Immanuel Kant is not a flashy or expressive thinker – he is the philosopher-analogue to the figure of Giotto di Bondone, the Italian painter and architect who when asked to demonstrate his skill by the Pope drew a circle as perfect as those produced with a compass, free-hand in red paint. Kant is patient, systematic, technical and precise, and his form of philosophical innovation is generated not out of conceptual creativity or affective figuration, but in the enhancement of thought through its focus, much like a sextant enabling our given powers of perception to access cosmic order for navigating a chaotic and expansive sea. In his own day, he was referred to as the “All-to-nothing crushing Kant” for his limiting effect on the metaphysical ambitions of philosophy, and the modern philosopher Gilles Deleuze remarked on the “suffocating atmosphere” of Kant’s work. Nevertheless, the shadow of Kant is cast everywhere in the Western tradition, and reaction to some aspect of his work was the starting point for many of the unstated canonical figures whose work is encountered under the heading of Critical Theory in the humanities today. And for all the crushing and suffocation expressed by critics, Kant’s aim from beginning to end was a thoroughly technical appreciation and understanding of our ability to grasp the infinite novelty of Nature.