Temple for the Homework! Chapter xxDrug Information Sheet.docx

Temple for the Homework! Chapter xx
Drug Information Sheet:
This drug is mentioned in the chapter xx.
Source: “webmd.com”
Generic name: Bromocriptine
Trade name: Parlodel
Bromocriptine is used with other medications or alone to treat
Parkinson's diseases. This drug enhances the ability of an
individual to move while at the same time decreasing shakiness
and slowed movement. It is also used to treat high levels of a
particular hormone made by the prolactin. Notably, it can be
used to treat tumor which cased high prolactin levels.
The side effects of this drugs include Nausea, vomiting, and
dizziness. It also makes one feel drowsy and tired with a
headache. Therefore, during the interaction of the drugs, one
should continue with the dosage unless the doctor approves of
its stoppage.
Drug Information Sheet:
This drug is mentioned in the chapter xx.
Source: “webmd.com”
Generic name: Glimepiride
Trade name: Amaryl
Glimepiride is used together with a proper diet as well as an
exercise program in controlling high blood sugar especially
with individuals suffering from type 2 diabetes. It can also be
used with other medications for diabetes to prevent blood sugar
and in turn preventing damages to the kidney. This drug lowers
the blood sugar by releasing natural insulin.
The side effects associated with Glimepiride is nausea and upset
stomach. When these side effects worsen for an individual using
these drugs, it is highly recommended that they inform their
pharmacist for prompt action.
The interactions of these drugs may change the functioning of

these drugs and therefore can increase the risk of its side
effects. Therefore, one should seek the advice from the
physicians on whether to stop the medication.
References
“Bromocriptine: Uses, Side Effects, Interactions, Pictures,
Warnings & Dosing.” WebMD
“Glimepiride: Uses, Side Effects, Interactions, Pictures,
Warnings & Dosing.” WebMD
THE MUTABILITY OF MEDIA: FILM AND THE ART OF
NAM JUNE PAIK
BY JUD YALKUT
The 1960s was a time of change and ferment in the art and
media world. Nam June Paik taught himself the fundamentals of
electronics and television, allying himself with Japanese
engineer Shuya Abe, beginning with the attempt to construct a
“Build the Video Recorder Yourself” project, looking back as
he wrote “with a bitter grin of having paid 25 dollars for a fraud
instruction and of the desperate struggle to make it.” This
collaboration with Abe, begun in 1963, led to the eventual
construction of the seminal Paik-Abe synthesizer at WGBH-TV
in Boston in 1969. His earlier and highly significant excursion
into film was his “Zen for Film,” 1200 feet of clear leader

which was intentionally pervious to dust and scratches so that,
as John Cage wrote in 1962-64, comparing it to his “4’33”
silent piece and Rauschenberg’s white canvases, “The nature of
the environment is more on the film.”
Before my wondrous and eternal encounter with Nam June, I
dove unattended into the medium of film in 1961, a field which
had no real teachers or courses at the time, though I later
became such a teacher starting in 1968. My interest in the
cinema developed early on, spurred by the availability of a
student membership to the Museum of Modern Art in New York
when I started attending the High School of Music & Art at the
age of 12, and the following gift of a regular 8mm film camera
as a Bar-Mitzvah present. An intense immersion into the art,
foreign and experimental film programs at MOMA, augmented
not long after with attending Cinema 16, concretized my
commitment to the avant garde through such icons as Marcel
Duchamp, Man Ray, Hans Richter, Moholy-Nagy, and later the
work of filmmakers a decade older than me like Brakhage,
Markopoulos, Cocteau, and Cornell.
After a long period as a young practicing poet in the Beat
generation and a year living in Big Sur, California, I returned to
the visual world, and another 8mm camera materialized as a
1961 gift in New York from my first wife. Several completed
films later, and the proud acquisition of a used16mm Reflex
Bolex camera in 1964, my role in life was firmly established.
1965 was a decisive year, with my collaboration as filmmaker
member of the pioneering multimedia group USCO, and the
beginning later that year of my continuing involvement with
Paik.
I knew of Nam June’s work as a performer and composer, and of

