Quote for Today: Sarah Emily Miano

cello-4412504_640

Consider yourself and the cello. As you play the music moves out to the listener, and also enters the core of your own being, for somehow you are tuned to the cello. Well, I am persuaded that this is because you are a chord. I am a chord. Our DNA dictates our physicality–made up of billions of little notes–on a basic level. Add to that our geography, background, et cetera, and you have your original score. Life is the layering of chords, but the underlying one that we are will never change. This brings us to string theory and love. Our personal chord resonates with the personal ones of others, and sometimes we encounter another person who is completely harmonious with us. It is a dominant, overwhelming attraction on the DNA level. However, such a person can appear to be our opposite–and that’s where this ‘opposites attract’ notion comes from–because they have tuned their chord in a different way. In reality, we are attracted to the person we have chosen not to become, an alternative adjustment to a chord that is nearly the same as our own. The clashing portions of the chords sounding together advance the richness of it.

Sarah Emily Miano, Encyclopaedia of Snow

Image by Joe Oliver from Pixabay

Exploring Life, Death and Collectivism : Vocalise for Nine Voices by Kostika Çollaku

Kostika Çollaku is an Albanian composer living in Thessaloniki, Greece. His works combine elements of music, technology and video. The Vocalise for Nine Voices is a striking exploration of life, beginning from a single melody line (unison) symbolizing birth, followed by diverging voices which come together again in a final unison death motif. There is something extremely sensual and chilling about the sound of dissonance, or clashing harmonies, between human voices, especially when they are unaccompanied by other instruments.

Video via Kostika Çollaku on YouTube.

Fabrika Yfanet © Xbio with CCLicense

Fabrika Yfanet © Xbio with CCLicense

This music video is further enhanced by grittiness of the location: the abandoned fabric factory of Yfanet in Thessaloniki, which is now an anarchist collective squat, housing families and providing a space for concerts, artistic endeavors, and community events. Yfanet contains a cafe, a library, a computer room, an assembly and cinema room, a gymnasium which doubles as a dance studio, a barter and trade area, and an underground space for events, such as music concerts and performances. The factory has been occupied since 2004 by groups and individuals uncomfortable with modern society who attempt to realize a life that is not dependent on government or money.