By Lie Sophus, Scheffers G.
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Example text
Similarly, Kant tends to view unlimit as an excessive operation, in contrast to the legitimate ‘genetic’ or ‘immanent’ relations between the subject and the outside world. In the following chapters, however, I show that there are other more radical notions of intuition, limit and unlimit, which generate a legitimate continuity of different figures and subjects, between pure geometric intuition and embodied manifestations of geometric thinking; for example, in Leibniz and Bergson’s notions of perception.
In addition, the imagination enables the reflective judgment to constitute a ‘technical’ or artistic notion of geometric method and figuration, and which is reflected in the intuitive recollection and performed enactments of geometry in Plato’s Meno. Ultimately, however, Kant underestimates the scope of the sense perception and non-cognitive activities of the body in the aesthetic subject. But, in the following chapters, each philosopher generates a method that is both geometric and sensory. Kant’s Critical philosophy therefore constitutes a key geometric and aesthetic encounter or re-enactment.
As a result, ‘clear feelings’ of difference between the sensory and mechanical attributes of the left and right sides of the body distinguish the particularity of the body, despite the apparent ‘great external similarity’ (CDS, p. 369). In this essay spatial direction is therefore an aesthetic aspect of our sense-intuition, because a continuity between internal and external space in the natural world becomes possible. In addition, Kant tells us that the differences discerned between entities or objects need to be understood in relation to ‘universal absolute space, as it is conceived by geometers’.