his groundbreaking experiments with the television medium,
having attended his 1965 New School program and the New
York Avant Garde Festival’s performance of Stockhausen’s
multimedia opera “Originale.” Many avant garde artists had
become my friends and acquaintances including minimalist
composers, New Thing jazz musicians, dancers and performance
artists, poets, and other filmmakers, all in overlapping circles
like Venn diagrams.
Working on a project with USCO, I was shooting and producing
a film to be called “Turn Turn Turn” which focused on kinetic
and luministic art in a camera-composed composition with the
work of the motorized light towers of Nicholas Schöffer, the
kinetic light compositions of Julio LeParc, and the
electronically-inspired, diffracted and stroboscopic creations of
the USCO group. Realizing that proper culmination of this
kinetic-luministic progression would be pure electronically
manipulated light, it was fortuitous that this need coincided
with Paik’s first New York exhibition at the Bonino Gallery in
November-December 1965. Nam June agreed with my filming of
all of the pieces in this “Electronic Art” show, and portions of
this material concluded the finished film. We also agreed on my
filming his works-in-progress at his Canal Street studio, and out
of this further evolved the realization of film concepts that
percolated between us and which eventually produced a body of
work collected as a “VideoFilm Concert,” which premiered at
the Millennium Film Workshop and was a Cineprobe program at
the Museum of Modern Art in 1972.
Paik’s extraordinary modulations of the television signal were
created by detuning the set, isolating the horizontal and vertical
controls and injecting various electronic pulses and
electromagnetic interferences. As he recounted to Doug Davis
in “Art and the Future”: “My real breakthrough was what Fred

Barzyk of WGBH called ‘the dancing pattern’.., which I made
from internal modulation of three audio signals to make variable
patterns, particularly on color sets… The dancing patterns form
themselves directly out of the studio signals… they move very
slowly, and I can control them by modulating the sounds. They
are like the Pop mentality, a very slow thing.”
Nam June got his first Sony videotape recorder, a huge two-
handled block of a machine with a pop-up black-and-white
monitor, the first such machine available and purchased through
a John D. Rockefeller grant in October 1965. “The first thing I
discovered,” he said, “was the stop-frame technique, the
freezing that makes strange images. Also, repetition of the same
thing, with a videotape loop. I made a tape of John Lindsay’s
election eve, too…which was a very moving thing, when he got
elected Mayor of New York. But I made a very funny tape out
of Lindsay, and with Jud Yalkut we turned it into a film.”
This film, shot on 16mm in 1967, was “Videotape Study No. 3.”
Paik’s manual manipulation of the ½” tape back and forth over
the video heads, which produced grotesque stoppages as the
image skewed itself into twisted patterns was, like many of the
more abstract patterns produced both in black-and-white and on
electromagnetically altered color sets, were impossible to
record onto videotape as they circumvented the video sync
signal. Thus the only means of capturing these images was on
film, which I found with the Bolex was a rate of fifteen frames
per second to avoid drift lines between the discrepancies of
television scanning and film shutter speeds. Other taped
sequences included in the film were an extended sequence of
LBJ’s face, and a brief flash of Kosygin, omitting other
experiments done with Castro. The film in its silent form was
screened together with a political speech mash-up by David
Behrman at the “Electric Ear” series accompanied by giant

political effigies with loudspeakers for heads by sculptor Shari
Dienes in 1969, and with David’s acquiescence was edited by
fellow composer Ken Werner to fit the four minute film.
Interestingly, the film which has a minimum of forty film
splices and which was the first thing I had transferred to a video
master when I first accessed WNET Television Laboratory in
1972, reads out as video piece, belying its origin as a film
though it is presently distributed in both forms. As an example
of McLuhan’s “obsolescence theory” where the new medium
subsumes the old medium, people still refer to things being
“filmed” when they are captured on videotape, or even new
digital media.
(BREAK): Screening of “Videotape Study No. 3.” (DVD)
The term “VideoFilm” was one I coined to represent the
interfacing of the two media, both of which were attractive to
me because of the variations in their tactilities, and I was later
in 1968 able to do preliminary work with the earliest portable
black-and-white Sony Portapaks through the auspices of the
Raindance Foundation. I also found it fitting to produce titles
for our films over loops employing the imperfections of both
film, with its end of the roll perforations, and video with its
signal loss of “video snow.” But in early 1966, Nam June and I
filmed his experiment with producing a round moon form which
could gradually fade in and fade out. The first “Electronic
Moon” was silent and almost invisible, so intangible that it
proved impossible to reproduce in release prints from the film
laboratory, disappearing whether the exposure was heightened
or lessened to any degree. Consequently, it has only been shown
in live concert form, initially with an idiosyncratic live
performance by Paik of the first movement of Beethoven’s
“Moonlight Sonata. This original version exists and is only
judicially projected, currently with a CD version of Nam June
performing at the Anthology Film Archives, graciously recorded

