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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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Five notes played on a flute give us the impression and idea of time; though time be not a sixth impression, which presents itself to the hearing or any other of the senses.

 The case is the same, as when we correct the different sentiments of virtue, which proceed from its different distances from ourselves. So far, then, as this criticism is occupied in confining speculative reason within its proper bounds, it is only negative; but, inasmuch as it thereby, at the same time, removes an obstacle which impedes and even threatens to destroy the use of practical reason, it possesses a positive and very important value. To himself alone this power seems perfect and entire; and therefore we must receive his sentiments by sympathy, before we can have a strong intense idea of these enjoyments, or esteem him upon account of them. Consequently every substance (inasmuch as it can have succession predicated of it only in respect of its determinations) must contain the causality of certain determinations in another substance, and at the same time the effects of the causality of the other in itself. Time is nothing but the form of our internal intuition.* If we take away from it the special condition of our sensibility, the conception of time also vanishes; and it inheres not in the objects themselves, but solely in the subject (or mind) which intuites them. Where friendship appears in very signal instances, my heart catches the same passion, and is warmed by those warm sentiments, that display themselves before me. The principle of the connection of causality among phenomena is limited in our formula to the succession thereof, although in practice we find that the principle applies also when the phenomena exist together in the same time, and that cause and effect may be simultaneous. Thank you for your interest!! As to the good or ill desert of virtue or vice, it is an evident consequence of the sentiments of pleasure or uneasiness. In like manner, transcendental aesthetic cannot number the conception of change among its data a priori; for time itself does not change, but only something which is in time.