Deleuze, drawing on the relationship between matter and form, undertakes an analysis within the philosophy-art context in the section where he addresses the bodiless body as the intensity defining productive thought in art. To liberate collectivity from the personal management of memory and the collective ideal of remembrance, he focuses on conceptualising fragments and particles within flows, based on contexts of transformation and change, as opposed to a mental and linear process within a specific temporality. For this reason the author invents a new, almost, a foreign language within the language. In What is Philosophy, Deleuze dwells upon the relationship between philosophy and literature in a conceptual contextuality and connectivity with art while describing inventing as “the power to produce” and “to create”. This observation not only questions the logistics of existence in terms of movement, but also demonstrates a genuine admiration for the subjects and objects of life in his writings, while providing a source for his own propositions concerning vitalism. Most of the time, this source manifests itself through Deleuze’s philosophical, psychological, and scientific reinterpretation of names and texts selected from the history of philosophy: Spinoza versus Descartes, Nietzsche versus Kant, Sacher-Masoch versus Sade.