The phrase "We are what we did not want to be" is a poignant philosophical statement suggesting that our choices and actions, even those we initially resisted or avoided, ultimately shape who we become. It often refers to the idea that the negative aspects or involuntary experiences we encounter can have a profound and lasting impact on our identity, sometimes revealing hidden traits or forcing us to confront aspects of ourselves we'd rather ignore. 

Philosophical interpretations:

Identity as a cumulative process:

The statement highlights that identity is not static but is built through a lifetime of experiences, both positive and negative.
 
Unforeseen consequences:
It emphasizes that even our attempts to avoid certain outcomes can, through irony or circumstance, lead us to those very states or identities. 

Confrontation with reality:

The phrase can imply a forced acceptance of certain truths or circumstances that we initially rejected, leading to a more complex and perhaps less idealized self. 

The unavoidable nature of destiny:

Some interpretations suggest an element of fatalism, where our path is determined not just by our desires but also by the circumstances we encounter and how we react to them. 

We are what we did not want to be

Producer of electronic, ambient and experimental music from the North coast of Italy. Subscribe to the channel, like, share. Thank you. 

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Rosario Marcianò (Native Sound), in addition to being an author of essays, a documentary filmmaker and an independent investigator, especially expert in the field of clandestine geoengineering and geopolitics, is also a musical composer. Self-taught, since adolescence he has cultivated, among other things, a passion for art whose inspiring goddess is Euterpe. This passion, over time, has given rise to a style and inspiration transfused into instrumental productions of considerable emotional impact. 

His compositions, which tend to go beyond the boundaries of more or less codified genres or subgenres, tend to combine a tense, sometimes hammering sense of rhythm with melodic lines not devoid of a refined dissonance. Generally speaking, these creations can be traced back to the field of soundtracks accompanying dramatic films, thrillers, action films.

It is symptomatic that the motifs created are exclusively instrumental, we would say orchestral, so as to focus the enjoyment on the essence inherent to the art of sounds, without the intervention of the text which, although it can enrich the score, sometimes distracts from the heart of the inspiration. However, the titles, almost always coinciding with a single word or a syntagm of strong texture, introduce the forms and functions of verbal language to recover, so to speak, the eclipse of words.

The tracks are precisely fixed by incisive and pregnant titles, not only in relation to the phonic and melodic structure, but also foreshadowing abysmal themes: life, death, destiny, freedom, hope, nature, love, memory, meaning, power... They are the same contents that dot the section dedicated to the maxims: for this reason it seemed appropriate, indeed natural to us to match some pieces with precise aphorisms, as a harmonic complement. A music therefore to listen to, but also to read with a multisensory approach that involves soul and intellect, aesthetic pleasure and reflection.