This past Saturday Ryoji Ikeda presented the North American premiere of superposition to a crowd of several hundred at the Musée d'art Contemporain de Montréal (MAC). As would be expected, the sixty-five minute multiscreen performance played out as kind of a data aesthetics megamix that flashed through a series of precisely choreographed abstract visual vignettes that grappled with the digital sublime and pondered the agnosticism of network culture. However, what was a pleasant surprise—one welcomed with open arms, in fact—was the integration of the talents of two ‘imperfect’ human performers centre stage into the middle of Ikeda’s austere audiovisual animations.