The debate surrounding the documentation of performance is principally concerned with the ephemerality of the live event, set against the stasis and "death" that the archive is conventionally believed to represent. The advent of digital technology in live performance has complexified this still further, by altering the architecture, space and dimensionality of the live event. Time-delay, live motion capture, feedback loops, dancing avatars and images projected in and onto the space all conspire to generate a liminal zone between the virtual and the real, fracturing audience perception and subverting still further the already-contested notion that performance can in any way be repeatable or "captured". Telematics and immersive/interactive environments, such as virtual reality, also complicate what the performance is and where it resides: here it becomes a personal exchange, in an intimate space generated afresh between the artist/performer and each spectator/participant. As our experience of performance becomes ever more personalised it reinforces the notion that multiple truths must emerge from any performance event and validates individual memory as a site for "documents" to reside. Digital technology here comes to the fore as a documentation medium as well as a performance device: it allows us to upload, disseminate and share personal perspectives on a performance event and to challenge the limiting linearity of bound text and film, navigating dynamically between document-objects and playfully (re)performing the documentation each time we visit it. (Contains 3 notes.)