[백남준] 나의 실험TV는 '완전범죄'다

[1963년 백남준 첫 전시 후 쓴 후기(Afterlude)] 원문은 독일어(?), 여기는 영어다.

<My experimental TV is the first ART (?), in which the ‹perfect crime› is possible. 나의 실험TV는 완전 범죄를 가능하게 한 최초의 예술 형식이다> <자연이 아름다운 것은 아름답게 변하기 때문이 아니라 단지 변하기 때문이다. 모바일 아트를 예견하다. TV는 나에게 개성의 표현이 아니고 단지 물리적 음악일 뿐이다 <My TV is NOT the expression of my personality, but merely a ‹PHYSICAL MUSIC›>. [평] 백남준은 TV를 물리학(전자공학)으로 연주하는 악기로 보다.

내가 백남준에게 가장 매력을 느낄 때는 그가 바로 피아노나 바이올린 등 서양악기를 사정 없이 부서버릴 때다. 예술이란 자고로 카타르시스-엑스터시-주이상스이다. 그는 우리가 쓰러뜨리기 너무 힘든 서양예술이라는 우상, 그걸 속 시원하게 파괴한 장본이이었다. 그래서 새로운 세계 미술사를 쓰는 것이 가능해졌다.그것이 가능했던 것은 서양보다 더 첨단의 과학기술을 도입했기 때문이다. 결국 서양에는 족보가 없는 비디오아트를 발명했고 그리고 선사시대를 들먹이며 30세기를 내다보는 예술의 비전을 제시했다. 이미 그의 첫 전시에서 그런 징조를 보였다.

Nam June Paik AFTERLUDE to the Exposition of EXPERIMENTAL TELEVISION» (1) My experimental TV is not always interesting but not always uninteresting like nature, which is beautiful, not because it changes b e a u t i f u l l y, but simply because it c h a n g e s.The core of the beauty of nature is that the limitless QUANTITY of nature disarmed the category of QUALITY, which is used unconsciously mixed and confused with double meanings. l) character 2) value. In my experimental TV, the word QUALITY means only the CHARACTER, but not the VALUE. A is different from B, but not that A is better than B. Sometimes I need red apple, Sometimes I need red lips.

(2) 2 My experimental TV is the first ART (?), in which the ‹perfect crime› is possible........I had put just a diode into opposite direction, and got a ‹waving# negative television. If my epigons do the same trick, the result will be completely the same (unlike Webern and Webern-epigons) ... that is ... My TV is NOT the expression of my personality, but merely a ‹PHYSICAL MUSIC› like my ‹FLUXUS champion contest›, in which the longest-pissing-time record holder is honored with his national hymn (the first champion: E Trowbridge. U.S.A. 59.7 seconds). My TV is more (?) than the art, or less (?) than the art. I can compose something, which lies higher (?) than my personality or lower (?) than my personality. Therefore (?), perhaps therefore, the working process and the final result has little to do,,,,,and therefore,... by no previous work was I so happy working as in these TV experiments.

In usual compositions, we have first the approximate vision of the completed work (the pre-imaged ideal, or ‹IDEA,› in the sense of Plato). Then, the working process means the torturing endeavor to approach to this ideal ‹IDEA.› But in the experimental TV, the thing is completely revised. Usually I don't, or cannot have any pre-imaged VISION before working. First I seek the ‹WAY,› of which I cannot foresee where it leads to. The ‹WAY,›... that means, to study the circuit, to try various ‹FEEDBACKS,› to cut some places and feed the different waves there, to change the phase of waves, etc.,... whose technical details I will publish in the next essay.... Anyway, what I need is approximately the same kind of ‹IDEA› that American ad agency used to use,.,.,.,.,just a way or a key to something NEW. This ‹modern›(?) usage of ‹IDEA› has not much to do with ‹TRUTH,› ‹ETERNITY,› ‹CONSUMMATION,› ‹ideal IDEA,› which Plato-Hegel ascribed to this celebrated classical terminology. (IDEA) = f.i.

‹KUNST IST DIE ERSCHEINUNG DER IDEE.› ‹ART is the appearance of the idea.› (Hegel-Schiller.)
This difference should be underlined, because the ‹Fetishism of Idea› seems to me the main critical criterion in contemporary art, like ‹Nobility and Simplicity› in the Greek art (Winckelmann), or famous five pairs of categories of Wölfflin in Renaissance and Baroque art.

