“…au blanc (…to (become) white)” is an “Annulment” metaphor by title where “unsolved crimes” taken in Thailand political timelines to call those victims “Pae Rap Baap (Scapegoat)” are still trendy even today. What are the things behind the concept? I would say, “Not really, just a matter in challenging has foreseen what if the composition has no more as stage work, no incentive musical development to catch your attention, no belonging in academic elitism, listening in your tragic ways to be out of your circumstances, to break those ideas as linguistic flip down (I mean, flip the f_ckin’ table) (?) More or less.” On contemporary music or sounds in Bourgeoisie and Partisans (?), I am surely taking this lens to evoke what I had done in the past few years on my political self. “Did I miss something?” and “Why the scapegoat in the first place?” The music itself would become “Bourgeois” appreciation is not my wish at all. I see them as Communism vision. 

The main issues of “this quasi-composition and sound art (or I would say “it’s a reality of nothing to annotate”)” are about “political hearing” in problematic contexts in bourgeoisie and elites cultures, 

Secondly, Socio-political resistance as action through sounds regards Foucault’s “Power and Knowledge” substances. 

Thirdly, Censorship as sounds or rather “being passive” behaviours resists with the linguistic proposition as a symbolism of Wittgenstein (?) 

Lastly, Cybernetics of coordination of three subjects as mentioned through the lens of Artificial Intelligence may be concerned as a pitfall of narcissism (?). All may have been raised productively in modern society of oblivion under the major dread. What is the point? I don’t rely on one certain intention to be a better place, even utopianism nor dystopianism. Just to listen and contradict yourself. This is Censorship. This piece is intensive “anti-fascism” outspokenness and insightful onto the cybernetic design that was developed by Roland Kayn in his entire career. 

To questioning on“Fascism” and “Cybernetic” relationship pass through the sense of Foucault is a surprisingly controversial issue and precursory to the problem of “Artificial Intelligence” constitutes the power as “Cybernetic-Fascism” in musical creativity. Liberate “sounds” in its parametric conformity is the action will be uprising soon. This music is about “fascism and totalitarianism” not “liberty” but how to “break your own fetter via their actions” and, well, lastly, “I’m not against A.I. because is my main research, don’t be mistaken me” “Where there is power, there is resistance.” ― Michel Foucault, The History of Sexuality, Volume 1: An Introduction.

 

Musicians:

Kathleen Nicole Cahis, Kulintang

Dini Pratiwi, Saon Barung

Sara Cubarsi, Violin

Pronnapas Santiwarangkul, Cello

Narat Klimthong, Trumpet

Composer, Live Audio

Moritz Koch, Percussion (Concrete box with hammer)