by Stephen Vitiello. Two other sections exist in sound versions,
with the blue filtered moon slowly fading out and then fading in
magenta to the accompaniment of Glenn Miller’s “Moonlight
Serenade.” The 1972 released version of “Electronic Moon No.
2” has been called a film haiku by several critics and curators,
and interplays the lunar analogies of a plate and fork, a
swinging lens satellite, and a woman’s breast, with oscillating
electromagnetic variations of the magnified red, green and blue
phosphors, all to my favorite performance of Debussy’s “Claire
de Lune” played by Walter Geiseking.
Paik generated much material from the black-and-white
broadcast images of the Beatles appearing both on the Ed
Sullivan television show and from their famous Shea Stadium
concert. These images were whorled and distorted by
electromagnetic means, including a large degaussing coil, and
filmed by me off the screen, then edited into an “A” roll, and
composited with a “B” roll of color footage sequences similar to
the “dancing patterns” and Lissajous patterns generated by
pulse waves moving in and out of sync. “Beatles
Electroniques,” here representing Nam June’s recurring
penchant for French appellations, appeared first in black-and
white in 1966 and was composite printed in 1967 with a
soundtrack by Ken Werner called “Four Loops” based on
electronically synthesized fragments of Beatles’ songs.
BREAK: Screening of “Beatles Electroniques.” (DVD)
Our film work together was a constant exploration and
interchange. During the early years of our collaboration, besides
working with the USCO group, I was holding down a 40 hour-a-
week job managing the record warehouse of New York’s largest
record dealer, Sam Goody’s, working a six-day week until
finally there were enough “commercial” assignments arranged
by USCO to finally, as they said, “get Jud out of the basement.”

As soon as I got out of work each day, my life as a filmmaker
commenced, sometimes working on editing into the night.
Consequentially, I financed all the production costs for the
films produced with Nam June, because other finances were
low, and in the end he generously decided that the film royalties
and their release in video form would accrue to me.
We published the Objectives of our work in the “Expanded
Arts” Issue No.43 of Film Culture magazine in the winter of
1966, listed separately under both our names. We had agreed to
Paik’s suggestion that the listing of our credits for the films
would be interchangeable in order for any listing or program.
Our Objectives read: 1. Study of electronic images composed by
purely electronic means directly on cathode ray screen, adapted
mainly from Bonino Gallery exhibition and further experiments.
2. Introduction of metaphysics to cinema, aiming to deepen the
ontological meaning of boredom. A third unvocalized maxim
involved the transformation of cultural icons into subjects of
art. I am reminded of Paik’s comments to Grace Glueck in the
New York times of May 5, 1968:
“The world is so boring,” he sighs, “I have to think of things
continually to keep myself tense.”
Among the pieces listed in our objectives were some either
unrealized or executed purely as performance pieces. “Batman
Electronique” (1966) was listed and was probably based on an
idea relating to the montage piece for the Batman theme song as
one of the many top-30 double-screen features I produced for
the Murray the K’s Discotheque in Long Island with USCO.
“Rhapsody in Black Et Noire” (1966) was a conceptual
performance piece in which a print of the burlesque routine of
Sally Rand’s Fan Dance was projected through a dark filter so
as to be almost totally unrecognizable. This black-and-white
footage, which I obtained through my film lab, was later

recycled, processed and colored through the Paik/Abe
synthesizer for Nam June’s “Global Groove.” Recycling images
and sequences was always part of his battery of materials, and
many film elements created by me recurred in his later studio
productions.
I have always thought of Paik’s electromagnetic and switching
manipulations of the television image while I was filming as
performances which I was capturing in the moment.
Performance was always a predominant factor in Nam June’s
thinking and was an element in our work together. This became
coupled with the Zen-like perception of activity and non-
activity which constantly surfaced in our mutual philosophies.
One concept which produced a suite of what I would call “non-
video VideoFilms” is the five parts of the “Cinema
Metaphysique” series. Starting with the precept of commenting
on the variant scale between film and video, “No. 1,” which was
affectionately called the “Micro-TV,” had a small 13” Black-
and-white monitor in the far bottom corner of the black screen,
and through the silence was briefly joined by a second monitor
image in the upper left, and then had the room light turned on
for a split second revealing dimly the background curtain, an
abrupt performance element by Paik. On the lower right TV
appeared at one point the image of a violinist playing before an
audience, and I synced in the final bars of a Heifetz recital with
the applause coinciding with the audiences hands, and then the
piece returned to silence for the short remainder.
The remaining “Cinema Metaphysique” pieces were predicated
on the then prevalent phenomenon of the “safe area” of the
screen where the edges of a film frame were subsumed by the
video frame, and where one was cautioned by broadcasters not
to place anything that would appear on television because it
would disappear. Paik’s suggestion was that we should make

