This article enacts a re-presencing of Telematic Dreaming, theinfluential telepresence art installation by Paul Sermon from the1990s. Revisiting an often-cited text I wrote in 1994 called‘Spacemaking’, which spoke from the experience of being aperformer in the installation, I fill in what was missing, downplayedor unwelcome in the discourses of the time: that nobody isanybody (i.e. in technological environments bodies are never neutralor universal); and that artistic works are deeply contextual andintersectional. Taking a strongly political and contextual approach toTelematic Dreaming, I first reflect on the dual states of wonder &entitlement characterising digital experimentation of the 1990s thenI consider the cultural structures and material infrastructures of theinstallation, assessing the scope for ontological expansiveness andgender crique they afforded. Beyond a particular instance of timetravel,this article proposes a new methodological framework forexamining past performances. By turning to critical phenomenology,with contributions from feminist archaeology, media archaeology,and an unexpected appearance of Sara Ahmed’s feminist killjoy, Ioffer an approach that paves the way for future researchersinterested in engaging reflexively and critically with historicalphenomenological