 In 1925, he wrote a short section in his essay, The Dehumanization of Art entitled “A Few Drops of Phenomenology”, in which he discussed the “perspectivism” motif of variegated experiences (Obras, III: 360–64). The discrepancy between science and experience, though extreme for some of his contemporaries, became one of his central concerns during this period. He maintained that the different perspectival perceptions of an identical event illuminated for us the fact that “one and the same reality may split into many diverse realities when it is beheld from different points of view”. Modern physics, while leaving mechanistic explanations of certain natural phenomena intact, shattered the overall mechanistic conception of nature. It demolished the notion of an objective reality with all that it implied: the unity of nature, both human and physical, the universality of natural laws, the determination of physical processes, and the ability of science to solve all problems of the natural world. The findings of modern physics, therefore, were bound to have had an enormous impact on general culture, even greater than that, according to Ortega, of biology in the mid-nineteenth century. Albert Einstein, he argued, struck the first telling blow against the concept of an objective reality—a concept that assumes the existence of universal time and space into which nature fits, independently of the observer. Einstein demonstrated that there is no single spatial and chronological frame of reference. Every observer is confined to a specific and relative time-space system. Ortega perceived, in this system, the “human point of view” as that reality in which we live: situations, persons and things. To establish distance between ourselves and reality as a manner of understanding these lived experiences—which are by no means absolute—we have to project ourselves into the place of another person and situation. In doing so, we may come to distinguish among persons, things and situations and thereby come to observe reality more closely (Obras, III: 361, 363, 362).