The sublime has long been a key concept in the study of aesthetics. However, it has failed to gain traction in empirical aesthetics. With reference to Longinus, Burke, and Kant, this cross-disciplinary article defines the sublime as a mixture of fascination, exaltation, boundlessness, and fear. These descriptors are then compared with those of peak, ecstatic, and mystical psychological experiences; it is argued that they represent different approaches to the same phenomenon. In order to render s…
Read moreThe sublime has long been a key concept in the study of aesthetics. However, it has failed to gain traction in empirical aesthetics. With reference to Longinus, Burke, and Kant, this cross-disciplinary article defines the sublime as a mixture of fascination, exaltation, boundlessness, and fear. These descriptors are then compared with those of peak, ecstatic, and mystical psychological experiences; it is argued that they represent different approaches to the same phenomenon. In order to render sublime aesthetic states experimentally accessible, the interplay of three factors is discussed. Firstly, focused attention and absorption are highlighted as active ingredients catalysing altered states. Secondly, external-to-internal entrainment is posited as a means by which a sense of continuity is established between perceiver and percept. Thirdly, it is recognized that autobiographical context and physical empathy will determine the extent to which any stimulus is capable of eliciting sublime feelings in an individual.
