Performance has changed from a transgressive function to an artistic genre among others. This happened not only because the socio-cultural environ- ment changed but also because conceptions of the body changed with contact with the technology itself. As a result, performance has become a crossroads of artistic disciplines, where unconventional dialogues converge in the desire to embark on an experiment that integrates the performer with an intertextual, multisensory, technological and experiential approach to the event. In this context, audio-visual performances are characterised by the incorporation of alternative aesthetics and technological advances, moving away from the traditional focus on the performer?s body and expanding into other media, especially sound and images. In addition to this expansion into other media, live performance is co- constructed by the physical presence of performers and spectators. The perfor- mative moments can have a transformative effect as spectators experience the materiality of a live performance as an ephemeral event. This materiality of the ephemeral can also be achieved by incorporating technological means during the performative moment, thus reinforcing a performativity of sound and image in which sound and image negotiate their meaning. In this essay, therefore, we will explore how live audio-visual performances have the capacity to stimulate new interpretations of artworks and generate a sense of presence through technological mediation, based on a series of artistic practices and audio-visual performative moments.