Paik Fluxus Video Glitch (Nam June Paik Analog Corruption Register)

Render the source image as an album sleeve influenced by Nam June Paik's Fluxus video-art aesthetic and 1960s through 1980s experimental-music cover design, channeling the visual register of analog video corruption, intentional channel-separation glitch, interlaced-scan-line artifacts, and chromatic aberration treated as a design element rather than an error to be corrected. Source image intentionally corrupted via: (a) horizontal scan-line striations visible throughout, the horizontal axis becomes the compositional rhythm, (b) color-channel separation where red, green, and blue channels misalign by 2-4 pixels, creating a ghosted three-color fringe around high-contrast edges, (c) vertical sync-dropout artifacts rendering sections of the image as horizontal tears or repeated stripe patterns, (d) occasional video-feedback loop artifacts (fractals, recursion, a section of the image repeating infinitely smaller inside itself). Palette distorted toward the limits of analog broadcast: oversaturated magentas, cyan fringes, blacks crushing into pure void, whites blown out, mid-tones rendered as visible stripe patterns. Typography: artist name and title rendered in bold sans-serif or custom typeface, but apply the same scan-line and glitch treatment so the text competes with the image corruption for compositional attention. Material: the cover reads as a freeze-frame from a CRT monitor captured with an imperfect camera, the medium layered and visible. Square 12-inch LP-jacket aspect ratio. Mood: medium-as-confession, technology-as-visible-material, the glitch as proof that the signal is alive and unstable, playful and serious simultaneously. No attempt to hide the corruption, the corruption is the content. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering.