In this essay, we discuss multimedia story-making methodologies developed through Re•Vision: The Centre for Art and Social Justice that investigates the power of the arts, especially story, to positively influence decision makers in diverse sectors. Our story-making methodology brings together majority and minoritized creators to represent previously unattended experiences (e.g., around mind-body differences, queer sexuality, urban Indigenous identity, and Inuit cultural voice) with an aim to building understanding and shifting policies/practices that create barriers to social inclusion and justice. We analyze our ongoing efforts to rework our storytelling methodology, spotlighting acts of revising carried out by facilitators and researchers as they/we redefine methodological terms for each storytelling context, by researcher-storytellers as they/we rework material from our lives, and by receivers of the stories as we revise our assumptions about particular embodied histories and how they are defined within dominant cultural narratives and institutional structures. This methodology, we argue, contributes to the existing qualitative lexicon by providing innovative new approaches not only for chronicling marginalized/misrepresented experiences and critically researching selves, but also for scaffolding intersectional alliances and for imagining more just futures.

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, the authors examine the impact of using their evolving multimedia storytelling method (digital art and video) to challenge dominant representations of non-normative bodies and foster more inclusive spaces. Drawing on their collaborative work with disability and non-normatively embodied artists and communities, they investigate the challenges of negotiating what ‘access’ and ‘inclusion’ mean beyond the individualizing discourses of neoliberalism without erasing the specificities of differentially-lived experiences. Reflecting on their experiences in a variety of workshops and on a selection of videos made in those workshops, they identify and analyze three iterative ‘movements’ that mark their storytelling processes: from failure to vulnerability, from time to temporality, and from individual voice to collective concerns. The authors end by considering some of the ways they have experimented with developing an iterative workshop method that welcomes difference while simultaneously allowing for an examination of the terms of the shared space and of the mechanisms of inclusion and exclusion operating within that space.

Drawing on three decolonizing feminist arts-based research projects, we discuss possibilities for making multimedia stories that counter, respond to, and re/turn the heteropatriarchal settler colonial gaze. All three projects use a participatory videomaking method that involves misrepresented communities producing short films to advance social justice. We explore how the creation of narrative videos by Indigenous researchers, educators, students, and artists, and allies offer multiple avenues for returning the interconnected gaze of heteropatriarchy and colonialism, creating a feminist decolonizing aesthetic-an embedded and embodied aesthetic-that consciously weaves together process and form. We consider moments of re/turning, refusing, and reckoning with the colonizing masculinist gaze through analyzing the videos organized along three themes: the catalyzing effects of educational experiences, both destructive and empowering; the complex decolonizing affects of love; and the pervasive and debilitating effects of everyday gendered racism in/beyond school. We offer reflective analysis by drawing on feminist decolonializing theories on the power in looking and in interrogating heteropatriarchal colonial discourse. Each of the stories that we analyze re/turns the interconnected gaze of heteropatriarchy/colonialism in ways that extend responsibility for colonialism, for misogyny, for racism, for gender/sexual normativity, to the viewers of these films-to all of us.

In the context of an alarmingly sped up “slow death” for disabled people living under emergency COVID-19 medical triage protocols in Ontario, Canada, that produce, naturalize, and weaponize our vulnerability, we assert that slow digital story-making opens a threshold space filled with complex, relational, lively collaborative worldmaking. Here, we analyze videos made by three digital/multimedia story-makers, known as experimenters, who express the turbulence they lived through via storywork that described their unique yet entwined vantage points. Following Rosi Braidotti’s caution against capitalizing on tragedy, we offer Donna Haraway’s “compost writing” as an alternative to building theory. By compos(t)ing online multimedia stories that straddle digital/human/more-than-human realms, we take up “digital composting” as an unfinished methodology wherein we move collectively, even from the isolation of our own homes. We posit slow digital story-making as a way of “staying with the trouble” as we find ourselves worldmaking at the complex threshold between life/death, vulnerability/resistance, individual/relational, human/nonhuman. To compost digital multimedia stories is to leave them to ruminate in the complex entanglements of posthuman existences in urgent times.