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Adorno could think of the natural sublime as an ephemeral stage in European aesthetic sensibility, which had quickly lost its power to present humanity with the non-identitical.34 For the literary critic and political theorist Fredric Jameson, in the 1980s, the natural sublime had been replaced by the sublimity of the second nature of the man-made environment, which was what now seemed primarily to face humanity as a terrible and counter-purposive Otherness.35 If, with the growth of late twentieth-century environmental anxieties, nature has been reasserting itself as outside human control, then this is a nature which is now clearly overcoded with the powers of capitalist techno-science to transform it: a third nature, if you like, which is neither fully cultural nor fully outside of culture, but a hybrid of both.36 This is the techno-nature we find in Hirsts vitrines

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