Beyond its original presentation that mimics the dynamic entries of digital clouds in its textual body and thus weaves a vivid conceptual network between the different articles, this major publication on new media performance gives a thorough analysis and immensely useful hermeneutic tools to approach intermediality. Indeed, what transpires is that new media theatre unveils an idiosyncratic theatre thinking, close to a kind of practical phenomenology which it seems, however, to exceed. What is asserted here is a fully fledged theatrology going beyond phenomenology. Intermediality revitalizes perception and, most of all, through this complex process of ‘resensibilization’, reaffirms the power of touch, an often forgotten sense when we discuss theatre. The haptic quality of new media performance, beyond the visual feat, puts the intersubjective body at the centre of the show. The actors or spectators can no longer be conceived as separate subjectivities; they have to be approached in the serendipitous shock of the encounter: a social big bang. This performative dimension of the show is lost in conventional theatre, which only enacts outdated cultural constructs, implying the social locus of a theatre building, but also the darkness in which the spectators are immersed when the show starts, or even the falling curtain of the necessary fourth-wall distance. New media performance conceives immersion as an almost erotic experience which does not leave the participant unscathed: the audience necessarily engages in the show as their body seems empowered by it. This anti-intellectual approach to theatre revives the ultimately pedagogical and political sense of performance. Indeed, the visceral involvement of both actors and spectators places emotions at the centre of the exercise of theatrical judgement. This does not mean cheap sensational shows but, on the contrary, it often translates as a moral conflict of emotions and therefore helps one to understand where ethical choices stem from. This also presupposes that emotions are not simple and that they convey an underpinning dark meaning as yet inaccessible to verbal expression. Intermedial performance advocates the openness of all our senses to emotions which tell us another story than that of our solipsistic intellect; paradoxically, when technology is mediated through theatre arts, it tells us what flesh is and what it is to be human. Indirectly, it sketches a critique of the Western conceptualization of man, of humanity, and as a consequence of a certain kind of egocentric humanism. In that respect, it can be dubbed ‘posthuman’. By extending our representations of time and space into digitime and digispace, intermediality reveals the mutability of human experience, the instability of our concepts and perceptions and the consequent vanity of our species’ pride. The book is definitely both an aesthetic and an ethical statement.