By P. Rawes

Peg Rawes examines a "minor culture" of aesthetic geometries in ontological philosophy. built via Kant’s aesthetic topic she explores a trajectory of geometric considering and geometric figurations--reflective matters, folds, passages, plenums, envelopes and horizons--in old Greek, post-Cartesian and twentieth-century Continental philosophies, by which efficient understandings of area and embodies subjectivities are constructed. Six chapters, discover the development of those aesthetic geometric tools and figures in a sequence of "geometric" texts by means of Kant, Plato, Proclus, Spinoza, Leibniz, Bergson, Husserl and Deleuze. In every one textual content, geometry is expressed as a uniquely embodies aesthetic task simply because every one respective geometric process and determine is imbued with aesthetic sensibility and geometric experience (rather than as disembodies clinical methods). An ontology of aesthetic geometric tools and figures is hence traced from Kant’s serious writings, again to Plato and Proclus Greek philosophy, Spinoza and Leibniz’s post-Cartesian philosophies, and forwards to Bergson’s "duration" and Husserl’s "horizons" in the direction of Deleuze’s philosophy of feel.

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**Space, Geometry and Aesthetics: Through Kant and Towards Deleuze (Renewing Philosophy)**

Peg Rawes examines a "minor culture" of aesthetic geometries in ontological philosophy. built via Kant’s aesthetic topic she explores a trajectory of geometric pondering and geometric figurations--reflective topics, folds, passages, plenums, envelopes and horizons--in historic Greek, post-Cartesian and twentieth-century Continental philosophies, by which efficient understandings of area and embodies subjectivities are developed.

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**Additional resources for Space, Geometry and Aesthetics: Through Kant and Towards Deleuze (Renewing Philosophy)**

**Sample text**

CoJ, p. 388)13 In this passage, the pure science of geometry is transformed into practical action, which results from the imagination’s ability to produce sensible forms of experience, independently of the understanding. Here, therefore, geometry is transformed from a pure theoretical reason (idea) into a series of actions, instruments or enactments which constitute the different forms of ‘practical’ or applied geometric methods. Importantly, it is the imagination’s powers that provide the conduit for this passage, from the ‘pure’ geometric relations to the technical acts of artistic production, so that each is brought into harmony with the other, and which establishes heterogeneity in geometric thinking.

Kant’s investigations into the productive imagination also continue beyond the third Critique; for example, it is explored in some depth in the later text, the Anthropology from a Pragmatic Point of View (1798). , perceptions, notions or projections) that are in harmony with a ‘higher level’ of cognition. Thus, the Anthropology studies the structure of sensibility, the senses and the imagination in the individual, in a way that we will see is implied in the imagination’s production of reflective judgment in the Critique of Judgment.

Kant therefore defines it as an ‘AESTHETIC judgment of reflection’ (CoJ, p. 409). Thus, the relationship between the subject and the world is brought about in the act of making aesthetic judgments in the First Introduction of the Critique, so that the procedures which might previously have been defined as deterministic knowledge become understood as aesthetic acts. As a result, scientific or technical procedures, such as geometry, are understood as ‘technical’ forms of aesthetic activity, and spatial and geometric judgments are defined in terms of their ability to express the powers of the sensing reflective subject, and his 22 Space, Geometry and Aesthetics or her experiences in the world, not as formal concepts or general ideas.