Martin Ožvold: Noisekins / A tribute to a stray

25. listopad 2016

Errors, mistakes, faux pas and trash. I'm fascinated to a stray, I'm fascinated to unwanted. To the endless shapes of its beauty.

Noisekins (Šumíky in Czech) was inspired by Mayakovsky's poem "Shumi, Shumiki, Shumishcha" (Noisekins, Noises , Noise-ings). The poem has started investigation towards the aural processing of softening, varying and scale creations. The piece exists on the oscillating edges between aesthetic experience and embodied presence by the questioning of the possibilities produced by metaphorical and material spaces layered down by the playing game of the opposites (in-out, want-unwant, music-noise, place-non-place). The vehicles of the marking opposing poles are in this game striped down to the traces of memories and tactile senses of inner territories. Wherein noises, places are collapsing and arousing at the same time. There are no ways to stray from this game.

Martin Ožvold says: “To me, Noisekins completes a more than a year-long project of generating and collecting sound material by synthetic processes or by field recordings connected with my research stay in the Hague in Netherlands. The material of the composition is based on sounds belonging to the non-places around the Hague’s main railway station and on electroacoustically manipulated recordings of “the unwanted artefacts or the recording media,” such as the noise produced by a vinyl record, by a tape recorder or by side effects connected with recording, such as feedback, which is the case here. 

‘Non-places’ is a neologism introduced by French anthropologist Marc Augé describing transient places where people remain anonymous; places which, according to his definition, are not significant enough to be regarded as places.

Noises and mistakes represent the traces of the activity and transmission of sound information or generally any human activity. They are omnipresent but generally they are not perceived as sound information. Noiselets is a sound experiment connecting, articulating and mutating objects, space and processes of the margin of individual interest, in nobody’s territories, which, however, we find in ourselves.” 

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