An interpretative surface is never influenced by any one flow, as it is the mutual parameter of a number, of adjacent flows. The same interpretative surface is therefore interpreted in as many difference ways as there are adjacent flows along its surface. The perspective from which an interpretation emanates depends on the particular characteristics of the different flows and their orientation.

Therefore interpretation does not uncover "truth" but "creates" it. There is no "world-in-itself" but a dynamic and turbulent "becoming" in which the forms we perceive are not separate from interpretations. Nietzsche's World is an infinite "becoming" in which "being" is an imposition not an essence. In a world of "becoming", everything exists in a dynamic and non-linear relationship with everything else, in a process that erases its own history as it develops.

The AI agents though subject to the laws of the Matrix program are not restricted in the same way as the resistance. They are able to shape shift and perform other superanimated actions, yet even these are within certain apparent limits. The Matrix must sustain/keep as constant, its "reality-illusion." Therefore the agents must act subtly, within restraints. Although the Matrix can change factors within the game, it still has to consider the living consciousness it has confined within its construct. It is limited, therfore, by its own mechanics: if it is to maintain stability it cannot disturb the continuity flows too dramatically, because this in the long term will serve to empower the cyber-rebels, by freeing their minds from the "tyranny of continuity" (Time) upon which the entire structured program is dependant.

The cyber-rebels may bend, and even break some of the "rules" of the Matrix but not all of them. They cannot override its tyranny and assume super-entity status as they are holograms within a hologram, because only "the One" can effect this. At present they are still restricted by the confines of their minds still working to eradicate traces of the initial program imposed upon them by the AI. Hence Morpheus's training of Thomas Anderson (Neo), which concentrates upon releasing his mind and making him realize that he is not restricted by the laws of his body, but only by his belief.

Morpheus: Let me tell you why you are here. You are here because you have the gift.
Neo: What gift?
Morpheus: I've watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. What you can do inside a computer is not normal. I know. I've seen it. What you do is magic.

In the Deleuzo-Guattarian process the world is reactivated via the concept of the duration. Matter transforms into memory, and the present, never identical to itself, is doubled with the virtual image of the past it will become. Deleuze re-animates a Nietzschean scheme whereby the circular becoming of time precipitates short-circuits, bifurcations, detours and irrational divisions, where the notion of intensity is substituted for that of truth.

Neo: This isn't real?
Morpheus: What is real? How do you define real? If you're talking about your senses, what you feel, taste, smell, or see, then all you’re talking about are electrical signals interpreted by your brain.

Deleuze's reading of Nietzsche is part of a line of flight that eventually culminates in a process of becoming called the "Body Without Organs" – a multiplicity, unorganized and unstable, space, intensive matter, a "nomadic nomos." The "Body Without Organs" is a field of immanence of desire – desire as a process of production distributed intensively/consistently without interruption, a field of becomings.

With the virtual idea of the virtual concept, of becoming on the plane of immanence Deleuze and Guattari inject the "Body Without Organs" We are engaging chaos on the plane of immanence: for the plane "is like a cut or section (coupe) of chaos, and acts like a sieve or screen (crible) while in chaos there are no lasting determinations of things because "one does not appear without the other having already disappeared, and the one appears as vanishing when the other disappears in outline (ebuche, rough sketch)." (Gilles Deleuze and Felix Guattari) [14] The play of memory and forgetting, is itself predetermined to forget itself and begin again. Chaos is the "a priori" of time, the inseparable and indiscernable limit of memory and forgetting.