The dance is a figurative process in the history of ideas. It is not only expression of corporeity in the common meaning attributed to this last word. In fact the choreutical art extends itself into the «chair», understood in a phenomenological elaboration of the term. According to point of view of Maurice Merleau-Ponty, the «chair» is conceived as a body gone beyond the boundaries of the skin. In the present reflection it is hypothesised that the connection between carnal dimension and terpsichorean art promotes a complex interpretation of the choreography, starting from a theoresis refounding the status of dancing gestures. The intention here is to focus some elements of Alexander Withley’s significant works. He is a choreographer capable of retroacting to collective consciousness and of giving life to an extensive research. He explores ways of visualizing of digitalised movement in order to identify what remains recognizable of the human being after the reduction of the body to a set of points in space. Withley also transforms himself into the threshold of an experience of sharing with the users-cybernauts became coauthors. He radicalizes the vitality of artistic cycle and reaffirmes how the pragma of thought is consubstantial to a participatory horizon.