Digital sublime

The classical notion of the sublime was fathered by Immanuel Kant in his work Observations on the Feeling of the Beautiful and Sublime (1764).[1] He defined the Sublime in his piece Critique of Judgment (1790) as:

Immanuel Kant

“an object (of nature) the presentation of which determines the mind to think of nature's inability to attain to an exhibition of ideas.”[2]

The nature of the classical sublime according to Kant was the sensation produced in the individual when confronted with something that:

1. Was beyond the realms of the mind's comprehension
2. Overawed the imagination

The result was an overwhelming sense of empowerment at being able to stand before such a spectacle and exhilaration at how fragile a person is in the face of such tremendous power and immensity.[3] Examples for Kant were standing before a mountain or overlooking the raging sea.[4]

Edmund Burke's (1756) work, "Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautifiul" is another contributor to this classical notion, writing at a similar time to Kant. For him the sublime emerges from the terrible or that which invokes terror.[5]

Vincent Mosco is one of the leading thinkers in the development and distinction of the digital sublime as highly respected academic amongst the international community and is currently a Professor at Queen's University in Canada.[6] His seminal work "The Digital Sublime: Myth, Power, and Cyberspace"[7] explains that the digital sublime did not have a definite beginning. However, he outlines how it emerged as a progression from the technological sublime, which was the beginning of a shift in conceptions of the sublime connected to the industrial revolutions of the late 19th century and early 20th Century. Inventions such as the railroad, electricity, the radio and the aeroplane all captivated the collective conscience in the possibility of the ushering in of a global village.

Mosco argues that there has not been a significant change in our approach to the appearance of new technologies, with the same prophesies of revolutionising the human experience of time, space and power, even to the extent of ending world conflict. Mosco identifies these same promises heralded in relation to Computers and Cyberspace. The digital revolution and information revolution are captivating the imagination and attention of global onlookers in an almost identical fashion.

Skowronska, an emerging academic from the University of Sydney and contemporary artist,[8] proposes that it was with the emergence of new technologies such as graphics cards for video games, opens source programs, three dimensional computer processing engines, the digital video screen and others opened up whole new possibilities of virtuality as a creative tool.[9] She proposes that is was in the ability of these technologies to represent the invisible that truly distinguished the digital sublime from its classical notion and that it did so "through a virtual channel of mathematical coding, or algorithms, that act as correlates for this invisible world, translating it into a visual field perceptible by human optics".[10]

Example of Sublime Art - Steam Boat off a Harbour's Mouth by JWM Turner

The Digital Sublime has been taken by media theorists to obscure and obfuscate the interworking of Web 2.0. Media theorists have worked to critically analyse and evaluate the processes, algorithms, and functions behind the user interface in order to unveil the driving forces of development and updates online. Political economic theorists have proposed that as opposed to the myths espoused by the digital sublime of the internet providing a faultless user experience providing everything desired at the user's fingertips, that in reality this is far from the truth. Behind the surface, business owners are manipulating the infrastructure and digital architecture of platforms in order create the most profit.[14]

The digital sublime has seemingly encouraged the narrative that streaming services and cloud based storage will lead to unprecedented freedom and access music. While it is true that our physical limitations in access to music content has been reduced to the requirement of having an electronic device with internet connection, the truthfulness of this emancipation has been brought under scrutiny.

Patrick Burkart is another prominent academic and editor in chief of the International Journal of Media and Culture[15] and he proposes that the emancipation of content is limited to that of the mobilisation of content. As opposed to freeing up content, access is still limited by algorithms giving preference to more popular content and consequently further obscuring the greater diversity of content that is actually available. Instead, he argues that it is those who disrupt our perception of the seamless and all encompassing nature of music streaming services that reveal to us the technical and legal barriers that benefit content providers and are limiting, even shepherding, user experience so as to meet their goals.[16] He sees pirates of media content as the key dissenters to this otherwise invisible vertical integration and that they are symptomatic of the fragility of cyber-communities.