에이펙스 트윈은 컴퓨터 기반의 전자음악 아티스트로, 각각 특성이 다양한 앨범을 발표하는 동안 샘플을 이용하여 원본과 다른 느낌의 음향효과를 표현하려는 실험적인 시도가 두드러졌다. 본 연구에서는 ‘Windowlicker’ 및 ‘AFX237 V7’에서 나타난 샘플의 여러 기법들을 이용한 표 현 기법 및 음향효과를 분석하고 자작곡에서 적용하였다. 더 나아가 웨이브테이블 신세시스와 노이즈 LFO를 이용한 비주기적 비브라토 및 트레몰로를 표현하여 샘플을 이용해 표현할 수 있는 실험적 기법을 제시했다. 이 연구를 통해 샘플은 그 종류 및 기법에 따라 다양한 효과로 변화할 수 있음을 확인하였고, 표현 방법의 범위 또한 넓어질 수 있음을 확인했다.

The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.