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Journal articles on the topic 'Nam June Paik'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Forest, Fred. "À quoi tient le talent d’un Nam June Paik." Ligeia N° 133-136, no. 2 (2014): 174. http://dx.doi.org/10.3917/lige.133.0174.

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12

윤지원. "A Study on Musical Imagery of Nam June Paik." journal of Ewha Music Research Institute 17, no. 2 (December 2013): 7–33. http://dx.doi.org/10.17254/jemri.2013.17.2.001.

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13

Ballengee, Olga. "John Cage, Fluxus and the Musicality of Nam June Paik." Roczniki Humanistyczne 68, no. 12 (December 23, 2020): 155–64. http://dx.doi.org/10.18290/rh206812-11.

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John Cage, Fluxus i muzykalność Nam June Paika Niniejszy artykuł poświęcony jest analizie performance’u Nam June Paika. Autorka sugeruje, iż twórczość Paika, szczególnie po roku 1960, można uznać za wyjątkowo „muzyczną,” jeżeli spojrzy się na nią przez pryzmat Cage’owskiej muzyki-jako-działania. U Paika elementy słuchowe, wizualne i teatralne są zespolone w taki sposób, że performance staje się siłą jednoczącą i nadającą znaczenie. Autorka kończy artykuł argumentem, iż wpływ Cage’a był kluczowy, jeśli chodzi o rozwój dorobku twórczego Paika, skierowany w stronę eksperymentów w zakresie telewizji i wideo.
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Krieger, Peter. "Nam June Paik. La muerte del maestro de los monitores." Anales del Instituto de Investigaciones Estéticas 29, no. 90 (June 19, 2013): 261. http://dx.doi.org/10.22201/iie.18703062e.2007.90.2485.

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15

Wheeler Winston Dixon. "Nam June Paik: Lessons from the Video Master (2007) (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 38, no. 1 (2008): 69. http://dx.doi.org/10.1353/flm.0.0012.

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16

Ha, Byeongwon. "Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects." Leonardo Music Journal 29 (December 2019): 93–96. http://dx.doi.org/10.1162/lmj_a_01071.

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Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects. This study examines the content of the music article and articulates the relationship between musique concrète and Paik’s interactive sound projects: Record Shashlik (1963) and Random Access (1963).
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17

Hamlyn, Nicky. "Magnetic Memory: A Day-Long Video Tribute to Nam June Paik." Film Quarterly 60, no. 2 (2006): 12–16. http://dx.doi.org/10.1525/fq.2006.60.2.12.

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ABSTRACT This review of video work by Nam June Paik traces the artist's origins in the European Fluxus movement before his move to New York, where he lived until his death (in 2006) and collaborated with other artists including John Cage, Charlotte Moorman, and Yoko Ono.
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18

이수연. "The Work of Nam June Paik from the Perspective of Remediation." Journal of History of Modern Art ll, no. 36 (December 2014): 183–209. http://dx.doi.org/10.17057/kahoma.2014..36.007.

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19

Zinman, Gregory. "Nam June Paik's Etude 1 and the Indeterminate origins of Digital Media Art." October 164 (May 2018): 3–28. http://dx.doi.org/10.1162/octo_a_00321.

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This essay describes the discovery and significance of Etude 1 (1967), a previously unknown work by media artist Nam June Paik. Composed at Bell Labs and written in an early version of the computer-programming language FORTRAN, Etude 1 stands as one of the earliest works of digital art—though whether Etude 1 was intended to be a film, the “computer opera” that Paik mentions elsewhere in his writings, or some other kind of art work altogether. By exploring Etude 1's uncertain status, as well as more conceptual indeterminacies concerning the relationship between image and code, music and media, and the analog and the digital, this essay demonstrates how such indefinite artifacts allow for a rethinking of cinema's digital past, film's place in computational media, and the nature of the archive.
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20

Sarriugarte Gómez, Íñigo. "John Cage y su influencia en la obra del video artista Nam June Paik." Anuario Musical, no. 64 (December 30, 2009): 237. http://dx.doi.org/10.3989/anuariomusical.2009.64.45.

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En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.
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21

Ryczkowska, Marta Aleksandra. "Redefinicja sztuki i nowe media – Fluxus." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 49. http://dx.doi.org/10.17951/l.2017.15.2.49.

