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Click on the phrases to see them in context. The original texts by Immanuel Kant and David Hume are available from the Gutenberg Projet.
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While, moreover, it forbids sensibility to apply its forms and modes to things in themselves and restricts it to the sphere of phenomena, it cogitates an object in itself, only, however, as a transcendental object, which is the cause of a phenomenon (consequently not itself a phenomenon), and which cannot be thought either as a quantity or as reality, or as substance (because these conceptions always require sensuous forms in which to determine an object)--an object, therefore, of which we are quite unable to say whether it can be met with in ourselves or out of us, whether it would be annihilated together with sensibility, or, if this were taken away, would continue to exist. On the contrary, transcendental logic has lying before it the manifold content of a priori sensibility, which transcendental aesthetic presents to it in order to give matter to the pure conceptions of the understanding, without which transcendental logic would have no content, and be therefore utterly void. The supreme principle of the possibility of all intuition in relation to sensibility was, according to our transcendental aesthetic, that all the manifold in intuition be subject to the formal conditions of space and time. The conception of a noumenon is therefore not the conception of an object, but merely a problematical conception inseparably connected with the limitation of our sensibility. The faculty of sensuous intuition is properly a receptivity--a capacity of being affected in a certain manner by representations, the relation of which to each other is a pure intuition of space and time--the pure forms of sensibility. But, as the synthesis of imagination has for its aim no single intuition, but merely unity in the determination of sensibility, the schema is clearly distinguishable from the image. The conditions of sensuous intuition, which contain in themselves their own means of distinction, he did not look upon as primitive, because sensibility was to him but a confused mode of representation and not any particular source of representations.