In Crushed Now, apparatuses, technological infrastructures, and algorithms become collaborators of human performers. They do not only co-shape rhythm, resonance, and attention—they actively define them. This creates a relational field in which gestures and musical decisions are distributed across human and non-human actors, constantly renegotiating how sound is heard, shared, and interpreted.

In this co-presence of human and machine—performers, visible and invisible technologies, and the audience—not only is the instrument itself reshaped, but also the sociocultural architectures of performance. Instruments are algorithmically, adaptively, and infrastructurally embedded into the concert experience. Bodies, artificial artifacts, and sounds encounter, interact, and collide gesturally in dense, often complex constellations. These interactions—between traditional instruments, expanded performative practices, varied speaker configurations, and 3D audio sound compositions—create an experience of space as relational, temporal, and collaboratively constructed.

Thus, the moment of performance becomes a compositional spatial practice in which presence is continuously reshaped as a dynamically produced (im)balance between human and machine actors—through body, sound, and interpretation. Instrumentality transforms into an aesthetic, perceptual, and social practice that reconfigures our concert culture, generating collective and relational modes of listening. The audience is invited to observe, experience, and take a position.