While the visual structure of DNA appears to be very clear, clean and pure thanks to the geometry of luminous glass rods, the accompanying sounds we hear develop a counterpoint: often an indistinct, dirty, noisy sound aesthetic emerges in the space – sounds that are alien, seem mystical, as if they were from another dimension. Sometimes the artistic sound also combines with the pre-existing, everyday noises here in Dresden; the two become one, they blend together. Sometimes, however, the artwork also forms a sharp contrast to the everyday sounds that surround it. In one case harmony, in one case dissonance.

These man-made sounds originate on the one hand from the space itself (e.g. recordings in the staircase), on the other from an extended, sacred context (e.g. motets that used to be sung in the Sophienkirche at precisely this location). The original sounds were consolidated and transformed by a digital »space-time machine«. These abstract sound landscapes are then projected back into the real space via the glass DNA structure, where they reflect on the walls – on the actually built space. This interaction between real space and imaginative space constitutes an important level of the artwork.