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<p>Esej jest próbą spojrzenia na grupę Fluxus jako na zjawisko, które w znaczny sposób wpłynęło na kulturę współczesną dzięki nieszablonowemu podejściu do aktywności artystycznej oraz płynnym przekraczaniu granic pomiędzy różnymi dyscyplinami sztuki a życiem. Głównym przedmiotem zainteresowania w obrębie Fluxusu jest redefinicja sztuki oraz czerpanie z technologii audiowizualnych, które przyczyniło się do rozwoju sztuki nowych mediów. W tym celu przywołany zostaje jeden z głównych reprezentantów i prekursorów wideo art Nam June Paik, amerykański artysta pochodzenia koreańskiego, który działał w kolektywie oraz tworzył indywidualnie. We wprowadzeniu do rozważań o Fluxusie nakreślony został kontekst historyczny, wskazujący na tendencje i okoliczności towarzyszące powstaniu grupy. Przy przywołaniu najważniejszych artystów i ich około-artystycznych aktywności szczególny akcent zostaje położony na postać George’a Maciunasa oraz na lewicowe wpływy, jakim ulegał konstruując program Fluxusu. Kolejnym punktem rozważań jest analiza zjawiska pod kątem wyjaśnienia jego podstawowych założeń i ich realizacji, aktualności postulatów w czasach współczesnych oraz dziedzictwa. Finalnym i kluczowym elementem tekstu jest przywołanie lat 60. Jako złotej dekady technologicznych eksperymentów, na tle której Nam June Paik ukazał się jako niezwykle kreatywny wizjoner i inicjator procesów, związanych z rozwojem sztuki nowych mediów.</p><p> </p><strong>The art redefinition and new media – Fluxus</strong><p>SUMMARY</p><p>The present essay seeks to look at the Fluxus group as a phenomenon that largely influenced contemporary culture owing to an unconventional approach to artistic activity and the smooth crossing of boundaries between different art disciplines and life. The main subject of interest within Fluxus was to redefine art and draw on audiovisual technologies, which contributed to the development of the art of new media. For this purpose, the text refers to one of the main representatives and predecessors of video art, Nam June Paik, a Korean-born American artist, who worked creatively both in a team as well as individually. The introduction to the considerations on Fluxus outlines the historical context showing the tendencies and circumstances of the origin of the group. When referring to the most important artists and their accompanying artistic activities, special emphasis was laid on the figure of George Maciunas and the left-wing influences to which he yielded while he constructed the Fluxus program. The next point of presentation is the analysis of the phenomenon from the perspective of explaining its fundamental assumptions and their implementation, the relevance of the Fluxus postulates in the contemporary period and its heritage. The final and key element of the text is the reference to the nineteensixties as a golden decade of technological experiments, in whose context Nam June Paik appeared as an extremely creative visionary and initiator of processes associated with the development of art of new media.</p>
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22

Choi, Yong Chan. "The Media Art of Nam June Paik and the Birth of his Glocal Aesthetics." Korean Society For German History 41 (August 30, 2019): 157–83. http://dx.doi.org/10.17995/kjgs.2019.8.41.157.

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23

Kwon, Eugene. "Tarrying Awhile in Front of a Blank Screen: Nam June Paik, Zen for Film." Film Matters 5, no. 2 (June 1, 2014): 30–35. http://dx.doi.org/10.1386/fm.5.2.30_1.

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24

Okada, Jun. "Nam June Paik and Laurel Nakadate at the Margins of Asian American Film and Video." Cinema Journal 56, no. 3 (2017): 136–41. http://dx.doi.org/10.1353/cj.2017.0029.

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25

Landres, Sophie. "The First Non-Human Action Artist: Charlotte Moorman and Nam June Paik in Robot Opera." PAJ: A Journal of Performance and Art 40, no. 1 (January 2018): 11–25. http://dx.doi.org/10.1162/pajj_a_00390.

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26

Thompson, Reynaldo, and Tirtha Prasad Mukhopadhyay. "Aesthetics of Biocybernetic Designs: A Systems Approach to Biorobots and Its Implications for the Environment." Leonardo 47, no. 4 (August 2014): 318–24. http://dx.doi.org/10.1162/leon_a_00836.

