This chapter explores collaborative arts practices as critical and creative vehicles for assembling a figure of the socioecological learner. We focus on developing the sensorial and affective dimensions of learning through aesthetic engagements with place, drawing on Deleuzian concepts of the "larval subject", "carte", and "rhizome". In doing so, we also forge connections with contemporary life sciences that reveal the permeability and plasticity of learning processes through dynamic interactions within developmental eco-systems. These conceptual and empirical resources inform our posthumanist methodological approach to collaborative arts practices, which we describe in terms of a c/a/r/tography. Through the collaborative production of "site/sight-specific" images and poetic texts, we seek to produce a generative and visually critical exposé, which locates the emergence of the socioecological learner within a "biosocial ecology of sensation". This opens up a field of potentials for sensing, thinking, feeling, and learning through collective aesthetic engagements with more than human worlds. OrientationIn this chapter, we seek to explore and share site/sight-specific collaborative artmaking as a collective medium for socioecological learning. There are many ways to see and to know, and thus the term site/sight alludes to an assemblage of place, milieu and 'seeing', in ways that transcend the privileging of the visual. Whilst the visual nature of this chapter is acknowledged, sight and seeing may also be philosophically positioned, as we have also accomplished herein. In doing so, we engage a methodology of c/a/r/tography, which enables us to draw together approaches from a/r/tography, Deleuzoguattarian mapping, and affective and sensational pedagogies (Ellsworth & Kruse, 2010;Massumi, 2002). This chapter also draws on recent findings from the fields of biology and ecology, which highlight the role of affect and sensation in modulating learning processes through dynamic interactions within developmental eco-systems (Frost, 2016;Protevi, 2013). Inspired by postgenomic conceptions of ecological milieus in which epigenetic material is inherited and exchanged across species (Meloni, 2015), we draw on recent developments in biosocial research to trouble persistent notions of the learner as a bounded individual subject (de Freitas, 2018). By thinking and working through posthumanist concepts, images and poetics, we aim to render a figure of the socioecological learner as a "larval subject" that emerges through affective and sensorial engagements with the more

The assemblage of water/watery/watering is a lively cartography of how water may be accounted for when theorising with and through environmental education research. Challenging the universalising claims of Western technoscience and the colonial logic of extraction, the article develops an alternative theoretical mapping of environmental education through engagements with Ingold’s (2007, 2012, 2015) concepts of lines, knots, and knotting. For this article and for the Special Issue in which it is housed, the concepts of such knottings are defined as an assemblage of haecceities, lived events that are looped, tethered and entangled as material and conceptual agencies that inhere within situated encounters. Thus, this article grapples with the need to account for water differently in contemporary posthuman ecologies. To overcome anthropocentric and mastery-oriented approaches, various other ways to account for water in science or environmental education will continue to come to the surface, bubbling and rushing like a waterfall as they have done in this work. Some of these will include thinking with water, which will be central to a theoretical mapping of water that seeks embrace sticky knots. The article explores a (re)turn to artful practices and encounters as spaces in which posthumanist concepts for environmental education might be cultivated.

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This article explores a/r/tography’s speculative and propositional potentials and returns to the a/r/tographic renderings to offer new approaches to a/r/tographic analyses. Propositional a/r/tography provokes ways to think with the renderings that can perform as analytical gateways for experimentation with further layered generative and iterative data creations consequentially. This protocol emerged from deep engagement in data creation processes in response to c/a/r/tographic fieldwork with young people in, on, with, and through the world heritage listed Gondwana Rainforest site in Southeast Queensland, Australia. As such, the propositional a/r/tographic analytical protocol was created as an emergent response to making, materialities, and mappings. It is anticipated that the analytical protocol be engaged as speculative propositions for thinking and experimentation with and through the a/r/tography renderings.