Immaterials refers to all the traces produced by Becoming. It is an important aspect of our process, that everything begins as a trace, as ephemeral, as an undefined flow that becomes affective through its specification as either virtual or actual. Even that which we materialise, the books, the prints, the events, began as a trace, a fluctuation — we sometimes bring these traces into materiality, but those prints are but ripples or echos of the initial source signal.
Our Immaterials are classed by their attributes: type, their author, their tags, and their locations.
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Sometimes traces materialise as substance. They take such a hold of us that they guide us towards embodying them; we reify traces, but it is the traces that produce the affects that move us so. Traces externalize themselves through us, they will us to validate them — to will to hold in your hands and possess a reification of a trace. That is the task of creator, not to produce from a vacuum or to conjure from nothing, but to guide into materiality the traces that flutter and fluctuate and seduce us; creation is to guide what is already there into new forms of itself, to produce new models, to produce new expressive forms.

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about. is the virtual field of Becoming, an independent publisher. It comprises many surfaces, of which this website is one.

Becoming is a machine. A machine, to us, is what it was to Deleuze & Guattari, after whom this specific machine get its name. 
    A machine is a break in the flow; it is a point, a moment, an event. Yet, at the same time a machine is flow, or rather, it is a producer of flow, or a conditioner of flow. A machine can be understood as the resulting tone of an electric guitar played by some idol, but it can also be understood as the effect pedal and guitar that produced that tone; a machine can even be understood as the signal passing through those machines. The quantum foam that appears like bedrock in our reality is itself a machine, perhaps the oldest machine of all, the closest machine we have ever found to the original source, the original transmission of pure flows of expression. Through the reproduction of the traces of pure desire, the machinery lining the boundary of desire-specified and desire-unspecified, like sub-quarkic pico-bots, endlessly facilitates the transformation of flows of desire from unspecificied virtual immanence to substantiated being and back again. Quantum Foam is not a floor, after all, it is a mycellium.
    Becoming was made as a break in the flow, a moment in which something negative becomes positive, rising up through the threshold like a whale breaching. It is not in our nature to be positive, but it is undeniable that here, we ask for your attention, your time; we are interrupting you. Yet, as Becoming ruptures flows, it creates new flows in their place; it territorializes. Desire and creative energy floods into existence like an ocean into a river basin, disseminating like a fractal family tree through infinite pathways of specification. Creativity is called creative because it creates, it produces positives, substances, materials; creative energy produces machines, breaks in the flow, energy gets tied up in almost dormant structures for billions of years, energy gets tied up in substance. Rather than the expected assumption, Yang is not the creative force, rather it is Yin, the negative, which produces Yang, the positive; Yin creates. The negative is the creative. We who study the negative, we the scholars and nodes of antipositivistic discourse, we the queers, do not study what has been created, but rather study that which creates, and that which has not yet been created. Becoming is the break that leads to negativism.
    Becoming actualises creative or expressive signals as traces — in other words, expressive and creative impulses leave a trace in Becoming as they flow through them. In most cases, these traces are immaterial, and those immaterials can be traced to, the site where all these tracings intersect. From that position, you can follow each trail and begin wandering around an emergent ethereal forest. is a field that can be accessed through many portals, through the Cargo-space site, the Instagram, the linktree, and the Sandpoints space. Sometimes, the impulses affect Becoming so much that they are actualised as materials, as printed matter such as books and magazines.


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Hegel starts his ‘Phenomenology of Spirit’ with the expression ‘pure This’ (Hegel 1977, Pg 58). This is supposed to represent the most ‘immediate’ and ‘receptive’, which he will then go on to show as the ‘most abstract and poorest truth’. Let’s contend with his argument a little bit. Hegel correctly notes here that ‘this’ is constantly changing in the face of flux of time. 

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The phrase “business of philosophers” was used by Heidegger to mock a tradition of western philosophy that has forgotten the most fundamental problem it was supposed to solve, the question of Being (Macquarrie and Heidegger 1978, Pg 23-24). This is an incredible predicament, considering Aristotle defines metaphysics as a study of “being qua being”, and the very thing that allows for any being to exist as being seems like a foundational problem for metaphysics. So if philosophy can forget, at least according to Heidegger, its core motivation, its most inviolable seeking, mustn’t we ask a more fundamental question, lest we forget this too? What is the business of philosophers and is it even necessary? Should the question of Being even occupy a human mind, for instance?


The Work of Art in the Age
of its Automated Production

by Ulysse Carrière

special edition - materialising soon

We are extremely happy and excited to present a stunning essay from Ulysse Carrière: "Technically Man Dwells upon this Earth: The Work of Art in the Age of its Automated Production" The world was desperate for someone to put this conversation to rest, and with this, it is done. Timed to perfection, Ulysse Carrière presents a profound and poetic account of Artificial Intelligence and Art. Here, the developments of AI Art today are contextualised in the immensity of evolutionary timescales, as if helping us to remember the bigger picture; think not of AI & Art only in terms of capital, but as something that is becoming and emerging as part of an unimaginably large becoming.

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