concept and sound composition Daniela Cattivelli
project collaboration Michele Di Stefano
consulting electroacoustic set up Francesco Casciaro/Tempo Reale
with Daniela Cattivelli (lap-top, birdcalls), Michele Di Stefano (bridge), Camillo Prosdocimo and Giorgio Rizzo (birdcalls)
production Xing/Live Arts Week, with the support of Tempo Reale
UIT is a modular sound project, an assemblage of independent blocks developed from a branch of questions and curiosity born around sound objects – the bird calls – and the skill developed by a certain “kind of people” that practice the bird language in different contexts and for different reasons.
This survey has produced a series of distinct objects: Garrulus Glandarius, concert for laptop and birdcalls; blitz, sound raid lasting 5’00 “for two chioccolatori (also called whistlers); a conference on the theme of “sound traps” and Shangai Surprise, a performative action by the choreographer and performer Michele Di Stefano. Each object is self-contained and can be represented independently or give rise to an agglomeration (UIT) in which the events are organized into a single performative act.
UIT is a resonant environment, open to change and apparitions, in which mimetic acoustic techniques and sound transfiguration exercises are practiced. The fabric of this transitory area is mainly generated by birdcalls used to activate musical masking and camouflage. The compositional intention of this acoustic performance is created through a rethinking of the methods and techniques generally used by those who use these sound objects, commonly called birdcalls or whistles.
The instrumental procedure, shared by those who practice the language of birds, consists in pronouncing, through the holes and fissures of these mechanisms, a series of syllabic sequences. UIT UITIT UITRU TITRU TITITRU TUT, for example, is the melodic rhythmic structure used to mimic a thrush.
“By slowing down, speeding up, changing, damaging, falsifying syllabic sequences, I built a new vocabulary of sounds, a fake language, which is the fabric of an artificial soundscape, open and available to incursions that broaden the reticulum. In hunting, bird calls are effectly ‘sound bait,’ aimed at the simulation, as faithful as possible, of the animal’s singing. UIT, distancing itself from the first hypothesis and pursuing the idea of a ’sound trap’, plays with sound falsification and deception. The use of these annotations has no pretensions or descriptive aims with the sound of nature. Identification with it instead shifts toward the effort to rebuild a sound environment that reproduces the acousmatic experience of a walk in the woods, the disorientation due to the perception of sounds to which one is unable to attribute a concrete physical source.”
Michael Stefano realizes, for each new representation of UIT, a performative action ad hoc. Starting from the location or drawing from thematic areas or guidelines of festivals and exhibitions that are hosting the event, Michele builds new trajectories that intersect the work, placing it in other places and opening it to new views. So the raid appearing in the video demo, whose shooting date(s) back to the performance realized for Live Arts Week, plays with the idea of mimesis (this time performative rather than acoustic) together with the name giving a title to the festival of performing arts in Bologna: Gianny Pang, name of a new subject, unlikely but real.
Michele Di Stefano, choreographer and performer, following university was part of the punk-new wave music scene of the eighties, arriving at a ‘self-taught’ project in research on the body with the founding of MK, a company presented in the most important festivals of the new experimental scene. MK is involved in performance, choreography and sound research. The most recent works include: Instruction series, Il giro del mondo in 80 giorni, Clima and Grand Tour, choreographic investigations poised between pure landscape and the tortured reconstruction of the exotic. In 2012 Michele Di Stefano published Agenti autonomi e sistemi multiagente (Quodlibet) written with Margherita Morgantin for the second edition of Accademie Eventuali.
Camillo Prosdocimo and Giorgio Rizzo are two ‘chioccolatori’ (bird call imitators) from Veneto, virtuoso experts and connoisseurs of bird-song. They perform regularly at country fairs and festivals. They are part of the Italian team of ‘chioccolatori’ and several times have been European champions. At the XIII European Championship, the last competition which took place in Bouc-Bel-Air in France, they took first prize in all categories in the competition, winning the gold for the song of the Song Thrush, the Redwing, the Lark and the Blackbird.
Daniela Cattivelli, musician, composer and performer, received her training through a variety of musical experiences: from industrial to high contemporary music, improvised and music for theatre. She studied saxophone at the Conservatory of Adria, graduated in composition at the Conservatory of Florence in the Music and New Technologies course, and obtained a degree at the DAMS in Bologna, majoring in music. Between 1990 and 2000 she founded, together with other musicians in Bologna, a number of new musical groups: Laboratorio Musica & Immagine, Fastilio, Eva Kant, Antenata. The area of investigation on sound research has subsequently spread to interdisciplinary artistic experiences, to the adoption of an electro-acoustic instrumentation and increasingly frequent incursions into performance. A manipulator of analog and digital devices in recent years, she has formed new groups with other artists and/or musicians: Mylicon/en, CANE, Sigourney Weaver and the duo with singer Margareth Kammerer from Berlin. Each of these formations is a pretext to track new compositional sound procedures, starting with the grammar, the architecture, the organizational structures and morphological characteristics typical of other idioms (writing, images, body, theatre). Daniela Cattivelli has composed music for theatre and dance for the most representative Italian research companies: MK, Kinkaleri, Giorgio Barberio Corsetti, Teatro Valdoca, Laminarie, Le Supplici, Yoko Higashino-Baby-Q and others. She has collaborated and played under the direction of well-known musicians of the international experimental scene such as Fred Frith, Zeena Parkins, Charles Hayward, Butch Morris, Jon Rose, John Oswald, Stevie Wishart and Salvatore Sciarrino…..