• Journal of Korea Multimedia Society
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• v.10 no.12
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• pp.1687-1697
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• 2007

Paik Nam-June is known as a Video Artist. Video is a presentation tool with the feature of recordability. However, it is not only a video which has been applied as an art presentation tool by him. Nevertheless, the existing researches fail to notice the aesthetic concept which is shown as the rest contents or forms, as they focus on the media features of Paik Nam-June's video. Therefore, this article aims at contemplating the art world of Paik Nam-June with its contents as 'visualization of music' and its form as 'hypermediacy' Therefore, 1. Sound is shown as the visualization of music, with the direct influence of absolute hollowness and noise of John Cage, originated from Zen Buddhism, while the foundation of it is known to be from the liberation of dissonance of Arnold Schoenberg and creative impromptu of shamanic sound. 2. The from of TVs influence of the orchestra, originated from Culture of a dining table in Korean. and indicated hypermediacy 3. Paik Nam-June indicated 'Text-interpretation' us to text analytics of 'how to read', rather than the question of 'what to tell' by intermedia as the visualization of music & hypermediacy.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.603-614
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• 2020

Analyzing various works of Nam June Paik who pioneered the world of video art, we can find a number of audiovisual art pieces - in a broad sense - with the characteristics of "intermedia" that are not clearly identified as one genre. Especially, his career as a musician becomes an important clue for us to discuss the unique originality found in Paik's works. Nevertheless, examples of research that specifically explore how Paik's musicality is reflected in his artistry and could be deeply understood is still rare. This article examines Paik's audiovisual art world, and reviews how his musicality is expressed through the characteristics of media and form, as well as contributed to the ultimate technical and aesthetic realizations of his pieces from the perspective of musical synesthesia. The fact that Paik expanded the concept of music through technology, and fused different media to visualize music, is an important achievement in the context of aesthetic, synesthetic music in the field of audiovisual art.

• Cartoon and Animation Studies
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• s.42
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• pp.195-212
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• 2016

An interest in 'ordinary things' has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik's media art and then searched for their similarities based on the analysis. Both Nam June Paik's media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik's media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik's media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.

• Fashion & Textile Research Journal
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• v.22 no.3
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• pp.296-309
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• 2020

Carol Christian Poell is a designer famous for experimental designs and presentations. Poell's actions in the fashion-world resemble Fluxus, an anti-art group that started working in the 1950s. This study analyzed the works of Poell based on the characteristics of Fluxus and then compared the works of Poell with the performance of Nam June Paik, a Fluxus artist. We conducted literature studies and case studies. We examined the works of Poell and Paik based on the four characteristics of Fluxus: iconoclasm, unity of art and life, playfulness and chance. The results were as follows. First, they were engaged in anti-aesthetic works. While Paik concentrated on the content aspect of works, Poell was more focused on formal aspects. Second, neither of them distinguished between art and life. Paik achieved it by including audiences in his works; however, Poell attained it by adopting daily spaces as a place to display presentations and use ready-made forms. Third, they showed playfulness with a satirical nuance. Paik expressed it in an erotic way; however, Poell implied it through the irrational settings of circumstance. Finally, they created works by utilizing chance. Paik focused on auditory elements and the content aspects of works; however, Poell used the coincidence of visual and tactile elements when creating his works. This study compared the works of Poell with Paik and has its significance in its usefulness to understand designers with Fluxus characteristics in the fashion industry.

• Korean Architects
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• s.474
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• pp.66-71
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• 2008

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.153-167
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• 2011

This paper critically examines the evolution of Nam June Paik's self-contradictory art philosophy. While the existing literature tends to slight it, Paik's works of arts remain fraught with contradictions: Paik has proved prima facie avant-garde an artist; however, as the scale and form of his works have developed, the prophetic, path-breaking philosophical underpinnings of his arts evolved to become more conformist. The present paper aims to shed light on the understudied and underappreciated side of Paik's accomplishments in order to come to a fuller understanding and appreciation of his arts and his legacy.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.615-624
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• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.39-47
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• 2003

The purpose of this paper was to analyze and to compare the creativity of Nam-June Paik and Louis 1. Kahn to understand the characteristics of creative people. Both of them got strong supports from their family and close people. As they were not originally from the U.S., political and city environments where they settled in the U.S. for the first time strongly influenced their creative activity. The difference in the creative contexts of Paik and Kahn is that Paik had more visual cues in his childhood due to the rich environments. The various visual cues influenced his wide interests in video arts. In creative process, even though both of them more focused on the beginning stage of creative process, there were differences in creative problem solving styles. Kahn considered the imaging and perception as the most Important working process. For him, intuition(gestalt view) and ideation(generator) are more important than intellectual skill. On the other hand, Paik thought the symbolization(conceptualizer) based on his own experience and philosophy(associationism) was the most important.

• Design Convergence Study
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• v.19 no.2
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• pp.107-122
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• 2020

"lux et sonitus" is an audiovisual art exhibition series with an artistic combination of music and video at its center. Since its first introduction in 2013, the series have been held five times under the theme of "exhibition of music", presenting works featuring both audio and visual media in an effort to explore the key issues in the field of audiovisual art. In addition to the previous achievement of the exhibition, recent works from the series feature new concepts that explore the possibility of expanding the realm of synesthesia. In this paper, details of the entire series are summarized. In addition, theoretical background behind creative results of the series is analyzed in the context of music, synesthesia and space found in Nam June Paik's audiovisual artwork as a source of inspiration. This will contribute to establishing a vision for the creation/analysis of audiovisual art in the future.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.36 no.5
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• pp.207-213
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• 2014

Fractures of the mandible occur with a greater frequency in the elderly. This study reports three cases of edentulous atrophic mandible fracture in elderly patients treated with open reduction technique. Three patients who presented with edentulous atrophic mandible fractures underwent surgical management using open reduction and internal fixation. After treatment, clinical evaluations and postoperative complications were examined with postoperative x-ray. Patients were followed with clinical and radiographic examinations. In the postoperative clinical evaluation, two male patients healed well, but one female patient complained of pain and swelling. In radiographic examinations, no union delay or lack of fusion was observed in the edentulous area. Open reduction technique is a viable treatment option for the edentulous atrophic mandible fractures in geriatric patients.