<?xml version="1.0" encoding="us-ascii"?>
<label id="ohmavatar" href="http://www.actuellecd.com/en/boutique/ohmavatar/">
  <name>OHM / Avatar</name>
  <shortname>OHM / Avatar</shortname>
  <recording id="avtr_006" href="http://www.actuellecd.com/en/cat/avtr_006/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/006_AVTR.gif" />
    <title>Compost</title>
    <catno>AVTR 006</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Once upon a time, a well-entombed, dusty and perhaps even shameful drawer bottom
    received an invitation to rise up and take in some fresh air outside. Once outside he found
    himself amongst many drawer bottoms who had answered the same invitation. He came to recognize
    his compatriots and they began meeting in an infernal, numeric machine. Quite rapidly, the
    drawer bottom realized that it had begun to exude an odoriferous sound. This odor was the
    perfumed scent of compost. Not only did the drawer bottom change odor and color, but his
    previously characteristic sound began to meld with those of the other drawer bottoms. This
    biochemical/numerical process found itself on a compact disc entitled, quite simply,
    &#8220;Compost.&#8221; With index finger and thumb pressed firmly against its nose, Avatar
    proudly presents this cloacal compost.</description>
  </recording>
  <recording id="avtr_008" href="http://www.actuellecd.com/en/cat/avtr_008/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/008_AVTR.gif" />
    <title>Compost 2</title>
    <catno>AVTR 008</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>No names, no titles, no copyright. Scene 1, take 2</description>
  </recording>
  <recording id="avtr_001" href="http://www.actuellecd.com/en/cat/avtr_001/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/001_AVTR.gif" />
    <title>Ding Dong de luxe</title>
    <catno>AVTR 001</catno>
    <year>1995</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>A short sound works compilation. How is it that the shortest sound pieces are
    almost always over 60 seconds long? That there are nearly none under 30 seconds? That nothing
    happens under 15 seconds except for jingles? Isn&#8217;t it an occasion for an attempt, a risk,
    an exploration, a sound search? AVATAR invited some artists to submit projects that dare enter
    the forgotten sound territory hidden between the instant and the brief.</description>
  </recording>
  <recording id="avtr_022" href="http://www.actuellecd.com/en/cat/avtr_022/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/022_AVTR.gif" />
    <title>Ohmix</title>
    <catno>AVTR 022</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Avatar invited eight composers to select at will from OHM &#233;ditions&#8217;
    audio production from 1993 to 1998. They remixed excerpts, full pieces, entire cds or even the
    whole catalog. These different approaches result in a varied listening and also mark a return
    visit to Avatar in its foundational form: Christof Migone, Jocelyn Robert, Pierre-Andr&#233;
    Arcand, the first collective projects and the precursors in Quebec City, Bruit TTV. With this
    project Avatar remains close to its namesake. It metamorphizes, transforms itself and
    rematerializes in new pieces signed by eminent contributors. From Ralf Wehowsky to Alexandre
    St-Onge, each &#8220;reading&#8221; takes aim, at a particular angle, and positions itself as
    an encounter, a meeting in sound. The junctures are shared amplifications, they are augmented
    renderings produced by fine tuned auditions. OHMIX contributes to the history of OHM
    &#233;ditions and Avatar, it is a commentary, a conversation on and with. Avatar is still and
    by definition always already something other than itself; the media it utilizes attest to this
    (video, CD+, CD, CD-ROM, software, interfaces, new systems) as well as its activities
    (residencies, workshops, telematic events, radio art, performances, concerts) yet even these
    cannot purport to delimit its permanent slippage.</description>
  </recording>
  <recording id="avtr_002" href="http://www.actuellecd.com/en/cat/avtr_002/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/002_AVTR.gif" />
    <title>Radio Folie/Culture</title>
    <catno>AVTR 002</catno>
    <year>1996</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Originally a studio creation, then a radio-art project, Radio Folie/Culture is now
    also a cd reuniting the works of ten artists from Qu&#233;bec. Radio Folie/Culture, a series of
    interventions created through the use of lateral strategies which carefully avoid the many
    reflexes of conventionnal sound-creation, could be defined as a suite of sound palimpsests on
    magnetic territory.</description>
  </recording>
  <recording id="avtr_004" href="http://www.actuellecd.com/en/cat/avtr_004/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/004_AVTR.gif" />
    <title>Rappel</title>
    <catno>AVTR 004</catno>
    <year>1996</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>The agents of Rappel occupied the 418-692-4196 from September 15 &#8216;94 to May
    26 &#8216;95. Now that line is dead, other agents invaded &#171;Chants Magn&#233;tiques&#187;
    on CBC&#8217;s FM network on January 7 &#8216;95. Finally this cd reunites them all. They all
    got hooked on the telephonic bait and will not let go. They suggest that you remember Rappel
    and that you keep your fingers on that dial&#8230; Imagine the phone as a sound site as much as
    a communication site. Take the phone by the ears and yell RAPPEL!</description>
  </recording>
  <recording id="obz_02" href="http://www.actuellecd.com/en/cat/obz_02/">
    <artist>Pierre-Andr&#233; Arcand</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/02_OBZ.gif" />
    <title>Eres + 7</title>
    <catno>OBZ 02</catno>
    <year>1992</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Pierre-Andr&#233; Arcand lives in Qu&#233;bec city. Artist and poet, he creates
    with contemporary technology and is active in the experimental music and performance scene. He
    presents Eres+7, his first compact-disc. Tape loop accumulations. All pieces are composed in
    real time with the loop box: a customized stereo tape recorder which allows, by means of short
    variable loops, delays and overlaps, to construct a constantly changing continuum of sounds.