films in which the action took place entirely in the “unsafe”
area and thus would reveal only the black center during
broadcast.
To realize this concept, I availed myself of a matte box for the
Bolex, cutting mattes to include only portions of the image: just
a left band in “No. 2” which had a agonizingly slow
performance by Paik’s hand slowly swinging or making a tight
and tortured fist; “No 3” with a band on the bottom which
showed the eyes of Paik and Kosugi looking and avoiding
looking at each other to the sound of Zen monks chanting; and
“No. 4” which betrayed the “safe area” concept by being
hilariously split-screen, and utilizing a torn matte for irregular
shapes through which cigars were smoked and a loaf of Levi’s
rye bread (“You don’t have to be Jewish to love Levi’s”) was
eaten. “Nos. 2-4 were released as one film, with “2” and “4” to
a soundtrack selected from Kosugi’s “Manodharma #8.”
“Cinema Metaphysique No. 5” was integral in itself, silent, and
in color, and occurred on all four sides of the screen, with the
left featuring a hand and head-beating action by Paik, and the
bottom his two finger and head and shoe banging on a piano
keyboard. “No. 5” required four runs of the film through the
camera and four separate matte placements. The “Cinema
Metaphysique” series was eventually released in video through
over-scanning which broadened the picture area. We will now
screen “No. 5” in its film form.
BREAK: Screening of “Cinema Metaphysique No. 5.” (16mm
silent film)
One of the strongest relationships concerning Nam June and
myself was the dauntless and loving spirit of Charlotte

Moorman. I filmed many versions of Charlotte and Paik
performing John Cage’s “24’ 1.449” for String Player,” and
multiple times projected past segments during part of a live
performance. Three years of such film footage was transformed
by the Paik-Abe synthesizer into a background mix tape for
when I produced my version of Charlotte and Paik performing
the composition by Cage at the WNET Television Laboratory in
1973. This distributed version lasted 42 minutes because it
contained many of the post-it-note events added to Cage’s score
by Charlotte.
I projected our films as well through most of the concerts that
Nam June and Charlotte performed in this country. When they
traveled on tour to Europe, they would take films with them to
include on concert programs. I received a 1966 postcard from
Paik in Germany which had on the picture side beer-drinking
characters from a theater production in Cologne. The text read:
“Things are going not bad. We are having tough days but trying
our best. I couldn’t pick the films up in Italy, because they
asked the import license, but we played ‘P+A-I(K)’ (NOTE: my
film which includes the NY premiere of Robot K-456), Zen
film, and Butterfly (NOTE: I believe the film I made for ‘The
World’ discotheque to the song ‘Elusive Butterfly’). In Cologne
‘Electronic Moon’ and Small TV were well received, but
‘P+A-I(K)’ was broken in the middle. In Berlin projector was
knocked down in the middle of Micro-TV. Ha ha ha. We are
asking now more qualified projectionists in the remaining
concerts. –Paik.”
Having turned Nam June’s remarkable television permutations
to film for such a long time, it was totally fitting to me that next

I would be providing him with film material to be transformed
during his various video residencies at both WNET in New York
and WGBH in Boston, the two East Coast bastions supporting
Video Art. I was the major cameraman for the “John Cage at
60” program in New York, and auxiliary cameraman working
with the crew in Boston. Various film segments of mine were
included in the mix for “Global Groove” at WNET including
aerial footage of the Statue of Liberty and my stop-motion
capture of The Living Theatre in “Paradise Now.
Nam June and I worked for over a year on the WNET series
“Suite 212” (a title I suggested incorporating Paik’s musical
interest and New York’s area code). The premise was a series of
thirty approximately five minute segments, each representing
some little known but significant area of New York City, in
which film shot in multiple locations would be processed in the
studio on the Paik/Abe. I was loaned a very nice Nizo Super-
8mm camera by the studio for the year of gathering material and
finally, in lieu of having a Super-8 film chain in the studio, the
films were projected on a white wall and reshot by a studio
television camera. The series was designed to conclude the
broadcast day of WNET-TV, usually around 11 pm, and to play
for the thirty days of April 1975.
To conclude this personal Odyssey of back-and forth media, and
my long-held conviction that each medium polishes its own
essence by brushing against the other,
we will now screen the “Skating” segment of “Suite 212”
joining Central Park’s Wollman rink with the skating rink at
Rockefeller Center. My original footage contained both stop
motion and slow motion sequences, further manipulated by Paik
in the studio.

BREAK: Screening of “Skating” from “Suite 212.” (DVD)
Read the article and give briefly summarize and then also give
your informed commentary.
500 words.

Temple for the Homework! Chapter xxDrug Information Sheet.docx

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