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The authors identify some of the theoretical premises of biocybernetic art objects, with reference to the works of Nam June Paik, Edward Ihnawitz, Ulrike Gabriel, and most notably, Gilberto Esparza, the Mexican biocybernetic artist. Systems theory anticipates stochastic convergences in nature, defying the classic certitude of the teleological notion of form. Evidence for this paradigmatic shift is found in the biocybernetic creatures conceived by these roboticists. In much biocybernetic art, beauty emerges in the form of adaptive mechanisms, such as in robotic tetrapods or self-organizing artificial plants. Such structures provide a template for survival mechanisms in an increasingly entropic environment.
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27

Blom, Ina. "The Touch through Time: Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde." Leonardo 34, no. 3 (June 2001): 209–15. http://dx.doi.org/10.1162/002409401750286958.

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This essay outlines the historiographic implications of the strange convergence between Berlin Dadaist Raoul Hausmann's Optophon (1920–1936)—a “synaesthetic” instrument designed to transform sound signals into light signals and vice versa—and Nam June Paik's pioneering 1960s television work. Hausmann articulated a new, “televisual” form of presence, which also implied a new form of tele-tactility. As his notion of tactility returns in Paik's work, the Optophon might be construed as the historical origin of the genre called “video art.” Yet, it could be argued that Hausmann's technological reasoning produced an interruption at the very site where such art-historical legacies are constituted.
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Plas, Marc. "Les utopies électroniques de Paik et d’Averty : investigations et expérimentations télévisuelles." Cinémas 26, no. 2-3 (April 5, 2017): 151–72. http://dx.doi.org/10.7202/1039370ar.

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La visée principale de cet article, qui fait suite à des recherches dans les archives de l’INA, est la mise en évidence d’un aspect essentiel de l’oeuvre et de la démarche de Jean-Christophe Averty : la singularité de son approche de la télévision. L’auteur a pour cela jugé nécessaire de rapprocher Averty d’un autre créateur contemporain, Nam June Paik, qui a lui aussi été un pionnier de l’utilisation du médium vidéo dans une perspective artistique. Sans faire l’impasse sur les conditions sociales et historiques qui ont pu rendre possible l’émergence de telles entreprises, l’auteur cherche, dans son texte, à rendre compte de la part d’innovation radicale qu’elles comportent. L’activité d’Averty et celle de Paik sont liées à l’apparition massive de la technologie dans l’art de la seconde moitié du xxe siècle et aux particularités tant matérielles que conceptuelles de cette technologie. L’importance de leurs expérimentations apparaît d’une manière peut-être plus précise aujourd’hui, dans le contexte d’expansion et de généralisation des outils numériques.
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Shim, Hyowon. "The Concept of Touch and Brain in Nam June Paik and Roy Ascott’s Network Arts in the 1980s." CONTENTS PLUS 19, no. 1 (February 27, 2021): 59–71. http://dx.doi.org/10.14728/kcp.2021.19.01.059.

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Muir, Gregor. "Past, Present, and Future Tense." Leonardo 35, no. 5 (October 2002): 499–508. http://dx.doi.org/10.1162/002409402320774321.

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Given the task at hand, “to select new media works that have changed or are impacting the course of new media art and music,” the author, along with his colleagues, set out to identify the fullness of the digital spectrum. The article explains his selections of artwork by consciously establishing a past, present, and future media collection. He begins with a 1965 piece from Nam June Paik and ends with JODI.org, acknowledging the large jump made from past to present media. Concluding the article with a look at the history of digital art, the author raises comparisons and dilemmas that allow readers to question and reflect on the status of new media art.
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Bae, Su Bin. "A study for Digital Converting of Video art based on Calibration - Focusing on the Work of Nam June Paik." KOREA SCIENCE & ART FORUM 16 (June 30, 2014): 197. http://dx.doi.org/10.17548/ksaf.2014.06.16.197.

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Pullen, Treva Michelle. "Whimsical Bodies and Performative Machines: Aesthetics and Affects of Robotic Art." Open Cultural Studies 1, no. 1 (January 1, 2018): 514–21. http://dx.doi.org/10.1515/culture-2017-0048.

