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Exposition of Music, Electronic Television

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ViDEA'N' VIDEOLOGY: NAM JUNE PAIK (L959-L973) (1 EDITED BY JUDSON ROSEBUSH 1959, "An excerpt From a letter to John Cage ." Printed in John Cage, A_ Year from Monk, page 90, Wesleyan Press, 1969. ~ PHOTOS BY PETER MOORE ~ DESIGN BY DAVID HICOCK ~ ADDITIONAL PHOTOS BY ROBERT A, LORENZ (PP, 56 AND 76), JUTTA MATHEUS (P, 13) AND CONRAD WHITE MUSEUM OF ART, SYRACUSE, NEW YORK (P, 60) ~ PUBLISHED BY THE EVERSON My new composition is now 1 minutes . (For Prof. Fortner) . The Title will be IN CONJUNCTION WITH DCHIBITIONS AT THE EVERSON MUSEUM OF ART AND THE either "Rondo Allegro", or "Allegro Moderato", or only "Allegretto" . Which is more beautiful? I use GALERIA BONING, LTD ., NEW YORK, NEW YORK, JANUARY L974 ~ COPYRIGHT 1974 screens . Strip tease. boxer, hen (alive) . 6 years girl. light-piano . EVERSON MUSEUM OF ART ~ LIBRARY OF CONGRESS CATALOGUE CARD NUMBER here: Colour Projector . Film 23 . 73-94426 (1 PRINTED BY BRAD LITHO, INC,, SYRACUSE, NEW YORK ~ S 7 6 5 4 3 2 motorcycle and of course sounds, one TV. I I "whole art" in the meaning of Mr. R. Wagner 1961/62, Published at Kalendar'63, DnsseLdorf, Play in San Francisco the left-hand part of the Fugue No.l (C.Major) . 1962, Published at Kalendar'62, DGSSeLdorF of the "Wohltemperiertes 1" (J .S. Bach) FORWARD mete-creative, and in some of its aesthetic input/output . effects, similar to events or happen- Paik's aesthetic position is based interaction and In Nam June Paik's pioneering ings aimed at audience on broad culturaLexperiences, Gala Music(Nichi Nichi Kore Konichi) Play in Shanghai vision of a global art based on tele- participation . "Video-videology" part, his thought and work show the (=everyday is a nice day) training in the right hand-part of the Fugue No.1 (C.Major) vision technology is becoming a clarifies the relationships of sci- effect of Buddhism, his for John Cage's 50th Birthday (1962) reality, Following his decade-old entific discoveries basic to tele- classical and electronic music, his by Nam June Paik of the "Wohltemperiertes)" J.S:Bach) Lead, increasing numbers of artists vision (such as frequency modula- involvement in the Fluxus move- on several continents are experi- tion of carrier signals and color ment, his penetrating interest in Commencing exactly at 12 noon 3~d of March and Cage and Norbert menting with the medium . Video encoding) creative serendipity the work of John On Monday sleep with Elisabeth Taylor . (Greenwich mean time) at Metronome tempos=80 art is also becoming a crucial is- roots in Zen Buddhism and in con- Wiener, among others, and his in- On Tuesday sleep with Hrigitte eardot . temporary Western philosophy and cessant experimentation with cyber- sue for museums, E .T .V . stations On Wednesday sleep with Sophia Loren . - it can be broadcasted at the and other institutions, such as science . Paik also researches and ated systems and television . On Thursday sleep with Gina Lolabrigida . foundations and universities and is invents his own cybernetic tools . This volume is the first to docu- On Friday sleep with Pascal Petlt . same time from both sides beginning to reach significant audi- The most ambitious are the Robot ment Nam June Paik's important On Saturday sleep with Marilyn Monroe of so called "pacific" ocean.- ences in various parts of the world, K-456, the video synthesizer which thoughts, Letters, essays and inter- --if possible . Paik continues to make new and he developed w ith Shuya Abe in views as well as his most signifi- On Sunday sleep alone (SILENCE) . increasingly important contribu- 1969 and the T,V, cello for cant inventions and works of art . On Monday sleep with Queen Elisabeth II tions to these developments through Charlotte Moorman in 1971 . As It is designed to provide the reader and see, what is the difference . his writings, exhibits, and T .V . art, his video creations are not with a real insight into the process- On Tuesday sleep with Princess Margaret performances . only profoundly moving and origi- es and ideas which are essential to and see, what is the difference . As an artist, Paik's work en- nal ; they are the structural ele- his remarkable contribution to the On Wednesday sleep with Princess Soroya compasses a wide range of video ments basic to his formulation of video field . This volume also and make a child . expressions and visionary theorat- an aesthetically motivated video forcefully communicates Paik's On Thursday sleep with a bleeding icaL speculations . Ha creates aes- methodology, which Paik terms profound concern that cybernetic street girl . thetically complex video tapes and "video-videology," and far which media be used constructively to etc .