Relevant bibliographies by topics / Nam June Paik

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Academic literature on the topic 'Nam June Paik'

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Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Nam June Paik"

Serwer, Jacquelyn D. "Nam June Paik: "Technology"." American Art 8, no. 2 (April 1994): 87–91. http://dx.doi.org/10.1086/424217.

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Hanhardt, John G. "Nam June Paik (1932–2006)." American Art 20, no. 2 (June 2006): 148–53. http://dx.doi.org/10.1086/507506.

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Jung HunYee. "Nam June Paik' s "Zen Time"." Misulsahakbo(Reviews on the Art History) ll, no. 28 (June 2007): 185–208. http://dx.doi.org/10.15819/rah.2007..28.185.

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Jeong, So-Youn, and Won-Hyung Lee. "Nam June Paik and His Self-contradictions." Journal of the Korea Contents Association 11, no. 7 (July 28, 2011): 153–67. http://dx.doi.org/10.5392/jkca.2011.11.7.153.

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Lussac, Olivier. "The Media Machine: the Nam June Paik Archives." Critique d’art, no. 49 (November 21, 2017): 159–75. http://dx.doi.org/10.4000/critiquedart.27218.

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Lussac, Olivier. "La Machine média : les archives Nam June Paik." Critique d’art, no. 49 (November 21, 2017): 158–76. http://dx.doi.org/10.4000/critiquedart.27219.

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GORENEK BEYAZ, Gulderen. "Nam June Paik ve Onun Tabula Rasasi: Video." Istanbul Aydin Universitesi Dergisi 8, no. 29 (March 1, 2016): 1–16. http://dx.doi.org/10.17932/iau.iaud.m.13091352.2016.8/29.1-16.

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Weaver, Alison. "Nam June Paik: The Photograph as Active Circuit." Afterimage 42, no. 3 (November 1, 2014): 16–21. http://dx.doi.org/10.1525/aft.2014.42.3.16.

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Mellencamp, Patricia. "The Old and the New: Nam June Paik." Art Journal 54, no. 4 (1995): 41. http://dx.doi.org/10.2307/777693.

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Chang, Hyo-Jin, and Young-Jae Kim. "Nam June Paik Robot Study of Cultural Robotics Perspective." Humanities Contens 44 (March 31, 2017): 233. http://dx.doi.org/10.18658/humancon.2017.03.44.233.

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Dissertations / Theses on the topic "Nam June Paik"

Ha, Byeongwon. "Nam June Paik as a Pioneer of Interactive Art." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5405.

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Nam June Paik (1932-2006) is well known as the father of video art. However, this study demonstrates the importance of his earlier interactive art (1961-63), which historically has been overshadowed by his video art. At the climax of his career in interactive art, Paik introduced his two-way art to the public at his first solo exhibition in Wuppertal, West Germany, in 1963. Interactive art itself has been a peripheral area in the history of art, and it has plural pioneers across disciplinary boundaries. Among the several origins of interactive art, Nam June Paik utilized music as a fundamental approach to design the emerging art. Concentrating on Paik’s music theory and practice in West Germany, my research traces the unexplored academic area of his articles about new music in the Korean newspaper Chayushinmun(1958-59). The perspective in his articles toward new music became a significant foundation for his progressive interactive art. Based on his music background, Paik knew how to incorporate musical instruments and devices into his interactive art. Finally, this study will articulate a concrete relationship between Paik’s musical experiences and his interactive art. It argues that his interactive pieces, based on his musical experiences, make him one of the most creative pioneers of interactive art.

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Kim, Eunji. "Nam June Paik : Videokunst in Museen ; Globalisierung und lokale Rezeption /." Berlin : Reimer, 2010. http://d-nb.info/994177879/04.

