The authors (teacher and doctoral students) seek to illuminate the transgressive experiences of teaching ↔ learning in a poststructural (PS) theory and research methods course. They aim to (a) illustrate teaching practices that open spaces for students (and faculty) to rethink, critique, unlearn, and ultimately un-inhabit dominant concepts and principles of qualitative research (QR) and the theory/method divide across research disciplines more broadly and (b) convey how thinking with PS theories become methodologies of post-qualitative inquiry (PQI). They used PS theoretical concepts from Deleuze and Guattari’s scholarship to work with co-produced data (e.g., memories, artifacts from class, notes from meetings, and written responses after the semester) to demonstrate our learning in terms of assemblages of desire, becoming, lines of flight, and smooth and striated spaces. The examples shared demonstrate how they tackled essential, assumptive attributes of QR and attempted to embody discourses and practices against (post)positivist, interpretive, and constructivist sciences.

The 2014 suspension of an art education program at State University, a research institution in the Midwest, leads the author’s journey into exploring truths. The exploration begins with biographical artifacts from her academic ancestry at the University. Specifically, the author uses Foucault’s genealogical analysis of descent to investigate visually 10 portrait photographs and two biographies that traverse the 20th century. The visual analysis reveals the ways in which truths both make and unmake the bodies of women academic art teachers at State University. Ultimately, she learns that truths cannot totally imprint bodies without also rendering parts of those truths obsolete. This research also exposes how discourse and the material are marginalized through creative analysis. The concluding discussion challenges art educators to investigate the practices that "disrupt or sustain relations of power and advance knowledge" (Jackson & Mazzei, 2012, p. 57) so that they can continue pushing art education forward in the 21st century.

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We, now colleagues, look to our “first” collective encounter with Deleuze and Guattari that took place in a university course on poststructuralism, where one of us was the teacher and three were students. This encounter still disturbs us. And new and different encounters happen each time we reread A Thousand Plateaus, revisit our previous conversations, and/or rewrite this manuscript. Each encounter produces a new trail(ing). We follow some of these trail(ing)s and write this manuscript as an invitation for other students and teachers not to rush to understanding. We find great possibility comes from (re)encountering these readings that leave us confused, distressed, and/or scared, because these readings and the (re)encounters that follow also leave us open to new possible intra-actions and be(com)ings with/in the world.