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Abstract This article explores the ways in which robots’ behaviours are designed and curated to elicit reactions from their human counterparts. Through the work of artists such as Nam June Paik, Steve Daniels, Edward Ihnatowicz and Norman White, a survey of robotic art illustrates a particular aesthetic and behavioural language that is non-threatening, animalistic, cute, quaint and whimsical. Considering the artists’ programming of behaviours and construction of aesthetics, the use of animal behavioural modelling, and developments in social robotics, this article unpacks how meaning is inscribed onto robots and in return how affect is transmitted to human viewers. By exploring the whimsical bodies, performative machines and networked nonhumans brought forth in robotic artworks, this article draws out how aesthetic and behavioural languages of robotic art play into peoples’ emotional and affective encounters with them.
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Rhee, Margaret. "Racial Recalibration." Asian Diasporic Visual Cultures and the Americas 1, no. 3 (September 14, 2015): 285–309. http://dx.doi.org/10.1163/23523085-00103004.

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Widely recognized as the first video artist, Nam June Paik’s artistic career from the 1960s onwards is often understood through his pioneering appropriation of technological developments such as the television and video. Paik foresaw not only the aesthetic potential of video, but also other emerging technologies, such as robotics. While his work in robotic art is less commonly analyzed, it sheds significant light on his position not only as a foremost artist of new media but also on discussions concerning his ethnic identity. This essay demonstrates how, in the 1964 creation of robot K-456 and tv Bra for Living Sculpture, the artist deployed the strategy of racial recalibration—a racial formation that occurs through aesthetic tinkering, hacking, and recreating with emergent technologies that re-wires racial knowledge of the Asian American as robot.
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Son, Hyeoung Woo. "A Study of Drought Spatio-Temporal Characteristics Focused on 『Zhuang-zi 莊子』 and Paik, Nam-June Paik’s TV Garden." Korean Society for Science of Eastern Art 36 (August 30, 2017): 132–58. http://dx.doi.org/10.19078/ea.2017.36.6.

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윤덕영. "Widang Jeong In - bo’s relationships with Lark - June George Paik, Baek Nam - Woon, and Song Chin - woo, and their background." DONG BANG HAK CHI ll, no. 173 (February 2016): 35–73. http://dx.doi.org/10.17788/dbhc.2016..173.002.

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Kane, Carolyn. "The Electric “Now Indigo Blue”: Synthetic Color and Video Synthesis Circa 1969." Leonardo 46, no. 4 (August 2013): 360–66. http://dx.doi.org/10.1162/leon_a_00607.

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Circa 1969, a few talented electrical engineers and pioneering video artists built video synthesizers capable of generating luminous and abstract psychedelic colors that many believed to be cosmic and revolutionary, and in many ways they were. Drawing on archival materials from Boston's WGBH archives and New York's Electronics Arts Intermix, this paper analyzes this early history in the work of electronics engineer Eric Siegel and Nam June Paik's and Shuya Abe's Paik/Abe Video Synthesizer, built at WGBH in 1969. The images produced from these devices were, as Siegel puts it, akin to a “psychic healing medium” used to create “mass cosmic consciousness, awakening higher levels of the mind, [and] bringing awareness of the soul.” While such radical and cosmic unions have ultimately failed, these unique color technologies nonetheless laid the foundation for colorism in the history of electronic computer art.
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KREUTZER, EVELYN. "Mediating and Disrupting the Flow." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (December 1, 2020): 141–58. http://dx.doi.org/10.3828/msmi.2020.9.

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This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.
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Rogers, Holly. "The Unification of the Senses: Intermediality in Video Art-Music." Journal of the Royal Musical Association 136, no. 2 (2011): 399–428. http://dx.doi.org/10.1080/02690403.2011.618727.

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ABSTRACTThe electromagnetic basis of video technology allowed sound and image to be recorded simultaneously: as a result, composers could visualize their music and artists could sound their images. Many believed that such intermedial audio-visuality signalled a brand-new art form that was free from lineage. Using Nam June Paik as an example, this article suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. The intermedial capabilities of video technology allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Understood in this way, music and art in the twentieth century cannot coherently be discussed as individual disciplines, but rather encourage a more lateral history – or spatial sensibility – that moves fluidly through the space between them.
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Cansi, Lislaine Sirsi. "“No canto do mundo do capital”: sobre experiência, educação e arte." Revista Educação, Artes e Inclusão 16, no. 1 (January 1, 2020): 34–56. http://dx.doi.org/10.5965/1984317816012020034.

