Transcendental Aesthetics makes up the first part of Kant’s Critique of Pure Reason, which speaks of sensitivity, that is, knowledge through the senses, but always at a level of pure a priori forms: consequently for Kant when we know through the senses in our sensitivity there are filters, mechanisms that act as filters. The filters of sensitivity are called by K pure intuitions, therefore immediate, and they make us understand that even in the first cognitive process we do not know objects as they are, but how they appear to us, and that the filters come into operation automatically without them. we notice.
For Kant there are 2 sensitivity filters: space and time. In fact, every time I know through the senses, I perceive the object placed in a space and in a time (therefore the two filters are always connected to each other), but this location does not depend on the object, since the filters are not contained. in the object, but by myself. Space and time are therefore no longer something objective, as Newton said, but they are within us, they are subjective, not in the sense that they change from person to person, because they are not arbitrary but universal and necessary. He also defines space and time respectively as the form of external and internal sense, and the difference between these two filters is given by the fact that space applies to all perceptions coming from the outside, for example the concept of proximity or distance. , whereby my senses automatically place the placed object in a space, while time comes into play when there are internal perceptions, generally feelings, such as hate, love, anger, etc. which I perceive as something inside of me. Time therefore almost coincides with consciousness. Moreover, between time and space the most extended is certainly time, because space comes into play only when we have the perception of external objects through the senses, while the perception of time remains perpetually.
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