Why thus appeal to art and science, in a world where scientists and technicians and even artists, and science and art themselves, work so closely with the established sovereignties - if only because of the structures of financing? Because art, as soon as it attains its own grandeur, its own genius, creates chains of decoding and deterritorialization that serve as the foundation for desiring-machines, and make them function. Take the example of the Venetian school in painting: at the same time that Venice develops the most powerful commodity capitalism, bordering on Urstaat, that grants it a large degree of autonomy, its painting apparently molds itself into a Byzantine code where even the colors and the lines are subordinated to a signifier that determines their hierarchy as a vertical order. But toward the middle of the fifteenth century, when Venetian capitalism confronts the first signs of its decline, something breaks out in this painting: what would appear to be another world opens up, an other art, where lines are deterritorialized, the colors are decoded, and now only refer to the relations they entertain among themselves, and with one another. A horizontal or transverse organization of the canvas in born, with lines of escape or breakthrough. Christ’s body is engineered on all sides and in all fashions, pulled in all directions, playing the role of a full body without organs, a locus of connection for all of the machines of desire, a locus for sadomasochistic exercises where the artist’s joy breaks free.