By Bak A. (ed.)

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In its secondary form it is re-enacted in the Critique of Judgment through the powers of the reflective Drawing Figures 33 subject, in particular, through the technical powers of drawing and construction that the imagination provides. Finally, this geometric aesthetic is itself retrieved from metaphysical philosophy in the figures of Socrates and the slave-boy in Plato’s Meno, providing an additional ‘enactment’ of the aesthetic that re-engages Kant’s project with earlier geometric methods. Two figures of a geometric memory – intuition and recollection – are transformed into a technical form of enactment in Kant’s reflective judgment.

However, ultimately, Kant’s insistence upon the formal limits of space and time prevents a strong genetic or discursive continuity in this relationship from being fully established; for example, in the following passage from the section, ‘Elucidation on Time’, the formal definition of limit which differentiates space and time is clearly visible: Time and space are accordingly two sources of cognition, from which different synthetic cognitions can be drawn a priori, of which especially pure mathematics in regard to the conditions of space and its relations provides a splendid example.

Geometric reasoning is, however, both an autonomous intuition and an empirical form. But its extended and unextended geometric figures also represent external forms of transcendental knowledge, not the embodied experience of geometric thinking or space in the individual, so that the Critique of Pure Reason is therefore primarily concerned with determining forms of knowledge that limit geometry to a pure disembodied intuition and limit space to a restricted sensible power. 5 Direction, he argues, ‘orientates’ the parts of space and ‘refers to the space outside the thing’, showing that ‘absolute space’ has ‘a reality of its own’.

### Algebraic K-Theory, Number Theory, Geometry and Analysis: Proceedings of July 26-30, 1982 by Bak A. (ed.)

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