Nam June Paik lived through an interesting historical and social series of events located in global geographic chronotopes that naturally determined the framework of his biographical and discursive artistic identity. Speaking of the first person from Asia who became an indispensable part of Western art history, it is necessary to emphasize Nam June Paik’s feeling for the dialectics of dominant narratives produced by the authorities of states, finances, and the media. He understood very well the fictional logic of narratives that enforce dominance, but also those that refute that dominance, so as an artistic subject, through the processuality and objectivity of media artworks, he managed to build a parallel narrative of his own. He consciously participated in the construction of the fiction of global necessity, at the same time most often siding with those who live within the time of knowledge that provides correctness, against the time of guilt that is surrounded by the ignorance of the dominant narrative’s fiction. In this sense, Paik embedded himself in the avant-garde artistic system of the West and remained there for the rest of his life.
