An aesthetic argument for God's existence (2)

Some time ago I proposed the below mentioned aesthetic argument for the existence of God. Revisiting my argument it seems to me that the only controversial premise is [4]. If one accepts this article as a proper defense of it, the argument goes through.

1. The sublime experience is a well-established type of experience (premise)
2. There is a phenomenologically maximally adequate account of each well-established type of experience (premise)
3. There is a phenomenologically maximally adequate account of the sublime experience (from 1, 2)
4. If there is a phenomenologically maximally adequate account of the sublime experience, then that account is the experience of God (premise)
5. The phenomenologically maximally adequate account of the sublime experience is the experience of God (from 3, 4)
6. For any well-established type of experience, in the absence of defeaters, the phenomenologically maximally adequate account of that type of experience is veridical (premise)
7. In the absence of defeaters, the phenomenologically maximally adequate account of the sublime experience is veridical (from 1, 6)
8. There are no defeaters in the case of the sublime experience (premise)
9. The phenomenologically maximally adequate account of the sublime experience is veridical (from 7, 8)
10. The experience of God is veridical (from 5, 9)
11. God exists (from 10)

Hegel on artistic inspiration

"If we ask further wherein artistic inspiration consists, it is nothing but being completely filled with the theme, being entirely present in the theme, and not resting until the theme has been stamped and polished into artistic shape.
But if the artist has made the subject-matter into something entirely his own, he must on the other hand be able to forget his own personality and its accidental particular characteristics and immerse himself, for his part, entirely in his material, so that, as subject, he is only as it were the form for the formation of the theme which has taken hold of him. An inspiration in which the subject gives himself airs and emphasizes himself as subject, instead of being the instrument and the living activation of the theme itself, is a poor inspiration."

G.W.F. Hegel, Lectures on Fine Art, Translated by T.M. Knox, Volume 1, Clarendon press, Oxford, p. 288

Aesthetical argument for the existence of God

In the third and final part of my philosophical project I intend to develop a new aesthetical argument for the existence of God. Here God is understood as the ultimate personal ground of reality. The argument's structure is presented below. It is not difficult to verify that the conclusion that God exists indeed follows logically from the premises. I shall start working on a detailed justification of each of these premises shortly after I have received my PhD in June this year.

1. The sublime experience is a well-established type of experience (premise)

2. There is a phenomenologically maximally adequate account of each well-established type of experience (premise)

3. There is a phenomenologically maximally adequate account of the sublime experience (from 1, 2)

4. If there is a phenomenologically maximally adequate account of the sublime experience, then that account is the experience of God (premise)

5. The phenomenologically maximally adequate account of the sublime experience is the experience of God (from 3, 4)

6. For any well-established type of experience, in the absence of defeaters, the phenomenologically maximally adequate account of that type of experience is veridical (premise)

7. In the absence of defeaters, the phenomenologically maximally adequate account of the sublime experience is veridical (from 1, 6)

8. There are no defeaters in the case of the sublime experience (premise)

9. The phenomenologically maximally adequate account of the sublime experience is veridical (from 7, 8)

10. The experience of God is veridical (from 5, 9)

11. God exists (from 10)