[EN] What ontological implications are conveyed by the simultaneous perception of live and recorded experiences? In how many different ways do we experience time? After the invention of "liveHfeedback" in the sixties, we can speak of growing trends towards hybridization of overlapping actions and recordings. This phenomenon is one of the consequences of the performance turn in the sixties that took place simultaneously with video art and new media development Overlapping recordings and live broadcasting opened up an unknown sense of simultaneity, both technical and conceptual. A kind of multitemporal experience that combines staging and mediation, and that generates changes in the visible and perceptible fields. Performative and digital proposals found in artistic companies such as Exmachina [founded by Robert Lepage] are drawing the attention to these kind of multitemporal experiences. Their team handles video, image, sound, performance and dance, and the audience have to pay attention to multiple stimuli and different temporalities. Technology makes the experience of multiple narrativity in live present possible and the performance is similar to real life, and creates a collective action done between performers, artists and audience. This text suggests rethinking the concept of 'simultaneity', and is structured in three main ideas: acknowledging a new way of mediation since 'liveHfeedback' was invented; 'multitemporal' analysis from a technological perspective; and the repercussions of both phenomena in art, especially focusing on some crossHdisciplinary practices of performance art.