In this article, the authors explore and contribute to producing a performative research paradigm where post-qualitative as well as artistic research might dwell and breathe. Entering a thread of discussion that started with Haseman’s A manifesto for performative research in 2006, and building on their own friction-led research processes at the edges of qualitative research, the authors plug in with performativity, non-representational theories and methodologies, post-qualitative inquiry and post approaches. A performative paradigm for post-qualitative inquiry is proposed, where knowledge is viewed as knowledge-in-becoming as the constant creation of difference through researcher entanglement with the research phenomenon and wider world. A performative paradigm produces a space for movement, (artistic) freedom, (post-qualitative) experimentation and inclusion. A performative research paradigm also offers provocations that shake long-established notions about what research is and should be. Within a performative research paradigm, learning/be(com)ing/knowing is always in-becoming – as is the performative paradigm itself.

在本文中，作者探索并有助于产生一种表演性研究范式，在这种范式中，后定性研究和艺术研究可能会停留和呼吸。进入从哈斯曼的表演研究宣言开始的讨论主题2006 年，作者在定性研究的边缘以他们自己的摩擦主导的研究过程为基础，加入了表演性、非表征性理论和方法、后定性调查和后方法。提出了一种后定性探究的表演范式，其中知识被视为正在形成的知识，即通过研究人员与研究现象和更广阔世界的纠缠不断创造差异。表演范式为运动、（艺术）自由、（后定性）实验和包容创造了空间。表演性研究范式还提供了一些挑衅，动摇了长期以来关于研究是什么和应该是什么的观念。在表演研究范式中，