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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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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.]

 We therefore distinguish the science of the laws of sensibility, that is, aesthetic, from the science of the laws of the understanding, that is, logic. Our expositions, consequently, teach the reality (i.e., the objective validity) of space in regard of all which can be presented to us externally as object, and at the same time also the ideality of space in regard to objects when they are considered by means of reason as things in themselves, that is, without reference to the constitution of our sensibility. For we have there seen that conceptions are quite impossible, and utterly without signification, unless either to them, or at least to the elements of which they consist, an object be given; and that, consequently, they cannot possibly apply to objects as things in themselves without regard to the question whether and how these may be given to us; and, further, that the only manner in which objects can be given to us is by means of the modification of our sensibility; and, finally, that pure a priori conceptions, in addition to the function of the understanding in the category, must contain a priori formal conditions of sensibility (of the internal sense, namely), which again contain the general condition under which alone the category can be applied to any object. 
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.
 But as, when the question is not as to the logical form, but as to the content of conceptions, that is to say, whether the things themselves are identical or different, in agreement or opposition, and so on, the things can have a twofold relation to our faculty of cognition, to wit, a relation either to sensibility or to the understanding, and as on this relation depends their relation to each other, transcendental reflection, that is, the relation of given representations to one or the other faculty of cognition, can alone determine this latter relation. 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. 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. 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.