Another problem with being perceptible is easy to understand in our current digital context. It is a problem we might summarize as the motivational problem. Being perceived triggers dopamine, and dopamine hits train you to do more of whatever got you the dopamine. The more your motivation relies on dopamine via perceivability, the more surely you are not creating original and longer-term projects, because such projects require long periods of zero perceivability. When Deleuze and Guatarri say "bring something incomprehensible into the world," this is what they are saying. They're not saying that any old nonsense should be brought into the world, or that ideas or artworks should be impenetrable by design. Deleuze and Guattari are saying that nothing worth thinking, saying, or making will pre-fit the perceptual schemas of others, in advance. All worthy creative projects are incomprehensible at first, when they are brought into the world. Any project that is immediately comprehensible is the product of someone opportunistically filling currently existing schemas of perceptions. That is the opposite of creation, that type of work is taking orders from arbitrary social opinion dynamics (and guess where those opinions are most likely to come from, guess the higher function those opinions are most likely to serve). They are not railing against clear communication or transparent self-presentation; they are railing against anyone who creates in order to be valued from within already existing schemas of perception. Perfectly normal communication and self-presentation can totally scramble perceptions, and the most esoteric, anonymous, scrambled communications can be slavishly pre-fit to pre-exisisting perceptions.
If one is not creating on the fuel provided by immediate recognition, how is the work of creation motivated in the period of zero perceivability? To create anything other than reproductions of the status quo requires a different kind of motivational system. Lo and behold, Deleuze and Guattari offer one, which at every point is contrasted to capture by perceivability. In their language, they advise one to rather construct a plane of immanence (a "DGAF" gesture of creative violence, which is intrinsically self-rewarding) and then working on it as a labor of love. "The secret always has to do with love" (ATP 97). But this is no cliché; while half of their analyses are about the mechanisms of domination, the other is dedicated to modeling in exquisite detail what the labor of love involves, and how to do it. If you can't access such a state, it is because you are captured, if not by perceptibility then by some other trap ("Is it good? Is it worth it?" Questions which usually veil a "What will people think?"). Thus, becoming imperceptible is about constituting a different kind of project, on a different motivational system — a system of immanent, intrinsically self-motivating creative productivity, rather than a mediated, extrinsic, alienated toil, the satisfaction of which is always out of reach even if temporary recognitions are won.
To make an irresistible reference back to the Twitter Deleuzians with which we began, it is some vindication of my contention here that the digital masks of these individuals do not seem to help in the slightest with this problem of capture by perceivability. For many of these people are prolific with short bursts of creative possibility, so long as they receive a perceptual payment of dopamine; but very rarely can these individuals bring such creative bursts to the constitution of a plane of immanence. This is because, as we will see, the mask is the face.
So the problem of being perceived is capture, susceptibility to manipulation, and losing the ability to create and execute works of substance.