ENIGEANWEMLT D ERJ AUPPANRATEEW ELPT AIK & SHUYA ABE P a i k / A b e V i d e o S y n t h e s i z e r ( K e y e r & C o l o r i z e r ) & S c a n M o d u l a t o r ( a. k. a. “ t h e W o b b u l a t o r ” ) , 1 9 7 0 W I T H T H E P A S S A G E of time, the understanding of Paik does not get easier. In our own time slit, his presence assumes a lonely and therefore much larger proportion. His work in the Sixties, luckily, is the most relevant for our show. As a practitioner looking back on that period, I realize (maybe for the first time) the scope of the homework he has done. Once you get over his early Fluxus furniture pieces, there is a naked man with his metaphysical struggle. There is a testimony and revelation of many principles and the materials to come. Even after he could afford all the help he could buy, a substantial body of work, experiments, manifestos and personal interventions remains for all of us to see! —W.V. N A M J U N E P A I K W A S B O R N in 1932 radically different. Between the 20’s and the 30’s in Seoul, Korea. He graduated in 1956 from the there is a gulf, a huge demarcation line more University of Tokyo, Japan. Studies in music, art striking than the turn of the century line. It is history, and philosophy were subsequently pursued more like A.D. and B.C. in the christian calendar. from 1956 to 1958 at the University of Munich, The 1930’s is alive everyday in our home screen Freiburg Conservatory and the University of Co- as late late shows, and it will be so for centuries logne. From 1958 to 1961 he worked at the Studio to come . . . where as 1920’s is gone and gone . . . for Electronic Music of Radio Cologne. Paik is with- with wind but without video. While watching out a doubt the most famous living video artist. He many mediocre paintings of the 17th century at lives in New York City. Reijs Museum at Amsterdam, I suddenly realized that minor master’s still-life and landscape were not an artwork but merely a visual environment B I N G H A M T O N L E T T E R of that day . . . and so is our daytime shows and nam june paik, 1972 Jan, 8 latenight talkshows . . . . We don’t watch them . . . they are just there Dear friends at Radical Software: . . . . . TV to live with . . . Westerners pretend to be younger than their age COMMERCIAL BREAK NO. 2 . . . we Asians often pretend to look older . . . My Some cable or public TV should air “TV to mother used to say, “I cannot wear such thing . . sleep with” . . . What comes after waterbed??? . it would look too young.” People compliment to Video-bed. Bucky Fuller . . . he is only 70 years young . . . Ralph Hocking and I are making a video-bed Koreans express “I have eaten 40 years, or so.” to sleep on. John Cage, who has out-asianized himself more than any Asians . . . certainly more than power- The word “history” came into being, because our conscious Indian politicians, prestige-conscious events were told and written down thereafter. Chinese cadres, GNP conscious Japanese Now history is being recorded in image or video. businessmen, and super-chauvinistic Koreans . . . Therefore from now on there is no more “History,” (is it not about time for Hippies to quit their but only “Imagery” or “Videory.” Eg: University Pseudo-Hindu cult?) . . . has managed to pretend should change their course name from “Contem- to be older than his age. porary American History” to “Contemporary American Videory.” COMMERCIAL BREAK, NO.1 Nam June Paik is making a tribute to John White snow at Binghamton made me nostalgic Cage (a non documentary) for WGBH (with about cold cold night snow at Rose Art Museum David Atwood) for John Cage’s 60th birthday. (1970), when Phyllis Gershuny, very tall and pregnant, first told me about “videonewsletter,” Now video makes our Time consciousness which she started with you . . . few people took it 126 Page 126 - Black overlay NAM JUNE PAIK & SHUYA ABE FRAME 047 INFO frame 6078 to 7423 STEP FORWARD STEP BACK Shua Abe and Nam June Paik. seriously . . . many even did not bother to answer many “ultrasonic lullabies” for dogs. And we will your questionaries . . . but, lo, behold . . . it is see many commercials for video cassettes for now a world-famous-Radical-Software . . . . Last dogs, as we see of cat-food commercials. June Phyllis Gershuny, with her baby, crawling When communication satellite enables global TV and crying, came up to Cal Arts (L.A.) to give a in full swing, will CBS carry cat-food commercials lecture with full of authority. Students admired