This paper engages with Guattari's query about, how to make a classroom operate like a work of art? Guattari's question is not intended to be prescriptive or dogmatic. Rather, his thinking engenders a way of thinking about art as an affective event that has the capacity to invent new relations and new ways of learning. In the first section, we attend to concepts like "objectile" and "depth perception" in order to think about difference affectively. From there we discuss Deleuze's movement-image and time-image in order to problematize humanist notions of recognition and generosity and propose a politics of experimentation that is never fully intelligible and known. In the final section, to support our claim that affect and movement are crucial to new materialist research we re-turn to a methodology of research-creation as diagrammatic, in order to further consider the implications of an enfolding, affective, moving ecology for educational research.