    The verbal, the vocal (inhaled, exhaled), the various noises, these acoustic phenomena are
    processed on the spot and the piece demonstrates the structuring procedure. Short and shifting
    loops, delays and overlaps create a constantly renewed continuum of concrete or instrumental or
    vocal sounds and acoustic reverberation, which after a while spatializes the sound, invading
    the whole space in its exponential development. A true magnetophony. Audio art, chant, sound
    text composition.</description>
  </recording>
  <recording id="obz_06" href="http://www.actuellecd.com/en/cat/obz_06/">
    <artist>Pierre-Andr&#233; Arcand</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/06_OBZ.gif" />
    <title>Eres + 16</title>
    <catno>OBZ 06</catno>
    <year>1995</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>An artist and poet, Pierre-Andr&#233; Arcand evolves through performances, sound
    poetry, experimental music, writing, audio art, and many other aspects of artistic exporations
    using contemporary technologies. Arcand presents here his second album, entitled Eres + 16,
    created using the sound-loop generator* and the resounding book. The pieces on this album are
    manifestoe where &#8220;reality loops out from being too real,&#8221; where &#8220;the sounds
    pending on the vertical needles of macro-mecanisms&#8221; are things of the past, where trance
    is induced by the abolishment of sound, and where, &#8220;beyond machines,&#8221; one discovers
    a living space that is everything but deserted. * The sound-loop generator is a tape recorder
    that can simultanuously record and play-back sound-on-sound loops of 4,5 seconds. The verbal,
    the vocal, the noises, the instruments are both repeated and accumulated in real time, thus
    structuring a continuum of sounds.</description>
  </recording>
  <recording id="avtr_007" href="http://www.actuellecd.com/en/cat/avtr_007/">
    <artist>Pierre-Andr&#233; Arcand</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/007_AVTR.gif" />
    <title>Eres + 21; &#201;crire fait du bruit</title>
    <catno>AVTR 007</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <detail>+ 1 book</detail>
      <availability>not in catalogue</availability>
    </format>
    <description>Eres+21, following Eres +16 and Eres +7, continues a compositional approach
    involving a tape recorder modified into a device for recording, structuring and mixing sound:
    in this case, noises, voice and invented instruments. Sculptures and accumulations made of
    sound, recorded on tape loops, these new pieces are rooted in audio art and sound poetry. This
    results in a unique brand of music where the repetitions engage your mind into travel and the
    variations bring you back. The circuit is renewed at every turn and is heaped onto a continuum,
    a mass, a stratification of sounds which is erected step by step and develops quasi melodies or
    which sidesteps itself straight into the path of chaos. Pierre-Andr&#233; Arcand (1942-) lives
    in Qu&#233;bec. An artist and sound poet, his performance practice owes as much to audio art
    and experimental musics as to direct poetry or action poetry. He has performed in various
    countries and published in Inter, Doc(k)s, Baobab, Rampike, Estuaire as well as two CDs on the
    Obz label.</description>
  </recording>
  <recording id="avtr_013" href="http://www.actuellecd.com/en/cat/avtr_013/">
    <artist>Pierre-Andr&#233; Arcand</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/013_AVTR.gif" />
    <title>Les machines animales; Le livre sonore</title>
    <catno>AVTR 013</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;The Animal Machines&#8221; Avatar&#8217;s bestiary is acquiring more and
    more species. The Animal Machines are the most recent ones. The pieces were improvised during
    studio sessions with The Resounding Book, the Macchina Ricordi and a set of microphones that
    are used as pencils, points, pens. Their friction generate machine-like and animal-like sounds.
