Toward the end of their lives, both Michel Foucault and Felix Guattari sought to develop a mode of the production of subjectivity that unbinds itself from hegemonic norms thereby launching what Foucault called an arts of existence and Guattari called existential self-fashioning. This dissertation attempts to update this form of subjectivity curation and creation and bring it into the present-day by taking into account the way that subjectivity has become mediatized and interlinked with various gadgets, beings, and other-than-human entities. The analysis relies on the procedure of metamodeling, derived from schizoanlaysis, in order to construct traversally a system of reference that would slice open the normal sense and gloss that is intrinsic to normative semiologies. This methodology undergirds and guides the theoretical findings of this project, which argue that the now networked nature of being human calls for a neoanimist cosmology that not only decenters the anthropos from its privileged place in the most epistemologically shared sense of the word world, but, even stronger, horizontalizes its privilege on power, obviating its move to raise itself above other beings that it finds in the environment it inhabits. By undercutting the propositional nature of human exceptionalism, it follows that the production of subjectivity can be pushed into channels that are not caught in subjection, policing and homogenization, but into modes that induce processes of subjectivation, the creative self-fashioning of one's life. Figures like the cosmopolitan idiot, the clown from the carnivalesque, and the performance artist are submitted as prototypical models that help subjectivity mold its being away from subjection and towards a repossessing of beinghood in the contemporary, mediatized milieu. The way that these embodied tropes and existential scripts are arranged and ordered exposes an encrypted system of reference that deploys the same logic as emblems found in the aesthetic of the baroque. Subjectivity is, paradoxically, a kind of artifice that is more real than the predicates that would make it fake.