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Digital Sublime

The Digital Sublime is the mythologization of the impact of computers and cyberspace on human experiences of time, space and power. It is a philosophical conception of the awe and terror that captivate the collective conscience with the emergence of these new technologies and the promises and predictions that flow from it. These can be either utopian or dystopic depending on the individual's interpretation of their emotional response.

Development and distinction from the Classical Notion of the Sublime

The Classical Notion of the 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). 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.”

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 minds 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. Examples for Kant were standing before a mountain or overlooking the raging sea.

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.

Origins of the Digital Sublime

Vincent Mosco's seminary work "The Digital Sublime: Myth, Power, and Cyberspace" 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 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. She proposes that is was in the ability of these technologies to represent the invisible that truly distinguished the digital sublime from it's 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".

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

Artistic expression

The classical notion of the sublime has been represented by various artists such as Joseph Mallord William Turner drawing off the inspiration described by both Kant and Burke, that is the natural world.

Artwork on the digital sublime has now emerged attempting to capture our awe and excitement around Big Data, New Media and Web 2.0. Huang proposes that the digital sublime in artistic expression is the representation of something unpresentable. A prime example of this is digital composite-photography which involves stitching photographs together to create images that would not be possible without recent technology in order to conceptualise complex ideas through image.

Skowronska, however, associates the digital sublime in art as a move away from the massive to minutiae. She proposes that the representation of what is not physically perceptible to the eye, but that has a representation in the virtual facilitated by new technology is the distinctive mark of this art form.

Criticisms

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.

Burkart proposes this is the case for the music industry. 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. He sees pirates of media content as the key dissenters to this otherwise invisible vertical integration and symptomatic of the fragility of cyber-communities.

The digital sublime, for these theorists, is not only unhelpful in understanding and engaging with new technology, but they believe that Mosco's myths inhibit and endanger cyberculture in a way that Burkart likens to the endangerment of biodiversity. Such theorists argue that the digital sublime blinds users to the risks and vulnerabilities of cyberspace.