The glowing critical response to Georg Friedrich Haas'sin vain(2000) has focused particularly on the visceral effect created by Haas's use of ‘endless’ scales, richly saturated microtonal chords, and passages that take place in total darkness. Discussion of these features has often led reviewers and commentators to use forms of description and praise which evoke the old (but lately rejuvenated) aesthetic category of the sublime. This article explores these connections with sublime aesthetics in more detail as a way of clarifying both philosophical and interpretative perspectives onin vain. The idea of the sublime serves as a thread connecting aspects of spectral technique and aesthetics, the mathematical visions of M.C. Escher, and the charged socio-political context in which the work was written.

中文翻译：

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黑暗中的阶梯：HAAS'SIN VAIN 中的声音、语法和崇高

对乔治·弗里德里希·哈斯 (Georg Friedrich Haas) 的热烈批评回应徒然（2000 年）特别关注由 Haas 使用“无尽”音阶、丰富饱和的微音和弦以及发生在完全黑暗中的段落所产生的内在效果。对这些特征的讨论常常导致评论家和评论家使用描述和赞美的形式来唤起崇高的古老（但最近重新焕发活力）的审美类别。本文更详细地探讨了这些与崇高美学的联系，以此来阐明关于徒然. 崇高的想法是连接光谱技术和美学方面的线索，MC Escher 的数学愿景，以及写作作品的充满活力的社会政治背景。