‘The waves carve their own desires’: the affects and agencies of intramedial performance

How do the affective attributes that are specific to intermedial, interactive and located mediums of digitally-enabled performance materialise embodied, sensual and emotional involvements and reconfigure reality through new forms of intimacy, empathy and immediacy? This question is considered through a posthumanist account of performativity to consider alternative ways of conceiving of reality, ‘humanness’ and how space and time of performance are constituted, particularly through the bodily productions of and relationships between performer, audience, environment and technology in the transmedia performance for smartphone Nobody’s Ocean (2016).