Exposition

One Motorbike, One Arm, Two Cameras (2015)

Ainara Elgoibar

About this exposition

The idea of creating a video work exploring the question of how an industrial robotic arm would see a handmade product is used as a pretext to generate a meeting point for different local agents in the framework of the production of an art project titled 'Rodar y Rodear' ('To Shoot and to Surround') (2013). The heirs of a post-civil war motorbike manufacturer (MYMSA) and the Barcelona Fab-Lab found it interesting to take part in the production of this artistic project, which is a film event built on the idea of dislocation in the common uses of its leading actors: a motorbike restored as a museum piece and an industrial robotic arm programmed to produce the image of something that was fabricated with a pre-robotic sensitivity. This exposition explores the connections that arise between production processes in commercial cinema and the automotive industry, and the capacity that artistic research has to create a singular and significant space for mutual exploration.
typeresearch exposition
keywordscinema, industrial, craft, event, advertisement, robotics, 3D, drawing, movement, local, production process, Barcelona, arm, seeing
date01/01/2015
published24/03/2015
last modified24/03/2015
statuspublished
share statusprivate
affiliationUniversitat de Barcelona, UB
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/57290/133339
doihttps://doi.org/10.22501/jar.57290
published inJournal for Artistic Research
portal issue7.


Simple Media

id name copyright license
140736 Compo_Test_Audio_ok-H.264_grande Ainara Elgoibar All rights reserved
133763 camera_test_jpg ainara elgoibar All rights reserved
133760 Guardian Industries ainara elgoibar All rights reserved
133408 gazapo_camara - copy ainara elgoibar All rights reserved
133406 camara - copy ainara elgoibar All rights reserved
133400 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy - copy ainara elgoibar All rights reserved
133395 boton - copy - copy - copy ainara elgoibar All rights reserved
133393 boton - copy - copy - copy ainara elgoibar All rights reserved
133391 boton - copy - copy - copy ainara elgoibar All rights reserved
133383 SILLA_PRUEBAS - copy ainara elgoibar All rights reserved
133377 boton - copy - copy - copy ainara elgoibar All rights reserved
133375 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
133373 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
133361 Compo_Test_Audio_ok-H.264 - copy ainara elgoibar All rights reserved
133359 DSC_7796 - copy © Roberto Ruiz / Sant Andreu Contemporani All rights reserved
133354 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy - copy - copy ainara elgoibar All rights reserved
133350 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
133348 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
133346 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
133344 boton - copy - copy - copy ainara elgoibar All rights reserved
133341 boton - copy - copy - copy - copy ainara elgoibar All rights reserved
124123 SILLA_PRUEBAS ainara elgoibar All rights reserved
124098 boton - copy - copy - copy ainara elgoibar All rights reserved
124095 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy ainara elgoibar All rights reserved
124093 boton - copy - copy ainara elgoibar All rights reserved
124091 boton - copy - copy - copy ainara elgoibar All rights reserved
124088 boton - copy - copy - copy ainara elgoibar All rights reserved
124086 boton - copy - copy - copy ainara elgoibar All rights reserved
124084 boton - copy - copy - copy ainara elgoibar All rights reserved
124082 boton - copy - copy - copy ainara elgoibar All rights reserved
124075 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy - copy ainara elgoibar All rights reserved
124069 camara - copy ainara elgoibar All rights reserved
124067 gazapo_camara - copy ainara elgoibar All rights reserved
124064 trampa_2 ainara elgoibar All rights reserved
124057 trampa ainara elgoibar All rights reserved
124032 Compo_Test_Audio_ok-H.264 ainara elgoibar All rights reserved
124025 fondo_rodaryrodear ainara elgoibar All rights reserved
124016 FAb-Lab_Vimeo2 - copy ainara elgoibar All rights reserved
124003 Carolina_Bonfim_HB - copy ainara elgoibar All rights reserved
123998 kuka_room_2 - copy ainara elgoibar All rights reserved
123994 boton - copy - copy ainara elgoibar All rights reserved
123992 boton - copy - copy ainara elgoibar All rights reserved
123990 boton - copy - copy ainara elgoibar All rights reserved
123988 boton - copy - copy ainara elgoibar All rights reserved
