What is the sublime?

BA1 Critical and Contextual

Studies in Art & Design

Study Skills and Material Culture

Level 4

Catherine Thompson

28/04/14

KT162485
Introduction

“When I use a word,' Humpty Dumpty said in rather a scornful tone, 'it means
just what I choose it to mean—neither more nor less.'

'The question is,' said Alice, 'whether you CAN make words mean so many
different things.” (Carroll, 1872)

This essay seeks to appreciate the manner in which the phenomena of the sublime

may be understood in today’s terms. Lewis Carroll’s fictitious character, Alice, in the face of

Humpty Dumpty’s declaration as cited above, introduces the conundrum facing writers and

theorists upon this subject for perhaps time immemorial. The conundrum being, and as

argued in this essay, is a paradox wherein succeeding to define the sublime, then in so doing,

the subject loses potential for infinite possibility, thus rendering its own rhetoric obsolete.

This hypothesis relies upon the sublime being understood firstly and broadly, as consisting of

sensory experience(s) through which in its encounter creates such level of awe that language

becomes seemingly impotent. This essay poses that wherein the sublime may present itself,

then so too does art.

In order to assess the credentials for such an argument, comparative paradigms for the

theories underpinning the sublime are firstly investigated through an abridged understanding

to the original positions of Greek critic Dionysius Longinus thought to be of the first - third

century CE, Thomas Burnet (1635 -1715), Edmund Burke (1729-97), and Immanuel Kant

(1724 – 1804); where Kant, is identified as having provided in his Observations on the

Feeling of the Beautiful and Sublime (1764), the platform for a discourse upon Aesthetics,

ever since its first publication unto the present day.

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 This essay has elected to consider the sublime in terms of ruins – futures past,

parergon and ergon, and the unbearable. The summary and conclusion pays regard to the

texts of:

BATTERSBY, C., (2007). The Sublime, Terror and Human Difference. DERRIDA, J.,

(1978). Parergon. In: MORLEY, S. ed. (2010). The Sublime: Documents on Contemporary

Art. KOSELLECK, R., (1985) Futures Past: On the Semantics of Historical Time. and

SHAW, P., (2006). The Sublime (The New Critical Idiom).

Ruins – futures past, explores the work of Piranesi as representing an artist and

architect who concerned himself with the emerging theories upon the sublime of the mid

eighteenth century.

Parergon and ergon is explored through Eileen Gray's architecture at E1027 as being

in contrast to and in opposition to the prevailing themes of modernism in her time.

The Unbearable is presented, through appraising the responses towards Richard Drew's

photograph, Falling Man 9/11.

Upon Beauty
‘Until the eighteenth century, beauty was the main focus of aesthetics. According
to Plato, beauty was said to inhere within objects. For Kant, beauty is determined
by a judgement of taste (see below) and is thus more closely linked with the mind.
In general, beauty is used of objects and ideas possessing harmony, coherence,
integrity, and formal perfection. From the middle of the eighteenth century it was
frequently opposed to the sublime.’ (Shaw, 2006)

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Upon The Sublime

Longinus (first century CE), is here understood, as perhaps being the first narrator to

attempt to rationalise the concept of the sublime, where in order to “distinguish between the

true and false Sublime, so far as it can be done by rule.” he provides a treatise that the

sublime derives from sources which either fall, on one hand, within a category of ‘natural

endowment’ and on the other, of being ‘derivative of having assistance in art’. His pursuit to

qualify the sublime, is largely focused upon an objective to elevate the use of language, either

by oration or for in the written word, as an art to evoke sensory experience in audience. He

proposes that “grandeur of thought” and “vigorous and spirited treatment of the passions”

pertain to “natural endowments”. Where in contrast, “majesty and elevation in structure”

require “assistance of art”. Of interest to this essay, Longinus may be interpreted as having

introduced a concept of time as a form of measure as being held in ‘the distance between

heaven and earth’. Albeit theological in Longinus’ analysis, this concept lays the foundations

for subsequent theories, to perceive imagination, infinity, and morality as inextricable

qualities of the sublime.

Thomas Burnet (1635 -1715), in his publication Sacred Theory of the Earth in 1681

distinguishes that the awe and power of the landscape, neither related to beauty or in god

alone. For the purpose of this essay, it is summarised that Burnet introduces a principle of

infinity into the conglomerate of the Sublime.