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Este artigo apresenta uma discussão a partir de uma prática permeada pelo conceito de experiência e pela sensibilidade. Para isso, o conceito de experiência é revisitado em autores como Jorge Larrosa (2015), Walter Benjamin (1994) e John Dewey (2010; 2011) e a “educação (do) sensível” é fundamentada a partir da reflexão de João Francisco Duarte Júnior (2010), voltada aos campos da Educação e da Arte. A prática ocorreu em um shopping em busca de experiência, foi nomeada como “No canto do mundo do capital”, narrada no segundo momento do texto. Como fechamento, um eixo de sistematização da experiência relacionado aos aspectos sociais se desdobra para o campo da Arte, especificamente relacionado a categorias de obras dos artistas Andy Warhol (1928 – 1987), Maryam Jafri (1972), Andreas Gursky (1955), Albrecht Dürer (1471 – 1528), David Hockney (1937), Jeff Wall (1946), Nam June Paik (1932 – 2006) e Bruce Nauman (1941), e possibilita pensar em Educação. Nessa discussão, será estabelecida à prática uma relação teórico-reflexiva que a aponte como “experiência”.
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김동일, Kyungman Kim, and 선내규. "Sociology of Nam June Paik, from the Resistant in the Musical Field to the Founder of Video Art in the Artistic Field." Korean Journal of Cultural Sociology 9, no. 1 (November 2010): 132–96. http://dx.doi.org/10.17328/kjcs.2010.9.1.004.

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41

Jeon, Minki. "A Study on Analyzing Artists’ Thinking for Contents Organization of Thinking Tools in Art Education - Focused on Ik Joong Kang, Jeong Hwa Choi, Nam June Paik." Society for Art Education of Korea 65 (February 10, 2018): 209–34. http://dx.doi.org/10.25297/aer.2017.65.209.

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Jeon, Minki. "A Study on Analyzing Artistsʼ Thinking for Contents Organization of Thinking Tools in Art Education Focused on Ik Joong Kang, Jeong Hwa Choi, Nam June Paik." Society for Art Education of Korea 65 (February 10, 2018): 209–34. http://dx.doi.org/10.25297/aer.2018.65.209.

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43

Mouëllic, Gilles. "Le jazz à la télévision française dans les années 1950 : du didactisme des premières représentations aux expérimentations de Jean-Christophe Averty." Cinémas 26, no. 2-3 (April 5, 2017): 51–71. http://dx.doi.org/10.7202/1039366ar.

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Très présent à la radio et dans la presse françaises après la Seconde Guerre mondiale, le jazz va conquérir peu à peu la télévision à partir de 1955. À la recherche du jazz, première série régulière sur le sujet, créée par Maurice Blettery et réalisée, pour l’écrasante majorité des émissions, par Jean-Christophe Averty, révèle une tension entre deux ambitions didactiques : l’une qui fait du jazz un prétexte pour aborder des « sujets de société », l’autre qui marque une volonté d’étudier la musique pour elle-même et d’affirmer le jazz comme témoignage d’un nouvel équilibre entre le « savant » et le « populaire ». Alors que les premières émissions sont construites autour d’une succession souvent maladroite d’extraits de longs métrages et de discours d’experts reconnus, Averty s’émancipe progressivement des contraintes éditoriales de la série pour mettre en images la musique et explorer les moyens propres à la télévision. À partir de la fin de la décennie, il prend en charge de nouvelles émissions, dont Modern Jazz at Studio 4, dans lesquelles il privilégie la performance des musiciens et fait du jazz un terrain d’expérimentation idéal pour inventer un univers plastique que l’on peut qualifier, bien avant les oeuvres de Nam June Paik, d’art vidéo.
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Nah, Ilmin. "프랑스 미술관의 초기 백남준 예술 수용의 맥락과 의미: 미술관 제도의 관점에서 = An Institutional Approach to the Reception of Nam June Paik in French Art Museums During the 1970s: Contexts, Characteristics, and Meanings." Trans-Humanities Journal 10, no. 2 (2017): 65–103. http://dx.doi.org/10.1353/trh.2017.0008.

