storytelling and arts-based research projects, works creatively and collaboratively with misrepresented communities to advance social well-being, inclusion, and justice. Drawing from videos created by health care providers in disability artist-led workshops, this article investigates the potential of disability arts to disrupt dominant conceptions of disability and invulnerable embodiments, and proliferate new representations of bodymind difference in health care. In exploring, remembering, and developing ideas related to their experiences with and assumptions about embodied difference, providers describe processes of unsettling the mythical norm of human embodiment common in health discourse/practice, coming to know disability in nonmedical ways, and re/discovering embodied differences and vulnerabilities. We argue that art-making produces instances of critical reflection wherein attitudes can shift, and new affective responses to difference can be made. Through self-reflective engagement with disability arts practices, providers come to recognize assumptions underlying health care practices and the vulnerability of their own embodied lives.

Although Deaf and disability arts 1 has been practiced under this name since the 1970s in Canada, within the last 15 years it has begun to be recognized as its own field of arts practice and production by arts councils and cultural funding bodies (Gorman 2007). Increased funding has accelerated the production of Deaf and disability art and has increased attention from arts organizations and audiences alike. With this leveling-up of Deaf and disability arts comes the advancement of a discourse specific to this sector, one that includes conversations about how we make arts accessible and how we blend accessibility with aesthetics and curatorial practices, about the development of distinct disability, crip, Mad, Deaf aesthetics, and about the role the arts play, and have always played, within the achievement of disability rights and justice.Throughout this article, we embrace the developing discourse around Deaf and disability art and use it to recognize and discuss the art produced out of Project Re•Vision's (Re•Vision) artsbased research workshops-multimedia storytelling workshops and theater workshops with D/deaf 2 and disabled people-and think through the role these workshops played in the development of Deaf and disability arts in Ontario. We also think about how these works of art, by and about disabled people, function as a form of public pedagogy, 3 ushering in new understandings of disability. We begin by describing the scope of Re•Vision as a research project and connecting this project to the emergence of Deaf and disability arts in Canada. We then draw on reflections of d/Deaf and disability artist participants as told to us through interviews conducted after the workshops to unpack the roles these played in their artistic development. We conclude by discussing the significance of Re•Vision in cultivating Deaf and disability arts through facilitating artistic training and the development of key artistic connections which led to other disability arts projects and advancing disability aesthetics.

This research evaluated a community-led participatory planning process that sought to involve citizens who are often marginalized within planning processes. Participatory planning – which is theoretically informed by communicative planning theory – may shift the legacy of power and marginalization within planning processes and improve planning outcomes, foster social cohesion, and enhance the quality of urban life. The two-year Stewart Street Active Neighbourhoods Canada (ANC) project aimed to build capacity among residents of a low-income neighbourhood in Peterborough, Ontario and to influence City planning processes impacting the neighbourhood. The project, led by a community-based organization, GreenUP, fostered collaborative interactions between residents and planning experts and supported residents to build and leverage collective power within planning processes. The participatory planning approach applied in the Stewart Street ANC transformed – and at times unintentionally reproduced – inequitable power relations within the planning process. Importantly, we found that GreenUP was a vital power broker between marginalized residents and more formal power holders, and successfully supported residents to voice their collective visions within professionalized planning contexts.

No abstract

Abstract. The development of federalism in the context of the neoliberal era in the 2000s has partly created the conditions for a more stable co-operation between the federal and Quebec governments, contributing to the trend of separatism being sidelined in Quebec. In the context of neoliberalism, federal–provincial agreements have created conditions for just enough asymmetry in the relationship between the federal government and Quebec, something that Quebec has historically demanded, for separatism to remain off the agenda. What separates this relationship from past ones is a significant change in the context whereby the neoliberal orientation is becoming the common currency for co-operation. If Canadian federalism continues its present course under neoliberalism without any major mishaps, for the first time since the divisive period of the 1990s and early 2000s, federal–Quebec relations likely will be stable without national unity crises of the kind that culminated in the 1980 and 1995 Quebec referenda on sovereignty.Résumé. Le développement du fédéralisme dans le contexte de l'ère néolibérale dans les années 2000 a en partie créé les conditions pour une coopération plus stable entre les gouvernements fédéral et québécois, contribuant ainsi à la tendance du séparatisme au Québec d'être marginalisés. Dans le contexte du néolibéralisme, des ententes fédérales-provinciales ont créé les conditions pour un peu assez de relation asymétrique entre le gouvernement fédéral et du Québec, quelque chose que le Québec a toujours exigé, au séparatisme de rester hors l'ordre du jour. Ce qui sépare cette relation de celles du passé est un changement significatif dans le contexte dans lequel l'orientation néo-libérale devient la monnaie commune pour la coopération. Si le fédéralisme canadien continue son cours actuel sous le néolibéralisme sans encombre majeur, pour la première fois depuis la période de division des années 1990 et début des années 2000, les relations fédérales-Québec probablement seront stable sans crises unité nationale du genre qui a culminé dans les années 1980 et 1995 référendums sur la souveraineté du Québec.

This article argues that Simone de Beauvoir's The Second Sex continues to teach academic feminism why difference feminism holds productive and generative potential for feminists and why equality feminism has been consistently subject to criticism since the second wave of feminism. Using Hegel's master-slave dialectic as a lens to interpret subjectivity in The Second Sex, this text reveals an aspect of equality feminism that relies upon masculine subjectivity, a subjectivity that inherently constitutes otherness. This reliance on masculine subjectivity is anathema to difference feminism because the otherness inherently constituted by such subjectivity simultaneously and paradoxically constitutes women's ongoing subordination. In assuming equality with men by adopting masculine subjectivity, women are not immune to constituting (other) women as other. Difference feminisms, on the other hand, start from where women are as they choose to see themselves socially, economically, racially, sexually. The Second Sex reveals that difference feminisms imagine freedom in order to identify the difference that would empower women, not strictly towards sex equality with a stable referent (such as the contested referent of the white, middle-class, able-bodied, heterosexual woman or man), but towards emancipatory projects that make a difference for women themselves. The Second Sex portends that such imagined freedom has not been actualized, thus the present remains circumscribed by power that subordinates the difference(s) in question. When read alongside The Second Sex, the tension between equality and difference feminisms can still be read as feminisms that coexist with one another, each with their limitations, each with productive potential and cautionary rejoinders.KEY WORDS agency N Simone de Beauvoir N difference feminisms N equality feminism N freedom N G.F.W. Hegel N identity/difference N masculine subjectivity N The Second Sex N women's subordination In 1999, Karen Vintges described equality and difference feminisms as being in a dialectic relationship that could be reconciled when sociopolitical equality was understood as the precondition for difference; that is, new at PENNSYLVANIA STATE UNIV on May 25, 2015 ejw.sagepub.com Downloaded from