“Burnet was "rapt" and "ravished" by the vast, the grand, the majestic. Before
vastness he experienced the awe and wonder he had associated with God. But he

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 could not understand his own emotions. He knew that his response was not to
"Beauty." On every possible occasion, he sharply differentiated between response
to Beauty and the new emotions inspired by the grandeur of Nature. Vast and
irregular mountains were not beautiful, but, except for the vast and irregular
night skies, nothing had ever moved Burnet to such awe or so led his mind to
thoughts of God and infinity as did the mountains and the sea.” (Landow, 1988).

Edmund Burke (1729-97), published a treatise on aesthetics titled A Philosophical

Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The underlying

narrative to Burke’s enquiry is the distinction of the beautiful as being separate to the sublime,

and as such he undertakes to rationalise and categorise them respectively. He departs from the

Longinus distinction between ‘natural endowments’ and ‘assistance of art’, and instead

entertains that amongst passions, exists a component of fear, especially the fear of death, and

that this manifests itself in the presence of vastness, infinity and magnificence. (Burke, 1887).

Immanuel Kant (1724 – 1804), Observations on the Feeling of the Beautiful and

Sublime (1764) is considered to have had its foundations laid upon the treatise by Burke,

above. However, key to the development of these theories, are the elements of morality and

imagination which Kant now introduces. Like Burke, Kant considers the sublime as being a

category distinct from beauty, but identifies that they are each inextricably linked through the

faculty of imagination to reason. However, the legacy of the theories presented by Kant has

been his provocation to consider, each beauty, the sublime, and the faculty to imagine and

reason, as qualities that may differ between genders, cultures, societies, and nations. For the

purpose of this essay, Kant is identified as having politicised beauty, the sublime and

imagination, and as such, his work has become a navigational benchmark for subsequent

discourse for both art and philosophical aesthetics, to the present day. (KANT et al 2005)

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Ruins – futures past

Piranesi is introduced as an engraver and architect operating in the same period that

the mid-18th century sought to address the subject of sublime, and his works are presented as

having captured the mood and visions of those theories.

Ek, et al (2007) Piranesi between Classical and Sublime, presents the inquiries of Burke and

observations of Kant as those having influenced a shift from the rules of classicism in

Architecture, and departing from the principles having been upheld until the mid-eighteenth

century since De Architectura by Vitruvius of the mid-15th century.

Where for Burke in ‘Magnitude of Building’ (Inquiry 61) 1957, “Greatness of dimension is a

powerful cause of the sublime”, where “[H]eight is less grand than depth,” and “the effects of

a rugged and broken surface seem stronge”. (Ek, 2007).

Added by Kant, the sublime in architecture as being sensed where it may be “Formless,

boundless, chaotic in nature of might and magnitude;” it is “the violation of form in nature,”

and must “always be great”. In addition the character of age is considered ‘that the remoter

the ancient object is in time, the more ruined the ruins of past time, the greater the degree of

sublimity’. (Ek, 2007).

These emerging ideas where grasped not only by Piranesi in his etchings, but also of the

French architect Le Roy who in antithesis to the rules of classicism championed the more

chaotic characteristics of nature as central to the art of architecture:

“All grand spectacles impose on man: the immensity of the sky, the vast extent of
the earth or of the sea, which we discover from the tops of mountains or from the
middle of the ocean, seem to raise our minds and to enlarge our ideas. Our great
works make likewise on us impressions of the same nature. We feel at their sight

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 strong sensations, very superior to those which are only agreeable and which are
the only ones which small edifices can give us. (50: Saone’s translation in Watkin,
1996,201” (Forty, 2000).

Ek, (2007), identifies and graphically annotates a series of Piranesi’s work to illustrate,

his method to distort scale and plane, in both height and depth along with exaggerated

contrast in light and shadow. Furthermore, Piranesi introduces into his compositions, to

greater or lesser degrees, elements of ruins to provide an aura in the passage of time.

“Le Roy, familiar with Piranesi’s engravings and

Burke’s Essay on the Sublime, pointed out that the
works of man were no less capable of stimulating
emotions of horror, wonder and delight than were
spectacles of nature; in the late 18th century,
‘character’ acquired a secondary meaning as a
description of the property of works of architecture
giving rise to such emotions. (Forty, 2000).

