It’s terrifying, it’s aweinspiring – it’s sublime.
Heard of Kant and his theory on Aesthetic Judgement? Today we'll become experts on one of the most influential theories and will try to grasp one of the hardest categories of his theory: the sublime.
Immanuel Kant (1724-1804) was a philosopher of the Enlightment, he spend his life defining and redefining and redefining again philosophical problems – and his influence on the theory of art has been enormous.
Beauty, for Kant, involves the eye, the mind, and the perception of the beholder, as well as the object itself. It involves imagination and understanding. Beauty is both subjective, meaning not conceptually based, and, in some sense, objective as well, in that it’s related to its form and the organization of the objects. The “whole” aesthetic experience constitutes the interaction between imagination and understanding, and can be places in four categories:
Disinterested Pleasure: Aesthetic judgments are disinterested, which means that we take pleasure in something simply because we judge it beautiful, rather than deciding it is beautiful because we find it pleasurable. Beauty necessarily produces this reaction. The point is that finding things nice or pleasurable can be brought about by anything, whereas beauty is much more specific.
Universality: Aesthetic judgments are universal in the sense that everybody would agree with the judgment because it is natural to do so, since the beauty is in the form. That's why aesthetic judgments can be made.
Intrinsic Quality: Beauty is an intrinsic quality of an object, it is necessary in the sense that it is just there, like the smell of something, or its color. But just to make life difficult Kant insists that universality and necessity are really a product of the nature of the human mind. He says that these features are like common sense, and that there is actually no objective property of an object that makes it beautiful. So beauty is a very special category, which in some sense becomes truth.
Purposiveness without Purpose: Through making aesthetic judgments, beautiful things appear to be "purposive without purpose" that is to say they are not like an ax, or a screwdriver, they do not have a specifically designed purpose, but we experience them as if they do. This peculiar property is part of the interaction of imagination and understanding that makes beauty such an interesting idea.
Sublime examples of the sublime
Like witnessing the power of mother nature, that can be so harrowingly beautiful, terrifying, grand. It’s like Kant’s idea of the sublime. He based an entire discussion of the sublime on the work of Edmund Burke (1729-1797), who wrote the Philosophical Inquiry Into the Sublime and the Beautiful in 1757, which separated beauty as being rational and the sublime as emotional. Kant’s idea of the sublime had a principle of disorder, of purposelessness, and contrasts with how Kant looked at beauty, where there’s a sense and form of order, of reasonable necessity. Now, my 21st century, capitalistic, brain is immediately linking ‘purposelessness’ with something negative. If something is without purpose, it must hold no value, and is therefore not a negative thing. How fast I am to make that direct connection is sometimes scary. It’s the same when we draw the connection between ‘something being hard’ with it being something negative. It certainly doesn’t have to be. They’re not mutually exclusive, and yet my brain, my conditioning, whatever, is making that immediate judgement of it meaning something negative. However, Kant reminds us that it doesn’t necessarily have to be anything negative. Kant is talking about experiences that are not ordinary experiences. The sublime may very well involve violence and disorder – like a heavy storm can have qualities of the sublime. It can give us a sense of awe, a kind of pleasure, and be violent at the same time. A fire can be disorderly, has no real purpose, it can be immense, frightening, and pleasurable in the grandiose natural forces at play. BUT here’s the kicker: this pleasure, awe, fright, what have we, of the sublime we can experience, all comes from within. He said: “We must seek a ground external to ourselves for the beautiful of nature, but seek it for the sublime merely in ourselves and our attitude of thought, which introduces sublimity into the representation of nature.”
Examples of what I would say evokes feelings of Kant’s feelings of the sublime
Turner’s Landscapes: Turner’s dramatic seascapes and landscapes evoke the sublime by depicting the overwhelming power and vastness of nature. Understanding the sublime helps us see why these works are not just visually stunning but also emotionally and intellectually profound
By J. M. W. Turner Wreckers Coast of Northumberland, c. 1836, oil on canvas, Yale Center for British Art. Rothko’s Color Fields: This is one of my all time favorite artists. One that can make me cry on sight. The large, immersive color fields of Mark Rothko’s paintings can evoke a sense of the sublime by creating an overwhelming sensory experience that transcends specific imagery. The viewer is invited to reflect on the emotional and intellectual impact of color and form on a grand scale. Abstract art, such as the works of Mark Rothko, can evoke the sublime by presenting vast fields of color that overwhelm the senses but invite deep contemplation. The pleasure arises not from understanding the artwork in a rational sense but from feeling the mind's ability to engage with the profound emotional and conceptual space that the artwork opens up.
