​The project is a part of Music Becoming-Minor in Performance Spaces and is primarily a collaboration with pianist Ning Yu. Through the Meyer Sound Constellation system at National Sawdust (Brooklyn, NY), Piano Realities creates new territories of sonic possibility.

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​Unlike the striated spaces of classical concert halls, where elevated stages territorialize hierarchical divisions between performer and audience, Piano Realities deterritorializes these established coordinates through its spatial assemblage. Rather than occupying a fixed point of authority, the piano becomes a nomadic center around which bodies arrange themselves in smooth space, creating new multiplicities of musical encounters. 

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This spatial reconfiguration dismantles the molar organization of traditional performance, allowing molecular flows of affect to circulate freely among all bodies present. The performer, no longer an elevated subject separate from their audience objects, enters a field of music becoming-minor, where desires flow rhizomatically through the collective body of participants, producing new intensive experiences that escape the standard coding of classical performance. In this context, another haecceity emerges—not the performer as a fixed individual, but as a complex individuation of movements, gestures, breaths, and affects, all comprising this performance, this moment, this intensity. 

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It is 'a mode of individuation very different from that of a person, subject, thing, or substance' (Deleuze & Guattari, 1980/1987, p. 261). Like the wind at a particular hour of a particular season, the performance exists as a unique spatiotemporal event, a specific arrangement of speeds and intensities that can never be precisely replicated. The micro-movements of fingers on keys, the vibration of strings, the circulation of air through the space, the subtle shifts in audience attention, and the audience’s breath—all form assemblages.

 

As Deleuze and Guattari (1980/1987) noted, chaos is an endless state of possibility that transcends all order, structure, and form, not as a mere disorder but as a primordial condition full of potential and a source of infinite possibilities. From Aaron's Cosmologies (2020) to Heather's All Things That Disappear (2024), each composition forms its plateau of intensity. The film captures these molecular movements as bodies, technologies, and spaces enter into novel assemblages.