The performance of Hyperplexia consists of two grand pianos, one of which is played in the traditional way and the other is equipped with a self-playing mechanism that is triggered by the performer on stage via MIDI data. The MIDI data can be generated and varied in real time via additional keyboards, controllers, audio analysis and/or AI agents. The sound of the self-playing piano can be modulated in real time by preparing the piano.

At the same time, the MIDI data can also be used to control various virtual pianos and samples. The visuals are also generated live from the MIDI data played and varied in real time by a second off-stage performer, the visual operator.

Ranging from composers like Conlon Nancarrow to YouTube phenomena like Black MIDI, the design of the visuals is inspired by piano roll notation, which refers to the automatic piano rolls of mechanical pianos when it was common to punch the compositions onto paper rolls that then controlled the mechanical pianos. In this sense, the visual architecture of the sounds in the Midi Editor played just as important a role in the composition and pre-editing process of the program as the sonic structure. The idea of drawing music, as in the works of Norman McLaren, Daphne Oram and Iannis Xenakis (UPIC) plays an important role.

The result is a presentation that blurs the lines between audio and visual, between composer, performer, and remixer; conductor and interpreter; improvisation and scripted performance.

Among others, this program includes influences from the following artists: Conlon Nancarrow, Daphne Oram, Georhe Antheil, György Ligeti, Ivan Wischnegradsky, Jamey Teneny, John Coltrane, Laurie Spiegel, Nicolas Slonimsky, Norman McLaren, Shirasagi Yukki, TheMentor, TheTrustedComputer, Trimpin, Unknown Blackers & Wendy Carlos