contibution # 1


michal osowski - live sound | karel doing - live image

darkloupe - fragment (2012 version)

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the performance darkloupe is inspired on the work new babylon from artist constant nieuwenhuis, who designed architecture for a future where humans will be free from the physical workload and can focus on playful living. _doing and osowski developed a collection of optical and acoustic 'toys' that can be manipulated live. _the basic principle of their performance is feedback, in image and sound. _they create a fragile, pulsating environment in which the viewer submerges

crimmp_07, karel doing, michal osowski, darkloupe, clara saito, all dead, lookimng for apoekoe, ocw, stage for small scale events, rotterdam, arnold schalks

in 2008, frank van berkel invited karel doing to provide the images for de rotterdamse school #11, the last episode of a series of contemporary music concerts in the rotterdam theatre lantaren/venster. _van berkel linked doing to the originally polish composer michal osowski. _osowski was about to graduate from the composition department of codarts. _they hadn't met before, but were well matched. _in 2010, doing asked osowski to compose the music for his film liquidator

|kd| in 2010 i asked the archive of the dutch film institute for a movie that was on the verge of total decay but, nevertheless, could still be saved. _they provided the 1922 silent movie haarlem by the dutch film pioneer willy mullens. _mullens made movies about dutch cities in the nineteen twenties in order to sell them to these cities afterwards. _the city of haarlem bought his film, but a copy was sold to an italian organisation that wanted to promote tourism to the netherlands. _the copy disappeared to reappear much later, seriously affected by mould and fungus. _a high resolution digital copy of the film was made and fragments were included in liquidator. _these fragments show the transition from well preserved images to distorted or even vanishing images. _it looks as if the images have become liquid. _michal applied his own manner of processing. _his soundtrack is directely linked to the flow of images. _he used the changes in density of the film to control complex filters and sound effects ||

darkloupe starts in/with the dark. _the basic optical ingredients are lenses and flashes of light. _the live images are created with a deconstructed filmprojector, a kind of 'magic lantern' made of seperate lenses, lamps, slides and masks. _the images are filmed on site and simultaneously projected. _the projected images look abstract initially, but gradually the viewer recognizes the objects that were used to create the images and that's intended. _the revalation that you can evoke a magic world with profane means is an essential point to doing. _it causes a sensation that leads to amazement and admiration. _for darkloupe the artists follow a scenario with a rough order, but plenty of room for improvisation

|kd| these liberties are the thrill of it. _each time we discover new things or add something to the performance. _i'm planning a series of new objects. _ocw is the first venue in row of a european tour. _the last performance is scheduled for november 2012. _by the time we perform in the paris cinematheque this summer, darkloupe should have developed into a full evenings' programme ||

crimmp_07, karel doing, michal osowski, darkloupe, clara saito, all dead, lookimng for apoekoe, ocw, stage for small scale events, rotterdam, arnold schalks

doing & osowski at work

michal osowski is composer, computer artist and performer. _he was born in poland and is since 2001 living in the netherlands. _he studied sonology and followed a master in classical composition. _he has also taken courses at ircam in paris themed interactive interdisciplinary performance. _he collaborates with painters, dancers and filmmakers in performances and interactive compositions