Men of broader intellect know that there is no sharp distinction betwixt the real and the unreal; that all things appear as they do only by virtue of the delicate individual physical and mental media through which we are made conscious of them; but the prosaic materialism of the majority condemns as madness the flashes of super-sight which penetrate the common veil of obvious empiricism– H.P Lovecraft, The Tomb.
For Deleuze becoming-animal is also the becoming of a ‘zone of the indiscernible, of the undecidable, between man and animal’ . This undecidability means that one cannot isolate and fix the separation between man and animal. The spectator, who might be the living reversal of the image subject to such spectatorship, is unable to separate the low from the high, the dirty from the clean, the brute from the humane, the instinctive from the rational. In becoming-animal all dualism that extracts the human from the animal or subtracts the animal from the human collapses whilst remaining in fraught operation. I cannot say that I am this or that; I am both and neither, the point at which I cannot speak through the logic of identification. This undoing of molar surfaces is the undoing of the engine of meaning-production  that Giorgio Agamben has termed the anthropocentric machine .
The anthropocentric machines carves out human from animal and as such serves as the motor for those political philosophies that seek to delineate regimes of humanity. A regime of humanity is at once this system of meaning-production, or anchoring* in Zapffe’s nihilistic formula, that separates man from his other and elevates him ‘above nature’ and is also what allows for the creation of an aesthetic regime of degrees of humanity. As such the Jew is conceivable as nonhuman animal, the woman is conceivable as something to be tamed and domesticated- turning her wild sexuality into the regulated affection of the pet-, and the slave before both is conceivable as just within humanity. This anthropocentric machine is properly engine of meaning-production that gives humans the sense that they are other than nature and which serves as a self-reproducing system of domination that paints itself as nondomination. Anarchism responds to the effects of this system without always having the balls to attack it’s basis. For the mythological ‘classical anarchist’ this wasn’t a problem because the world had not yet been revealed as catastrophic.
Becoming-noncorporeal operates based on an engine of meaning-production that takes the body as it’s site of operation. As Deleuze writes ‘The body is the Figure, or rather the material of the Figure’ which must not be conflated with the ‘material structure in space’. For Deleuze the body is not reducible to the biological matter of physiology and anatomy. The body remains material without suffering from this reduction. How? Elsewhere Deleuze is engaged in a discussion on the body in Spinoza when he remarks that the latter’s God, which is a substance to which all attributes belong (a pure virtuality of which all actualisation is an expression), is ‘the speculative figure of immanence’ . If the body is not identical or reducible to biological matter but remains material then this materiality is the materiality of the virtual.The actual body that we talk about when we talk about embodiment, about corporeality, about conditions of health and sickness, is dependent upon but never coincides with the virtual body. Zizek understands this as the ‘incorporeal/immaterial’ real of the body but this does Deleuze a disservice .
The materialism here is the materialism of affect, of affection, of the virtual’s potency to condition, to alter, to perturb, to disrupt, to delimit or delineate the actual in any number of given ways. Deleuze goes on to state that For Spinoza ‘the individuality of a body is defined by the following: it’s when a certain composite or complex relation (I insist on that point, quite composite, very complex) of movement and rest is preserved through all the changes which affect the parts of the body ‘ . A body then is virtual and all actualisations of this virtual are expressions of the that virtual. A body also only appears through relations of movement and rest- we might say of being moved and of resisting being moved- by other bodies**. There are ‘all sorts of relations which will be combined with one another to form an individuality of such and such degree’ so that ‘the body’ is not the material structure at all but the Figure. How to understand the Figure? As the combinatory relations that solidify into distinct objects that can then appear to the spectator. As such it is not an immaterialism but an immanent materialism under which organisation is the self-organising performances of the engines of matter. The human body of anatomy and physiology is the actualised dynamic encrustation of the powers of the virtual body to act and be acted upon. The Figure is the name of this virtual-actualising body that differs from itself without being separable from itself (no physicalism without virtuality). This is what I mean by the skin of the world; it is an encrustation, a dead form, that is nonetheless dynamic and constantly in performance.
