This 8-channel sound installation employs sound as a spatial camouflage, utilizing noises and the temporal structure derived from Glenn Gould’s recordings (1955 and 1981) of the Goldberg Variations as aural architectures. Notably, Gould expressed a fondness for the camouflage colour battleship grey (schlachtschiffgrau), as revealed in an interview he conducted with himself in "Vom Konzertsaal zum Tonstudio: Schriften zur Musik".