The Duisburg Nachlaß
This chapter explores the so-called ‘Duisburg Nachlaß’, a set of sketches in Kant’s hand from the mid-1770s that may be understood as the ancestor of the Transcendental Deduction in the Critique. The chapter has two parts. The first explores a central claim in the Duisburg Nachlaß that we know an object a priori only according to its relations by means of an ‘exposition of appearances’. The question is what does this mean? The strategy is to confront the claim with some of Kant’s metaphysical commitments from the 1750s about relations and his engagement with the regimentation of proofs in classical geometry (with a special focus on the ‘ekthesis’). The second part of the chapter uses what is learned from the first part to argue that the exposition of appearances in the Duisburg Nachlaß is meant to yield a cosmology of experience. The author uses the findings of this chapter later in the book to illuminate peculiarities and insights of the Transcendental Deduction.