The body without organs is the body of sensation, and sensation occurs at a pre-subjective level in which the body and the world cannot be differentiated. The sensation located in Artaud's works is not that of a lived body but of the body without organs, the forces of systole and diastole and process of transformation/transmutation not simply germinal, organic forces of the auto-genesis of forms but the mutating and deforming forces of a chaotic dimension of affective becoming, forces of disruption and transgression, affective forces immanent within the real.

In a self-portrait which he dated December 1948 Artaud's head was drawn like a skull composed of the hardest bone. His twisted and erect hand dominated the image, and an oppressive death's-head was fixed at his shoulder as a double of his own head. The idea of the double has a crucial presence in Artaud's work. The double was what threatened to kill him, but it could also serve to resurrect his life. One of Artaud's last drawings "The Projection of the True Body" (December 1947 – January 1948) showed Artaud's body being shot by a firing squad, his hands chained and his knee-caps heavily scored-through, while opposite stood his double, a black skeleton with its energy-force radiating outwards in a aura surrounding its bones in torrential lines of dynamism. The two bodies were bound together.

In a text to accompany a book of drawings "50 Drawings to Assassinate Magic" (January 1948) Artaud wrote that his drawings -

. . . will make their apocalypse
because they have said too much to be born
and said too much in being born
not to be reborn
and take a body
and so authentically. [31]

It is plausible to suggest that those forces/activities/impulses governed by regimes of contemporary conformations (for no-on can remain free of this imperative even in the desire to defy/transform it) may be understood on the model of reactive forces, forces that separate a body from what it can do, that reduce a body to what it is rather than what it can become; while practices of counter-disruption/resistance insofar as they risk stability, attack the imperatives of social security should be seen as a triumph of active and productive forces.

The Deleuzo-Nietzschean project aims to release/free transgressive thought/action from that which captures/captivates it – to free action from the "transcendental illusions of representation" to give it back its capacity to effect transformation or metamorphosis, to make things scatter and realign. The function of transgression is to resist the discourse/practice that prevents deviation. These for Deleuze are regimes of subjectivication/representation that continually blind action to unity of the One.

Artaud's imagery emerges from a process of internal incision and interrogation. It manifests an instinctive articulation of a body in disunity, disconnected isolated in the plenitude of a space of abject nihilism and profound desire. These visions became the base material to interrogate fears about the loss of identity and the absent body.

One of the themes frequenting Deleuze's later works is the process called "Becoming". [32] Becomings take place "between" poles they are in-betweens that pass only and always along the middle without origin or destination. In the interpretation of Fight Club the becoming – Tyler of the narrator is the "subject" of the film: the narrator's becoming – Tyler deterritorializes the parameters of identity only to be re-territorialized as his refusal to be entirely seduced by his alter-ego/an-other consciousness, which eventually results in Tyler becoming - "dead". This attention to becoming facilitates Deleuzian experimentation and an exploration of alternative notions of subjectivity in which "Fight Club's central character is freed to radically transform himself, exploring the extremes of identity projection, while becoming – other – the subject is a process of multiple becoming in which anything can be connected to anything else.

The narratives of Becoming structuring Fight Club engage a realization of the Doppelganger motif. The Double explores the spiritual dimension – the representation of a desire for immortality. If it is possible to externalize the spirit this may serve to confirm a form of life exists beyond corporeal dimensions. Jack develops Tyler in the identification of a secondary, apparently hostile component of his personality with a "physical" double – who may be real or imaginary. Tyler is not simply a physical replicant of the protagonist but a complementary addition to his own identity. The double originates from within the host as an external expression of repressed emotions/desires. Via doubling an alter-ego is created that embodies a demonic subjectivity. Tyler is a manifestation of the narrators sense of incompleteness and parental abandonment. Although, he comes as a "saviour" to the isolated and dispossessed narrator, there will inevitably be something about him that will always fall into the category of indiscernability.

Jack: Why do people think I am you?

Tyler: I think you know.

Jack: No I don't.

Tyler: Yes you do. Why would anyone possibly confuse you with me?

Jack: I don't know.

Tyler: You got it . . .

Jack: No.

Tyler: Say it.

Jack: Because . . .

Tyler: Say it . . .

Jack: Because we are the same people.

Tyler: That's right.

Jack: Tyler I don't understand this.

Tyler: You were looking for a way to change your life. You could not do this on your own. All the ways you wish you could be, that's me. I look like you want to look, I fuck like you want to fuck, I am smart, capable and most importantly I am free in all the ways you are not.

Jack: On no . . . this is not possible, this is crazy.

Tyler: People do it everyday, they talk to themselves and they see themselves as they'd like to be. They don't have the courage you have to just run with it. Naturally you're still wrestling with it so some times your're still you, other times you imagine yourself watching me . . . little by little you're letting yourself become Tyler Durden.