    The whole work is structured as a narration and the titles clearly show the archetypal model
    that emerged. A world of fiction, tale, animation. A story for the ear that you can listen to
    while walking around the room, at the mix position or with headphones. &#8220;The Resounding
    Book&#8221; Eres + 21; &#201;crire fait du bruit, the previous CD, came with a book:
    &#201;crire fait du bruit (writing makes noises): a collection of texts over 48 pages long with
    visual poems; to assert the connection with writing and poetry. This time, The Animal Machines
    come with a catalogue entitles Le livre sonore (The Resounding Book), the book-object and
    instrument used for this recording. The idea was to put it in perspective in relation to my
    multidisciplinary experience in the visual arts field: objects, book-objetcts, installation. A
    twenty-year journey. Photographs, commentaries, documentation.</description>
  </recording>
  <recording id="avtr_029" href="http://www.actuellecd.com/en/cat/avtr_029/">
    <artist>Pierre-Andr&#233; Arcand</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/029_AVTR.gif" />
    <title>Transfuge, Transfuge A/V</title>
    <catno>AVTR 029/030</catno>
    <year>2002</year>
    <format>
      <code>2xCD</code>
      <detail>CD-Audio + 1 CD-ROM</detail>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Here are two CDs by Pierre-Andr&#233; Arcand who ventures in electronic music and
    video art. Transfuge, the audio CD, includes 3 separate sections. DJ_PA, the soundtrack of his
    first video, includes 7 pieces of voice work, beat box and resonant book that went through a
    multi-track editing process before being remixed in live performance. M2 is made up of 14 short
    pieces of electronic sounds generated by the following set up: a mixing board, a digital
    recorder and a multi effect loop like Ouroboros. It is feedback - cracklings, disruptive
    frequencies and harsh sounds - without the use of a microphone or any external sound source.
    Quite another exploration of the loop phenomenon so typical of the artist&#8217;s work. The
    last section, Eres+22-23, is a return to his usual method, save the fact he now operates with
    digital tools. The electronic art lab at Avatar succeeded in reproducing the artist&#8217;s
    famous sound treatment principle of evolutive looping. The Digital Macchina Ricordi was born.
    Once this new electronic instrumentation was available, it became possible to convert
    successive sound construction commands into a simultaneous treatment of live video images:
    looping and evolutive mixing. Images are sampled, repeated and superimposed in an ever-changing
    visual continuum. The result is Transfuge A/V, a video CD comprising, apart from DJ_PA, two
    proposals, Vid&#233;ovox and Eclect&#252;, produced with the MRN_MRV, the combined video and
    sound processing software developed this year by Le nom de la chose. The content borrows from
    visual poetry, the Internet, daily life, video noise, light effects and shaking images from a
    video camera handheld as an eye prosthesis. Here we find Pierre-Andr&#233; Arcand on the path
    of multidisciplinarity and integration: sound poetry, visual poetry, audio art, and
    performance. Sounds, actions, projections. &#8220;I am doing what I am doing and I can
    change&#8221; he used to say. Beyond these new interfaces, however, we can recognize his very
    personal and poetic way of shifting into other dimensions.</description>
  </recording>
  <recording id="avtr_028" href="http://www.actuellecd.com/en/cat/avtr_028/">
    <artist>Georges Azzaria</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/028_AVTR.gif" />
    <title>Monopole</title>
    <subtitle>Headset music</subtitle>
    <catno>AVTR 028</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Georges Azzaria, just like some other obscure personalities (Phil Dadson, Don
    Buchla, Harry Partch, Maxime Rioux), is a member of the very select club of inventors of
    instruments. Beyond this singularity, his sound sculptures, a skillful maelstrom of lo-fi
    microphones, recycled objects and amplifiers, generate a highly personal sonic universe. His
    work has been presented in museum exhibitions, performances, radio shows and theater plays.
