That is to say, in the scale of realities "lived" reality holds a peculiar primacy which compels us to regard it as "the" reality. Instead of "lived" reality we may say "human" reality. The painter who impas- sively witness the death scene appears "inhuman". In other words, the human point of view is that in which we "live" situations, persons, things. And, vice versa, realities - a woman, a contryside, an event - are human when they present the aspect in which they are usually "lived".

Excuse me? Fra Ortega y Gassets "The Dehumanization of Art" (1948)