What Kant calls the Metaphysical Exposition of the Concept of Space presents the first arguments of the Transcendental Aesthetic.
The major events were pretty much the same, although I hadn't been aware of remembering them so well, the pacing of the events was very close, almost congruent, the relationship of dialogue, exposition and description in terms of space used for each quite close, but the language was different.
Its technical features include fault tolerance techniques and triple redundancy in data processing to prevent problems caused by exposition of integrated circuits to space radiation.
For ease of exposition we state some basic properties of space W1,p(x) (for details, see [22, 41, 42]).
This suggests, in turn, that Kant's point in the Metaphysical Exposition cannot be that our representation of space picks out a single individual and therefore cannot be a concept.
The central arguments of this digression, which comes in Herz's exposition of Kant's new theory of space and time as the forms of sensibility, are first, that beauty is an objective property especially connected to the form of an object, and not a mere sensation or sentiment (Empfindung) in the subject, and second, that there are general principles of beautiful form.
The other instance is the entirely flexible arrangement of the exposition space, made possible by the absence of permanent partitions and by the presence of unbroken glass windows.
Everything here is so clumsily handled that the creepy sensation of dread that infuses the early moments is quickly washed away on a tide of space slime and wearying exposition.
To put the point in a way that highlights a parallel with the first argument of the Metaphysical Exposition: the representation of any place presupposes the representation of space.
Note that the monographic exposition of the theory of Orlicz spaces may be found in the book of Krasnosel'skii and Rutickii [11].
