The new in art is ensured by the operation of innovative exchange, in which things from profane space are valorised and existing cultural values are devalued (Boris Groys, "On the New", 1992). The entire history of music is marked by this procedure: what was considered non-music was inevitably turned into music. What is remarkable here is the fact that predominantly only the acoustic part of profane space was involved in the innovative exchange. However, this phenomenon has purely economic reasons: in order to realise a work of art, means of production are needed, which are provided by the corresponding institutions. In the case of music, these are ensembles, orchestras etc. which have made the result of the innovative exchange in the acoustic space, i.e. the piece of music, possible for centuries. In the postmodern situation, the main characteristic of the material part of the profane space is that every component of this space, i.e. every sound, has been upgraded and downgraded at least once in the course of music history. That is why the entire acoustic is cultural and profane at the same time: the boundary has been erased. It follows that if the profane space is limited to its acoustic part, the generation of the new is no longer possible. If this is neglected, musical pieces emerge that are no longer distinguishable from one another, that are another image of themselves. Art, however, has as its basis the creation of distinctions. In this context, the only strategy for maintaining the newness of new music is to devalue the innovative exchange in the material.

The title "Blood on the dance floor" refers to the Michael Jackson song of the same name, which is about a man being stabbed with a knife at a party. Metaphorically, art with its newness is also a dance floor on which the "blood" of existing cultural values is permanently spilled. Every performance of the operation of innovative exchange is an act of violence perpetrated on these values.

The piece addresses the fusion of acoustically profane and cultural spaces and the associated impossibility of innovative exchange in the acoustic. This is ensured through the explicit use of readymades and the creating of self- and external references. In this process, the actual material, the form and the composing itself are treated as readymades and recontextualised accordingly, with the contextual differences between the readymades coming to the fore and the acoustic ones taking a back seat. This procedure is applied to the sound materials in the first part of the piece: the acoustic material per se is devalued and the intercontextual references are valorised. Structurally, the part is a glissando in the medium of shaping acoustic materials: it begins with a single note and ends with the recognisable quotations. For example, the first section exposes individual Cs of the clarinet part from existing musical works, with each C commented on. The comments explicitly refer to the pieces from which the corresponding C was borrowed. By forming relations, the contextual boundary between these almost identical acoustic materials is redrawn. In the second part, acoustic composing is devalued and relational composing is valorised, glissading here in the medium of composing itself: from music freely improvised to music composed according to a rigid system. The materials of the last part are strung together according to the principle of maximum contrast, not only acoustically (e.g. loud/quiet) but also contextually (e.g. Schönberg/techno). Contextual differences are again created through the relations already transported in the materials.