In this writing, I explore the performative correspondences between the complex, disparate, and disjunctive encounters, alliances, and movements that characterize the making of art and the making of teaching that--according to philosophers Deleuze and Guattari--are constituted by the "plane of consistency," "zone of indiscernability," and "Body without Organs (BwO)" of "rhizomatic assemblage". My objective in doing so is to conceptualize the creative research and practice, the incipient event of art and of teaching as an interconnected politics of "imperceptibility" that is constituted through exploration, experimentation, and improvisation, and from which manifold possibilities for new knowledge emerge through immanence.