Reconsidering the Situationist texts, mainly Guy Debord’s Society of the Spectacle, this article attempts to produce distinctions between the spectacle, the speculative and the ‘spectile’ via a reading of Deleuzian insistence that immanence should be created. Zigzagging between the texts of Sarah Kane and Sevim Burak, we suggest the urgency of ‘the spectile’ within the Deleuzian concept of ‘becoming‐woman’ if an immanence, including both arts and art criticism, is not to yield to a transcending transcendental; if criticism is to produce an immanence that is only immanent to itself.
