In an era of increasing global interdependence, in which ‘boundaries between direct witness and spectator are increasingly blurred’ (link, p. 715), an analysis of the limitless threat cannot be limited to questions of structure and topology, but must be prepared to engage with the aesthetics of the terrorist act. Hannah’s
‘expanding-point topology’ is ‘meant to be seen, to strike fear in the hearts of the observer, [who is] the real target’ (link, pp. 741-2).
Combining limitlessness, irrationality, and a certain topological asymmetry, the act of terror can be interpreted as a manifestation of the sublime.
