The composition Anti, for wind quartet, flirts with the pragmatics of today’s turbo-capitalist compositional practices in the field of contemporary art music. One of the artistic methods presented is the minimalist copy-paste recursion of musical thought. Through the economization — the airiness — of the score for a larger ensemble, in which fewer musicians are active, one can achieve higher financial copyright fees with minimal effort. The competition with the metronome becomes a competition with the norm of excellence, yet such activity veers into the grotesque — a direction suggested in Anti through certain stage directions and anti-dramatic elements typical of Stanič’s chamber works. The composition also problematizes collective synchronous playing and explores new sonorities of the transverse flute.