the superiority of one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and thought, on which true sublimity is located. Arthur Schopenhauer To clarify the concept of the feeling of the sublime, Arthur Schopenhauer listed examples of its transition from the beautiful to the most sublime. This can be found in the first volume of his The World as Will and Representation, § 39. For him, the feeling of the beautiful is in seeing an object that invites the observer to transcend individuality, and simply observe the idea underlying the object. The feeling of the sublime, however, is when the object does not invite such contemplation but instead is an overpowering or vast malignant object of great magnitude, one that could destroy the observer. Feeling of Beauty – Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt observer). Weakest Feeling of Sublime – Light reflected off stones. (Pleasure from beholding objects that pose no threat, objects devoid of life). Weaker Feeling of Sublime – Endless desert with no movement. (Pleasure from seeing objects that could not sustain the life of the observer). Sublime – Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer). Full Feeling of Sublime – Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive objects). Fullest Feeling of Sublime – Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature). Georg Wilhelm Friedrich Hegel Georg Wilhelm Friedrich Hegel considered the sublime a marker of cultural difference and a characteristic feature of oriental art. His teleological view of history meant that he considered "oriental" cultures as less developed, more autocratic in terms of their political structures and more fearful of divine law. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage God only through "sublated" means. He believed that the excess of intricate detail that is characteristic of Chinese art, or the dazzling metrical patterns characteristic of Islamic art, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe. Rudolf Otto Rudolf Otto compared the sublime with his newly coined concept of the numinous. The numinous comprises terror, Tremendum, but also a strange fascination, Fascinans. Contemporary philosophy