In the final year we want to deal with the scaling of forces as it has been conceptualized since the 14th century, above all in the category of intensity. Forces are fundamentally threatened by their fatigue, yet they also possess a barely controllable ability to intensify and break through ordering structures that has always been a target of criticism. This danger gives rise to a certain skepticism towards the potential self-destruction of transgressive forces. Since the early modern period, the art discourse has therefore revolved around strategies for balancing forces that promise both longevity and resilience through moderation. At the same time, however, transgressions in many ways form the vanishing point and the actual goal of artistic productions, which might include the creation of overpowering artificial creatures that paralyze their viewers; the intrusion of superhuman creative powers that evoke epiphanic effects; imagining the radically asemantic effects of the force of art, which overshoot all symbolic orders; or even diabolical, destructive forces.