123979 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy ainara elgoibar All rights reserved
123975 img052_alex at work - copy - copy ainara elgoibar All rights reserved
123971 kuka2 - copy - copy ainara elgoibar All rights reserved
123961 foto_madera ainara elgoibar All rights reserved
123957 Fabra i coats expo ainara elgoibar All rights reserved
123935 FAb-Lab_Vimeo2 - copy ainara elgoibar All rights reserved
123922 Carolina_Bonfim_HB - copy ainara elgoibar All rights reserved
123917 kuka_room_2 - copy ainara elgoibar All rights reserved
123913 boton - copy - copy ainara elgoibar All rights reserved
123911 boton - copy - copy ainara elgoibar All rights reserved
123909 boton - copy - copy ainara elgoibar All rights reserved
123907 boton - copy - copy ainara elgoibar All rights reserved
123898 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy - copy ainara elgoibar All rights reserved
123894 img052_alex at work - copy - copy ainara elgoibar All rights reserved
123890 kuka2 - copy - copy ainara elgoibar All rights reserved
123884 FAb-Lab_Vimeo2 ainara elgoibar All rights reserved
123883 FAb-Lab_Vimeo ainara elgoibar All rights reserved
123882 FAb-Lab_Vimeo ainara elgoibar All rights reserved
123796 Carolina_Bonfim_HB ainara elgoibar All rights reserved
123793 Carolina_Bonfim_HB_2 ainara elgoibar All rights reserved
123787 Carolina_Bonfim_HB ainara elgoibar All rights reserved
115271 Carolina Bonfim ainara elgoibar All rights reserved
115236 Ducati export 3DS ainara elgoibar All rights reserved
115233 kuka_room_2 ainara elgoibar All rights reserved
115224 Ducati 450 ainara elgoibar All rights reserved
115222 kuka_room ainara elgoibar All rights reserved
115226 Ducati 450 ainara elgoibar All rights reserved
115218 Ducati vray MAX ainara elgoibar All rights reserved
115213 boton - copy ainara elgoibar All rights reserved
115199 boton - copy ainara elgoibar All rights reserved
115197 boton - copy ainara elgoibar All rights reserved
115194 boton - copy ainara elgoibar All rights reserved
115184 boton - copy ainara elgoibar All rights reserved
115177 img052_alex at work - copy ainara elgoibar All rights reserved
115171 kuka2 - copy ainara elgoibar All rights reserved
115169 kuka3 - copy ainaraelgoibar All rights reserved
115138 camara ainara elgoibar All rights reserved
115137 gazapo_camara ainara elgoibar All rights reserved
115040 boton ainara elgoibar All rights reserved
115029 ONE MOTORBIKE, ONE ARM, TWO CAMERAS - copy ainara elgoibar All rights reserved
115007 img052_alex at work ainara elgoibar All rights reserved
114871 kuka2 ainara elgoibar All rights reserved
114856 kuka3 ainaraelgoibar All rights reserved
114787 mymsa_still1_MANILLAR ainara elgoibar All rights reserved
114764 SET_RODAJE_ok_2 ainara elgoibar All rights reserved
114762 ONE MOTORBIKE, ONE ARM, TWO CAMERAS ainara elgoibar All rights reserved
91247 Rodar y Rodear Fabra i Coats © Roberto Ruiz / Sant Andreu Contemporani All rights reserved
91244 Rodar y Rodear © Roberto Ruiz / Sant Andreu Contemporani All rights reserved
91241 Rodar y Rodear © Roberto Ruiz / Sant Andreu Contemporani All rights reserved
90051 DSC_7796 © Roberto Ruiz / Sant Andreu Contemporani All rights reserved
57775 GOLD20 Ainara Elgoibar All rights reserved
57750 HOGSMEADE Ainara Elgoibar All rights reserved
57728 prado Ainara Elgoibar All rights reserved
57690 CAROLINA Ainara Elgoibar All rights reserved
57643 rodar_y_rodear Ainara Elgoibar All rights reserved
57636 3d-mymsa Ainara Elgoibar All rights reserved
57625 kuka_y_alex Ainara Elgoibar All rights reserved
57624 camara Ainara Elgoibar All rights reserved
57620 kuka_sin_camara Ainara Elgoibar All rights reserved
57607 fab-lab Ainara Elgoibar All rights reserved
57602 fabra_recintoexpos Ainara Elgoibar All rights reserved
57599 fabraicoats_estudio Ainara Elgoibar All rights reserved
57598 fabraicoats_estudio Ainara Elgoibar All rights reserved
57590 joan_taller Ainara Elgoibar All rights reserved
57589 mymsa_restaurada Ainara Elgoibar All rights reserved
57588 mymsas_expo Ainara Elgoibar All rights reserved
57587 mymsa_vieja Ainara Elgoibar All rights reserved
57581 bancadas Ainara Elgoibar All rights reserved
57577 Plaza_Lube Ainara Elgoibar All rights reserved
57576 Goggomobil_rotonda copia Ainara Elgoibar All rights reserved
57575 Casas_Mymsa Ainara Elgoibar All rights reserved
57561 Instalation_Suñol_2 Ainara Elgoibar All rights reserved
57559 Instalation_Suñol Ainara Elgoibar All rights reserved
57549 Film-Event Set Ainara Elgoibar All rights reserved
57547 Compo_Test_Audio_ok-H.264 Ainara Elgoibar All rights reserved
57545 "To Shoot And to Surround" (2013) Ainara Elgoibar All rights reserved

