This paper will consider the dynamic temporality of interactive digitised dance processes, as articulated through glitch artist Antonio Roberts and Butoh dancer Rachel Sweeney’s on-going digital choreographic collaboration. The paper examines some of the physiological processes that occur when live and digitised bodies inform each other through auto-generated choreography, activating a kind of affective engagement with an audience through immersivity. Auto-generated choreography can be defined here as the various modes of dance composition and production. These modes operate in the merger between live movement composition, re-articulation of live movement via recorded and projected movements of the dancer’s body, and also those emergent digitised dancing figures that result as a bi-product of working with digital glitch programming. The latter occurrs as non-determinate and non sequential movement. The themes put forward here are those that have emerged, circulated and dispersed within this digital choreographic process and harbor the micro sensitivities that exist within controlled and non controlled performance environments. Drawing from a phenomenological approach, this paper will reflect on critical writings surrounding the role of visuality and spectator empathy as put forward respectively by writer Brian Massumi and choreographer William Forsythe. This approach spurns a debate about how the act of calibrating live and digitised movement within auto-generated choreography presents Sweeney and Robert’s performance-making strategies as an active metaphor for embodying empathetic spectator processes. In particular, Sweeney’s own movement practice, which is fostered on Butoh training and performance, will be given consideration from three key terms: synaesthesia, multiplicity and dispersal. The writing thus offers an inquiry into the relationship between Butoh and glitch, underpinned by an interrogation of the role of proximity, perception and proprioception within integrated digital dance.