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Menshikov, Leonid A. "DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 79–92. http://dx.doi.org/10.17223/22220836/39/8.

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Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.
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Byoungdohn Sohn. "A Study on the Early video works of Nam June Pack and Bruce Nauman." Korean Journal of Art and Media 9, no. 2 (November 2010): 7–19. http://dx.doi.org/10.36726/cammp.2010.9.2.7.

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Merl, W., Z. Koutsogiannis, D. Kerr, and AM Kelly. "How Safe is Intravenous N-Acetylcysteine for the Treatment of Paracetamol Poisoning?" Hong Kong Journal of Emergency Medicine 14, no. 4 (October 2007): 198–203. http://dx.doi.org/10.1177/102490790701400402.

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Objective Paracetamol poisoning remains one of the most common and potentially lethal ingestions. N-acetylcysteine (NAC) has been proven to be a highly effective antidote. The aim of this study was to determine the rate of adverse drug reactions (ADR) to intravenous (IV) NAC. Our hypothesis was that IV NAC for the treatment of paracetamol toxicity has a low rate of adverse events. Methods This was an observational cohort study undertaken by explicit retrospective medical record review. It included patients who presented to the emergency department with paracetamol overdose over the ten-year period from July 1995 to June 2004. The primary outcome measure was the occurrence of an ADR during NAC administration. Adverse drug reactions were classified as minor (including flushing, urticaria, pruritus, bronchospasm, tachycardia, and non-ischaemic chest pain) and major (including hypotension, angio-oedema and death). Data analysis was by descriptive statistics and chi-square analysis using univariate analysis, Fisher's exact test and Mann-Whitney U-test. Inter-rater agreement was checked for 9% of the sample. Results There were 470 cases of paracetamol poisoning. Of these, 320 received IV NAC. Thirty-six (11%, 95% CI 8–15%) of these patients developed ADRs. There were two major ADRs, one hypotension and one angio-oedema (0.6%, 95% CI 0.02–2%). Two patients died during hospitalisation, but neither had an ADR to NAC. The most common ADRs were urticaria (20), flushing (15), bronchospasm (12), and pruritus (3). None of the variables analysed was a clinically significant predictor of increased ADR risk. Conclusion Adverse drug reactions after IV NAC infusion occur commonly, but most are minor. Treatment of paracetamol poisoning with IV NAC appears to be safe, however a large prospective study would be required to confirm this.
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Ugyen, Karma, Karma Tenzin, and Tempa Gyeltshen. "Benefits of bloodletting procedure among Bad-mKhris-mGo-Nad patients: A prospective observational study." Bhutan Health Journal 6, no. 1 (May 15, 2020): 1–5. http://dx.doi.org/10.47811/bhj.92.

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Introduction: Bad-mKhris-mGo-Nad is a type of headache caused by imbalance of bile and phlegm humor. In gSo-ba-Rig-pa, headache is categorized in two categories such as primary headaches and secondary headaches. In total there are 14 types of headaches and Bad-mKhris-mGoNad is one among the principal headaches. The gSo-ba-Rig-pa based bloodletting therapy for Bad-mKhris-mGo-Nad has been practiced by the traditional medicine practitioners since the inception of gSo-ba-Rig-pa more than 2500 years ago. Bloodletting is also believed to be one of the most important and effective therapy in the treatment regime of gSo-ba-Rig-pa. The Subsequent Tantra (last tantra) states that the bloodletting is the best remedy for all types of bile and blood-related disorders. This study was conducted to observe the effectiveness of bloodletting procedure among diagnosed cases of Bad-mKhris-mGo-Nad. Methods: It was an observational prospective study conducted at the National Traditional Medicine Hospital, Kawangjansa, Thimphu. The three main parameters measured were frequency, duration, and severity of the headaches. The samples consisted of 31 patients with 23 females and 8 males. Data collection was carried out over the span of seven months (June - December, 2018) Results: The association test between before and after 10 days, before and after 30 days of bloodletting was conducted on 30 patients by using Mid-Point test in Open Epi and the result was observed to be statistically significant at p< 0.05. Conclusion: This study shows that the bloodletting therapy on Tshoksang reduces the pain duration and frequencies of headaches. Moreover, it was also established to be effective in reducing the severity of the headache caused by Bad-mKhrismGo-Nad.
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Munoz, Flor M., Flor M. Munoz, Amy Connery, Muktha S. Natrajan, Jesse Waggoner, Molly Lamb, Daniel Olson, et al. "846. Postnatally Acquired Zika Virus (ZIKV) Infection in Infants and Young Children in Guatemala: Serologic and Neurodevelopmental (ND) Evaluation." Open Forum Infectious Diseases 6, Supplement_2 (October 2019): S14—S15. http://dx.doi.org/10.1093/ofid/ofz359.031.

