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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For general contact, it is preferable that you reach out via Instagram↗, as we are more responsive there.
Other enquiries, such as publishing proposals, should be sent to↗

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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Ruben Pater on the History of Design

by niko mas

It’s a cliche question for a sociologist to ask “what is the role of x under capitalism”, and it is a question that is seemingly applied to everything because at some point we learned that the knock-on effect of our actions and practices is often overlooked or misunderstood. One particular example is the way that capitalism, presenting itself as merely a way of organising resources, can manipulate the mind of its subjects. More than just a code for how resources are allocated, capitalism and its enactment reinforces highly problematic ways of thinking. Essentially, because there is something fundamentally compromised within capitalism, any practice of anything can be interpreted as problematic due to how it reinforces an unsolvable problem.

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Simon Reynolds' contribution
to Cultural Theory

by niko mas

Simon Reynolds is one of the Men I trust. He has written a number of books that have maintained prominence in any serious scholarship regarding current music trends and rave culture. His work ‘generation ecstasy’ (1999) (1) is perhaps the most comprehensive study of rave culture and electronic dance music ever conducted; a truly fine piece of scholarship, managing to synthesise myriad perspectives from Achim Szepanski and Gilles Deleuze to Juan Atkins and Frankie Knuckles; Reynolds has consumed every piece of information available on the topic and managed to bury it in a book without it collapsing into a black hole..

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How to Sell Brunch to Influencers

by niko mas

It’s easy to think of music as being some kind of leisure or recreational activity, or a condiment on the side of life there to ease you through. However, as becoming-magazine, we know that certain art forms, especially music, auditory, and audiovisual art forms, have a social affectivity which, due to the emergence of mass culture and digital distribution, has become increasingly problematic. While Benjamin expressed some hope in the emancipatory capabilities of mechanical reproduction, we were bitterly wrong, as in place of one psychopolitical tool made way for another.

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