The purpose of this study is to view the problem of perception in modern digital art as a phenomenon of “hyperembodiment” and to discuss the relationship between virtual and real space, body and virtual image from a continual perspective of mutually related affective effects, and expansion body and action. Mark B. N. Hanson defines the virtual space we experience as a mixed reality that continuously interacts with reality, and views it not as virtual, but as “real,” mediated through the body and technology. Digital art reconstructs the movement of the actor’s body by transforming the digital image into a code. In this process, the body is strengthened to function as a selective organizer of information. It is ‘affectivity’ that enables changes in the body, that is, to create experiences and relationships that transcend the limitations of the body. And digital technology becomes “bodies in code” when it is combined with the body frame of actors and receivers. Therefore, Hanson discusses the action of the “bodies in code” as making the virtuality of digital images and real space perceptible, and sees that the perception of the receiver is also changed through “bodies in code.” Therefore, perception in digital art should be discussed from the point of view of the body.