G.B. Piranesi’s etching of

Foundations of Castel S. Angelo,
Rome, Architecta Romeana
(1756)

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Parergon & Ergon

“One can hardly speak of an opposition between the beautiful and the sublime [in
Kant’s Critique]. An opposition could only arise between two determinate objects,
having their contours, their edges, their finitude. But if the difference between the
beautiful and the sublime does not amount to an opposition, it is precisely because
the presence of a limit is what gives form to the beautiful. The sublime is to be
found, for its part, in an ‘object without form’ and the ‘without limit’ is
‘represented’ in it or on the occasion of it, and yet gives the totality of the without-
limit to be thought. Thus the beautiful seems to present an indeterminate concept
of reason.” (Derrida, 1978).

Eileen Gray, E1027 House, France, 1929.

Eileen Gray’s house E1027, is presented here as being sublime, in so far as its design

is considered to behave as a metaphor for the parergon and ergon in terms of Jacques Derrida

theorem. The story of Le Corbusier’s mural depicting two women having sex is understood to

have been done as an act of violation, offers an added quality to the question of the sublime.

These may either be of an oedipal nature (revenge) or in relation to passions of jealousy, the

latter of which Longinus describes in relation to Sappho: Poem of Jealousy. (Havell, 1890).

However, this aspect is simply suggested here, as the subject is imagined to justify an essay

in its own right.

Here the parergon and ergon in relation to the design of Gray’s E1027 house is considered.

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Sellers, L. curator of the Design Museum exhibition on Eileen Gray, describes how her

design is distinguished from other houses of the time [those conforming to Le Corbusier’s

1926 Five Points of the New Architecture], by its “spirit”:

“Every element of Gray’s design was guided by her study of the area’s
topography, light and weather. By designing a house that appeared to change with
time and climate, she created an animated building, representing her total concept
of design to which every element contributed equally.” (Sellers, [date unknown]).

The use of sliding walls and openings, both internally as well as on the external

envelope, creates a threshold between the outside and inside determining a spatial quality of

its own of being neither inside nor out. This unique architecture, located following the

contours of the slope upon the foreshore creates an interaction between the limitlessness of

the sea and the sky, which becomes as much a part of the building’s interior, despite being an

external element.

Sellers goes on to describe Gray’s disenchantment with the “lack of humanism” in

modernism.

“Modern designers have exaggerated the technological side,” she wrote in 1929.
“Intimacy is gone, atmosphere is gone... Formulas are nothing; life is everything.
And life is mind and heart at the same time.” GRAY, E.

“By applying these principles to her architecture, Gray designed houses which
were less machines to live in than extensions of the body’s mechanisms. Her
houses were inspiring spaces – inside and outside – and so meticulously planned
that they often appeared to anticipate their occupants’ needs and desires.” (Sellers,
[date unknown]).

The Parergon, in relation to the sublime, was considered by each Kant and Derrida.

“Jacques Derrida’s extract from The Truth in Painting provides “The literal
meaning of the Greek word parergon is ‘outside the work’. In Truth in Painting

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 Derrida introduces the term, in relation to the frame, to speculate on the meanings
of something that is neither outside nor inside the work, neither a part of it nor
absolutely extrinsic to it.” (Morley, ed. 2010).

Battersby adds to the description of the parergon, through establishing its relationship to the

ergon.

“A parergon comes against, beside, and in addition to the ergon, the work done
[fait], the fact [le fait], the work, but it does not fall to one side, it touches and
cooperates within the operation, from a certain outside. Neither simply outside nor
simply inside. Like an accessory that one is obliged to welcome on the border, on
board.” (Battersby, 2007)

Furthermore, succinctly distinguishing between the Kantian paragon as “to disturb our vision,

and allow us to see an ‘other’ Kant himself refuses and represses”. (Battersby, 2007). We

become able to consider Gray’s sequence of openings in her building envelope, as providing

liminal thresholds pertaining to Derridas description of paragon, and as being in contrast to

Kants description for the same.

The Unbearable
Richard Drew, Falling Man, 2001.

This essay questions if the image of the Falling Man by Richard Drew represents an

unbearable sublime.

