Some images of the sublime;

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I would argue that the aesthetic of the sublime is closely related to our senses of the infinite, linearity and the colour of light.
This is a view shared, in part, by Edmund Burke, who's "Philosophical Enquiry into the Origin of Our Ideas of the
Sublime and the Beautiful", is an important analysis of the concept of the sublime;

"Another source of the sublime is Infinity...", Section IX, Infinity.

"but as, in this discourse, we chiefly attach ourselves to the sublime as it affects the eye, we shall consider particularly why
a successive disposition of uniform parts in the same right line should be sublime,...", Section XIII, The Effect of Succession
in Visual Objects Explained.

"But darkness is more productive of sublime ideas than light.", Section XV, Light.

The above images appeal to our idea of the infinite, in the manifestation of the vastness of nature and water, and to our sense
of linearity, in the straight contours formed by waves, clouds, the horizon, the coastline, and the light of the sun striking the sea.
Although not particularly dark, the images have been slightly tinted and polarised, in order to counteract the warming effect of
direct sunlight, similar to the effect of sunglasses. This, perhaps, relates our notion of the sublime to what is "cool". Another
important commentator on aesthetics, George Ruskin, in "The Seven Lamps of Architecture", denied the existence of
concatenations of lines in nature, attributing mass and weight as the main sources of the sublime. However, although Ruskin's
naturalism is an excellent aesthetic critia, I would argue that he discounts the importance of "ocean views".