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SANTOS, BRUNO VIANNA DOS. "NAM JUNE PAIK: DE LA MUSIQUE PHYSIQUE À L`ART COMMUNICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14710@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Nam June Paik est consideré comme étant l’artiste pionnier de le videoart, forme d’art créé dans les années 1960 qui explore l’image électronique et ses proprietés comme matière expressive ontologiquement différent des autres formes d’image, ainsi comme son utilisation dans les instalations, dans les environements avec circuits fermés et dans les réseaux de communication. Ayant debuté comme compositeur de musique électronique et comme artiste de performance dans le group Fluxus, Paik a créé des partitures, des objets musicaux et des pièces d’antimusique qui apparaîtront comme les dédoublements de son interprétation de les questions ouvertes par l’ouvrage du compositeur américain John Cage. Le rencontre avec le compositeur et l’étude d’électronique provoqueront une significative réorientation dans son travail qui, dans ce moment, s’est caractérisé par l’utilisation de l’appareil de télévision comme medium artistique à travers des modifications dans le circuit interne et des hybridations qui défigurent l’image électronique et permettent la participation du public dans la manipulation des signaux électroniques qui les composent. À partir de ses expériences l’oeuvre de Paik contribuera a définir une esthètique de l’image eléctronique et a explorer ses possibilités expressives moyennant l’appropriation des nouvelles ressources technologiques et l’utilisation de son synthétiseur video, une conséquence de la quête de l’artiste pour rendre la télévision un système ouvert et pour faire la synthèse entre la musique et les arts visuels. Définie comme une tentative de humaniser la technologie, l’oeuvre de Nam June Paik offre dans sa variété une riche source des réflexions sur le rôle de l’artiste en rapport le phénomène technique. En s’aventurant dans le sphère de l’art-communication Paik démontrera comment l’artiste peut rapprocher sa activité d’une praxis sociale en fondant des champs de savoir distincts, en faisant des prévisions et en bouleversant l’usage institutionnalisé des médias pour provoquer des transformations dans la super-structure de la societé.
Nam June Paik é considerado como artista pioneiro da vídeoarte, forma de arte que surgiu na década de 1960 e que explora a imagem eletrônica e suas propriedades enquanto material expressivo ontologicamente diferente das outras formas de imagem, assim como seu uso em instalações, ambientes com circuito fechado e em redes de comunicação. Tendo iniciado sua carreira como compositor de música eletrônica e artista de performance no grupo Fluxus, Paik criou partituras, objetos musicais e peças de antimúsica que irão surgir em parte como desdobramentos de sua interpretação das questões abertas pela obra do compositor americano John Cage. O contato com o compositor e o estudo da eletrônica provocarão uma reorientação significativa em seu trabalho, que num primeiro momento irá caracterizar-se pela utilização do aparelho de televisão como médium artístico através de modificações de seu circuito interno e de hibridizações que desfiguram a imagem eletrônica e permitem a participação do público na manipulação dos sinais eletrônicos que a compõem. A partir dessas experiências, os trabalhos de Paik irão contribuir na definição de uma estética da imagem eletrônica e explorar seus recursos expressivos mediante a apropriação de novos recursos tecnológicos e uso de seu sintetizador vídeo, uma consequência das buscas do artista em tornar a televisão um sistema aberto e em criar uma síntese entre música e artes visuais. Definida como tentativas de humanizar a tecnologia, a obra de Nam June Paik oferece em sua variedade uma rica fonte para reflexões sobre o papel do artista em relação ao fenômeno técnico. Ao aventurarse na esfera da arte-comunicação, Paik irá demonstrar de que forma o artista pode aproximar sua atividade de uma práxis social fundindo campos de conhecimento distintos, fazendo previsões e subvertendo o uso institucionalizado das mídias, provocando assim transformações na superestrutura da sociedade.

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Lim, Shan. "Intermedial art and cybernetic vision : Nam June Paik in Germany, 1956 - 63." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557302.

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This study traces Nam June Paik's intermedial art and cybernetic vision in his German period (1956-63) from the diverse activities as an Action Musician to the making of electronic media artwork. Most of the information was gathered from Paik's writings, correspondences and interviews. Much literature ofPaik extols the new possibilities offered by Video Art, but Paik's early days in Germany, and his intermedial practice and cybernetic strategy of the period have been little explored. This study attempts to examine Paik's German period based on the concepts of intermedia and Cybernetics. Part I (chapters 1-3) provides the historical and conceptual background ofPaik's art. It explains how Paik's avant-garde spirit began during his childhood; and it shows, in turn, how it had been developed to his dissertation on Arnold Schonberg in post-war Japan. Part I then focuses on the post-war techno-cultural discourses as tools for Paik's understanding of the relationship between electronic technology and human sensory perception before examining ./ the art historical context ofPaik's art through such avant-garde practices as Richard Wagner's Gesamtkunstwerk, John Cage's Experimental Music, the Darmstadt School and Fluxus. Part II (chapters 4-6) analyses Paik's artistic activities in Germany from a view of intermedia and Cybernetics. It is intended to contribute to an interdisciplinary project of mapping the early history ofNam June Paik's art. It argues that Paik German period represented an aesthetical moment in which the intermedial communication between body, language and technology were being reconfigured, and it suggests that Cybernetics played a significant role in framing Paik's ideas about complexity, interactivity, and participative creativity around this shifting technological landscape.

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Shin-Lee, Jiho. "L'objet banal en tant qu'oeuvre d'art : chez Marcel Duchamp et Nam June Paik." Paris 1, 1997. http://www.theses.fr/1997PA010608.

