In this chapter, I hope to present a viable alternative for the contemporary state of art and its education that continues to retain its radical edge, shifting the axis away from its continued grip on aesthetics and representation—which, in their Kantian foundations, are in need of repositioning, to place him on his feet. It continues some of the ideas that the force of art and the post-Situationist examples in previous chapters (six and seven) have enabled us to think through—in particular, the idea of art as an event in both their Deleuzian and Badiouian directions, explored in the previous two chapters. The idea of a diagram is a Deleuze<Guattarian concept. As an abstract machine, the diagram "does not function to represent even something real, but rather constructed a real that is yet to come, a new type of reality" (TP, 141). The diagram is, therefore, associated with a "people yet to come." It is "utopian" without being transcendental. So, the search is to bring forth a new sensibility, an attempt to use forces that work on the nervous system to create a stuttering in the established (iconic) forms so that they can begin to Xpressively decompose (deterritorialize) the grip of aestheticization, thereby introducing a "heteronomy" into the medium through a logic that remains at the level of the virtual, a potentiality that may be actualized in a "world" to come. Affective diagrams are, hence, unprecedented new beginnings.