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Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range – taking in art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.

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There is clearly contention over the shape and formation of science curriculum and over, ultimately, what will count as scientific knowledge, skill, capacity and world view. The Cold War set the policy context for an ongoing focus on science education across Western nations. Sputnik-era US and UK educational policy offered a broad premise for the purpose of school science: in a risky geopolitical environment, high levels of advanced scientific expertise were central to the national interest and necessary for the maintenance of military/industrial and technological power. Half a century on, in the context of global economic and environmental crisis, as a justification for digital, industrial and biomedical innovation, the rationale for the production of scientific capital is central to curriculum settlements and educational policy in Europe, Asia and the Americas.