The materialism of the virtual implies a virtuosity of the body. To return to the sense of the lived body of embodiment- the dancing body, the fucking body, the eating body- this tells us that what a body does is to constantly make itself actual in such and such a way. The Figure is constantly Structuring. From moment to moment the substance of my body only continues to exist due to the immanent performances of each degree of individuality. This is revealed in the body of the clown. The clown’s is that body which purposely refuses its own virtuosity- it is the body in deliberate failure to perform and constantly catching itself before that refusal becomes total. The dancer also perfectly puts in motion this virtuosity; the dancer’s relation to choreographic space is always one that is modified, adapted and corrupted by degrees of physical inability to perform such and such a motion just so but also by way of her body’s idiosyncrasies and her own improvised insertions. Choreographed space becomes corrupted space and the priority given to one over the other is no longer maintained. At the same time the hierarchy of the choreographer, the choreography and the choreographed (the dancer) breaks down into a ‘zone of the indiscernible, of the undecidable, between’ the dancing and the danced. Becoming-dancer and becoming-clown are modes of immanence being put on display, and of the strategic assembling and disassembling, of positions in space and spaces in position of being obviated. The dancer and the clown are privileged Figures for me. I watch them move and I watch the entire skin of the world; the surface that is its own depth.
In social media the body is lost. The temptation is to experience the body as lost. The hyppereality of social media obliterates the body leaving nothing behind. The body as structure, as organisation of organs, is what is lost in this. The hyperreal of social media stimulates the production of a hyperreal identity- an identity that increasingly comes to precede my IRL identity and which does not rely on my IRL identity for its truth. This is the point of critiques of social media activism, of critiques of social media as digital dividuation, as the disorienting proliferation of plastic identities, of ‘trolling’ and of the use of the use of social media as a predictor of human political behaviours. All of these phenomena, really epiphenomena of the internet itself, are coming to be seen as the real of our society. It forms the core of critiques of media technology such as those launched by Sherry Tuckle that are based on a dualism between the physical universe and the digital universe. As Tuckle has it
‘texting and e-mail and posting let us present the self we want to be. This means we can edit. And if we wish to, we can delete. Or retouch: the voice, the flesh, the face, the body. Not too much, not too little — just right. 
Tuckle’s major text, Alone Together, has a string of dualist claims. She states that “If Facebook were deleted, I’d be deleted…’ and ‘Second Life gives me a better relationship that I have in real life’. These two short quotes show that Tuckle is involved in another dualist machine such that Deleuze’s becoming-animal wanted to undo. This is a dualism for which facebook deletes the body, edits the flesh, in which Second Life- the online world- is literally a second life detached from the physical realm. There is the physical and the digital and while they may interact they are fundamentally different. Indeed, the thrust of Tuckle’s criticisms of media technology is that the digital and the physical are incompatible, antagonistic towards each other, and that they compete against each other for us- (why they would do this and where the agency comes from, I don’t know).
Tuckle thinks I edit myself online. That this online persona is an obliteration of my authentic fleshly self. I am nothing but body but that body is gone and all that remains is the simulation of a self on the shimmering desolate whiteness of the screen. The body edited, deleted, I am nothing. But this is to fundamentally miss the point of the ontological virtuosity of immanence. As I have hopefully shown to some degree of competence, the body is not identical to its physical organisation. Materiality does not depend on flesh and blood and if it did then anything that was not subject to the law of evolution, any nonorganic matter, would not be real. If this seems a hyperbolic claim and one that is unfair to Tuckle then let me illustrate further. If her problem is that I can edit my appearance online then she misses the point that I can edit my appearance in flesh and blood as well, and in more or less extreme forms; I can have my haircut, change my style, tattoo permanent cosmetic improvements onto my face, I can ‘delete’ parts of my body through extreme elective surgical procedures or other interventions, such as the incredibly common removal of fatty tissue. I can also add to myself, making myself excessive of my ‘authentic self’ and therefore destroying myself in the opposite direction. All that Turkle has discovered is that there is a good degree of negotiation surrounding identity and that such identity appears as the metastable resultant of a combinatory logic of identification and disidentification (of movement and rest) that makes identities more or less malleable, more or less fixed, more or less corrupt, multiple or singular. Indeed, Turkle has discovered that we engage in interpersonal strategies through which we perform our personhood through both our bodies and our ability to present ourselves in digital spaces. There are practices of the self which are practices of embodiment and those which do not seem to be practices of embodiment.
