ABSTRACT
In a disability arts, culture, and media research context, constructing accounts of disabled experience requires reflection not just on the scenarios, interactions, and attitudes seen in the work, or in the production of the work, but on the deeper ideologies about disability these practices reveal. Research models that recognise that collectively researching a personal and public and sensitive and ego-baring and vulnerability-making topic like disability in arts, culture, and media practice in contemporary society is a challenge, that there will be dissensus and conflict as much as consensus. Disability arts practice demands that we resist any comfort zone of polite exchange in order to grapple with the complexities of the social contract between disabled and non-disabled identities. Disability arts/culture/media research should take place in the streets, in rehearsal rooms, theatres, studios, workplaces, schools, universities, beyond the built environment, and in the minds/bodies of people with disabilities in mutual, interdependent relationships with others.
