top of page

Hugo Mir-Valette

Posthuman Art Network

Hugo Mir-Valette’s musical and artistic practice is grounded in social interactions and open-

data knowledge. After starting as a designer, he was touched in his twenties by a degenerative illness mixed with sleep troubles.


Lacking medical attention, he found out that music and natural vibrations were able to channel and critically improve his health. He began to produce music in the early 2010s,

producing hypnotic beats on the electronic/ Hip Hop music scene.


Detected by XLR8R and Jason Friendman (Warp Records) he signed on John Beltran’s own Dado Records (US) before departing to Mexico to explore the hybrid possibilities between music and arts through project Apolatl (2016-2019).


There to learn and exchange, he collaborated for several years with many local experts in 11 different states of Mexico, notably, dancers, singers, linguists, historians and artists from the Mayan, Ikoot, Cardenche or Lacandon communities, creating experimental works that would support local voices, using his own european status as a counter-token.


A final representation took place for the project at the Biblioteca Vasconcelos, Mexico City, in 2019. Back to his own roots in Marseille, he worked in an audiovisual studio (2017-2021), notably for the Arab World Institute, Mucem or Louvre Abu Dhabi, before going fully independent.


His artistic practice is now dedicated to the voices of the Global South and other mediterranean cultures, as a reflexive conductor, developing musical and artistic supports to create unique vernacular representations of the mediterranean ecosystems.


His work with Josèfa Ntjam and the Aquatic Invasion team explore the futuribilities of

music, as ever-moving waves of sound with no genre, no name, liquid datas of post-internet,

decolonial culture beyond assignation. The latest development is a 4-channels vibrational sound sculpture for Ntjam’s «A Swell of Spæc(i)es» at the Venice Biennale 2024.



Research


As an artist and composer, I have been building the collaborative and creative framework of laboratory editing.world.grid for three years now. The "laboratory" side aims to focus on sound and electronic music as conceptual channels supporting counter-narratives, assisting the production of contemporary art / art science projects.


editing.world.grid is a project conceived as a task, the act of editing, mesh by mesh, the grid of a systemic matrix by operating in fluidity and fractal collective thinking, to question social stereotypes, layers of egocentrism, ethnocentrism, and anthropocentrism.


The main sign/artefact inspiring the process is the arrowed equal sign invented by the mathematician Benoît Mandelbrot for his “Mandelbrot Ensemble”. The arrowed sign can be read both ways, meaning the two notions from the formula are interdependant.


One part does not enslave the other in the reading hierarchy.

It does not yet exist on the keyboard, but you can find it here :



My creative process is guided towards the development and study of what i call "fractal music", the conceptual basis of Mediterraneon. The underlying concept can be described as follows :


Does the feeling of harmony come from the soundwaves, or their reception and interpretation by the listeners ?


In the listening process, intelligence and emotional reaction will always actively search for matching subjective harmonics.


Studying the arrowed equal sign means working accordingly, consider both sides, the interconnectivity between elements, and put awareness in the dithering from one state to another.


The editing.world.grid laboratory conducts fieldwork experiments with music as a post-language communications solution. The postulate surrenders to the impossibility of being objective and considerates local/global-social/cultural constraints.


The philosophic approach of this project casts a particular interest in biology, epistemologies, sociology and societal [under]commons shared by southern cultures. The main thinkers inspiring my research are notably Boaventura de Sousa Santos, Félix Guattari, Kodwo Eshun, Donna Haraway, and the CCRU.


It is an eternal revolution searching for balance and understanding, a quest for stability in movement.


Music is therefore considered as an experimental language with patterns, accents, tonal and cultural specificities, carrying senses and emotions.


In the past years, I produced music and research for many collective projects in numerous different countries. Music, as an abstract language, connected us.


I believe this curious research constitutes a speculative memoir of collective hyperstitions, based on bio-social interactions: dithering, bioremediation, queer pluralities going against the currents of judgements, assignments, determinism and frontiers, to focus on what brings us together.

1 view0 comments

Recent Posts

See All

Yidi Wang

Yukang Tao

Alix Emery

Comments


bottom of page