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"The Worlds of Nam June Paik is an appreciation of and reflection on the life and art of Nam June Paik. Paik's journey as an artist has been truly global, and his impact on the art of video and television has been profound.To foreground the creative process that is distinctive to Paik's artwork, it is necessary to sort through his mercurial movements, from Asia through Europe to the United States, and examine his shifting interests and the ways that individual artworks changed accordingly. It is my argument that Paik's prolific and complex career can be read as a process grounded in his early interests in composition and performance. These would strongly shape his ideas for mediabased art at a time when the electronic moving image and media technologies were increasingly present in our daily lives. In turn, Paik's work would have a profound and sustained impact on the media culture of the late twentieth century; his remarkable career witnessed and influenced the redefinition of broadcast television and transformation of video into an artist's medium."

"In 1982, my longtime fascination with Paik's work resulted in a retrospective exhibition that I organized for the Whitney Museum of American Art in NewYork.1 Over the ensuing years, his success and renown have grown steadily.The wide presence of the media arts in contemporary culture is in no small measure due to the power of Paik's art and ideas.Through television projects, installations, performances, collaborations, development of new artists' tools, writing, and teaching, he has contributed to the creation of a media culture that has expanded the definitions and languages of art making. Paik's life in art grew out of the politics and anti-art movements of the 1950s, 1960s, and 1970s. During this time of societal and cultural change, he pursued a determined quest to combine the expressive capacity and conceptual power of performance with the new technological possibilities associated with the moving image. I will argue that Paik realized the ambition of the cinematic imaginary in avant-garde and independent film by treating film and video as flexible and dynamic multitextual art forms. Using television, as well as the modalities of singlechannel videotape and sculptural/installation formats, he imbued the electronic moving image with new meanings. Paik's investigations into video and television and his key role in transforming the electronic moving image into an artist's medium are part of the history of the media arts."

"As we look back at the twentieth century, the concept of the moving image, as it has been employed to express representational and abstract imagery through recorded and virtual technologies, constitutes a powerful discourse maintained across different media.The concept of the moving, temporal image is a key modality through which artists have articulated new strategies and forms of image making; to understand them, we need to fashion historiographic models and theoretical interpretations that locate the moving image as central in our visual culture."

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