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In a 1982 Village Voice essay (reprinted in his collection Vulgar Modernism), critic J. Hoberman described Paik as "the D.W. Griffith of video art." He continued:
Like Griffith, who applied the narrative devices of Charles Dickens to five-cent peep shows, Paik brought his knowledge of a more highfalutin art form, namely the electronic music of [Karlheinz] Stockhausen and [John] Cage, to bear on a brand-new medium. Structurally, Paik's videotapes derive from the audio-taped musique concret sound collages he was making in Europe before Cage deflected him toward performance. On the other hand, Paik (like Griffith) is a populist. But whereas Griffith cribbed from Victorian stock melodrama, Paik swipes from TV spots.
Among the artist's achievements is popularizing the term "information superhighway" back in the 1970s. Not surprisingly, you can now find much of his work online. Below I've included a three-minute excerpt from one of his most famous works, Global Groove (1973), as well as the entirety of Good Morning Mr. Orwell (1984), a piece of "live science fiction" that features cameos from Laurie Anderson, Oingo Boingo, Allen Ginsberg, and Merce Cunningham. You can find a lot more at YouTube, if you feel like turning your laptop into a makeshift gallery.