The empirical concept of a plate is homogeneous with the pure geometrical concept of a circle. The roundness which is thought in the former can be intuited in the latter. (KRV A137/B176)
That's how it looks from the point of view of "pure reason". Passion would demand the introduction of a craftsman of some sort, an artist.
The normative (e)motion of the potter's wheel is homogeneous with the
pure[raw] sculptural emotion of the cylinder. The spinning that can be felt in the former can be instituted in the latter.
The book I want to write, called Composure, would begin with this image of a plate on a wheel, this homology (a homology of two homogeneities), and then develop about twenty-five of its moments of reason and their twenty-five homologous moments of passion. E.g.,
I will confine each moment to the space of a single page, and arrange the homologous expressions on facing pages (a "parallel edition" of reason/passion). I know that such symmetry does not appeal to everyone, but I need to see how it works out on the page.
[Update: Either I or Norman Kemp Smith seem to have mixed up "former" and "latter" in the above quote. I've fixed it now and it makes much better sense. Also, I think it might help to rewrite Kant's formula as follows: Our empirical grasp of a plate is homogeneous with the pure geometrical concept of a circle, for the roundness that is thought in the former can be intuited in the latter. This allows us the following variation: The normative motion of the potter's wheel is homogeneous with the pure sculptural emotion of a cylinder, for the turning that can be felt in the former can be instituted in the latter.]
[Update 2: Norman Kemp Smith's 'misreading' follows Vaihinger. It appears in the footnotes to both the current German (Felix Meiner Verlag) edition and the Guyer & Wood (Cambridge University Press) edition. Presskorn has a plausible explanation for Vaihinger's reading in the comments below.]