This kind of digital dualism is hung up on the moment where practices ‘do not seem to be’ those of embodiment. This seeming is the seeming of the separation between the physical and the digital. It is the distribution of the sensible of the new social that social media are generative of; the spectral electronic social that disavows and dreams of a liberation from matter. Turkle’s analysis is in fact part of this social insofar as it is part of this dream: it is the dream in its wish-fulfilment function. The social of noncorporeality. .
The practices of the body that do not seem to be of the body are nevertheless only playing at not being of the body. I mean this in both the sense of the being of the virtual body and the actualisation of that body as it is experienced as embodiment. First of all, the body is affected by and affects the digital. The digital sphere is not one in which I am passively caught up as a victim and it is not one in which we are necessarily ‘alone together’. Banal examples proliferate: last night I was at a birthday party that had been organised entirely through Facebook, I met new people I would not have otherwise met because of the digital. In my previous post I focussed on agitation. The problem that Turkle talks about when she talks about techniques of communication having supplanted the art of conversation (the eternal conservatism of this is ringing) is really that of a diminution of social relations. This can only be a problem for Turkle if the techniques of communication and the art of conversation, the former belonging to the digital and that latter to the physical, are mediations of some plane of immanence. To phrase this differently, there can only arise a concern that two modes of interaction that exist on two separate and separable ontological domains are relating with each other in such a way that one does harm to the other if they are not finally separate or separable at all. The digital dualist’s critique can only make sense if it fails to make sense.
Another example: my eye. Deleuze uses the eye as an example of a body in his lecture on Spinoza and states that the eye is a born out of the complex relations between it’s own parts and the parts of other objects that surround it, which it is affected by and which it in turn affects. The eye is set in the orbit which is a structural feature of the skull which sits on top of a spine which forms a part of a skeletal and nervous system that are protected and moved by a muscular system which is coated by a dermal system which is a threshold traversed by bacteria, food, air, blood, itself, and that touches and is touched, and that sits in front of a computer which is itself a body formed microchips, plastic molds, wires, nickle atoms, light and so on and so on. In order that my eye see the computer there must be a light source- thus the sun or some artificial means of lighting are brought into the equation of my sitting on Facebook or Twitter and being able to be disembodied. But my eye also relies on other eyes for its existence. My eye is not ex nihilo but is the eye I have inherited from the genetic information of my parents and all less immediate evolutionary ancestors. The computer had to be built by men and women in factories and laboratories, which had to be built with tools and by people who had received training, and the computers themselves had to be built with tools and by people who had to be trained in how to do build computers and so that I could post this post on my WordPress blog there has to be telephone lines and streets and engineers and and and and and and
a vast material network of bodies.
This is the what I am saying when I say that the social of social media is ‘the spectral obliteration of materiality through the simulacrum which leaves the material in place’ . The ontosclerosis of the social generated by social media is one in which we leave the body without leaving the body behind; a disembodied embodiment. Noncorporeality is never achieved. It is neither a utopian nor dystopian condition although it has the potential to be either of these. Noncorporeality is neither actual nor virtual but the demand that we shed our physicality and dive headlong into the digital. It is the demand that we do something impossible. Yet it is at the same time precisely what exposes and undoes the digilogical machine. Becoming-noncorporeal is a becoming precisely because it is a zone of indistinction, undecidability. It is also a becoming because it is this impossibility of its own completion.
All this points to the notion that bodies have always been products of simulation. The simulacrum never engaged in any procession but was always already. Bodies, objects; these are always already simulations.
As soon as behavior is focused on certain operational screens or terminals, the rest appears only as some vast, useless body, which has been both abandoned and condemned. The real itself appears as a large, futile body ’.
And bodies, or their actualised portions, are these operational screens and terminals. The inexhaustibleness of bodies and, for humans, the potentially inexhaustible ways of being a body means nothing. The nostalgia for the body which has has not been lost, the nostalgia for a unitary solely physical body belies the nostalgia for the soul. It is not the body that is in question in becoming-noncorporeal if the question is a loss of materiality. I have emphasised throughout that this loss of the material, this destruction of the real, is an effort that is incomplete and impossible. That every time we deny the real that is precisely when it is resurgent; this is what makes radical denial a strategy of realism, and why one can state as fact that reality itself is speculative .
