The chapter contemplates how readers encounter analyses already-there. Since annotation inscribes a viewpoint likely to inform reading, the characterisation of annotation as an editorial tool comes into play. To discover what annotated videos offer independently of what artists and resources claim, a descriptive and comparative analysis of video mark-up in four artist-led interdisciplinary multimedia publications explores how annotation functions. Drawing from Robert Pfaller’s thesis of interpassivity, the digital publications are characterised as self-analysing objects. They do not need the presence of the implied reader for an analytic reading of dance to be performed. To avoid the illusion of analytic reading and postponement of comprehension, it is argued that the viewer must be curious and wrest back responsibility for analytic activity from the media object.