The machine, he once wrote: will enable us to shape the TV screen canvasas precisely as Leonardoas freely as Picassoas colorfully as Renoiras profoundly as Mondrianas violently as Pollockand as lyrically as Jasper Johns. Paik was known for making robots out of television sets. And it might have worked in even more selections from the archive: the objects here, arranged on shelves and cataloged on a touch-screen, are engrossing. This choice was essential to the piece if he truly wanted to represent the electronic superhighway, as it adds so much noise to all of our lives. ( Log Out /  Visit the IIIF page to learn more. ), Also ahead of its time was Paik’s cross-cultural aesthetic, shaped by his experiences living in Korea (where he was born), Japan, Germany and the United States. His 1973 video “Global Groove” opens with the pronouncement, “This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guide will be as fat as the Manhattan telephone book.”, Contemporary artists like Christian Marclay, Jon Kessler, Cory Arcangel, Ryan Trecartin and Haroon Mirza owe a great deal to his tweaked televisions and frenetic, technically innovative videos. The Electronic Superhighway The Shape Of Technology And by kathleen schomaker published on 05 06 20 The Electronic Superhighway The Shape Of Technology And get this from a library the electronic superhighway the shape of technology and law to come ejan mackaay daniel poulin pierre trudel guy basque proceedings of a one day conference held in montreal on the 13th of may 1994 … And it will help ensure that artists keep picking up Paik’s signals, no matter what the television of the future looks like. When I went to the American Art Museum, no one seemed to know to which collection I was referring, despite inquiring with several security guards and the information desk. In 1995, our dependence was on television. Realizing that the piece was only created 17 years ago adds an extra layer of interpretation, when you consider how much things have changed since then. Electronic Superhighway: Continental U.S., Alaska, Hawaii 1995–96. And in his masterpiece “Global Groove,” which can be seen in a screening room as well as in the installation “TV Garden,” he did all of these things. So, I wandered around myself trying to find it and came upon Electronic Superhighway (1995) by Nam June Paik. There are restrictions for re-using this image. Selections vary– some are tributes to artist friends, Iowa’s is what appears to be a tourism commercial of some sort featuring celebrities and a number of politicians such as Jimmy Carter and Gerald Ford, which is perhaps an homage to Iowa’s essential role in our political nomination process. He coined the term “electronic superhighway.” He was one of the first artists — possibly the first, period — to use a portable video recorder. Paik, from our current vantage point, looks like a master prognosticator. Others are more subjective. The piece makes a larger statement about our dependence on and addiction to technology, and if there was audio, he left it. (Mr. Hanhardt, writing in the catalog, calls it Paik’s “memory/image bank.”).

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