This study aims to discuss synesthetic characteristics shown in works utilizing projection technology among digital media technologies from the perspective of media aesthetics. While assuming that dance movements in traditional aesthetics have been construed and depreciated on the basis of phantasmal and unreasonable standards from the ocularcentrism, the researcher attempted to discuss that the mediation of digital media technology enabled the extension of sensuous characteristics and the re-interpretation of valuation of dance. For this, the study analyzed 「Body navigation」(2008) of the Danish Recoil-performance group which has been actively utilized digital promotion technology. In the work, a choreographer mediates using the digital the movements of a dancer through interfaces such as ‘Isadora’ and ‘Processing’ computer programs,infrared CCTV camera, infrared flood light, high efficiency video projector, digital image grabber, and white stage which replaces a screen.The movements of a dancer are captured in a digital camera and are projected to a space of a screen on the stage in real-time, and the dancer begins to explore a simulacre space as mixed reality in which existential and phantasmal senses coexist by dancing in a real physical space and also in a virtual space which is created as a result value of his/her movements. Digital mediation forms revealed in 「Body navigation」unearth a synesthetic attribute involving metakinesis which is a motor sensation of dance which is based on vision by visualizing quality such as an effort or a shape of movements. Given the fact that the aesthetic sense of digital mediated art which is discussed in media aesthetics is haptic, which means to be palpable with eyes, the digital mediation of dance illustrates that the synesthetic attribute of dance movements match the sense of media art and that the kinetic characteristics of dance becomes the data source of the primary digital art in the digital media era.