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 In the situation of covid-19, the forms of "audience distribution" and "online ensemble" have rapidly spread as methods of music presentation. The former means that the performers gather and perform in an unattended box with no audience, and the latter means that the performers perform ensemble in a remote state via an internet application. Both are immediate actions/resistance by musicians to these emergencies, and I do not intend to agree or deny them. However, at the same time as the “audience performance” and “online ensemble” gaining the advantage of “lightness” of both main guests, the strength of the “place” such as the concert hall, which is a condition of the conventional media, is naturally lost. (It's a personal impression, but many online ensembles feel almost like greenhouse-grown man-made plants). There have been some examples of the result resulting in mere alibi work by musicians. The most vigilant thing is to "unconditionally" tune into the "culture power" slogan of the last century, the "power of culture," screamed by the government and some charisma, and lightly take advantage of these shows. Regardless of music, art or genre, artists should be lithe and cunning at all times.

 To describe my personal desires in such an emergency, there is a unique situation that only manifests itself under any abnormalities, and I would like to respond and stick to it. Taking the sound environment as an example, the endlessly repeated TV commercial music (/soundscape) of  Great East Japan earthquake was obsessively engraved on the minds and bodies of many people-at least to myself. Such a "singularity" that deviates from everyday life can be one of the triggers to capture everyday things from an alternative perspective.

 What I am paying attention to as this "singularity" is "silence", specifically that in concert spaces and other live spaces. Every silence in music begins and ends with the end of the note. This silence exists at various levels such as phrasing, movements, songs, and interludes, but I call it "silence of expectation" as a whole. However, as entertainment activities such as live performances and concerts have not been held due to being banned halfway, and now that it will not be resumed, it is not "expectations" in that space. It is "silence of anxiety" that neither ends nor begins.

This work is a collection of this "silence of anxiety" in one room via the Internet. Due to the recent disconnection of music and physical live spaces, musicians who have been unconditionally submissive to the place until now have also been unconditionally subjugated in cyberspace. However, now that various assumptions that have been implicitly understood have collapsed, it may be possible to listen to the ground that is invisible/audible in everyday life. In was to reveal of such historical objects, so far the music and (in the past), and I want to try the verification of the "future".

Ryuichi Ono

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