JAR portal comments: 1
Erika Matsunami 14/03/2015 at 10:05

Computerised Motion by the Notion as Visual Composition

 

- Contemplation for the video work ‘One Motorbike, One Arm, Two Cameras’ (2014) by Ainara Elgoibar

 

“The idea of creating a video work, ‘One Motorbike, One Arm, Two Cameras’ (2014) by Ainara Elgoibar, that explores the question of how an industrial robotic arm would see a handmade product, is used as a pretext to generate a meeting point for different agents in the framework of the production of an art project entitled ‘To Shoot And to Surround’ (2013).”

 

It is a film event built on the idea of dislocation in the common uses of its leading actors: a motorbike restored to be a museum piece, an industrial robotic arm programmed to produce the image of something that was fabricated with a pre-robotic sensitivity, and a sculpture for a history without a monument (Ainara Elgoibar, ‘One Motorbike, One Arm, Two Cameras’, Research Catalogue, 2014).

 

 

A two-channel video shows us moving images reconstructed with details of a motorcycle that were taken from a programmed robot (robotic arm). By programmed awareness of the robot’s shooting, the object ‘motorbike’ is abstracted, which characterises that these moving pictures are sterile (that the thereby resulting motion pictures are sterile). The unemotional noise of the machine (robot) was edited together as background sound of this video. I’d like to have an opportunity to learn more about this two-channel video installation. What is very important to consider about this work is the sound. I’d like to know whether this sound is stereo or multi-channel, and more. Thus the figurative abstraction is reinforced by this minimal noise and also as a subversion of the illusion.

 

Parallel to his two-channel video I think about ‘minimal music’, One + One (1968); the composition by Philip Glass “consists of the two rhythmic components in ‘continuous, regular arithmetic progression’1 put together and realised by striking the hands on a table without that Glass has explicitly given mathematical structure” (Minimal Music, Ulli Götte, 2002). In contrast to the composition One + One (1968) by Philip Glass I contemplate for the work ‘One Motorbike, One Arm, Two Cameras’ (2014) by Ainara Elgoibar – which is a musical composition while the other is an audiovisual composition – an auditory representation and visual representation, musical and (photo-)graphically, fertile and sterile, emotional and unemotional in the minimal structures, in both compositions mathematical structures are explicated in their notions. The ideas are presented as a work or piece; one was produced by a robotic arm while the other was created by the hands of a human but both were conceptualized by the human.

 

Minimalism in the visual arts: “There are two distinct terms: the known constant and the experienced variable”, Morris maintained, touching on the philosophical dichotomy of knowing and seeing. “You see a shape – these kinds of shapes with the kind of symmetry they have – you see it, you believe you know it, but you never see what you know, because you always see the distortion and it seems that you know in the plan view.”2 Arnheim3, however, suggested that the brain compensates for or corrects what the eyes see (Minimal Art – The Critical Perspective, Frances Colpitt, 1990). In a way of thinking of minimalism, it is possible to reduce the attribute and to reinforce the message and the perception of the arts; the minimalism is thus a complete art form. But on the other hand the expression and image logic is rejected in minimalism by automating the production. Of course, technology gives us more and more new opportunities that not only serve as a function, but rather (life-) styles and concepts can be developed by new ways of thinking. Whatever is indicated, however, our basic existence is not changed by technology; we live and we die as the law of nature wants.

After the digital revolution of Minimal Art today, minimalism is a kind of reflection of contemporary society. I think simultaneously of humanity in the digital industrial system. The question is what art presents to us and what we see and understand what is made visible with art.

 

“With reproduction as the moment of individuality, the living being posits itself as an actual individuality, a self-related being-for-self; but at the same time it is a real relation outwards, the reflection of particularity or irritability towards an other, towards the objective world. The process of life, which is enclosed within the individual, passes over into a relation to the presupposed objectivity as such, in consequence of the fact that when the individual posits itself as a subjective totality, the moment of its determinateness as a relation to externality becomes a totality as well” (Georg Wilhelm Friedrich Hegel, Science of Logic).4

For a long time people have dealt with humanity and its existence. Art has assumed an important role as a visualization of thinking. However, art not only has the iconographic character to be a symbolization, expression and representation, but it also influences the human psychology in relation to the brain and the individual perception and emotion, etc.

