The sublime in classical aesthetics arrived at a famous formulation with Kant as a subjective quality more elevated than beauty, linked to commotion and respect followed by reaffirmation. However, a new interpretation of the Schopenhauerian sublime is necessary in its transforming appreciation of the importance of this feeling as a psychological state, which is not yet metaphysical as usually understood, when dealing with struggling situations without resolution. Here the focus will be on a variety of the sonorous sublime in contemporary (...) music, which finds resonances with Schopenhauer’s sublime: Witold Lutoslawski’s Three Poems of Henri Michaux for mixed chorus and orchestra focuses on unpredictability and form-contrariness, “picturing” surrealist texts of uncertainty in Pensées, violence in Le Grand Combat, and resignation in Repos dans Malheur. (shrink)

Music is an inescapable part of social, cultural and political life, and has played a powerful role in mobilising support for popular movements demanding social justice. The impact of David Bowie, Prince and Bob Dylan, for example, on diversity awareness and legislative reform relating to sexuality, gender and racial equality respectively is still felt; with the latter receiving a Nobel Prize in 2016 for ‘having created new poetic expressions within the great American song tradition’. The influence of these composers and (...) performers reached far beyond the concert hall. Conversely, musical propaganda has been a common feature of many dictatorships, most notably Nazism’s Adolf Hitler and Communism’s Joseph Stalin, and is still instrumental in the election campaigns of political parties. US President Donald Trump’s winning retro classic rock campaign playlist conveyed an idealised version of the past which aligned with the tastes and interests of his core constituency, and evoked feelings of nationalistic pride and patriotism. The eclectic selection of upbeat music effectively masked the underlying capitalist initiatives, corporate greed and allegations of financial impropriety that characterised both the Democrat and Republican campaigns. Although unable to impart meaning with the same level of precision as language, music has a potentially broader semantic capacity due to its greater elasticity. It constitutes a common language which has the ability to create a community of people that sings, speaks, reasons, votes and even feels the same way. Accordingly, this article explores the symbiotic relationship between music and law, identity politics and social justice, via the lens of musical semiosis. (shrink)

This essay develops an account of the link between Kant's aesthetics and his ethics. It does so by articulating a Kantian account of moral psychology by way of aesthetic reflective judgements of sublimity. Since judgements of sublimity enrich the picture of a Kantian subject by forcefully revealing the unbounded power of the faculty of reason, I investigate the possibility that judgements of this kind could serve as a basis for moral motivation. The paper first shows how judgements of sublimity help (...) a subject recognize reason's unbounded nature, and proceeds to analyse the practical effects of a subject judging itself sublime. When judgements of sublimity have as their object the unbounded and unsythesizable power of reason, they may thereby serve as the basis for both the recognition of our moral vocation, and the grounds for determining the will to act from respect for it. Since a judgement of sublimity produces for Kant the experience of an enlivening emotion and an outflowing of vital forces, the paper then develops Kant's concept of “life” motivated by a recognition of its practical orientation. In this way sublimity rather than beauty can be interpreted as symbolic hypotyposis of morality. The paper then takes up less favourable interpretations of the practical effects of self-predicated judgements of sublimity, and constructs critical responses to such positions. I conclude, following Adorno, by stressing the historical and social dimension of the capacities for both making sublime judgements, and being morally enlivened by them. (shrink)

The sublime has been a baffling concept since its introduction by Longinus nearly two thousand years ago. What do we mean when we say something is sublime? This paper will attempt to answer that question by proposing a radical new theory of the sublime, examining the aesthetic experience called the sublime through the lens of the Madhyamaka Buddhist philosophical view of emptiness (Skt. śūnyatā). Drawing on Guy Sircello’s work (1993), I critique traditional Western accounts of the sublime, with their explicit (...) or implicit—but always problematic—commitments to epistemological and ontological transcendence. A brief summary of the Madhyamaka Buddhist view of emptiness, as elucidated in the Prajñāpāramitā literature, Nāgārjuna’s Mūlamadhyamakakārikā, and elsewhere, provides a context for examining the dialectic of the sublime and emptiness. I make the argument that the sublime experience is, in fact, an experience of emptiness. I conclude by surveying five years of the early work of visual artist Robert Rauschenberg, which express the open, clear, vivid, and unselfconscious space of emptiness in his approach to, and process of, artistic expression. (shrink)