In this second issue of PARtake we asked: what are the implications of participating in and with performance as research? When existing as a member of a performance project, what are the ways in which one might develop an objective/subjective dialectic? When inviting outside participants into your research as a way of assessing the aesthetic and social impacts of the work, what are the possible attendant ethical responsibilities? How do we articulate the methodologies of embodied and participatory research in order for others to expand their own questioning? When designing participatory performance, what are the social implications of the process? What expectations do we take into research projects that require the participation of others?