Deleuze and Beckett Towards Becoming-Imperceptible

In my paper I will explore Gilles Deleuze and Félix Guattari’s notion of becoming-imperceptible and demonstrate how this notion works in Beckett’s texts. Deleuze often refers to Beckett’s characters, rethinking them in terms of desiring-production, schizophrenia, the body without organs, becoming, and becoming-imperceptible. The Beckettian characters, wandering in the schizophrenic promenades and obsessed with the combinatorial exercises of exhaustion, function not as a simple example but as an argument strengthening the contours of a new immanent ontology. This new immanent ontology raises the question of life in terms of non-personal and even non-organic power, which, by passing through different intensities and becomings, moves towards becoming-imperceptible. But what is becoming-imperceptible? How can we rid ourselves of ourselves and how can we evade perception and self-perception? To answer these questions we have to define the new immanent ontology and to discuss, in Rosi Braidotti’s terms, “the ethics of becoming-imperceptible” (Braidotti 2006). The new understanding of life as a non-personal and non-organic power requires the theory of immanent ethics that could redirect our thinking from the question of the individual or person toward the philosophy of the impersonal.


Braidotti, Rosi. 2006. “The Ethics of Becoming-Imperceptible.” In Deleuze and Philosophy, edited by Constantin V. Boundas, 133–59. Edinburgh: University of Edinburgh Press.

The Difference Engines. Bernhard Lang in conversation with Maarten Quanten

I started reading Deleuze in 1995, starting with Difference and Repetition. As my previous philosophical background was mainly determined by Viennese logical positivism, Deleuze led to a kind of shock for me; when I stated rereading the text in the English translation, it became the starting point for a completely new way of composing and thinking. This reoccurred in 2007 while reading Le Pli and Mille Plateaux and made me delve into the notion of abstract machines and monadologies. In 2014 I finally did write a piece based on “The Exhausted,” wherein the Deleuze text (beside the reference to Beckett) is explicitly sung. During the conversation, I would like to elaborate on the influence of experimental visuals on my composition, and the possible association with Deleuze’s notions of “movement-image” and “perception-image.”