<4> INDETERMINISM and VARIABILITY is the very UNDERDEVELOPED parameter in the optical art, although this has been the central problem in music for the last ten years (just as parameter SEX is very underdeveloped in music, as opposed to literature and optical art).

[1] I utilized intensely the live-transmission of normal program, which is the most vari-able optical and semantical event in 1960s. The beauty of distorted Kennedy is different from the beauty of football hero, or not always pretty but always stupid female announcer. [2] Second dimension of variability. Thirteen sets suffered thirteen sorts of variation in their VIDEO-HORIZONTAL-VERTICAL units. I am proud to be able to say that all thirteen sets actually changed their inner circuits.
No two sets had the same kind of technical operation. Not one is the simple blur, which occurs when you turn the vertical- and horizontal-control buttons at home. I enjoyed very much the study of electronics, which I began in 1961, and some life danger I met while working with fifteen kilovolts. I had the luck to meet nice collaborators: HIDEO UCHIDA (president of UCHIDA Radio Research Institute), a genial avant-garde electronician, who discovered the principle of transistor two years earlier than the Americans, and SHUYA ABE, all-mighty politechnician, who knows that the science is more a beauty than the logic. UCHIDA is now trying to prove the telepathy and prophecy electromagnetically.

[3] As the third dimension of variability, the waves from various generators, tape recorders, and radios are fed to various points to give different rhythms to each other. This rather old-typed beauty, which is not essentially combined with high-frequency technique, was easier to understand to the normal audience, maybe because it had some humanistic aspects.
[4] There are as many sorts of TV circuits as French cheese sorts. F.i. some old models of 1952 do certain kind of variation, which new models with automatic frequency control cannot do. e) Many mystics are interested to spring out from ONE-ROW-TIME, ONE-WAY-TIME, in order to GRASP the Eternity.

<백남준만 서양악기를 부순 건 아니다 백남준이 유난히 돋보였다. 플럭스서 등 서양인도 부셨다. 왜? 그들이 나치를 경험했기 때문이다. 서양인에게 우상화된 모든 것을 다 부셔버린 것이다. 서양의 합리(논리)주의, 과학주의 ,이성주의가 결코 만능이 아님을 깨달았기 때문이다. 결론 이성주의는 문제를 해결하는데 단지 한 가지 방법일 뿐임을 알게 된 것이다. 근데 이게 사실은 파괴가 아니고 그들에게는 이 세상에서 가장 아름다운 연주인 셈이다 음악적으로 접근하다>

aa) To stop at the consummated or steril Zero-point is a classical method to grasp the eternity. bb) To perceive SIMULTANEOUSLY the parallel flows of many independent movements is another classical way for it.

But poor Joyce was compelled to write the parallely advancing stories in one book with one-way direction, because of the othology of the book. The simultaneous perception of the parallel flows of 13 independent TV movements can perhaps realize this old dream of mystics, although the problem is left unresolved, whether this is possible with our normal physiognommy (we have only one heart, one breath, one focus of eye,) without some mystical training, and IF WELL TRAINED,,,,,,,,he needs neither 13 TVs, not TV, nor electronics, nor music, nor art,.......the happiest suicide of art....the most difficult anti-art, that ever existed.......I don't know, who could have achieved this platonic and steril consummation of art, because if he REALLY did, I should not know his name. I must not know his name.

Source: Paik published a brochure for the exhibition in Wuppertal, 1963, with the first theoretical statement on his works with TV sets. The ‹Afterlude’, whose first part is reprinted here, continues this reflection. Originally published in: Fluxus cc five Three, 1964, reprinted in: Gregory Battcock (ed.), New Artists Video: A critical anthology, New York, 1978.

우리는 로렐과 하디의 뮤직 박스에 예시 된 것처럼 부르주아의 모든 것의 상징으로 피아노에 대해 이야기하는 것으로 시작했습니다 . 거기에서 우리는 이것이 피아노가 민주화 예술을 중심으로하는 예술가들에게 명백한 공격 지점으로 바뀌는 것을 볼 수있었습니다. 우리의 트윗 채팅을 읽으십시오.이 기회를 통해 피아노가 남용 / 파괴되는 톱 5 작품 을 공유하고 싶습니다 . 짐작할 수 있듯이 여기에 많은 Fluxus 예제가 있습니다. 좋아하는 피아노 파괴의 순간을 공헌하십시오! No 1-Al Hansen, Yoko Ono의 피아노 드롭 (1959) <> http://www.medienkunstnetz.de/works/piano-activities/images/2/

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