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Abstract Background Diagnosing ZIKV infection in children in dengue (DENV) endemic regions is challenging. The kinetics and effects of maternal Ab on infant infection responses remain unknown, as do the ND effects of ZIKV acquired in early life. Methods This is a population-based prospective cohort study in infant–mother pairs and children <5 years in a rural DENV endemic area of Guatemala evaluating the incidence and ND outcomes of postnatally cquired ZIKV infection. Subjects were followed 1 year for symptoms of flavivirus-like illness (FLI), serologic and virologic evidence of ZIKV or DENV infection and ND outcomes. ZIKV and DENV neutralizing antibodies (NAb) were measured at enrollment and longitudinally. Subjects were classified as ZIKV- or DENV-infected based on NAb. Specimens from acute illnesses were tested for viral RNA by rRT-PCR. ND was assessed at enrollment and longitudinally using an adapted Mullen Scales of Early Learning (MSEL). Results In total, 1,371 subjects (374 children 1–5 years, 500 infants, 497 mothers) were enrolled from June 2017 to July 2018. Among 1,335 evaluable subjects, 7.6% (101) had serologic evidence of recent ZIKV infection (NAb >500 or >100 and DENV-neg); 13.2% (176) were DENV-pos only; 44.8% (598) were ZIKV-neg (NAb15 −<100) or low (<500) ZIKV and DENV NAb, suggesting prior flavivirus infection or cross-reactivity (Figures 1 and 2). ZIKV infection alone was more prevalent in children 1–5 years, while infants’ serologic pattern was similar to that of their mothers. One child ZIKV seroconverted. In 391 FLI episodes (67 children 1–5 years and 215 infants with fever, rash, myalgia, and conjunctivitis; 109 mothers with fever, myalgia, and joint pain), acute DENV infections, but not ZIKV, were identified by rRT-PCR. MSEL scores were similar to US norms in infants <12 m (composite mean 94.8, SD 11.9), but lower in children 1–5 years in all domains (mean 75.1, SD 17.4, P < 0.0001) (Figure 3). Conclusion Serologic evidence of recent ZIKV infection, but no acute ZIKV, was documented in young children in Guatemala. Infant seroreactivity derives from prior maternal infection and DENV cross-reactivity. Observed substantial differences in ND scores between infants and children 1–5 years challenge the ability to isolate the potential effects of ZIKV infection in early life. NIAID Contract HHSN272201300015I Task Order HHSN27200013. FMM and EJA Co-PIs. Disclosures Flor M. Munoz, MD, Biocryst: Grant/Research Support; CDC: Research Grant; Moderna: Other Financial or Material Support, Safety Monitoring Board Member/Chair; NIH: Research Grant; Novavax: Research Grant; UP to Date: Author and Editor: Royalties, Other Financial or Material Support.
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Alten, R., C. Behar, C. Boileau, P. Merckaert, E. Afari, V. Vannier-Moreau, S. Connolly, et al. "AB0205 A NOVEL METHOD FOR PREDICTING 1-YEAR RETENTION OF ABATACEPT USING MACHINE LEARNING TECHNIQUES: DIRECTIONALITY AND IMPORTANCE OF PREDICTORS." Annals of the Rheumatic Diseases 80, Suppl 1 (May 19, 2021): 1127–28. http://dx.doi.org/10.1136/annrheumdis-2021-eular.868.

