This article thinks with disability theory and artistic praxis to explore how disabled artists repurpose and invent technologies in artistic processes designed to enact care and access, extend embodiment, satiate the senses, and create crip culture. Drawing on four examples, we claim that disabled artists are creative technologists whose non-normative culture-making practices approach accessibility as a transmethodological process that requires and generates new forms of interconnected technology and artfulness. Disabled artists, as "creative users," change the uses and outcomes of technology, technologies in ways that lead to a more dynamic understanding of access and with it, of crip cultures as processual, artful, and political.

At the outset of the coronavirus pandemic, before we had a chance to acclimate to our world turned upside-down, I was genuinely confounded by the inflexibility of some professors to help students. After all, we had been offered the grace of an extension on tenure-track requirements, and afforded the opportunity, and relative safety, of working from home. How was it possible then, to not understand that students, too, might need grace? And how could anyone be OK with choosing not to help? Far from traditional research questions, my wonderings provoked lively conversations with colleagues, and a lens through which to consider my own positionality and difficulties in dealing with the challenges posed by the pandemic. Framed by Nel Noddings' Ethic of Care, and through poetic inquiry, this article presents a personal response to teaching in an Educator Preparation Program during a global pandemic.

These are two autoethnographic voices. We speak in a strange time: democracy dies, social justice dies. A lot of people have died of the virus, many die of fear. We write to protest against new neoliberal and neoconservative "shock doctrine." We write together to protest against destructive self-absorption, isolation, and fear. It is protest-text. But we are not sure what we can do now.

COVID-19 pandemic is the first truly global crisis in the digital age. With death count worldwide reaching 586,000 merely 7 months after its first outbreak in China in late December 2019 and 13.6 million cases reported in 188 countries and territories as of July 2020, this ongoing pandemic has spread far beyond domain of world health problem to become an unprecedented challenge facing humanity at every level. In addition to causing social and economic disruptions on a scale unseen before, it has turned the world into a site of biopolitical agon where science and reason are forced to betray their impotence against cultish thinking in the planetary endgame depicted in so many dystopian science fictions. It is in this context that this forum offers a set of modest reflections on the current impacts incurred by the COVID-19 virus. Blending ethnographic observations with theory-driven reflections, the five authors address issues made manifest by the crisis across different regions, while keeping their sight on the sociopolitical problems plaguing our life both individually and collectively. Taken together, they provide a grounded documentary for the archive that the COVID-19 virus is making us to construct.

Drawing on three culturally specific research projects, this paper examines how community-based knowledge brokers' engagement in brokering knowledge shaped the projects' processes. Informed by Deleuze and Guattari's (1987) conceptualization of the "rhizome," we discuss how community knowledge brokers' engagement in open research-creation practices embrace the relational foundation of Indigenous research paradigms in contrast to mainstream Western research practices that are engaged as linear, objective, and outcome-oriented activities. In turn, we offer propositions for building team environments where open research-creation practices can unfold, informing a periphery of shared space for Indigenous and Western paradigms.