Giampiero Cane / Daniela Cattivelli
Postfantamusicologia is a sound creation - part of Xong collection, the artist's record series, produced by Xing - based on Giampiero Cane's texts and voice, performed by himself and manipulated by composer Daniela Cattivelli, who electronically projected them into a chaotic flow. Accompanying it is a remix in which the counterfeit voice is camouflaged among synthetic fanfares and doppler effects, as in the encryptions of SIGSALY, the secure voice system used in World War II for higher-level communications. In particular, the b-side of the record will be disseminated, viz. Human Reserve which is inspired by the imagery of New Orleans, a place characterized by jazz music and voodoo rituals - evoked by Daniela Cattivelli, through the combination of processed woodwinds, pulse generators, sine waves, and stork beaks with Gianpiero Cane's counterfeit voice, resulting in an ever-evolving sonic tangle.
The record is a special dedicated to the eccentric figure of Cane: a musicologist, lecturer, journalist, writer and sportsman who likes to be on the wrong side of the fence. Although he realizes the impossibility of the thing (he would have to prove those who agree with him wrong and so on), since individually he could not come to terms with it, he solved the problem provisionally by participating in the minority.
Giampiero Cane (1937), music critic and writer, taught Modern and Contemporary Music and African-American Music Civilization at DAMS at the University of Bologna for two decades, worked for RAI TV and radio, and has written since the 1960s for newspapers and magazines including Il Manifesto and Alias. He is the author of several books, including Sade, Rossini, Leopardi. Three Painful Deformations; Black Song. The free jazz of the 1960s; Duke Ellington. From White house to God; Monkcage. The American musical twentieth century; Con-fuse-mind the twentieth century; D'unghie and more.
Daniela Cattivelli (1966) is a sound artist, electroacoustic music composer, performer, based in Bologna. In his work he explores the many facets of the sonic dimension by delving into aspects related to the physics of sound, the design of unconventional listening devices, and the investigation around "sonic contexts," that is, domains in which the musical fact is closely connected to a cultural practice or environment. He has created sound performances, sound installations, audio-video live-sets and live electronics for prestigious contexts in Italy and abroad. He currently teaches Interpretation and Performance of Electroacoustic Music at the Conservatory of Bologna and Sound design at the Academy of Fine Arts in Carrara. Since 2012, he has been working closely with TEMPO REALE, the music research and production center founded in Florence by composer Luciano Berio.
Caterina Tomeo is an art historian who combines research activity with critical and curatorial practice. He works on Contemporary Art with a special interest in interdisciplinary and research in the areas of New Media Art and Sonic Arts. Intense teaching activity is flanked by collaborations with international festivals dedicated to electronic music and contemporary culture; he is currently curator of the live performance and talk section of Videocittà festival in Rome. He co-founded the Sound Studies Forum, the first sound studies research network in Italy, in collaboration with the University of Urbino. Recent publications and essays include: Sound Art. Listening is like seeing (Castelvecchi, 2017); Sonic Arts. Between perceptual experience and active listening (Castelvecchi, 2019); Electronics is woman. Media, coping, transfeminist and queer practices, edited by C. Attimonelli and C. Tomeo (Castelvecchi, 2022).