For some, finding the content within Suka Off's performance is complicated by its' erotic, sado-masochistic form. Meant perhaps to shock the public out of mental lethargy, such tactics often have the opposite effect - causing one strong, extreme reaction which remains static forever more: that reaction is more often than not one of disgust; revulsion - perhaps even resentment. In any case, it is a reaction that bars the possibility for serious reflection. We might even presume that White Room, because of its' reaching towards a liberating form, evokes angst which does not liberate the public, but only those patient enough and determined enough to seek liberation. This emergent problematic; concocting a "shocking" form which seeks towards a better grasping of hidden content yet polarizes the public (who are easily "shocked" but not as easily led to "seek towards a better grasping,") is the problem of the political; or more fundamentally - the problem of the Man and the City; which happens to be the theme of "White Room," as expressed by Suka Off itself, in the program to the performance, which "shows the repressive activities of the majority against the individual." Yet the technological element blurs this seemingly straightforward interpretation by making individuality itself difficult to recognize; thus the political problem of technology.

This last statement may not be self-evident, but should become so to those who see "White Room," particularly its' conclusion. For there, although the "oppressed individuals" liberate themselves from the scientist who oppresses them, they do so by oppressing the scientist... with science. Conversely, it is the scientist's unscientific erotic love which is his undoing; because it puts him at the mercy of his subjects. Ergo; Mankind is capable of liberating itself from Mankind through technology - but as technology is the means of oppression and liberation, Mankind is never able to liberate itself from the oppression of Technology. That technology is oppressive is clear by reference to its' omnipresence - it constitutes the surrounding reality, the "umwelt" of White Room; it is thus oppressive to the extent that Being itself is an oppression - something that presses against us; presses us towards or from any other "type" of Being. This sort of thinking is itself, at first, confusing or i