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The Enormouslessness of Cloud Machines Steve Heimbecker

Heimbecker is a consummate artist capable of simple, unique and beautiful things… Splendid E-Zine, ÉU

… electroacoustic composition is rarely so habitable as here. The Wire, RU

Steve Heimbecker est un artiste des prairies canadiennes qui ne se prend pas les pieds dans les fleurs disciplinaires du tapis artistique. Oscillant entre la vidéo, l’installation, la musique et le happening, il a produit au cours des vingt dernières années des œuvres fortes qui ont été vues et entendues un peu partout au pays et à l’étranger.

Plus récemment, il a réalisé bon nombre d’œuvres sonores, dont des installations et un nombre considérable de travaux quadraphoniques et octophoniques. Plusieurs se souviendront de «Soundpool: the manufacturing of silence», qu’il a présenté en 1996 à Québec sur l’invitation d’Avatar.

Suite à cette première collaboration, Avatar/Ohm éditions et Heimbecker récidivent et présentent cette fois «The Enormouslessness of Cloud Machines», coffret de deux disques compacts qui offrent une anthologie des travaux sonores multicanaux de l’artiste, travaux remixés spécialement pour cette publication.

Cette nouvelle parution au catalogue de Ohm Éditions couvre les travaux que Heimbecker a réalisé sur des systèmes à haut-parleurs multiples de son invention, et qu’il a présenté en performance. Les œuvres sont de longues pièces ambiantes, qui installent un espace d’audition inouï.

  • OHM / Avatar
  • AVTR 015/16 / 1999
  • UPC/EAN 771028211524
  • Durée totale: 142:23

The Enormouslessness of Cloud Machines

Steve Heimbecker

La presse en parle

  • Noah Wane, Splendid E-Zine, 10 avril 2000
    Heimbecker is a consummate artist capable of simple, unique and beautiful things…
  • Julian Cowley, The Wire, no 193, 1 mars 2000
    … electroacoustic composition is rarely so habitable as here.

Review

Noah Wane, Splendid E-Zine, 10 avril 2000

The Enormouslessness of Cloud Machines collects seven multi-channel works by composer and sound artist Steve Heimbecker. Some of them, like The Forum for the Alienation of Art, are for use in sound installations. In this case, the piece is a three-minute audio tape that combines bird songs with a sort of spoken manifesto. It is intended to be played continually for the duration of the exhibition. Another work, Spin Cycle, derives rhythmical sounds from the manipulation of a 17-second quadraphonic sound sample of a spinning roulette wheel. A kind of subdued counterpoint is produced here — limited in color, but strikingly hypnotic. Tic Talk #1 is a live quadraphonic work that involves open microphones, delay lines and 4 kitchen timers. The piece lasts as long as the kitchen timers are running. It is no less hypnotic than Spin Cycle, although the timers add a sense of urgency that disembodied sound objects do not. Clearly Heimbecker is an conceptualist! His works are not songs, sonatas or symphonies. Nor, in a way, are they really music. They are more like collages in the spirit of a Kurt Schwitters. The disc’s title is particularly apt because Heimbecker’s pieces have such a profound sense of timelessness. They seem quite capable of going on forever. Heimbecker is a consummate artist capable of simple, unique and beautiful things, and this two disc set is a fine homage to beautiful art.

Heimbecker is a consummate artist capable of simple, unique and beautiful things…

Soundcheck Review

Julian Cowley, The Wire, no 193, 1 mars 2000

Canadian sound artist Heimbecker creates unusually spacious and unhurried montages. They may be reflections of his prairie upbringing, but they are assuredly products of his ‘sound sailing’ technique — locating open microphones in the sound space to generate frequency feedback loops as they are processed through digital delays. Voice and breath, gentle environmental sounds, small machines and a sense of humour are key ingredients. Much of it feels boundless, yet electroacoustic composition is rarely so habitable as here.

… electroacoustic composition is rarely so habitable as here.

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