The real is a large and futile body. This is a nihilistic truth. That the body/real is futile means that it is without purpose, without telos, without justification. This is perfectly in keeping with a naturalism that takes Darwin seriously. There is no point or purpose to anything in nature and nature, via selection, mutation, heredity and all its other materialist magic tricks, has always been a process of artifice, of recomposition, of experimentation, of the production of doubles without origins, the generation of bodies that are not copies of some original: that nature has always been simulation. If being a body means nothing then the Spinozo-Deleuzian question of what a body can do becomes the question of a post-nihilistic pragmatism***. It is not what bodies mean but what they do that concerns us. In the breakdown of the anthropological machine, the digilogical machine and all the other machines of meaning-production we are left with transparent meanings that although real have lost the sufficiency to motivate us. Meaning now suffers a failure. We built it up and it was there but now that we know that we built it it appears as a ruin. The body itself, our body, can no longer be identified and held in place by being fixed in an image of itself… not its physical image or its digital one.
There are massive problems with social media, with electronic culture being plugged into our nervous systems…it produces anxieties, agitation, unrest, insomnia, an inability to concentrate, a kind of traumatisation and so on… but these are problems of immanence and not dualism. They are problems of ‘the advent of hyperstimulated man’ , changes in speed and quantity rather than ontological quality of being. They are problems that can only be problems, dangers that can only be dangerous, if the physical and the digital are not antagonistic categories of being that we must choose between. The choice is not between brains and clouds but to see where brains are situated within clouds. This is not the place to go into those problems or to trace the braincloud machinery.
In all of this there are competing images of the body and of embodiment. The image is what fixes the body in place. Ontology is an aesthetics; actualisations are the surfaces of a depth; the skin of the world; the self-organised displays of matter. Becoming-noncorporeal is indifferent to binary distinctions and forces us to think of a spectral kind of embodiment and the possibility of such a disembodiment that we might adopt instead of react against. If becoming-noncorporeal obliterates materiality and leaves it in place, if it is a simulation that teaches us that everything is simulated, then it is also an invitation to address the Image afresh. What is at stake in these notes on becoming-noncorporeal is the body and its images; the withdrawn depths and the ways we access those depths. What is at stake is the prospect of leaving the mirror stage behind us without mourning the unitary body and finding instead that we have always been bodies without images capable of life after and inside of the catastrophe.
Dancers and clowns are of the debris of the catastrophe, the seducers and satirists of things falling apart- artists in love with catastrophe. The body without image represents only that there is nothing to represent, that the only ethic is one falling, faltering, tumbling.
References and apologies
. Deleuze, G. The body, the meat, the spirit: becoming animal. Here.
. Meaning-production is my own term. I discuss it here, here, and here.
. Agemben, G. 2004. The open. Man and animal. Stanford: Stanford University Press.
. Deleuze, G. On Spinoza. Here.
. Zizek, S. 2007. Deleuze’s Platonism: ideas as real. Here.
 Op. cit. Deleuze, G. On Spinoza.
. Turkle, S. 2012. The flight from conversation. In the New York Times. Here.
. See my notes on becoming-noncorporeal. Here. The current work forms a second part to this set of much shorter notes.
. Baudrillard, J. 1983. The ecstasy of communication. NonPDF. PDF.
. This is my idea of the Radical Denial which is taken from a more sustained engagement with Baudrillard and object-oriented philosophy. Essay 1. Essay 2. Aphorism.
. Virilio, P. Future war: a discussion with Paul Virilio. Here.
* Anchoring is the “fixation of points within, or construction of walls around, the liquid fray of consciousness”. The anchoring mechanism provides individuals with a value or an ideal that allows them to focus their attentions in a consistent manner. Zapffe also applied the anchoring principle to society, and stated “God, the Church, the State, morality, fate, the laws of life, the people, the future” are all examples of collective primary anchoring firmaments. (text taken from wikipedia).
** In this connection, it is a shame that the dromology of Paul Virilio isn’t read in an ontological light. Deleuze is framing his assemblage theory materialism as a materialism of movement and rest that is dispersed, as all Deleuze’s antibinaries are, on planes of intensity. The language for measuring these intensities that exist in the interstitial space between movement and rest is speed or temporality. It should be recalled that Deleuze and Guattari’s identification of deterritorialisation is inspired by Virilio’s use of the same term.
*** I owe Michael of ArchiveFire entirely for this phrase which I liked so much I’ve stolen it.