The one, not insubstantial weakness in the programs is that their content is largely restricted to this formal function. The specific images Paik selects for synthesizing frequently catalogue appropriate visual associations for the sculpture (tourist views in "Paranature," for example). Yet, the specific images almost seem incidental, as if the program playing in one sculpture could be replaced with a program from any other, without serious effect.
You're simply meant to stare, lost in the totalizing space of electronic light.
The idea of electronic space, which is these sculptures' most intriguing quality, was first heralded in Paik's art 30 years ago. "TV Clock" is one important example. Space is traditionally a sculptor's principal material, and the newly emergent continuum between electronic time and electronic space is manifest in "TV Clock."