K.O. Götz's Kinetic Electronic Painting and the Imagined Affordances of Television
Résumé
Between 1959 and 1963, the German Informelpainter K.O.Götz produced a series of works inspired by what he perceived to be television’s potential to initiate a new form of “kinetic electronic painting” (Götz, 1961: 14). His corresponding production of the Rasterbilder (Raster Pictures) and the film Density 10:2:2:1were mapped on the technical and formal possibilities of analogue electronics in general, and of television in particular; however, these works were made without any direct use of the new medium, to which Götz had failed to gain access. This article argues that the concept of “imagined affordance” (Nagy and Neff, 2015) enables a critical reassessment of Götz’s elusive relation to television. Rather than focusing on the lack (of cognition or access) that this concept implies, I argue that “television” functioned as a flexible paradigm through which the artist was able to combine Modernism with the emergent field of information aesthetics. Inspired by the discretized aesthetic of the electronically-produced image, the Raster Pictures and Density 10:2:2:1predate–albeit in an analogue manner –the first works of computer-generated art by several years
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