    With the appearance of Monopole, Azzaria&#8217;s unique experimentation with invented,
    handcrafted, tortured, hybridized, doctored instruments - the only work of its kind in Quebec -
    is made accessible. Georges Azzaria has been making and remaking his &#8220;recreatures&#8221;
    for exhibitions and concerts for more than 15 years. These sound objects, made up of winds,
    strings, turntables and two-way radios, have traveled from Quebec to Warsaw. Azzaria plays both
    solo and with others, mixing genres and styles. A 36-page booklet offers colour reproductions
    of more than 30 instruments. The booklet also includes a text by Fabrice Montal entitled
    &#8220;Sport Recreatures&#8221;. Although fictional, the biographical, historical and
    theoretical content of his text, in fact, closely resembles reality. These handicraft-collage
    objects, are somehow reminiscent of old-fashioned children&#8217;s&#8217; toys or Dada
    inventions, catalogue items from imaginary stores or pataphysical inventories. The Monopole CD
    includes 30 studio and concert recordings. Amidst filing sounds and screams, there are a
    multitude of references to music and its small and large monopolies. In these transvestited
    objects is revealed the acrobatic pleasure the creator had in subverting industrial production
    - grimacing at the history of Music, at the mechanical reproduction of sound, at the generally
    accepted idea of progress as constructed over decades by the Western world. With this
    publication, Avatar and OHM Editions affirm once again their specific commitment to producing
    and diffusing audio art. At the same time, they affirm the honourable right to make music
    without even knowing it, and the equally honourable right to compose philosophical works of art
    without having to write. - PAArcand, The Compiler</description>
  </recording>
  <recording id="avtr_031" href="http://www.actuellecd.com/en/cat/avtr_031/">
    <artist>Georges Azzaria</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/031_AVTR.gif" />
    <title>Concret</title>
    <subtitle>Headset Music</subtitle>
    <catno>AVTR 031</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>30.00 CA$</price>
      <availability></availability>
    </format>
  </recording>
  <recording id="obz_01" href="http://www.actuellecd.com/en/cat/obz_01/">
    <artist>Bruit TTV</artist>
    <artistdetail>Arteau, Azzaria, Deslauriers, Faguy, Montal, Ouellet, Robert</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/01_OBZ.gif" />
    <title>Bruit TTV</title>
    <catno>OBZ 01</catno>
    <year>1992</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>BRUIT TTV is an experimental music group made up of artists associated with
    Obscure. From various disciplines, they are regrouped in several cells of
    performers/instrumentalists which can vary, according to the pieces, from 3 to 13 people. At
    the junction between music/non-music, sound/noise organization, BRUIT TTV performance mix
    voice, actions and sound objects, traditionnal and invented instruments, audio-visual sources
    and techniques&#8230; The repertory of BRUIT TTV includes in varying proportions, conventional
    notation, sound poetry, tape score, theatrical action, cue systems induced by technological
    process, words, objects or movements. In each case, we use both improvisation and
    composition.</description>
  </recording>
  <recording id="obz_05" href="http://www.actuellecd.com/en/cat/obz_05/">
    <artist>Bruit TTV</artist>
    <artistdetail>Arteau, Azzaria, Deslauriers, Faguy, Malenfant, Montal, Ouellet,
    Robert</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/05_OBZ.gif" />
    <title>Castafiore</title>
    <catno>OBZ 05</catno>
    <year>1995</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Bruit TTV is a sound research collective comprising artists associated to Obscure.
    Situated at the frontier of music/non-music and organized noises, Bruit TTV&#8217;s
    performances ally and oppose composition and improvisation, traditionnal and invented
    instruments, sound poetry and tapes, theatrics and technologies. Professionnal amateurs of
    yonder years, Bruit TTV takes position exploiting its multiple incompetences&#8230; The
    collective presents now its second album intitled Castafiore, a rather free inspiration from
    Herg&#233;&#8217;s Les Bijoux de la Castafiore, considered by Michel Serres as an essay on
    non-communication. Bruit TTV pushes this non-communication to its limits through a collage of
    sounds closely linked to the plot of this comic strip: evocations of Gounod&#8217;s Faust, of
    Wagnerian scales, abundant bird songs, onomatopeia and telephone rings, thus recreating the
    confusion of media reproduction.</description>
  </recording>
  <recording id="avtr_011" href="http://www.actuellecd.com/en/cat/avtr_011/">
    <artist>Chantal Dumas</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/011_AVTR.gif" />
    <title>Le parfum de femmes &#8212; Das Perf&#252;me der Frauen</title>
    <subtitle>Trois nouvelles sonores sur le th&#232;me de la migration</subtitle>
    <catno>AVTR 011</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>This cycle of sonic stories has been conceived by Chantal Dumas on the course of a
    long stay in Europe. Otherwise, she wouldn&#8217;t have thought to talk of migration. You have
    to be in the middle of things, feel them to become sensitive to them. In &#8220;Le parfum des
    femmes,&#8221; first solo album from Chantal Dumas, speech is embodied through perception.
