This chapter explores a methodological, practical and fundamentally corporeal connection between phenomenology and performativity. Central to this exploration is a research project into using mobile media to archive the artistic processes of choreographer Margret Sara Gudjonsdottir. Her somatic performance practices produce a compelling combination of physical stillness and affective intensity, making her work rich ground for phenomenological enquiry. At the same time as the viewer constitutes her work in the act of viewing, her choreography requires that the dancers perform a variation of phenomenology for its development and performance. Approximately one year of exposure to Gudjonsdottir's performances and processes acts as the experiential ground for this reflection, encompassing two performances and time spent with the dancers in the studio performing her myofascial somatic practices. This chapter presents an expansion of phenomenological method to account for affective experience, juxtaposed with an account of Gudjonsdottir's studio and choreographic processes. A parallel is drawn between these reflective processes. The wider context for this research into the performance of somatic states and the use of digital media for archival purposes is the political crisis associated with the non-consensual capture, analysis and manipulation of networked social media data of tens of millions of people (by Facebook and Cambridge Analytica). An argument is made for the performance of opacity within mediated archiving, demonstrating how concealment can be a form of resistance.