In the introductory chapter, I attempted to demonstrate that we have arrived at a historical moment where art and its education find themselves in a state of crisis, at least from the viewpoint of the West, which I will shortly explain. But I think this state of emergency applies globally as well. Designer capitalism in its liberal forms as historically developed in the West now strangely finds company with forms of authoritarian capitalism, notably China, as it too progresses toward a screen society. This is spectacularly visible in such cities as Shanghai, whose Pudong skyline with its Oriental Pearl Tower now surpasses that of New York, ostentatiously marked by the absence of the World Trade Center (rhetorically, the Twin Towers) as the U.S. grip of the capitalist spearhead begins to decenter due to an unpopular war that has amassed just over $12 trillion of deficit, which is increasing at a rate of $3.81 billion a day.¹ This decentering of U.S. capitalist hegemony, together with the recent collapse of the global financial markets, was, in my opinion, already under way in 1971, after the aftermath of the Vietnam War, when the gold standard was dropped and currencies began to float relative to each other. In 1973, xenomoney emerged—that is, the copy (paper money) without its original (gold)—referring only to itself, facilitating a credit and debt economy and initiating trading in the Options and Futures market.