Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative mapping is required to fully understand the chronology of learning that takes place in and through the subject of art and design with human and nonhuman others. Drawing from a review of research in the field of Neuroaesthetics, I will seek to defend the unique temporality of art and design education and imagine different visualisations of learning in the subject beyond the computational.