| That sort of intuition which relates to an object by means of sensation is called an empirical intuition. |
| The undetermined object of an empirical intuition is called phenomenon. |
| That which in the phenomenon corresponds to the sensation, I term its matter; but that which effects that the content of the phenomenon can be arranged under certain relations, I call its form. |
| But that in which our sensations are merely arranged, and by which they are susceptible of assuming a certain form, cannot be itself sensation. |
| It is, then, the matter of all phenomena that is given to us a posteriori; the form must lie ready a priori for them in the mind, and consequently can be regarded separately from all sensation. |
| I call all representations pure, in the transcendental meaning of the word, wherein nothing is met with that belongs to sensation. |
| And accordingly we find existing in the mind a priori, the pure form of sensuous intuitions in general, in which all the manifold content of the phenomenal world is arranged and viewed under certain relations. |
| This pure form of sensibility I shall call pure intuition. |
| Thus, if I take away from our representation of a body all that the understanding thinks as belonging to it, as substance, force, divisibility, etc., and also whatever belongs to sensation, as impenetrability, hardness, colour, etc.; yet there is still something left us from this empirical intuition, namely, extension and shape. |
| These belong to pure intuition, which exists a priori in the mind, as a mere form of sensibility, and without any real object of the senses or any sensation. |
| The science of all the principles of sensibility a priori, I call transcendental aesthetic.* There must, then, be such a science forming the first part of the transcendental doctrine of elements, in contradistinction to that part which contains the principles of pure thought, and which is called transcendental logic. |
| [Footnote; The Germans are the only people who at present use this word to indicate what others call the critique of taste. |
| At the foundation of this term lies the disappointed hope, which the eminent analyst, Baumgarten, conceived, of subjecting the criticism of the beautiful to principles of reason, and so of elevating its rules into a science. |
| But his endeavours were vain. |
| For the said rules or criteria are, in respect to their chief sources, merely empirical, consequently never can serve as determinate laws a priori, by which our judgement in matters of taste is to be directed. |
| It is rather our judgement which forms the proper test as to the correctness of the principles. |
| On this account it is advisable to give up the use of the term as designating the critique of taste, and to apply it solely to that doctrine, which is true science--the science of the laws of sensibility--and thus come nearer to the language and the sense of the ancients in their well-known division of the objects of cognition into aiotheta kai noeta, or to share it with speculative philosophy, and employ it partly in a transcendental, partly in a psychological signification.] |
| In the science of transcendental aesthetic accordingly, we shall first isolate sensibility or the sensuous faculty, by separating from it all that is annexed to its perceptions by the conceptions of understanding, so that nothing be left but empirical intuition. |
| In the next place we shall take away from this intuition all that belongs to sensation, so that nothing may remain but pure intuition, and the mere form of phenomena, which is all that the sensibility can afford a priorI. From this investigation it will be found that there are two pure forms of sensuous intuition, as principles of knowledge a priori, namely, space and time. |
| To the consideration of these we shall now proceed. |
| SECTION I. Of Space. SS 2. Metaphysical Exposition of this Conception. |