    Sound holds a wealth of data, informing the listener as to the time, the action, the places. To
    be true, sounds here suggests images which the listener is free to interpret and appropriate.
    Words are always prominent here, but in these pieces, meaning weaves around sonic landscapes,
    music and text. And thus a story is told through a round trip inside multiple narrative
    threads. The perfume of women was awarded the 1st prize at the EAR International Competition
    (Hungary) and also at the Phonurgia Nova International Radio Competition (France) in
    1997.</description>
  </recording>
  <recording id="avtr_021" href="http://www.actuellecd.com/en/cat/avtr_021/">
    <artist>Paul Dutton</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/021_AVTR.gif" />
    <title>Mouth Pieces</title>
    <subtitle>Solo Soundsinging</subtitle>
    <catno>AVTR 021</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>No electronic effects or processing, no feedback, overdubs, or fades. Twenty-one
    acoustic oral solos, working at the outer reaches of the technical and expressive potential of
    human utterance, fashioned from sounds, textures, and even a few words. Paul Dutton&#8217;s
    oral soundworks have placed him at the forefront of sound poetry and free improvisational
    soundsinging worldwide. He is renowned as a soloist, a member of the CCMC free improv band
    (1989-present) and The Four Horsemen poetry performance group (1970-88).</description>
  </recording>
  <recording id="avtr_024" href="http://www.actuellecd.com/en/cat/avtr_024/">
    <artist>Eltractor</artist>
    <artistdetail>Firquet, Michaud</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/024_AVTR.gif" />
    <title>Elradio</title>
    <catno>AVTR 024</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Eltractor, which has existed since 1996, is a group that improvises in audio and
    video simultaneously. Formed by videographer Boris Firquet and musicians David Michaud and
    Fabrice Montal, it now presents Elradio, a collection of pieces that it has dug out of one of
    its sound excavations, composed in real time during audio-visual improvisation sessions,
    recorded at home, and then improvised again before being remixed during Eltractor&#8217;s brief
    residence at Avatar. Also at the worksite are secret mystery guests like Marc Tremblay, Jocelyn
    Robert, and Martin Meilleur.</description>
  </recording>
  <recording id="lndc_001" href="http://www.actuellecd.com/en/cat/lndc_001/">
    <artist>Eltractor</artist>
    <artistdetail>Firquet, Michaud, Montal</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/001_LNDC.gif" />
    <title>domUSticksIDEOTRONs</title>
    <catno>LNDC 001</catno>
    <year>2001</year>
    <format>
      <code>CDROM</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Four Quicktime videos excerpts taken from Eltractor&#8217;s acclaimed show
    &#171;domUSticks IDEOTRONs&#187;.</description>
  </recording>
  <recording id="obz_01-v" href="http://www.actuellecd.com/en/cat/obz_01-v/">
    <artist>Boris Firquet</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/01-V_OBZ.gif" />
    <title>Trash TV: Les derniers cauchemars</title>
    <catno>OBZ 01-V</catno>
    <year>1996</year>
    <format>
      <code>VIDEO</code>
      <detail>VHS NTSC stereo hi-fi fr</detail>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;An all out assault. A firm response to the subtle-syrupy alienation brought
    on by the all too organized flow of contemporary video. Firquet&#8217;s hailstorm of
    understanding: Conflicting images and a basic guerrilla stance.&#8221;</description>
  </recording>
  <recording id="avtr_038" href="http://www.actuellecd.com/en/cat/avtr_038/">
    <artist>Le grand orchestre d&#8217;Avatar (GOD&#8217;AR)</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/038_AVTR.gif" />
    <title>En concert: L&#8217;abolition des privil&#232;ges; Treize singes cyclopes</title>
    <catno>AVTR 038/039</catno>
    <year>2006</year>
    <format>
      <code>DVD-V</code>
      <detail>+ 1 CD-Audio</detail>
      <availability>temp. out of stock</availability>
    </format>
    <description>DVD-Video [NTSC, multi-region, Dolby Digital] + CD-Audio</description>
  </recording>
  <recording id="avtr_015" href="http://www.actuellecd.com/en/cat/avtr_015/">
    <artist>Steve Heimbecker</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/015_AVTR.gif" />
    <title>The Enormouslessness of Cloud Machines</title>
    <catno>AVTR 015/16</catno>
    <year>1999</year>
    <format>
      <code>2xCD</code>
      <price>33.00 CA$</price>
      <availability></availability>
    </format>
    <description>Steve Heimbecker is a Prairies artist who has been challenging artistic boundaries
    since the very beginning of his career, twenty years ago. Working in a fuzzy zone between
    video, installation, music and performance, he created works that stand out and that have been
    acclaimed all over Canada and internationally. Recently, a lot of his time has been dedicated