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 “The man in the picture, by contrast, is perfectly vertical, and so is in accord with
the lines of the buildings behind him. He splits them, bisects them: Everything to
the left of him in the picture is the North Tower; everything to the right, the South.
Though oblivious to the geometric balance he has achieved, he is the essential
element in the creation of a new flag, a banner composed entirely of steel bars
shining in the sun. Some people who look at the picture see stoicism, willpower, a
portrait of resignation; others see something else -- something discordant and
therefore terrible: freedom. There is something almost rebellious in the man's
posture, as though once faced with the inevitability of death, he decided to get on
with it; as though he were a missile, a spear, bent on attaining his own end. He is,
fifteen seconds past 9:41 a.m. EST, the moment the picture is taken, in the
clutches of pure physics, accelerating at a rate of thirty-two feet per second
squared. He will soon be traveling at upwards of 150 miles per hour, and he is
upside down. In the picture, he is frozen; in his life outside the frame, he drops
and keeps dropping until he disappears.” (Junod 2009)

Taking that which is known to be distressing where the events of 9/11 at the World

Trade Centre, aside for one moment, it becomes possible to observe the qualities of the

sublime as being additional to the fear of death in this image. For example, to similar effect

of Piranesi’s etchings as discussed earlier in this essay, Drew’s photograph, distorts

perspective and composition, exaggerates contrast between light and shadow, and not least

provides an imposing sense of verticality. What Junod, alludes to in his description of the

image, however, and is the most compelling aspect of the horror that may be imagined by

looking at it, is the speed at which the fate of the human subject will most certainly have

already met its end, in a as much time, if not less than it takes the mind of the viewer to

reason with the moment captured.

Mutlu (2010) opens his article on the Falling Man: Affect, Images and Securitization Theory;

“Visuals from the 9/11 attacks, both moving and still, have had a profound impact on our

collective memory as “representations” of a traumatic”. He discusses the collective of images

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from that day, as falling within two categories; those comprising falling buildings, crashing

airliners and the encompassing plume from the destroyed towers of the World Trade Centre

(WTC), and those as capturing images of resilience and heroism, still frames of fire fighters

risking lives to recue civilians. He observes, the absence of death being recorded literally,

despite being entirely implicit, yet succeeding to provide a digestible catalogue for the

“affective register” associated with the trauma, which he describes as being “fear, anger,

sadness, hope etc.” He argues, that whilst despite being fully aware of the fate for the people

being within the buildings, and in the aircrafts, we;

“[ ]could not cope with the use of images that captured death – we deemed those
images problematic or of poor taste; we couldn’t face with the explicit
representation of death. Death, in those images, remained secondary, a
consequence of the action of being attacked, rather than an end in and of itself.
However another image captured death and hopelessness as well as the limit
experience of death in such a way that it provoked an immediate affective
reaction: I am referring to the photo of the Falling Man.” (Mutlu, 2010).

Of this, Burke provides a condition for the sublime;

“Whatever is fitted in any sort to excite the ideas of pain and danger, that is to
say, whatever is any sort terrible, or is conversant about terrible objects, or
operates in a manner analogous to terror, is a source of the sublime, that is, it is
productive of the strongest emotion which the mind is capable of feeling.” (Burke
1887).

Summary

In order to appreciate the manner in which the phenomena of the sublime may be

understood in today’s terms, this essay has investigated the theories underpinning the basis

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for discourse upon aesthetics, where distinctions between beauty and the sublime apply. From

the ideas of Longinus through to a deduction of a post structuralism perspective, wherein sit,

during the course of the eighteenth century, the most earnest of considerations upon the

sublime as posed by Burnet, Burke and Kant.

Three case studies have been presented to represent firstly a mid-eighteenth century

position of a shift from the orders of classicism, preoccupied with beauty, towards neo

classicism through the works of Piranesi. Followed by, an example of Grays’ architecture,

illustrative of a rejection to the modernist theories of her time. Then, Drew’s photograph of

the Falling Man, a disturbingly iconic, yet unpremeditated work reflecting a

contemporaneous and shocking world changing event.

These artists and or works of art are put forward for reason of having characteristics either

inherently and or in their subject, qualities of the sublime. Those characteristics, so far as

Longinus is concerned, as comprising grandeur of thought, vigorous and spirited treatment of

passions and the distance between heaven and earth. For Burnet, having entertained vastness,

the irregular, grandeur, and infinity. Together with Burke’s addition of magnificence and

fear, (especially the fear of death), pain, danger, sort terrible and analogous to terror upon

the list. The critiques of Kant, leading on from Burnet and Burke, entertain morality,

imagination and ability to reason as a barometer for the experience of the sublime. Then,

introduced as a penultimate in aesthetic record, the more recent language for the sublime,

offered by Derrida, here described as placing beauty and the sublime side by side but also

convergent to one another, in any direction by way of parergon and ergon.

Demand for further discourse in order to question the robustness of existing theorem upon

aesthetics in todays age, is recognised in this essay, as deriving from a need twofold, to:

• Reconsider the original position of aesthetic philosophy in terms of gender politics.

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 • Reflect upon the original positions of aesthetic theory on account of intolerance,

terrorism and genocide.

Battersby 2007 on her work The Sublime, Terror and Human Difference, known as a feminist

writer and theorist, uses her collective research and thought into matters of the sublime where

human differences are inevitable, but none of such endeavour having prepared her for the

proposition of terror towards civilians on account of global politics.

“The swift changes in the political and cultural landscape during the time that I
have spent writing this book have often made me wish that I could put the
problems of the sublime to one side until the so-called ‘war on terror’ has gone
away. But it is precisely Hannah Arendt’s procedure of finding an implicit politics
in aesthetic judgement that has made it impossible for me to shirk the task of
keeping discussions of the sublime alive and also alive to human differences. The
problems of the politics of the sublime and of its links with terror have not been
solved. As I indicated in Chapter 1, this was never the intention. But this book
will have succeeded if it has shown how thinking the sublime and the event in
terms of human differences and the blind spots of history provides a framework
that makes questions of aesthetics— so often regarded as marginal to
philosophy— integral to debates about intolerance, global justice and the ‘clash in
values’ today.” (Battersby, 2007).

Conclusion

Upon; 'The question is,' [said Alice] 'whether you CAN make words mean so many

different things.” Then in so far as the sublime is concerned, perhaps words do in their

constitute parts fail. However, in so far as; “When I use a word,' [Humpty Dumpty said in

rather a scornful tone], 'it means just what I choose it to mean—neither more nor less.”, then

perhaps in today’s world, which seemingly is ever increasingly reliant upon and reactive to

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visual culture, focus and attention to the role of rhetoric and language may be of equal

importance to the furthering of aesthetic discourse. Without the rigours of language and its

associated, compassion, empathy and diplomacy, to hold clear argument, is there not a risk,

that as we increasingly refer to art as visual culture, then the merit of art beholding aesthetic

sensibility may be jettisoned into a practice of emblems? If language continues to be evicted

by the immediacy of images, then perhaps art, at the same time will become equally

dislocated.

“Though oblivious to the geometric

balance he has achieved, he is the

essential element in the creation of a new

flag, a banner composed entirely of steel

bars shining in the sun.” (Junod 2009)

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 Bibliography

References

BATTERSBY, C., (2007). The Sublime, Terror and Human Difference. Abingdon:

Routledge. Kindle Edition. (Kindle Location 200)

BURKE, E., (1887). The Works of the Right Honourable Edmund Burke, Vol I. (of 12)

London: John C. Nimmo.: The Guternberg EBook #15043., (2005). [Online] March 2005.

Available from: http://www.gutenberg.org/files/15043/15043-h/15043-h.htm [Accessed: 24th

April 2014].

CARROLL, L., (1872). Through The Looking Glass. The Millenium Fulcrum Edition 1.7:

Kindle Edition. (2012). Kindle Locations 662-664.

DERRIDA, J., (1978). Parergon. In: MORLEY, S. ed. (2010). The Sublime: Documents on

Contemporary Art. London: Whitechapel Gallery. pp41-46.

FICACCI, L., (……) Giovanni Battista Piranesi: The complete etchings. Europe: Taschen

FORTY, A., (2000). Words and Buildings: A Vocabulary of Modern Architecture. London:

Thames & Hudson.

HAVELL, H.L., (1890) Longinus on The Sublime. London: Macmillan and Co.: The

Guternberg EBook #17957., (2006). [Online] March 2010. Available from:

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1
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References

KANT, I. and COOLEY, M., FRIERSON, P., eds (2005) Remarks on the Observations on

the Feeling of the Beautiful and Sublime. [Online] 2005. Available from:

http://people.whitman.edu/~frierspr/kants_bemerkungen1.htm [Accessed 24th April 2014

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