For example, Zeki5 claims: “Yet no one has been able to relate the variability in artistic creativity and appreciation to any given brain structure or process, partly because no one knows the neural processes underlying the creative impulse or brain variability. And yet these differences in brain organization, whatever they may turn out to be, are superimposed on a common plan that is characteristic of all brains. It is this common organization that allows us to communicate through art and about art without using the written or spoken word.”6

In the case of the mathematical information as creation which is provided by the digital sensors of the computer and the programmed idea or the concept that arises from the idea of the human, and when this artwork (information of image) enters through the brain, according to this, I start to contemplate on the automatization (programmed recording without human eyes – “without seeing”) and also reflect on their creation (what is robotic creation).

The creation of visual art is a kind of intensive non-verbal “communication” that remains of the statement on the work of Elgoibar, or it could also “not remain” a statement of his work, it’s thereby made us descriptive or perspicuous about the technology in human life; what “alive, mortal and fragile” means for us.

Zeki claims in his essay on the influence of “abstraction” in the memory system on the brain and with reference to philosophy its “idealism” from the neurological aspect that: “Abstraction is also imposed on the brain by the limitations of its memory system, since it does away with the need to recall every detail. (...) Abstraction leads naturally to the formation of ideals. Plato used the term ‘ideal’ to mean a universal – derived from the intellect alone – as opposed to the particular, derived from sensory experience. Because memory of the particular fades, the ideal built by the brain from many particulars becomes the only real thing about which we can have knowledge, much as Plato and Kant believed.”7

 

As artistic work “One Motorbike, One Arm, Two Cameras” (2014) by Ainara Elgoibar is, I would assume, vibrant in the specific context, which doesn’t consist only of the computerised motion pictures by the robotic arm. Other contexts include the audiovisual context, the context of the film production such as the shooting in the nuclear power plant in Fukushima or the art-mediation context.

 

 

Every work of art is individual, same as each (genomic) DNA is unique. This individuality is or cannot be summarized as a totality in society.

 

 

 

 

1. Ph. Glass, zit. Nach: W. Mertens, 1983, S. 70.

„besteht aus den beiden rhythmischen Bausteinen die in „continuous, regular arithmic progression“1 zusammenfügt und durch Schläge der Hände auf einen Tisch realisiert werden sollen, ohne dass Glass die mathematische Struktur explizit vorgibt“ (Minimal Music, Ulli Götte, 2002)

2. Morris, “Notes on Sculpture, Part 2”, p. 22; Sylvester and Morris, “A Duologue”, in Compton and Sylvester, Robert Morris, p. 18.

3. Arnheim, Rudolf (1904–2007) German-born Jewish-American media scientist, psychologist and co-founder of the art modern art education.

4. “Hegel’s Science of Logic”, translated by A. V. Miller, George Allen & Unwin, 1969

https://www.marxists.org/reference/archive/hegel/works/hl/hl764.htm#HL3_764

„Mit der Reproduktion, als dem Momente der Einzelheit, setzt sich das Lebendige als wirkliche Individualität, ein sich auf sich beziehendes Fürsichsein, ist aber zugleich reelle Beziehung nach außen, – die Reflexion der Besonderheit oder Irritabilität gegen ein Anderes, gegen die objektive Welt. Der innerhalb des Individuums eingeschlossene Prozeß des Lebens geht in die Beziehung zur vorausgesetzten Objektivität als solcher dadurch über, daß das Individuum, indem es sich als subjektive Totalität setzt, auch das Moment seiner Bestimmtheit als Beziehung auf die Äußerlichkeit zur Totalität wird.“ (Georg Wilhelm Friedrich Hegel, Wissenschaft der Logik, Werke. Band 6, Frankfurt a. M. 1979, S. 474-480.)

4 Semir Zeki (1940–) ist ein britischer Neurobiologe mit Forschungsschwerpunkten im Bereich visuelles System, visuelle Wahrnehmung durch das Gehirn sowie neurobiologische Grundlagen der Kunst und Ästhetik. (a British neurobiologist who has specialized in studying the primate visual brain and more recently the neural correlates of affective states, such as the experience of love, desire and beauty that are generated by sensory inputs within the field of neuroesthetics.)

5 Trying to make sense of art

Nature,  August 29, 2002, Vol.418(6909), p.918(2) (Peer Reviewed Journal), Cengange Learning, Inc. ISSN: 0028-0836

6 Abstraction and idealism

Nature, April 6, 2000, Vol.404(6778), p.547(1) (Peer Reviewed Journal), Cengange Learning, Inc. ISSN: 0028-0836

 

https://www.youtube.com/watch?v=NlzanAw0RP4

Comments are only available for registered users.