    to audio art projects, notably sound installations and numerous quadraphonic and octophonic
    works. Many will remember his &#8217;Soundpool: the manufacturing of silence&#8221; subsonic
    installation, shown in Quebec with the collaboration of Avatar. Following this first
    collaboration, Avatar/Ohm &#233;ditions and Steve Heimbecker get together again and present
    &#8220;The Enormouslessness of Cloud Machines,&#8221; a double cd set that offers an anthology
    of the multichannel sound works of Heimbecker, remixed specially for this publication. This new
    addition to the Ohm &#233;ditions catalogue covers works that Heimbecker created on
    multispeakers sound systems that he invented, and that he showed in performances. The resulting
    works are long ambient pieces that create an unheard of sound space.</description>
  </recording>
  <recording id="avtr_020" href="http://www.actuellecd.com/en/cat/avtr_020/">
    <artist>Ren&#233; Lussier</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/020_AVTR.gif" />
    <title>D&#233;boutonn&#233;</title>
    <catno>AVTR 020</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>These thirteen acoustic guitar improvisations are devoid of all editing,
    superimposition, equalization, and reverberation. Eight microphones were used for the
    recording, and the mixing of these eight sources highlights the improvisational structures and
    the different points of view&#8212;or of hearing&#8212;in a way that respects the integrity of
    the act. In order to fully appreciate the sculptural aspect of this approach, listening on
    headphones is strongly recommended. Like his previous Solos de guitare &#233;lectrique (AM
    075), this album is devoted to the solo performances that satisfy Ren&#233; Lussier&#8217;s
    need to take stock and to relate his love story with the guitar, a story that he writes outside
    of established idioms even though he is following in the footsteps of many other guitarists. He
    admits that initially the undertaking was a terrifying one, because the path that lies before
    the solo guitar performer is one that has been well trod, and trod by great artists, and
    because the result of the exercise is a pitiless one: it provides the improviser with a
    snapshot, a sort of unretouched and unvarnished self-portrait, and upon listening to it the
    only thing he can say is &#8220;That is where I&#8217;ve come from, and this is where
    I&#8217;ve come to.&#8221; Chosen from some thirty pieces that were recorded over a three-day
    period in Avatar&#8217;s studios in Quebec City, these thirteen improvisations bear witness to
    a profoundly personal experience and are presented to the listener much like pages torn from a
    personal diary and are designed to be listened to in a similar way&#8212;in the privileged
    space of acoustic intimacy, and where all preconception and guitaristic convention have been
    stripped away.</description>
  </recording>
  <recording id="avtr_023" href="http://www.actuellecd.com/en/cat/avtr_023/">
    <artist>Martin Meilleur</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/023_AVTR.gif" />
    <title>Tango</title>
    <catno>AVTR 023</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Tango is composed of short pieces of different radio transmissions, picked up from
    numerous frequencies, but mostly from short waves. Tango is raw source material without any
    processing. The final product is, of course, edited and arranged, except for some passages that
    were picked up by several receivers at once and where the mixing is acoustic.</description>
  </recording>
  <recording id="avtr_005" href="http://www.actuellecd.com/en/cat/avtr_005/">
    <artist>Christof Migone</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/005_AVTR.gif" />
    <title>Hole in the Head</title>
    <catno>AVTR 005</catno>
    <year>1996</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Christof Migone is inspired and influenced by vocal accidents, sound distortions
    and delirious communications. His weekly program &#171;Danger in Paradise&#187; aired on
    Montr&#233;al&#8217;s CKUT-FM from &#8216;89 to &#8216;94 was the starting point of many of the
    works found on the cd Hole in the Head. Migone&#8217;s vocal contorsions and radio
    audience&#8217;s participation share this cd in a disrupted and degenerated dialogue. Frantic
    voices lead to schizophonic confusion throughout this radio art.</description>
  </recording>
  <recording id="avtr_009" href="http://www.actuellecd.com/en/cat/avtr_009/">
    <artist>Christof Migone</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/009_AVTR.gif" />
    <title>vex</title>
    <catno>AVTR 009</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>vex is a list of names in a restrained space:
    ChristofMigoneMichelF.C&#244;t&#233;Louis OuelletGregoryWhitehead. vex is a meeting place which
    is divisible by three: Erik Satie, Gilles Deleuze, Antonin Artaud. vex is a series of
