In 1994, Korean-American artist Nam June Paik had a dream. Sourcing 52 bulky Sony television monitors, he assembled the objects into a wall-like structure and set the screens to play electronically generated images and video clips. Like cells, these screens appear to respond to one another; some feature the same faces or objects, while others link up to create phantasmagoric bursts of colour. The effect is entirely overwhelming—and echoes the dense infotainment of YouTube, Instagram, Facebook and other apps and websites widely used today.
This is Paik’s Internet Dream, a work which prophesized our current hyper-connected world. The artist also predicted the phenomenon of an “electronic superhighway” in a 1974 essay, written 15 years before the World Wide Web was invented. Tellingly, he spoke not just of the practicality of such technological advancements, but also of the cultural renaissance that would inevitably occur, stating that this electronic network “will become our springboard for new and surprising human endeavours”.
Diese Geschichte stammt aus der April 2020-Ausgabe von Tatler Singapore.
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Diese Geschichte stammt aus der April 2020-Ausgabe von Tatler Singapore.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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