Experiencing the Sublime in Immersive (Virtual) Environments

Immersive technologies are reshaping the traditional question of whether and how the sublime can be experienced within the artistic domain. Building on Barnett Newman’s and Arthur Danto’s reflections on the notion of the “picture”, this essay argues that immersive environments—both virtual and non-virtual—challenge the classical conception of the image as a representational medium. Rather than functioning as windows onto fictional image-worlds, these environments engage viewers in ways that tend to undermine the boundaries between perception and pictorial consciousness. The interplay between immersion and sublimity is examined through a comparative analysis of two case studies: Anish Kapoor’s "Descent Into Limbo", a non-virtual installation, and Celine Daemen’s VR opera "Eurydice: A Descent into Infinity". Both works, though rooted in different media, exemplify how immersion’s visceral engagement opens new paths for experiencing the sublime.