The depiction of the body has never been merely a composition of an image, but it always carried with it a series of meanings and connections. Two or three-dimensional, in painting or in cinema or in virtual worlds, moving or static, the body has always been the place where the material world meets the conceptual world and other ‘virtual’ realities, and where physicality meets the subject’s ideas, fears, hopes and desires. The aim of this essay is to examine the construction of the avatar body as the ‘new monstrous’ of the digital age, to read the avatar performance in the context of Mikhail Bakhtin’s concept of the carnivalesque and it raises the question as to what it is to feel at ‘home’ within digitisation. The digital age is marked by a series of juxtapositions: on the one hand we augment the human body through electronic devices in order to respond to hybrid environments and, on the other hand, we create digital spaces in which we interact via our representatives – our avatars. These theoretical displacements from physical to virtual and from body to mind – theoretical because during both the construction of the avatar and the experience of cyberspace there is always a physical body attached to the subject – call us to rethink issues of matter and corporeality, and to question the body’s place in the world anew. If, within the emergence of new technologies, ‘we are all cyborgs’ (Haraway, 1991a: 150), then the human body becomes a technobiological object, a hybrid construction of wo/man and machine, and a powerful promising image of new subjectivity. Against a static and coherent understanding of the body but also a pre-given and fixed world, cyborgs open up into prosthetic extensions and digital connections, as well as to multiple digital and physical profiles that project realities and future imaginaries. They do so in order to create hybrid assemblages of organisms and machines and to establish links with others and with their environment. These contemporary monsters, as swarms of machines and connections and similarly to the monsters of the past, challenge the ‘natural’ to suggest new, as Haraway puts it, ‘possible worlds’ (1991b: 22). Extending this line of study, this essay examines the construction of the avatar body as the ‘new monstrous’ of the digital age and attempts a reading of avatar performance in the context of Bakhtin’s concept of the carnivalesque. By arguing that the body is radically dispersed within the context of digitisation, it raises the question as to what it is to feel at ‘home’.