We understand new media as performative*a medium that is an active participant in a political dialogue. 1 It is political in its iterability; it performs, over and over, passing as/with information. We see this in our Facebook NewsFeeds and ReTweet of Tweets long gone. In this forum, we hope to show how new media scholarship can be purposefully enacted within performance studies (perhaps marking a slippage . . . perhaps not) to work towards larger critical goals. New media changes what it means to be a performance studies scholar.This forum germinated from our own discussions about the role that new media played in our scholarship. We were curious as to how other performance/critical communication studies scholars might articulate their own relationship to the shifting landscape. We contacted five other scholars who embrace new media in their scholarship. We asked them to reflect on the performativity of their own new media projects. The responses we received were provocative and enlightening.Michael Levan and Marcyrose Chvasta reflect on the performance and politics of distribution in the online journal Liminalities: A Journal of Performance Studies. Jonny Gray considers how the online performance group @Platea exemplifies the possibilities of Web 2.0 for interactivity and innovation in the production of art. We contribute an essay that centers around our podcast (The Critical Lede) that explores how new media breaks down barriers of access that have long been present in academia. Ted Striphas addresses how his blog Differences and Repetition (and a companion wiki) trouble the idea of peer review and collaboration. Finally, Craig Gingrich-Philbrook offers a response to these projects and the essays that accompany them by reflecting on how their use of new media transforms scholarly conventions. This forum will not only reside within these pages. We will incorporate new media into this project and, keeping in line with Gingrich-Philbrook's exploration of the

The end of the story is all you care about. So, let's get that out of the way first. Penelope Jane was born on March 23rd. She was healthy. The trauma of that day still resonates within my body, called into being through subsequent visits to the hospital and a review of my own medical records from that day. A life-threatening fever and 9 hours of pushing led to a powerfully negative birth experience, one that I am consistently told to just forget. After she had a weeklong stay in the neonatal intensive care unit (NICU), I have a healthy daughter. In this article, I use auto/archeology as a tool to examine my own medical records and the affective traces of my experience in the hospital to call into question Halberstam's advocacy of forgetting as queer resistance to dominant cultural logics. While Halberstam explains that "forgetting allows for a release from the weight of the past and the menace of the future" I hold tightly to my memories of that day. This article marks the disconnects between an advocacy of forgetting and my own failure of childbirth and offers a new perspective that embraces the queer potentiality of remembering trauma.

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Reflecting on my own experiences with talk-backs and audience responses, this manuscript uses metaphor to map the functions of autoethnographic performance critique. Through an exploration of vulnerability within performance, I turn to three key areas: theoretical accessibility, performativity, and accountability in order to chart how to engage in critique of performance autoethnography.

Accusations of madness have long been hurled at queer and feminist bodies, and typically when people are deemed mad, they are granted little agency. This article attempts to read madness as potentially agentic when it manifests as what we call a “queer performativity of madness.” Using the writing of and rhetoric surrounding Valerie Solanas, the infamous radical feminist known for shooting Andy Warhol, we develop the notion of a queer performativity of madness and show how historical figures like Solanas read against the binary oppositions that often create our understanding of sexuality, reason, and politics. Though madness does not always supply agency, we suggest that rethinking madness offers fruitful resources for feminist and queer theory.