    accidents, problematic strategies, absurd tactics and misunderstood languages. Communication
    between two persons becomes a third being. This being is the territory where the two coexist
    and translate each other. It is a junction where collisions abound, a site susceptible to
    incendiary sparks and spontaneous combustions. In spite of the dangers, these are the moments
    we crave, for these are the vexations which inscribe themselves unto our
    memories.</description>
  </recording>
  <recording id="avtr_034" href="http://www.actuellecd.com/en/cat/avtr_034/">
    <artist>John Oswald</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/034_AVTR.gif" />
    <title>Arc d&#8217;apparition; Whisperfield</title>
    <catno>AVTR 034</catno>
    <year>2004</year>
    <format>
      <code>DVD-V</code>
      <detail>+ 1 CD-Audio</detail>
      <price>27.00 CA$</price>
      <availability></availability>
    </format>
    <description>Arc d&#8217;apparition (DVD-Video); Whisperfield (CD-Audio)</description>
  </recording>
  <recording id="obz_07" href="http://www.actuellecd.com/en/cat/obz_07/">
    <artist>Productions Recto/Verso</artist>
    <artistdetail>Arteau, Morin, Oswald</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/07_OBZ.gif" />
    <title>Parcours sc&#233;nographiques</title>
    <catno>OBZ 07</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>This audio object is the result of an original idea and creative process conceived
    by &#201;mile Morin. Originally a long trail of images of areas taken during a voyage from
    Quebec to New York, Morin added the talents of composer John Oswald and writer Gilles Arteau to
    his &#8220;Parcours sc&#233;nographique.&#8221; On their own, without any form of contact with
    Recto/Verso and respecting only basic referential restraints, they supplemented, respectively,
    a sonic envelope and text. This is the origin of what you are about to hear. We conceived this
    recording like an oeuvre&#8230; autonomous yet distinct. Its strata are like successive layers
    that superimpose each other while following measured doses. We&#8217;ve strived to recreate
    spaces visible to the ear. Words are but vocalized sonic material. We believe that amongst
    these tracks lies a hidden trail.</description>
  </recording>
  <recording id="obz_03" href="http://www.actuellecd.com/en/cat/obz_03/">
    <artist>Jocelyn Robert</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/03_OBZ.gif" />
    <title>Le piano flou</title>
    <catno>OBZ 03/04</catno>
    <year>1995</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>The archetypal piano sounds keep you in proximity to the familliar as the tone
    enters into uncharted combinations and possibilities. (&#8230;) like Feldman teaching a student
    to listen the notes within spaces&#8230;</description>
  </recording>
  <recording id="avtr_003" href="http://www.actuellecd.com/en/cat/avtr_003/">
    <artist>Jocelyn Robert</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/003_AVTR.gif" />
    <title>La th&#233;orie des nerfs creux</title>
    <catno>AVTR 003</catno>
    <year>1996</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Avatar strikes again with its new release, Jocelyn Robert&#8217;s La Th&#233;orie
    des nerfs creux. With this sound creation, Robert brings to the ears floods of souvenirs
    through the electrified channels of organic memory. This is the fourth solo phonogramme by
    Qu&#233;bec city artist Jocelyn Robert, whom we have also heard in projects with Bruit TTV or
    Diane Landry. Thinking is a noisy process.</description>
  </recording>
  <recording id="avtr_010" href="http://www.actuellecd.com/en/cat/avtr_010/">
    <artist>Jocelyn Robert</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/010_AVTR.gif" />
    <title>20 moments blancs lents</title>
    <catno>AVTR 010</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;20 moments blancs lents&#8220; is a commission by the Chambre Blanche
    celebrating the art centre&#8217;s 20th anniversary. The work is an attempt to listen first to
    these twenty years from a distance, so as to trace only the soundsilhouette of the time gone
    by, and then from closer and closer, until one can hear the grain of a laugh.</description>
  </recording>
  <recording id="avtr_014" href="http://www.actuellecd.com/en/cat/avtr_014/">
    <artist>Jocelyn Robert</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/014_AVTR.gif" />
    <title>Canned Gods</title>
    <subtitle>A Typical Afternoon in the Backyard in Phoenix, Arizona</subtitle>
    <catno>AVTR 014</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;Canned Gods&#8221; began with this observation: sound effects librairies on
    compact discs, the ones used in the movie industry or for radio plays, double up as cultural
    dictionaries. Each sound library presents the most important sounds for the culture that chose
    them. An example: one of the american sound library offers a huge number of car sounds, while
