ABSTRACT
In Beauty and the Contemporary Sublime the author made use of Plotinus' discussion of the sublime, including the use of the vulgar, to clarify the elevated by puncturing—implicitly undermining—it. In Beauty and the Contemporary Sublime he suggests that beauty was in need of a better discussion than it has traditionally received and that the sublime is now found in technology rather than nature. He think Baudelaire Adorno's complaint that is what visual culture has come to in the visual arts, could be directed at much that is and has been written about the visual arts nowadays and lately from the perspective or in the context of contemporary culture. While always prone to vulgarity for the sake of producing meaning, the sublime now lies prone before it, the relationship of what artists do to its world circumscribed by an atrophied dialectic.
