My Foreign Objekt Residency aims to study and share a few tools developed through the years of research and applied research, led with with several collaborators/artists/musicians searching for new fluid ways of representation, valuables of horizontal co-working, sharing, learning, unweaving stereotypes and social determinism to speculate/emanate fluid narrative models, mixed media practices, inner engineering and technologies. The affiliated art production constitute social & sonic experiments, with the objective of creating an experimental post-language soundtrack, dedidated to the narrations of the Mediterranean Sea.
Objective : Creation of artistic representations with fractal overlayering, to emphasize the simultaneous coexistence of different sound points / viewpoints. The intent is to vitalize the channels connecting the three notions from the triadic problem INTELLIGENCE-LOVE-REVOLUTION, with the tools of music, sensitivity and technology. Constituting active representations of ambient sound with synaesthetics requires fluidity and openess in practice. Collaborative work means respect, and distance from ego/ethno/anthropocentric considerations. The work functions along with my locality constraint, the Mediterranean Sea, and its southern specificities.
In this model, sound is considered equally as the other mediums. A special attention is put into sound/music in artwork conceptualization, direction and production. The soundscapes design/support the final artwork to be in balance with other mediums. The work process reveals itself progressively in interactive conversations, active learning and collective production, like a multi-tasking jazz band playing live 24/7. You would think it is easy.
"le son du vivant", A/V installation. Festival Réunion Métis 2022, Parc Botanique de Saint-Leu, Reunion Island, 2022
artistic direction: Leslie Ranzoni
In a jazz band, the musicians learn to listen to each other, they know when to make space for each other. Along with Jazz, Techno music inheritates these specificities, as both come from the future.
“But machines don't distance you from your emotions, in fact quite the opposite. Sound machines make you feel more intensely, along a broader band of emotional spectra than ever before in the 2oth Century. Sonically speaking, the posthuman era is not one of disembodiment but the exact reverse: it's a hyper embodiment.”
Kodwo Eshun, More Brilliant than the Sun
The artistic practice also growns in this collective stigmergy, stimulating the creation of original artworks like films, choreographies, performances and interactive sound installations, where every participant gets full autonomy, confidence and motivation to keep cultural activity vivid in their environment. Design, stylism, 3D modeling, choreography, writings, translations, music. The art scene, in a sense, can only be but performative. Collective pieces are enriched by the complexity of creating unique art in autonomous collaborations.
The blend of several mediums, the diversity of approaches fluidify the co-existence of a swell of spæc(ie)s, an eponymous term for Josèfa Ntjam's exhibition at the Venice Art Biennal 2024. Open practices allow the use of a never-ending expansion of mediums and tools, a work in learning formed by everything we can share, ALL of the available workforce.
Infinite landscapes (work in progress)
This process is comparable to the building of LLMs, the solution humanity has found to go on this search about itself. Teaching to an LLM feels like teaching a word to a baby, except the baby wants your job. I never properly understood why automatization would be dedicated to creation. As artists, we need so much discipline to save time for music. I do not intend to "save time" by adding AI generated music to my contents, when music is the most enjoyable part of the process.
This intelligence of the subway system and a multitude of other similar computer controlled systems is still like the automated control of a well run insect colony, whose program for behavior leads them to compute approximately the same course of action repetitively, with little creative effort on their part to evolve a purposeful behavior. When should this regulation which provides survival be called intelligence ? The concept of an intelligent environment softened by a gentle control which stands in place of steel bones and stone muscles is refreshing.
The Design of Intelligent environments
Soft Architecture
Guttormsgaards arkiv
Blaker, 2024
Quantum creativity consists in inventing new methodologies to connect, channel ideas.
Matching research between organic intelligences and AI technologies constitute a methodology of survival, when the body demands to thrive, breathe fresh air, follow the cycles of nature, surrender to the influence of the Sun and the Moon on our behaviors. The proximity of both nature and city technologies made me a peasant with drum machines, working with AI. Nature feeds the process, generating various states of dithering, from organic knowledge to computational knowledge.
Fractal music is inspired by the figure of cymatics, the organic shapes of sound. When playing the music live, one gets into these stages inbetween subjectivity and egoless serendipity, allowing their own waveform to express its music. Always on the move, Sound is not necessarily here to be controlled, put in a genre woodbox, when its spectrum is known to science as wide. While it cannot be controlled by a few, it can only be channeled, depending to its own will. We cannot produce ex nihilo, if everything already exists.
Hugo Mir-Valette
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