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Burke's work introduced the idea of the sublime as an aesthetic concept that is rooted in awe, fear, and a sense of the vastness and the incomprehensible.

The vastness and mysteriousness of space, along with human endeavors to explore it, offer opportunities for experiences of the sublime that reflect on both physical space and human aspiration.

Another Kantian notion, describing the experience of the sublime stemming from nature’s power, which, while potentially terrifying, also allows us to recognize our moral strength.

The advancement of technology, especially in the digital realm, can induce feelings of the sublime, given its vast, complex, and often incomprehensible scale and ability.

Kant's critical philosophy describes the sublime as an aesthetic quality that, unlike beauty, is not about form but rather the feeling of a boundless imagination before the unrepresentable.

The concept of the sublime has been adapted in modern art to create works that evoke similar feelings of awe through abstract forms or confronting contemporary issues.

The use of the sublime in gothic literature and art often intertwines with themes of terror, darkness, and the unknowable, to evoke profound emotions and thoughts.

Shelley's poem is an example of sublime landscape in literature, where the imposing and powerful presence of the mountain is a force that contributes to the overarching theme of nature's power.

Modern movies sometimes elicit the sensation of the sublime by using vast, overwhelming landscapes or by illustrating the enormity and complexity of space and time.

Artists and philosophers have looked to grand and powerful natural scenes, like mountains, storms, and vast landscapes, to evoke feelings of the sublime.

A concept derived from Kant's work that refers to the experience of the sublime arising from the contemplation of immense and boundless spaces, prompting a sense of the infinite.