 The concept of qualitative intensity was further developed by Leibniz and Kant. Leibniz’s “principle of continuity” stated that all natural change is produced by degrees. Leibniz argued that this principle applies not only to changes in extended magnitudes such as length and duration, but also to intensities of representational states of consciousness, such as sounds (Jorgensen 2009; Diehl 2012). Kant is thought to have relied on Leibniz’s principle of continuity to formulate his distinction between extensive and intensive magnitudes. According to Kant, extensive magnitudes are those “in which the representation of the parts makes possible the representation of the whole” (1787: A162/B203). An example is length: a line can only be mentally represented by a successive synthesis in which parts of the line join to form the whole. For Kant, the possibility of such synthesis was grounded in the forms of intuition, namely space and time. Intensive magnitudes, like warmth or colors, also come in continuous degrees, but their apprehension takes place in an instant rather than through a successive synthesis of parts. The degrees of intensive magnitudes “can only be represented through approximation to negation” (1787: A 168/B210), that is, by imagining their gradual diminution until their complete absence.