At the cutting edge of an anthropological revolution, the unpredictable and uncontrollable transition from analog man to digital man, Francesco Pirella's matrix-man powerfully poses the dilemma of the seperation between mechanical and biological, between digital and physical, proposing a recombination, a harmonic fusion.
The same dilemma is reproposed in this musical project, in which eight different notions of musical expression are contrasted. Pieces which are exclusively "analog" (i.e. purely instrumental) are juxtaposed with others that utilise electronic elaboration, all being linked by Eduardo Sanguinetti's acrostic "TIPARCHETIPI", which is based on the name Francesco Pirella. Its sixteen verses, read by the author himself, were divided amongst eight composers (some of whom were already well-versed in the exploration of the digital world, whilst others were still strongly attached to sound's physical nature) as the basis for the realisation of a work for bass clarinet with (or without) magnetic tape.
The choice of bass clarinet for this piece was dictated by the skill of its intended interpreter, Rocco Parisi, who for some time has been a skillful and passionate advocate of the submerged world of new music (or, if you like, new musics). To him, as well as to Francesco Pirella, who followed and stimulated this project, a heartfelt thanks from all the composers involved. (Riccardo Dapelo).

Some of these pieces were presented during an exhibition and installation of Francesco Pirella: "Istallation of the simuiacrum of typographic man", Acquasanta (Mele), 1996; "The universe, the matrix", Città della Scienza, Napoli, 1998; "Tipography in changed bodies", Galleria Nazionale di Palazzo Spinola, Genova, 1998. (Traduzione di Russel Hall).