Olafur Eliasson’s Installations: Eliasson’s large-scale installations, such as “The Weather Project” at the Tate Modern, evoke the sublime by creating immersive environments that alter the viewer’s perception of space and light. These works challenge our sensory and cognitive faculties, creating a profound aesthetic experience.
The weather project', 2003, in the Turbine Hall at Tate Modern, London, in 2003.
The pleasure does not come from rational analysis or logical reasoning per se. Instead, it comes from the realization that our reason can conceptually manage and contemplate what is beyond sensory experience. The key moment in the experience of the sublime is when the mind recognizes that, despite the limits of the imagination, it can still conceptually grasp the idea of infinity or immense power through reason. This recognition does not involve rational thought in a straightforward, analytical sense but rather an awareness of the mind's ability to transcend sensory limitations. We know we’re in the presence of something “bigger” than us. The pleasure associated with the sublime arises from this feeling of transcendence. It is the recognition of the mind's higher faculties—specifically, reason's ability to think beyond what the senses can perceive. This recognition creates a harmonious feeling within the mind, a sense of empowerment. This process is deeply aesthetic. It involves a heightened state of awareness where our mind appreciates its own capacity to engage with ideas of the infinite, the boundless, or the overwhelmingly powerful. This appreciation is both intellectual and deeply emotional. I also find it so incredibly humbling, it makes me feel small, makes my “problems” feel small, and yet makes we feel so connected to the natural world around me. The non-artificial, non-manufactured, touching-grass, not alone, kind of way. Kant refered to natural phenomena that evoke the sublime, like standing at the edge of a grand canyon or witnessing a powerful storm, remind us of nature’s boundless and often incomprehensible forces. The initial fright or awe gives way to a deeper pleasure as we recognize our mind's capacity to conceptualize these forces and our place within them. But, this is also theories relevant to our understanding and apreciation of art and therefor, our understanding of others and ourselves.
Kant's theory of the sublime has significant implications for understanding and appreciating art because it:
Enhances our ability to recognise and analyse complex emotional responses. Kant's theory explains why certain artworks evoke complex emotions like awe, fear, and pleasure simultaneously. Understanding these layered emotional responses helps us appreciate the depth and richness of the experience that art can offer.
Expands the criteria for what makes art valuable beyond mere beauty. The concept of the sublime allows us to appreciate art not only for its beauty but also for its power to move us in ways that transcend conventional aesthetics. It expands the criteria for what makes art valuable and impactful.
Engages both imagination and reason, enriching the cognitive experience of art. Kant’s theory highlights the role of both imagination and reason in the experience of art. When faced with a sublime work, the viewer's imagination is initially overwhelmed, but then reason steps in to make sense of the experience. This cognitive process enriches our engagement with art, making it a more intellectually stimulating activity.
Encourages moral and philosophical reflection. The sublime often involves a recognition of forces greater than oneself, whether natural or metaphysical. This can lead to a sense of humility and moral reflection, prompting us to think about our place in the world and our relationship to the vastness of nature or the complexity of human existence.
Provides a framework for interpreting contemporary artistic practices. Many contemporary artists explore themes of vastness, complexity, and power in ways that evoke the sublime. Kant’s theory provides a lens through which we can interpret and value these modern practices, whether in digital art, environmental art, or large-scale installations.
Deepens personal engagement with art, transforming it into a profound encounter. For viewers, recognizing the sublime in art can enhance personal engagement by fostering a sense of connection to something greater than themselves. It can transform art from a mere visual experience to a profound encounter that impacts their worldview and emotional state. James Turrell, which use light and space to create an immersive experience, can make viewers feel as though they are engaging with something beyond normal perception. The pleasure here comes from realizing that there is more to the experience than what meets the eye, and that our minds can grasp this more profound dimension.
Understanding the sublime in art fosters a sense of connection to something greater than ourselves, enriching our appreciation of both the natural world and human creativity. Kant’s theory of the sublime allows us to recognize the profound emotional and intellectual dimensions of art that transcend mere beauty. By engaging with these extraordinary experiences, we not only deepen our appreciation for art but also enhance our understanding of our own minds and emotions.
I think that taking the time to engage with the sublime—whether through nature, art, or other overwhelming experiences—reminds us of the vastness and complexity of existence. It encourages us to reflect on our place within the larger context of life and the universe, fostering a sense of humility and wonder. It makes something complex, larger than life, our internal life, our connection to nature, Mother Nature, it makes that the “main character” for a second. Which might be a good thing.
In conclusion, Kant’s insights into the sublime offer us a valuable framework for exploring the most profound aspects of art and human experience. By embracing the sublime, we open ourselves to moments of awe and transcendence that enrich our lives and deepen our connection to the world around us. And that is definitely a good thing.
Lots of love,
Elisabeth.