2009, install-action audio/visual work, on-going
premiered at Experimental Intermedia, NYC, funded by Conseil des arts et des lettres du Québec
An installation with live processes //
A collaborative concept by o.blaat and Katherine Liberovskaya //
live sound: o.blaat/Keiko Uenishi //
video environment and live video: Katherine Liberovskaya //

sculptural structures: o.blaat & Liberovskaya //LandFilles is an upcycling art project proposing a reflection on daily waste through creative processes: 1) collection, 2) development (de-construction/re-construction/re-purpose), and 3) performance.

Plastic bottles of all shapes and sizes, collected through the city, are being used as floating objects introduced in a room with multichannel PA system. Aural aspect of LandFilles is to analyze and explore aural space with the pre-existing physical character of the room (such as walls, ceiling, pillars, windows, curtains, furniture’s, etc.) and the newly introduced hollow sculptures. The bottles are assembled into suspended freeform 'structures' out of numerous bottle clusters, which become instruments for live audio processes. The resulting sounds reflect dynamically the position and the relationship between the performer and all elements in the room. Uenishi interacts with the environment of accumulated waste items through audio feedback (larsen effect) with a wireless microphone and a Nintendo Wii remote controller, deriving sounds from the hollows and shapes as if reading through the temporal geography, whilst Liberovskaya uses video camcorders, analog monitors (that becomes obsolete in the current digital TV period, so easily found on any street corners and/or in dumpsters,) and surveillance cameras to interact through video feedback.

The idea is based on my on-going project "Car Décalé (Légèrement) / Because Shifted (Slightly)" – abbreviated as “CDL”. It is a sound-performance/installation to redefine a space (auralizing physical space) utilizing audio-feedback. CDL was purposely constructed in the simplest format without specifically designating a certain number or setup of speakers. It also does not call for any specific quality of speakers or specific room structure. More speakers typically yield more complex results, and speakers with a better frequency range yield a wider frequency response. Aesthetic aspects such as the material used for walls, ceiling, floors, surface textures, number and location of columns, furniture, drapes, windows, people, etc. serve as influential components in aural space. The range of signals from the wireless microphone system limits the area of exploration. If the area contains physical obstacles, the range becomes shorter than the claimed range by the manufacture of the microphone system. As for the Wii™ remote controller, its activities are limited by the range of Bluetooth as well. However, it is possible to leave the controller within the range if exploration to further areas is called for –it is assigned to control parameters of reverbs, filters, ambisonic panning, gains, and so on, though it is not necessary to maneuver throughout the entire piece.

In LandFilles, we consciously collected recyclable plastic bottles from sidewalks and curbs and created many different hollow objects and structures out of them, within the pre-existing space (mainly indoor but outdoors is also possible.) We invite people to participate for the collection and re-construction phases. It is an act of collective upcycling for creative purposes. And it creates a temporary situation: ‘rooms inside a room’ (complicating the structure of the space). Such situation w/ complex structures can be translated as ‘audible’ and ‘tangible.’