Oyonale - 3D art and graphic experiments
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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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For since, according to their hypothesis, the least as well as greatest figures contain an infinite number of parts; and since infinite numbers, properly speaking, can neither be equal nor unequal with respect to each other; the equality or inequality of any portions of space can never depend on any proportion in the number of their parts. Now, since the world, as a phenomenon, cannot be thus limited in itself for a phenomenon is not a thing in itself; it must be possible for us to have a perception of this limitation by a void time and a void space. But in this case, no a priori synthetical cognition of them could be possible, consequently not through pure conceptions of space and the science which determines these conceptions, that is to say, geometry, would itself be impossible. When, then, for example, I make the empirical intuition of a house by apprehension of the manifold contained therein into a perception, the necessary unity of space and of my external sensuous intuition lies at the foundation of this act, and I, as it were, draw the form of the house conformably to this synthetical unity of the manifold in space. Thus much only can we say; "The image is a product of the empirical faculty of the productive imagination--the schema of sensuous conceptions (of figures in space, for example) is a product, and, as it were, a monogram of the pure imagination a priori, whereby and according to which images first become possible, which, however, can be connected with the conception only mediately by means of the schema which they indicate, and are in themselves never fully adequate to it." On the other hand, the schema of a pure conception of the understanding is something that cannot be reduced into any image--it is nothing else than the pure synthesis expressed by the category, conformably, to a rule of unity according to conceptions. Our internal impressions are our passions, emotions, desires and aversions; none of which, I believe, will ever be asserted to be the model, from which the idea of space is derived.