In our time the proliferation of images has invaded all ambits of life, and this has affected the ways of production, diffusion and consumption of new media and audiovisual productions. This phenomenon has influenced the art field, generating paradoxes related to the creative processes, the experiences of perception, and the reception of the audience. We will focus on the convergences between dance, video, and new media, contrasting the differences between the creative possibilities of image in the artistic field and the commercial porpoises of image. The “poetics of the body transfigured into image” have altered the perception of time, space, and movement, in a way that amplifies our senses, but also denies our bodies, generating crucial paradoxes between the physical and the virtual world. Somehow the audiovisual industry has democratized the access and proliferation of image production, and at the same time it has determined the ways to create and consume it, as occurs in video formats in platforms like Tik Tok, Instagram, YouTube, and X, where the demand of views and the publicity restrict the content and the expressive possibilities. All these paradoxes of “the body transfigured into image” are directly connected to the ephemeral aesthetic experiences of the market, the obsession of effectiveness in economic models, and the obsolescence of technological improvements, bringing relevant questions about the place of audiovisual arts nowadays, the meaning of its creative processes, its differences with other similar industries and its political implications.