conflict. His counter-proposition is the world-wide exchange of television programs simulated in «Global Groove»: «If we could assemble a weekly television festival comprised of music and dance from every nation and disseminate it freely via the proposed Video Common Market to the world, its effects on education and entertainment would be phenomenal.»[65] Current satellite TV technology has now made Paik's idea an achievable reality for every TV viewer, but the political effect Paik hoped for has yet to happen. So in terms of media technology, Paik's ideas for the future of television are being fulfilled but without providing the social utopia he associated with it. Thus they are a typical example of the role of media art as a memory and refuge for the unredeemed utopias of media history.[66]

In «Global Groove,» as in all his other videos, Paik uses an editing technique that is close to musical composition. It makes no attempt at narrative, but is based on a large number of recurrent motifs. This also includes the recycling of early videos in later works, so

that we still see material from the 1960s appearing as quotations in Paik's work today.[67] «Global Groove» recycles Paik's contribution, broadcast by WHGB, to «The Medium Is the Medium.» The video itself was produced and broadcast by the WNET-TV station, which meant that the first step towards realizing its mission had been taken. Paik made similar concepts the basis of his 1984 live satellite broadcasts, «Good Morning, Mr. Orwell,» which reached an audience of about thirty-three million in the USA, Canada, Europe, Korea, Japan, Mexico and Brazil. On an even larger scale «Wrap around the World» (1988) is said to have reached over fifty million viewers in twenty countries world-wide. There is no doubt that by achieving this Paik successfully surmounted the limitations of the avant-garde, as proclaimed programmatically in the 1920s and 1960s—but he paid the price that his work was scarcely seen as art any more. These satellite TV projects are thus in the same place that his first television experiments started from in 1963: between two stools. They made little impact in art circles