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Considérant l'objet banal comme matière intermédiaire selon la pensée extrême orientale, nous analysons les variations de l'objet banal en fonction de l'évolution de la société à travers les œuvres choisies : le ready-made de Marcel Duchamp et la télévision de Nam June Paik
Considering the ordinary object as intermediary material like the extreme oriental thoughts, we analyse the variations of the ordinary object according to the evolutions of society through the works of art choosed : the ready-made of Marcel Duchamp and the television of Nam June Paik

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Ho, I.-Lien. "Performing Kongwu's (空無, Emptiness, Nothingness) attitude towards language, time, and self : responding to Nam June Paik, John Cage, and Marina Abramović." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15972.

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Since 1950s, the concept of Kongwu (空無, Emptiness, Nothingness) has migrated into American-European experimental performances, including those of John Cage and Cage-influenced artists who developed Happenings, Fluxus, and intermedia practices. This research-through-practice investigates how the concept of kongwu, an intercultural synthesis of Chinese Daoism and Indian Buddhism, may shape the principles underlying performance making and how performance may, in turn, elucidate Kongwu way of making sense the world. The installation-performance, Poem without Language contemplates Kongwu’s distrust of language by undermining the communicative purpose of writing and responds to Nam June Paik’s approach to media language. The research practice, One Street, Three Persons, Different Narratives, and Different Memories responds to John Cage’s use of silence to revise time and measurement, and exposes the habit, how we experience the ‘present’ as accumulations of the past, and how we order experiences as a linear continuity, which we call ‘time’. My performance, … is Present suggests different definitions of the ‘meditative mind’ and ‘being-here-and-now’ and critiques the relationship between embodiment and identity in Marina Abramović’s construction of ‘suchness’. Three works offer one response to the poetics and politics of intercultural encounters in the context of Chan/Zen in intermedia performance. My research-through-practice sheds light on Kongwu way of experiencing, particularly Kongwu’s attitude towards language, time, and self.

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Tron-Carroz, Caroline. "La boîte télévisuelle : histoire matérielle et conceptuelle d’un objet polytechnique." Paris 10, 2008. http://www.theses.fr/2008PA100073.

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Au moment où, dans les années 1960, le poste de télévision trône au sein des foyers des pays industrialisés, les artistes tels que Edward Kienholz, Nam June Paik ou Wolf Vostell s’emparent de l’objet et conçoivent des boîtes télévisuelles issues de leur propres recherches artistiques sculpturales ou performatives : brouillage des programmes télévisuels, bétonnage des postes, désossement du contenant et détournement des contenus. Ces manipulations plus ou moins subversives transforment ce parallélépipède en un réceptacle d’objets divers qui, a fortiori, s’insère dans un autre environnement que celui de l’espace domestique : l’espace du Happening ou l’espace muséal ou bien dans le cadre d’un dispositif vidéo où l’objet retrouve sa fonction de diffuseur d’images. Cette étude rend compte du discours des artistes contre ou en faveur de la télévision, tout en analysant les répercussions physiques de ces positions sur le médium télévision. Or, la boîte télévisuelle ne se limite pas à la carcasse, à l’écran ainsi qu’aux composants électroniques, elle implique aussi des questionnements historiques et culturels sur le poste de télévision - objet polytechnique emblématique de la communication de masse. Cette appellation permet également de faire le lien avec les pratiques artistiques qui emploient et qui conceptualisent la boîte. En puisant ses sources dans l’histoire de l’art du XXe siècle et en prenant appui sur l’histoire socioculturelle et la création industrielle, ce travail envisage les procédés matériels et conceptuels par lesquels l’objet télévision entre dans le champ artistique aux Etats-Unis, en Allemagne et en France jusqu’au tournant des années 1990
In the 1960s, at time when the television set is implanted in the domestic space of industrial countries, artists like Edward Kienholz, Nam June Paik or Wolf Vostell, seized the TV set and created TV boxes: they caused interferences to the broadcasts, put the sets in concrete and manipulated the contents. The manipulations transform the television set into a receptacle filled with heteroclites and salvaged objects and with the video device, it becomes a monitor. Actually, when the television set get into the artistic field it becomes at the same time a TV box. The daily space of the TV box is not the living-room anymore but the space of the museum or the space of the Happening. Besides, this work analyses the discourses for or against the television and the artistic repercussions on the TV set. Nevertheless, the TV box could not be limited to the framework, to the screen or to the electronic components, this appellation involved historical and cultural issues about the TV set- an emblematic polytechnic’ object of mass communication. The TV box enables to examine also the relationship with other artistic productions that used and conceptualized the box. This work analyses the material and conceptual processes used by the artists to get the television set in the field of history of art in United-States, in Germany and in France until the beginning of the 1990s and it is strongly linked to various disciplines such as history of art of the twentieth century, the cultural and social history but also the history of industrial creation

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Kelly, Caleb, and n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.

