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@article{ART002536174},
author={Yung Bin Kwak},
title={Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2019},
number={46},
pages={111-142},
doi={10.17057/kahoma.2019..46.005}

TY - JOUR
AU - Yung Bin Kwak
TI - Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’
JO - Journal of History of Modern Art
PY - 2019
VL - null
IS - 46
PB - 현대미술사학회
SP - 111
EP - 142
SN - 1598-7728
AB - "What should we do about defunct or ‘aging new media’ artworks by a now deceased artist when there is no specific manual or artist’s statement to consult? Taking Nam June Paik’s dysfunctional multi-media artwork The More, the Better (1988) as an ‘exemplary symptom,’ this paper seeks to offer an answer. Focusing on the relationship between ‘Time’, ‘Nature’ and ‘Technology’ in Paik’s oeuvre in terms of ‘entropy,’ we will see how they serve to illuminate contemporary discussions of preservation and conservation of so-called ‘time-based media’ as ‘performance.’ To that end, we will critically engage with the humanist take on Paik’s artworks as well as confusion about seemingly interchangeable concepts such as ‘entropy,’ ‘indeterminacy,’ and ‘chance.’ By re-reading Paik’s crucial statements, writings, artworks including performances such as “Norbert Wiener and Marshall McLuhan,” Confused Rain, and his 1997 performance in a wheelchair at the Walker Art Center, we will see how The More, the Better as an ‘obsolete new media’ showcases what I call ‘parallax contemporaneity.’ In so doing, we will provide a necessary, if not exhaustive corrective to the extant scholarship on Nam June Paik’s art, and by extension, suggestive stimulants to contemporary reflections on new media, post-medium/media, and media archeology."
KW - Nam June Paik;entropy;performance;time-based media;parallax;post-medium;contemporaneity
DO - 10.17057/kahoma.2019..46.005
ER -

Yung Bin Kwak. (2019). Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’. Journal of History of Modern Art, 46, 111-142.

Yung Bin Kwak. 2019, "Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’", Journal of History of Modern Art, no.46, pp.111-142. Available from: doi:10.17057/kahoma.2019..46.005

Yung Bin Kwak "Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’" Journal of History of Modern Art 46 pp.111-142 (2019) : 111.

Yung Bin Kwak. Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’. 2019; 46 : 111-142. Available from: doi:10.17057/kahoma.2019..46.005

Yung Bin Kwak. "Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’" Journal of History of Modern Art no.46(2019) : 111-142.doi: 10.17057/kahoma.2019..46.005

Yung Bin Kwak. Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’. Journal of History of Modern Art, 46, 111-142. doi: 10.17057/kahoma.2019..46.005

Yung Bin Kwak. Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’. Journal of History of Modern Art. 2019; 46 111-142. doi: 10.17057/kahoma.2019..46.005

Yung Bin Kwak. Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’. 2019; 46 : 111-142. Available from: doi:10.17057/kahoma.2019..46.005

Yung Bin Kwak. "Ancient Futures of The More, the Better: Obsolete New Media’s ‘Parallax Contemporaneity’" Journal of History of Modern Art no.46(2019) : 111-142.doi: 10.17057/kahoma.2019..46.005