to hungry Bengali people? her as a revolutionary, who MADE it. It was a unforgettably beautiful scene . . . sorry, we could COMMERCIAL BREAK NO. 3 pay her only 30 $ from Disney Emperioum . . . I John Cage comes up on the screen and says felt like a pig . . . a small one. It is about time that somebody writes a decent review on “Vision and Television” (organized by Russel Connor at Rose Art) . . . the most impor- tant fact . . . it is the first art show, which attracted many dogs. Everyday quite a few dogs were waiting at the door to get into the museum . . . and it was not a meat-Happening à la 1960’s Happening era . . . but a cold, cool video show in 1970 January . . . . The reason was clear later . . . . About 100 TV sets were humming and zumming Paik/Abe Synthesizer with Interface. their 15,000 cycles horizontal Oscillation frequencies . . . and it is, though hardly audible to human ears, the most attractive frequency range for dog’s ear. Therefore 100 TV sets at Rose Art Museum must have sounded like Beatles at Shea Stadium and Mohhamed Ali at Madison Square Garden combined . . . to all unsophisti- cated country-dogs of Waltham, Mass. There must be a channel for dog on Cable . . . to soothe down the irritated dog’s nerve living in small Manhattan apartment . . . I will compose Paik/Abe Scan Modulator. Collection of ETC. 127 Page 127 - Black overlay EIGENWELT DER APPARATEWELT “This is the newest Pill from FLUXUS Chemi- Telephone is point to point communication cal Company . . . you swallow it . . . it tastes system. nothing . . . smells nothings . . . and does Radio-TV is a point to space communication nothing.” system . . . like fish egg. John refused to do it on his program. Ultimate goal of video revolution is the establishment of We are hearing so much about “Broadcast space to space, or plain to plain communica- standard” in video. But the more important the tion content is, the technical standard tends to be less without confusion and interference of each perfect . . . e.g., CBS report on the dissenters in other. Soviet . . . and many satellite relays, which tends to lose color sync often . . . and finally MOON How to achieve this goal? LANDING. it will need decades of experiments. Douglas Davis’ Hokkaidim event at Corcoran Moon landing’s picture was way way below the Gallery (last June) was so far the most ambitious FCC broadcast standard. Why did FCC not forbid endeavour to touch this home base at one shot. the broadcasting of Moon landing? . . . it was a Nobody expected a hole-in-one, but it showed double standard. Moon landing killed so-said vividly that our direction was right, workable . . . FCC standard in video technology for good . . . . and many more experiments should be done This fact is as important as a very competent toward this very end. chief engineer at Cal Arts video studio. What is art? COMMERCIAL BREAK NO. 4 Is it the moon? skip or Difference of the 50’s liberal and 60’s radical is the fingertip, which points to this moon? that the former was serious and pessimistic, the Avantgarde art is the finger-tip and latter was optimistic and loved fun. Who changed Hokkadim was a sharp finger-tip. the society more??? I think the latter. John Cage’s refusal to accept “Serious” continental I am A Korean . . . I tend to pretend to look old . . . aesthetics, and the rise of Happening, popart, I am almost 39 and a half years old, still I am Fluxusmovement signaled the beginning of the sloppy like hell . . . I hate perfectionist. Yukio Sixties . . . . What will signal the Seventies??? Mishima was a “perfectionist” . . . his death was a needless to say . . . “video.” “perfect” mistake. Video-Videa-Vidiot-Videology. COMMERCIAL BREAK NO. 5 Currently there is a danger that video becomes I am selling my loft at Canal Street. like “poetry” . . . one guy writes, and only his 2000 $ fixture. 