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Background:In the ACTION (NCT02109666) study, multivariable Cox proportional hazards regression models showed that the predictors of 1-year retention to abatacept treatment were: patient global pain assessment, country, reason for stopping last biologic, number of prior biologic treatments, abatacept monotherapy, RF/anti-cyclic citrullinated peptide (CCP) status, previous neoplasms, psychiatric disorders and cardiac disorders.1 Machine learning techniques, using the gradient-boosting model, subsequently identified additional predictors of abatacept retention in patients with moderate-to-severe RA enrolled in ACTION; however, the analysis did not show the directionality of the predictors.2Objectives:To improve the clinical interpretability of the machine learning model in terms of directionality and the importance of each variable in predicting retention.Methods:Previous analyses using the gradient-boosting model to identify predictors of abatacept retention at 1 year in the ACTION study have been described.2 This analysis used SHapley Additive exPlanations (SHAP), a mathematical framework, to show how a particular predictor value influences prediction in the context of all other predictors. Higher SHAP values indicate a higher likelihood of retention. The contribution of every variable in the model’s prediction (with the exception of country variables) was computed for each data point to capture individual variable impact. This enabled interpretation for level of importance and directionality at a patient level.Results:Using data from 2350 patients enrolled in ACTION (May 2008 to December 2013), the mean retention rate at 1 year was 59.3% (n=1393). Overall variable importance is shown in Figure 1. After removal of country variables, the top five baseline predictors of retention were: no previous corticosteroid use, ACR functional class II, ≥2 prior biologic treatments prior to abatacept initiation, abatacept monotherapy and HAQ-DI. In terms of directionality, no previous corticosteroid use, ≥2 prior biologic treatments prior to abatacept initiation, abatacept monotherapy and a higher HAQ-DI score at baseline were associated with a lower likelihood of retention; ACR functional class II was associated with a higher likelihood of retention.Conclusion:The gradient-boosting model previously identified predictors of abatacept retention from ACTION;2 the addition of SHAP in this analysis has provided information on the importance and directionality of those predictors. The most important predictor of abatacept retention was no previous corticosteroid use, which was associated with lower retention. The models and predictors identified could be further refined by using additional datasets from clinical trials. Machine learning offers an innovative and complementary approach to biostatistics and could be used to identify treatment response predictors at an individual patient level, leading to a more personalised treatment approach.References:[1]Alten R, et al. RMD Open 2017;3:e000538.[2]Alten R, et al. Presented at the virtual ACR Convergence 2020; 5–9 November 2020. Poster number 1745.Acknowledgements:This study was supported by Bristol Myers Squibb. Professional medical writing and editorial assistance was provided by Claire Line, PhD, at Caudex and was funded by Bristol Myers Squibb.Disclosure of Interests:Rieke Alten Speakers bureau: AbbVie, Bristol Myers Squibb, Gilead, Janssen, Lilly, Pfizer, Consultant of: AbbVie, Bristol Myers Squibb, Gilead, Janssen, Lilly, Pfizer, Grant/research support from: AbbVie, Bristol Myers Squibb, Gilead, Janssen, Lilly, Pfizer, Claire Behar Shareholder of: I have not invested directly in pharmaceutical companies producing drugs/devices for use in rheumatology however I may have shares via the funds linked to my life insurance., Consultant of: Bristol Myers Squibb, Christine Boileau Consultant of: AstraZeneca, Bristol Myers Squibb, Nanobiotix, Pierre Merckaert Consultant of: Bristol Myers Squibb, Ebenezer Afari Consultant of: Bristol Myers Squibb, Virginie Vannier-Moreau Shareholder of: Bristol Myers Squibb, Employee of: Bristol Myers Squibb, Sean Connolly Shareholder of: Bristol Myers Squibb, Employee of: Bristol Myers Squibb, Aurelie Najm Speakers bureau: Bristol Myers Squibb, Consultant of: Bristol Myers Squibb, Pierre-Antoine Juge Consultant of: Bristol Myers Squibb, Angshu Rai Shareholder of: Amgen Inc, Consultant of: Amgen Inc, Employee of: Amgen Inc, Bristol Myers Squibb, Yedid Elbez Consultant of: Bristol Myers Squibb, Karissa Lozenski Shareholder of: Bristol Myers Squibb, Employee of: Bristol Myers Squibb
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