Although Paik says, "I make technology look ridiculous"many of his critics agree that he has paved the road to the world of video art for other artists to follow him. Global Groove continues Paik's tradition of using TV sets as art, and even as metaphors themselves of a world based on such technology. For example, Zippay comments on the piece: "This radical manifesto on global communications in a media-saturated world is rendered as a frenetic electronic collage, a sound and image pastiche that subverts the language of television"(157).
On the technical side of things, Global Groove was Paik's first work with state-of-the-art editing techniques. He manipulates the various things in the video in many ways, like distorting Nixon's face by using magnets to alter the TV set.
Zippay further critiques Global Groove: "Paik subjects this transcultural, intertextual content to an exuberant, stream-of-consciousness onslaught of disruptive editing and technological devices, including audio and video synthesis, colorization, ironic juxtapositions, temporal shifts, and layering-- a controlled chaos that suggests a hallucinatory romp through the channels of a global TV"(157).
It appears that Paik has left many effects on people's image of television, the media, and even society, today, and possibly the future. As other critics agree, Zippay concludes, "In its postmodern content, form, and conceptual strategies, Global Groove had a profound influence on video, television, and contemporary art"; and I think people, as well...(157).