145 $ rent. immediate friends appreciate . . . . I don’t know Paul Valery wrote in the thirties that a middle how many un-edited dull tapes I had to sit class French young man can enjoy more material through politely . . . . We should be more pleasure than Louis the fourteenth. conscious of the situation that we are in the era On the same logic, our brother in disadvan- of information overload and it means information- taged neighborhood can enjoy more visual retrieval is more tricky than information record- pleasure than a middle class young man in the ing . . . . Therefore one of Binghamton experiment thirties . . . Nowadays anybody can see 20 movies of Ralph Hocking, Ken Dominick, Bob Diamond, a week, which nobody did in the thirties . . . The Shierry Miller is how to compete with Walter poorer people are, the richer is their visual life. . . . Cronkite with half inch tape??? Here I think my Is it progress? endeavor with video synthesizer becomes also Am I a pig? important in seemingly pure information age. Dear Radical Software: Geisha is the oldest Time-sharing device of male chauvinism. It is only two and half year, since we all met at Marriage is an instant Sex-access system. Howard Wise Gallery . . . and in video calendar, it 128 Page 128 - Black overlay NAM JUNE PAIK & SHUYA ABE looks like a last century. It means that we present to rotate the overall hue of the colorized covered a huge terrain . . . Not any other disci- picture. The knob adjusts the phase of the chroma pline did so well as we did. . . . it is a time for subcarrier feeding the NTSC encoder while keeping congratulation . . . For myself, I re-lived the the Burst phase constant. excitement of early Sixties, when we made A common matrix configuration is to cross-wire various Fluxus events and publication. I am the order of the inputs to other colors. This causes deeply grateful for that . . . and I am lucky to overlapping colors to add together forming new have had the youth twice. and it is just a colors. An example is to tie: Input 1 to RED, Input beginning . . . when we get “wall to wall TB,” video 2 to Green, Input 3 to Blue, Input 4 to RED and cassettes, cable TV, 3-D color TV all ined up. . . . GREEN (yellow), Input 5 to RED and Blue (ma- where will we be? genta), Input 6 to Green and Blue (cyan), and Input 7 to Red, Green and Blue for a monochrome mix. Let us live long. . . . . The input gain controls overdrive the non-linear as amps and the multiple cameras create additive Marcel Duchamp did. color mixes of their input signals. Some of the input njp cameras could be pointed in a video feedback loop. Other cameras would point at a “magnetically scan processed” monitor modulated by audio signals. The magnetic scan processing is achieved through P A I K - A B E V I D E O S Y N T H E S I Z E R extra deflection yokes placed on top of an existing The Paik-Abe Video synthesizer was a collabora- black and white monitor yoke. The extra yoke is tion between Nam June Paik and video engineer supplemented with additional coils wound around Shuya Abe. The basic synthesizer is a colorizer, but the neck of the picture tube, all driven by high power in keeping with Nam June Paik’s method to create audio amplifiers. The deformed magnetic image is a “smorgasbord of video art”, a scan modulator was re-scanned off the face of the tube and fed into the often found adjacent to the colorizer. Combining colorizer. This forms color spaces that can be super- video feedback, magnetic scan modulation, and imposed upon other synthetic image sources. The non-linear mixing followed by colorizing, generated combination of signals by an external video keyer its novel style of imagery. joins the colorized collage with other video back- The basic Paik-Abe is a colorizer unit with seven drops, forming a rich video landscape. external video inputs and corresponding gain con- —J.S. trols. Each of the seven inputs drive various non- linear processing amplifiers. The amplifier passes low level signals but folds over or inverts the polarity of higher level signals. High brightness components SUBCARRIER VIDEO NON-LINERA HUE are turned into “negative” video while low bright- IN AMPLIFIERS ADJUST ness components can pass through without change. R The output of the seven distorted amplifiers drive RGB G RGBC OTOLO NRTSC VIDEO OUT (depending on the version) a patch panel, a bank of SMUAMTMRINIXG B ENCODER switches or are “hard-wiring” to a resistive matrix. Of the seven signals, Shuya Abe believed that MAGNETIC SCAN PROCESSOR “Channel 6 should have the weaker signal, to main- VIDEO tain a sense of balance in the instrument.” AUDIO The matrix adds proportions of the seven signals SATUEDRIEOO B+W MONITOR to the Red, Blue and Green signals that drive an GAIN WAVEFORMS AMP EXTRA VOICE RGB to NTSC color encoder. The NTSC color en- coder is constructed from a printed circuit board pulled from a Sony or Shibaden Color Camera with a variety of video sync signals supplied to it from a sync processor deriving Color Burst, Subcarrier, INFO Frame 4358 t0 6077 Sync and Blanking. A large multi-turn Hue knob is 129 Page 129 - Black overlay