‘This is a glimpse of a video landscape of tomorrow when you will be able to switch on any TV station on the earth and TV guides will be as fat as the Manhattan telephone book.’ Paik’s introductory statement stands for the tape’s compositional principle and message – global channel zapping, in 1973 a visionary precursor of subsequent developments. The spirit of the tape conveys Marshall McLuhan’s theory of a future ‘global village’, which Paik matched with an idea of his own: ‘If we could compile a weekly TV festival made up of music and dance from every county, and distributed it free-of-charge round the world via the proposed common video market, it would have a phenomenal effect on education and entertainment.’
A typical Paik mixture, the tape includes excerpts from TV programmes, contributions by artist friends such as John Cage, Allen Ginsberg, Charlotte Moorman and Karlheinz Stockhausen, footage by other video artists like Jud Yalkut and Robert Breer, and excerpts from earlier Paik videos. The combination of mass media and avant-garde was aimed at art-lovers and ‘normal’ TV viewers alike.
Source: Google Books