The rituals of everyday life unfold in an enclosed garden; unicorns drink from the well, flowers grow without thorns. There is no audience, no evaluation, no demand for constant production. Paradoxically, the walls within which the hortus conclusus exists set us free. It's not about escapism, but about a consciously established space of limitation in which the possibility of action opens up precisely through its own narrowness. There, the distinction between listening and the mere registering of sound becomes clearer. For me, this hortus conclusus, in a symbolic sense, is a prerequisite for what Pauline Oliveros calls deep listening - a state of maximum awareness of the sonic environment that allows us, in a way, to enter into its alternative reality. Let us hear the next amplitude of a sine wave as the Song of Songs.
I listen to Arnaut de Mareuil and Giraut de Bornelh more often than contemporary music. Years of engagement with medieval art, as well as time spent in cloisters and capitular halls, must have left their mark. After all, not everything requires a reason. Fortunately, having a manifesto is not an obligation. For me, this sonic hortus conclusus is a defense mechanism against constant availability, the uninterrupted flow of information, and the almost complete disappearance of silence. The world is becoming louder and louder, gradually erasing both what is quiet and what requires time and concentration.
This concert continues a cycle of improvisations that seek after a single sound - the one that can last forever while remaining inexhaustible. An infinite tone from which everything emerges. A hint of existence and its witness, a barely audible presence.
Buchla and Serge modular systems feel almost like living organisms which take part in the process, less as tools and more as partners - interlocutors in a language of controlled randomness.

In his work, Davor Gazde (HR) uses a modular synthesizer, which he describes as an instrument without beginning or end - an “experimental geometry” in which sound is distinctly visual. His first album Levitation Scene was released digitally in 2022, and on vinyl in 2023. In the same year, the composition Probability No. 3 was included in the Hordijk Vol. 2 compilation.He has performed at festivals and concerts with projects such as Levitation Scene, Music for a Still Life, and One day I will find the sound I am looking for, and it will be simple. In 2021 he facilitated a workshop titled Why Modular?, while in 2019 his interest in drone music led him to Yerevan, where he learned to play the duduk.
He performed at the Showroom of Contemporary Sound in 2017, where he presented his composition Probabilities, and at the Museum of Contemporary Art in 2013 with the project How Does a White Square Sound – Sonic Reflections on Hans Richter. He has collaborated with the ROOM 100 collective, for which he composes and performs music for circus performances in Croatia and abroad, and has participated in multimedia projects in numerous European cities.