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The Sublime (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠an object elevated to the level of the thing.

The Sublime (n.) already ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠inhabits a thoroughly beautiful object, and a thoroughly sublime one is already monstrous — a sublime object lacking the embryo of the Monstrous is merely beautiful.

The Sublime (n.) object ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠is not a stand-in for some beyond but the ordinary object separated from itself — which is why wisdom cannot grasp sublimation.

The Sublime (n.) needs ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠a safe vantage point: North Korea looks sublime from South Korea, and democracy looks sublime from inside a dictatorship.

The Sublime (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠a pleasure procured by displeasure itself — beyond the pleasure principle, which is exactly one of Lacan's definitions of jouissance.

The Sublime (n.) of ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠corporate architecture openly does what Jameson critiqued: architects took his diagnosis of a disorienting late-capitalist space as their brief.

The Sublime (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠a step from the ridiculous — 'Oui, le pas de Calais' — as when Monty Python's wife, escorted through the billions of stars, realizes how small her problem is and gladly donates her liver.

The Sublime (n.) lets ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠us experience, in an object, the very failure of representation to reach the Thing, and through that failure sense the Thing's true greatness; hence raging seas and boundless mountains, where imagination breaks down most purely.