Media Aesthetics, Sense Perception, and Andy Warhol's Blue Electric Chair

The full text article is temporarily unavailable.

We apologise for the inconvenience. Please try again later.

Abstract:

The installation of Warhol's Blue Electric Chair painting at the Sonnabend Gallery in 1964 was an instance of “media aesthetics.” Media aesthetics focuses on the affective qualities of media and the conversion of its energies into intelligible messages, codes or data. Warhol's Blue Electric Chair, the machine-like efficiency of its address or transmission, and the manner in which its agitated surface probed and reconfigured the space of the installation and the bodies of its inhabitants had to contend with the cumulative prospects of Marshall McLuhan's Understanding Media, Cold War political excesses and the transfiguration of industrial and state power into systems of sensory perception.

Keywords: CAPITAL PUNISHMENT; MEDIA STUDIES; PERCEPTION; PHILOSOPHICAL AESTHETICS; WARHOL

Document Type: Research Article

DOI: http://dx.doi.org/10.2752/174589309X388555

Publication date: March 1, 2009

Related content

Share Content

Access Key

Free Content
Free content
New Content
New content
Open Access Content
Open access content
Subscribed Content
Subscribed content
Free Trial Content
Free trial content
Cookie Policy
X
Cookie Policy
ingentaconnect website makes use of cookies so as to keep track of data that you have filled in. I am Happy with this Find out more