    the BBC s has maybe a dozen of them, while the latter has a number of field recordings from
    foreign colonies which do not appear on the American sound effects cds&#8230;even the form of
    presentation of these sounds (their length, order, etc&#8230;) is different. When considering
    these collections globally, one gets the feeling that they are some sort of an audio picture
    box or an audio picture book that presents a culture or a country. Thus, my idea has been to
    take one of these audio librairies and to use these sounds to trace a portrait of the culture
    from its own material. &#8220;Canned Gods: a typical afternoon in the backyard in Phoenix,
    Arizona&#8221; is the result of a first attempt with this approach applied to the United
    States.</description>
  </recording>
  <recording id="avtr_033" href="http://www.actuellecd.com/en/cat/avtr_033/">
    <artist>Jocelyn Robert, ed.</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/033_AVTR.gif" />
    <title>Piano &#224; num&#233;ros</title>
    <subtitle>An essay on art and translation</subtitle>
    <catno>AVTR 033</catno>
    <year>2003</year>
    <format>
      <code>Book</code>
      <detail>+ 1 CD-Audio</detail>
      <price>30.00 CA$</price>
      <availability></availability>
    </format>
    <description>Dominique Blain and Thecla Schiphorst had to devise a project within their own
    field and then translate it into an audio format using a Yamaha Disklavier. Put in context by
    Jocelyn Robert, with commentary by Alain-Martin Richard and Dot Tuer.</description>
  </recording>
  <recording id="avtr_012" href="http://www.actuellecd.com/en/cat/avtr_012/">
    <artist>Jocelyn Robert, Laetitia Sonami</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/012_AVTR.gif" />
    <title>Le Crachecophage</title>
    <catno>AVTR 012</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>There are many ways to define the silhouette of an object. Drawing a hand, for
    instance, can be achieved by tracing the outline of a hand, or drawing a surface corresponding
    to its shape, or even by drawing the background and leaving empty the form of a hand. Each of
    these approaches will allow one to see the hand. What is the equivalent in terms of sound? What
    is the silhouete of an audio object? This is the question Laetitia Sonami and Jocelyn Robert
    tried to answer with Le Crachecophage. Laetitia Sonami is well known for her work with adata
    glove that she uses to tell in sounds stories and tales. Jocelyn Robert published numerous
    works in which he uses iconoclast strategies to produce singular pieces, like Le piano flou or
    20 moments blancs lents. For Le Crachecophage, the artists decided to work from an audio object
    - they chose a video (!) - and tried to create an outline for it, they tried to discover its
    silhouette, to draw a negative or a context for it. Of course, the project is hopeless form the
    start but still, they managed to create Le Crachecophage in the process, an audio contemporary
    fable. This work has been commissionned by Radio-Canada, for the radio program L&#8217;Espace
    du Son.</description>
  </recording>
  <recording id="avtr_017" href="http://www.actuellecd.com/en/cat/avtr_017/">
    <artist>Michael Snow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/017_AVTR.gif" />
    <title>3 Phases</title>
    <catno>AVTR 017/18/19</catno>
    <year>1999</year>
    <format>
      <code>3xCD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>The initial project was to publish a double album, with one disc of Michael Snow
    improvising on the piano and another of Michael Snow working on a more conceptual approach of
    the instrument by using a Disklavier. The Disklavier is a standard grand piano fitted with a
    system that enables an artist to control it via a computer. Hence, the possibility for the
    artist to conceive sound constructions that are not limited by muscular constraints or by
    reflexes formed through years of practice on the keyboard. Hence again, the opportunity to
    transpose shapes or structures from other disciplines into the resonant universe. But,
    fortunately, the artist had a mind of his own. He convinced us that two disks would not be
    sufficient, that three would be necessary, because there is also Michael Snow the bluesman and
    jazzman, without whom the picture would be incomplete. Then, he had us listen, and we had to
    admit that, sanctified or not, this trinity resolves itself very well into a single box set and
    a single artist: there is one multi-faceted Michael Snow, whose consistency, while sometimes
    obscured to our ears by a profusion of languages, remains unshakeable. Michael Snow - 3 phases
    is thus a three cds set, presenting piano works from this extraordinary artist, accompanied by
    a 48-page booklet including a text by Raymond Gervais commissionned specially for this
    publication. A milestone.</description>
  </recording>
</label>