-- performance events which are char- he provides a theoretical founda- establish a global culture hu manely repeat (ad lib) acterized by a profoundly imagina- tion in his writings . "Videa- in tune with man's innate creative tive use of the medium as well as videology" is essentially an onto- spirit . How about Nina Choursichov? by an indeterminism which has logical discipline, ono which is James Harithas 000000 " r7 to m N.. JUNEPAIK """""""""""""""""""""""""""""""7sition o music ectronic television 11.-20. M9rz 1963 Na h M Kindergarten der, .Alten" Howto be satisfied with 70% 1963 . Distorted TV set, Galer[e F Erinnerung an das Feticism of idea 20. lahrhundert Parnass, Wuppertal, Germany. objets sonores sonolized room LM M Instruments for Zen-exercise Prepared W. C. Bagatelles quesais-je7 If d) etc. a - a Do it your . HOMMAGEaRudoItAugstein Synchronisation als ein I CU CU Frei 9e9eben ab 16 lahre Prinzip akausaler Verbindungen Is the TIME without contents A study of German Idiotology possible? etc. n 3 Artistic Collaborators . .Thomas Schmitt Frank Trowbridge Technic. ... ... .. .. .. .Gunther Schmitz M.Zenzen 1'Lususcc f Oc ThRc£ 1963 . "The following essay was written immediately after my exhibit of elec- tronic television at Galerie Parness, Wuppertal, Germany in March 1963 . It was printed in the June L964 issue of the FLUXUS Newspaper, New York ." Text overleaf . 0000000 0000000 LATE CITY EDITION GARDENS 24:6 MUSIC . .1112 Section "All the News FINANCIAL NOME 25 RADIO-TN VSO v MOaL1Y aunnY~tMeYl 'Stiz tonlHht " OFFERINGS TU BUYER3 That's Fit to Print" Party aoaay -w] t-ow. ROBERT WATTS: PAGE 2 r.m,. R. "a. : 65-10 : >v " m e~--6e . PAGE 4 Tz. %a. La~ : ~p7Luaus a fi~e'dCh'Re~l - NEWSPAPER EVENT JUNE, 1964 . EDITED BY FLUXUS EDITORIAL COUNCIL, ©COPYRIGHT 1964 BY : FLUXUS, ALL RIGHTS RESERVED. 25e SINGLE COPY afterlude to the EXPOSITION o f EXPERIMENTAL TELEVISION 1963, March. Galerie Parnass. nam June PAIK . (1) optical and semantical event,in Nineteen- I AM ALWAYS, WHAT I AM NOT and sixties. The beauty of distorted Kennedy is I AM ALWAYS NOT, WHAT I AM . My experimental TV is different from the beauty of football hero, or not always pretty but always stupid female announcer. This uncessant EX-TASIS (to go out of oneself) not always interesting b) Second dimension of variability. is the "NORMAL" character in the normal situation 13 setssu ¬Terea3Ssortsof variation in their of our consciousness. The word "Ecstasy" (ex=tasis) but VIDEO-HORIZONTAL-VERTICAL units. I am is used here, almost as an antonym to the first case proud to be able to say that all sets 13 actually (xx) . In xx) our consciousness is UNIFIED with it- not always uninteresting changed their inner circuits . Two sets No had self . It has synthesized the dualism of our conscious- the same kind of technical operation. Not one is ness. But in zz), this dualism, or the dialectic evo- the simple blur, which occurs, when you turn lution of our esprit is kept precious as the like nature, which is beautiful, proof of the vertical and horizontal control-button at home . our freedom, .. I enjoyed very much the study of electronics, not because it changes beautiful l y , which I began in 1961, and some life-danger, I met while working with 15 Kilo-Volts. I had the but simply because it changes . luck to meet nice collaborators : HIDEO UCHIDA The aa) (to stop at the consummated or steril zero=point to (president of UCHIDA Radio Research institute), grasp the eternity ....) and the xx), (the ecstasy, in the The core of the beauty of nature is, that, the limitless a genial avantgarde electronican, who discovered sense of" mental transport or rapture from the contempla- QUANTITY of nature disarmed the category of QUALITY, the principle of Transistor 2 years earlier than tion of divine things" ) is the same thing. which is used unconsciously mixed and confused with the Americans, and SHUYA ABE, allmighty poli- But the bb) (the perception of parallel flows of many inde- double meanings . technican, who knows that the science is more a pendent movements simultaneously) and the zz) ( the 1) character beauty than the logic. UCHIDA is now trying to ecstasy in the sense of Sartre , that is, the perpetual 2) val ue. prove the telepathy and prophesy electromagne- proceeding of our consciousness in the normal state ,) In my experimental TV, the words "QUALITY" tically. seems to be completely different. But there are important means only the CHARACTER, but not the VALUE. c) As the third dimension of variability, the waves common things between these two ( bb) and zz)) . from various generators, tape-recorders and Both bb) and zz) don't know the terminal station, conclu- A is different from B, radios are fed to various points to give different sion, stopped absolute moment, consummation, ascension. but not that rhythms to each other. This rather old-typed In other words, they are relative, relative, suspending, A is better than B.
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