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From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with late 20th century sound art and experimental electronic music. Cracked and broken media techniques play a significant role in 20th century music and sound, and continue to be productive into the 21st. The primary contribution of this thesis is to provide a novel and detailed historical account of these practices. In addition it considers theoretical approaches to this work. After considering approaches through critiques of recording media, and concepts of noise, this thesis proposes novel theorisations focusing on materiality and the everyday. Ultimately it proposes that these practices can be read as precursors to contemporary new media, as music and sound art cracked open the fixed structures of �old media� technologies for their own creative purposes.

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Books on the topic "Nam June Paik"

Paek Nam-jun: Nam June Paik. Sŏul Tʻŭkpyŏlsi: Samsŏng Chʻulpʻansa, 1992.

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Fargier, Jean Paul. Nam June Paik. [Paris]: Artpress, 1989.

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Paik, Nam June. Nam June Paik. London: Tate, 2010.

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Paik, Nam June. Nam June Paik: Zeichnungen. Basel: Öffentliche Kunstsammlung Basel, 2000.

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Ken, Hakuta, Paik Nam June 1932-2006, and Smithsonian American Art Museum, eds. Nam June Paik: Global visionary. Washington, DC: Smithsonian American Art Museum, 2012.

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Paik, Nam June. Nam June Paik: Fluxus, Video. Bremen: Kunsthalle Bremen, 1999.

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Paik, Nam June. Nam June Paik: Baroque Laser. Ostfildern: Cantz, 1995.

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Hanhardt, John G. The worlds of Nam June Paik. New York: Guggenheim Museum, 2000.

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Paik, Nam June. Nam June Paik: Family of robot. Cincinnati, Ohio: Carl Solway Gallery, 1986.

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Hanhardt, John G. Paek Nam-jun ŭi segye =: The world of Nam June Paik. Sŏul Tʻŭkpyŏlsi: Samsŏng Misulgwan, 2000.

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Book chapters on the topic "Nam June Paik"

Nitsche, Jessica. "Nam June Paik." In Joseph Beuys-Handbuch, 269–71. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05792-1_49.

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Lee, Esther Kim. "Avant-Garde Becomes Nationalism: Immortalizing Nam June Paik in South Korea." In Avant-Garde Performance and Material Exchange, 149–66. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230298941_11.

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"Träge Bilder – Nam June Paik." In Die Trägheit des Bildes, 239–70. Wilhelm Fink Verlag, 2008. http://dx.doi.org/10.30965/9783846744789_010.

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"Action Music! – Nam June Paik in Scandinavia, 1961." In A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975, 259–72. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004310506_027.

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Lee, Hea Jeong, and Doryun Chong. "Contemporary Korean Video Art after Nam June Paik." In Resolutions 3, 191–205. University of Minnesota Press, 2012. http://dx.doi.org/10.5749/minnesota/9780816670826.003.0016.

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"Nam June Paik: Catching up with the West?" In Kulturelle Übersetzer, 97–114. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839434994-007.

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"‘I make Technology Ridiculous’ — The Unusual Dialectics of Nam June Paik." In Avant-Garde and Technology, 79–108. Brill | Rodopi, 1992. http://dx.doi.org/10.1163/9789004449312_006.

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Hintzen, Sigrun. "5. Die Fluxus-Aktionen. Zusammenarbeit mit Nam June Paik und andere Beuys-Konzerte." In Joseph Beuys und die Musik, 19–42. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783828877443-19.

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Pisters, Patricia. "Nicholas Ray’s We Can’t Go Home Again." In The Moving Eye, 43–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190218430.003.0004.

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This chapter analyzes the film We Can’t Go Home Again (1972–1976), which the American director Nicholas Ray realized in collaboration with a class of students he taught at the State University of New York in Purchase. The film exemplifies the ability of cinema to provide access to an “elsewhere” and “elsewhen,” analyzed by Anne Friedberg in her book Window Shopping: Cinema and the Postmodern. This chapter claims that the film’s use of multiscreen projection can be illuminated through Friedberg’s notion of the virtual window, developed in The Virtual Window: From Alberti to Microsoft. Thanks to the collaboration on the film of video artist Nam June-Paik and the employment of techniques associated with the contemporaneous practice of “expanded cinema,” We Can’t Go Home Again is an important precursor to contemporary digital media.

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"15. A Poor Man from a Poor Country: Nam June Paik, TV-Buddha, and the Techno-Orientalist Lens." In Techno-Orientalism, 209–20. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813570655-017.

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Conference papers on the topic "Nam June Paik"

Kang, Mi-Jung. "The Sound of Shamans in the Works of Nam June Paik and Early Korean Video Artists." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.18.

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