Car Décalé (Légèrement)/Because Shifted (Slightly) - aka CDL

various, various
2007 - Present
Method / Performance

Car Décalé (Légèrement)/Because Shifted (Slightly) - aka CDL

performance and technical method, initial format premiered at Ultrahang Festival, 2007, Budapest, Hungary. 2007-current. On-going

I am obsessed with questioning the definitions of space through aural perceptions. Many of my works are to research through the broad idea of the aural space. They are ‘feature-specific’ rather than ‘site-specific’, so experiments would yield wide range of outcomes where people are exposed to the temporal spatial experience they normally do not recognize.

Car Décalé (Légèrement) / Because Shifted (Slightly) is an experiential/phenomenological sound-performance/installation/method for redefining a space utilizing audio-feedback. CDL was purposely constructed in the simplest formula without specifics. Aesthetic aspects such as the material used for walls, ceiling, floors, columns, furniture, people, etc. serve as influential components. CDL also surfaces layers of “rooms” inside the “room.” It means that any hollow-shaped elements (both ends open or only one-side open) such as air-ducts, glasses, bottles, tubes, cans, etc. inside of the whole physical room, would emerge as smaller “rooms.” Then, the whole temporary structure becomes my instrument that functions as the feedback chamber for my performance. 

(Tech rider and lists of locations CDL was presented were included at the bottom.)

As CDL is a highly experiential/phenomenological work, it is not recommended just to check video or audio file(s) if you would have a chance to attend one. However, if you're curious, have a look at the video links (from left column) and/or the audio file below:

CDL "found objects" at Eastern Bloc 12 19 12 excerpt


Car Décalé (Légèrement)/Because Shifted (Slightly) - CDL
@ Eastern Bloc, Montréal, Quebec, Canada
This version of CDL used numerous objects (mainly construction materials) found at Eastern Bloc. I was attempting to create series of temporary structures within the bigger structure (the room) so I could build up & alter the large instruments as the time spent in there.
CDL / found objects
was a part of 
curated by Eliane Ellbogen and Lisa Gamble
This video contains excerpts from 40 minutes live performance on Dec 19, 2012.
The video documentation of the performance by Lisa Gamble, edited by Uenishi.

"CDL traces Eyebeam" at Eyebeam 8 15 12 excerpt 


At Eyebeam ( ) on August 15, 2012, utilizing Eyebeam's vast concrete floor, Uenishi materialized her long-time wish to create a room-sized graphic score for CDL (abbreviation for "Car Décalé (Légèrement)/Because Shifted (Slightly)".) 

With the score, she traced the "aural space" of Eyebeam that physically measured as 96.9 x 52 x 16 ft (80620.8 cu.ft = 12943.16 gal.)
The performance required the preparation of the features of the space (by stripping off the physical space as bare as possible) and placed the graphic score to limit the tracing paths. No sound material was prepared in advance. The audio feedback is simply the response from the physical space. As a tracer, I tried to walk the paths as simple as possible with options of speed (of walking) and the positions of arm/hand.
The performance of "CDL traces Eyebeam" was a part of CT-SWaM (Contemporary Temporary Sound Works And Music) series curated by Daniel Neumann. 
This video contains approx. 10 minutes of excerpts from the 30 minutes performance of "CDL traces Eyebeam".
Video documentation by Melissa Lockwood
Timelapse photos by Lukasz Antkiewicz
Video edited by Uenishi

CDL_Niigata, 2012
In the autumn 2012, I reserved to 'stay' at an installation "Shiranai nowa Omae dake" (You're the only one who doesn't know) by Tatzu Nishi, a part of Water and Land Art Festival in Niigata prefecture, Japan. The space was offered to book to stay over. But I stayed for less than 3 hours with CDL until I got a complaint as I did not appear to be 'living there as a normal person'... The place had very nice aural boundaries in the typical Japanese residential house setting, however, with unique voids that means it was built "without" the internal ceiling so it is 'to be viewed/peeked' by strangers/visitors.
Video documentation by Ryota Fujiguchi. And thank you tons for grand help by Kenzo Onoda.

CDL at "Closed" event - - on April 25, 2011

Audio documentation (excerpt) at soundcloud:

Audio documentation (full-length) at

Please be aware that it was an intense/physical performance prior to playback.

However, it is definitely the most dynamic CDL thanks to "Santos Party House", NYC) with one of the greatest sound systems in the city + the curator/engineer, Daniel Neumann! It is worth your checking while it would never compare with the actual physical experience on-site. The particular night was themed as "Feedback" with which I shared with Yan Jun and Lary Seven.


This video above is an excerpt version. The sound was from the microphone attached to the Canon Vixia HF10 which tends to have a bit of auto-zoom problem. (Video documentation was done by Miah Artola who needed to struggle with the above-mentioned camera - thank you!)


CDL at Dense Mesh 9 29 11 excerpt 

CDL at Dense Mesh 9 29 11 excerpt by oblaaat(Dense Mesh is an event series at a loft + woodshop with a basement only partitioned with 'metal grilles/mesh' in Bushwick. Speakers were pretty lo-fi. The 9/29/11 event was curated by Lea Bertucci and Ed Bear.) 


VARIATIONS of other works utilizing CDL-method:

CDL-method applied to interpret Marclay's "Sixty-Four Bells and a Bow" (please read the details in the below link.)



Basic technical needs:

  • A room (or connected rooms) with or without furnishings
  • PA system (minimum of 4-channel speakers, which are not necessarily matching + appropriate speaker amps if not self-powered + (ideally) one or more sub-woofer(s) + an audio mixing board)
  • A small (bistro or cafe-size) table to be set up near the audio mixer
  • A "power strip" to connect to power -

Additional needs (at times):

  • Any 'hollow' objects found in/around the site: construction pipes, ducts, tubes, glasses, vases, etc. Materials can be metal, plastic, glass, wood, hard cardboard and/or similar kinds. However, fabric, rubber and other soft surfaces may not be working well.

List of locations where works using CDL-method was presented:

Projects utilizing CDL-method was premiered at Ultrahang Festival held at Merlin, Budapest, Hungary in 2007. Since then, it has been experienced at numerous venues in various conditions worldwide. Short list of locations was included below:

Issue Project Room (concert space with 15-channel Hemisphere Speaker System), fotofono (loft), Santos (club with 22+speakers + 4+sub-woofers), DENSE MESH (loft and basement wood-workshop connected via floor grilles), Eyebeam (media org with non-discrete 4-channel + 1 sub system tracing a graphic score I wrote over the vast main room floor), Whitney Museum of American Art (vast museum rooms), NYC; La Société des arts technologiques [SAT] (media org with robust 8-channel sound system), Metropolis (club with robust 4+channel sound system) for MUTEK festival, Electric-Eclectics festival (outdoor), Canada; Super Deluxe (club with robust 4channel sound system), Tokyo; Alte-Schmiede (intimate concert room), Vienna; ICA London (large concert space), U.K.; Skolska28 Gallery (connected gallery rooms), Prague; Nordwolle Delmenhorst - Nordwestdeutsches Museum für IndustrieKultur (Industrial Museum that has numerous gigantic power machines of yesteryear) for ArtMuse 2011, Delmenhorst, Germany; Kunstverein (2-tiers museum rooms), Augsburg, Germany; Galerie Mario Mazzoli (connected gallery rooms), Berlin, Germany; Generalpublic (connected L-shaped 3 rooms), Berlin, Germany; Eastern Bloc (media org with 4-channel + 2 sub system, utilizing 'objects - mainly construction materials' found inside the org), Montréal, Canada.