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My music draws inspiration from the mystic thought-as-experience, as presented in the Eastern Orthodox Church by significant theologians, such as St Dionysius the Areopagite and St Maximus the Confessor. My compositional practice can be seen as an attempt to bring closer two fields which are traditionally considered to be opposites: contemporary music and theology (mystic thought). This is obvious in my music as the formation of a certain aesthetic approach in the contemplation of sonorities and structures, at least in phenomenological terms. More clearly, this aesthetics can be traced in the relation between concepts of mystic thought, such as eschatological becoming and perichorisis, and certain musical techniques and attitudes, such as constantly transforming sonorities, or the attempt to bring closer different compositional approaches: a spectral attitude towards sound (spectral music of the Romanian ‘school’); the relational dialectics of sound objects as in the music of Helmut Lachenmann; and the splinterness of form and structure as block form and permeability in Stravinsky’s music. This approach enabled me to extend certain styles and attitudes to the extreme, such as an unprecended case of absolute continuity in combination with block form that is formulated in my string quartet Cardiogram.