This article explores the ideological drivers behind learning environment discourses with a particular focus on the built environment and the ways in which the built environment narrates explicit and implicit ideology. The built environment reinforces ways of thinking in the day-to-day ordinary activities of the school space. However, it is important to recognise that both space and place are more than the built environment. In part, this paper’s task is to show how a theorisation of the relationship between policy and the built environment opens up a politics of space and place. The paper draws together the work of Penetito on place and Rancière on politics to provide a critique and theorisation of the experiences of school communities when subjected to the discourses of new learning environments. In order to engage in opening up to new ideas for policy making, the paper turns to space and place in design thinking. We look then to our knowledge of architecture, art and design to explore possibilities that remain somewhat under-imagined in contemporary theorisations of learning environments.

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In his last book Chaosmosis, Felix Guattari (1995, p. 129) argues that both “intellectuals and artists have got nothing to teach anyone,” and that they produce “toolkits composed of concepts, percepts and affects, which diverse publics will use at their convenience.” In this video presentation and accompanying article, the authors explore Guattari’s claim as a provocation for visual pedagogy and play with the idea that an artist might have nothing to teach anyone in relation to the idea of visual pedagogies. And, then, what happens when an artist and a teacher talk about visual pedagogies? To open up a dialogue, they employ the cliché, ‘I don’t know much about art but I know what I like’. This statement invites thoughts on the tensions between truth-telling, disciplinarity, and affect. Here the authors take the cliché a step further within the context of visual pedagogies and meaning making. They position this dialogue with the cinematic art work, Flight (2018), which aims to give the viewer a different sensation of the world, to render the familiar unfamiliar, and to let things be (Roder & Sturm, 2017), in order to think differently.