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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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The constant form of this receptivity, which we call sensibility, is a necessary condition of all relations in which objects can be intuited as existing without us, and when abstraction of these objects is made, is a pure intuition, to which we give the name of space.

 Only pure intuitions and pure conceptions are possible a priori; the empirical only a posteriorI. We apply the term sensibility to the receptivity of the mind for impressions, in so far as it is in some way affected; and, on the other hand, we call the faculty of spontaneously producing representations, or the spontaneity of cognition, understanding. In the aesthetic, I regarded this unity as belonging entirely to sensibility, for the purpose of indicating that it antecedes all conceptions, although it presupposes a synthesis which does not belong to sense, through which alone, however, all our conceptions of space and time are possible. This consciousness in man requires an internal perception of the manifold representations which are previously given in the subject; and the manner in which these representations are given in the mind without spontaneity, must, on account of this difference (the want of spontaneity), be called sensibility. 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. If I take away from an empirical intuition all thought (by means of the categories), there remains no cognition of any object; for by means of mere intuition nothing is cogitated, and, from the existence of such or such an affection of sensibility in me, it does not follow that this affection or representation has any relation to an object without me. So many times I thought I was going to give up, and give in to the fact that IÿFFFF92ll never be thin and attractive. 
But, in so far as it exercises an influence upon the action of the understanding and determines it to judgement, sensibility is itself the cause of error.]
 In conclusion, that transcendental aesthetic cannot contain any more than these two elements--space and time, is sufficiently obvious from the fact that all other conceptions appertaining to sensibility, even that of motion, which unites in itself both elements, presuppose something empirical.