Quotes About Subjectivity

We're always, in everything we do in this world, she said, limited by subjectivity. But our perspective can have an enormous wingspan, if we give it the freedom to unfurl.

When questions requiring reasoned judgment are reduced to matters of subjective preference, counterfeit critical thinking occurs. Some people, then, come to uncritically assume that everyone's "opinion" is of equal value.

What the narrator comes to realize is that the past "cannot be described objectively" and that her present will always mediate her past.

Whether or not this story has a happy ending depends, of course, on who is reading it. Whether you are a wolf or a girl.

Presenting emotions as facts-which they are-affords a fragile defense.

They weren't bad books. They were books that you didn't enjoy. It's not the same thing at all. The only bad books are books that are so badly written that no one will publish them. Any book that has been published is going to be a "good book" for someone.

They weren't bad books, Phin countered patiently. They were books that you didn't enjoy. It's not the same thing at all. The only bad books are books that are so badly written that no one will publish them. Any book that has been published is going to be a 'good book' for someone

The only bad books are books that are so badly written that no one will publish them. Any book that had been published is going to be a 'good book' for someone

They weren't bad books," Phin countered patiently. "They were books that you didn't enjoy. It's not the same thing at all. The only bad books are books that are so badly written that no one will publish them. Any book that has been published is going to be a 'good book' for someone." I

Os únicos livros ruins são aqueles tão mal escritos que ninguém publica. Qualquer livro publicado vai ser um "livro bom" para alguém.

They weren't bad books, Phin countered patiently. 'They were books that you didn't enjoy. It's not the same thing at all. The only bad books are books that are so badly written that no one will publish them. Any book that has been published is going to be a 'good book' for someone.

No one ever thinks their own behavior is immoral, only other people's.

Style is objective, akin to art, so it varies.

Music is nothing but sound, and there is no place for value judgement among various sounds.

Each one of us interprets various stimuli according to our own personal sensibility.

Most of what we know about human life we know from asking people to remember the past, and as we know, hindsight is anything but 20/20. We forget vast amounts of what happens to us in life, and sometimes memory is downright creative.

No real blood flows in the veins of the knowing subject constructed by Locke, Hume, and Kant, but rather the diluted extract of reason as a mere activity of thought.

Most people feel that they are the heroes of their own lives and that they're good people. So if they're in a crisis, they feel an understandable urge to set out their own version of events.

Women do not like CDs of live music. We only like the original recordings. If a song sounds different from the version we fell in love with, then it's awful.

For us man is characterized above all by his going beyond a situation, and by what he succeeds in making of what he has been made -- even if he never recognizes himself in his objectification.

we are not on the side of history made. We were, as I have said, situated in such a way that every lived minute seemed to us like something irreducible.

For instance, there is something new about my hands, a certain way of picking up my pipe or fork. Or else it's the fork which now has a certain way of having itself picked up, I don't know. A little while ago, just as I was coming into my room, I stopped short because I felt in my hand a cold object which held my attention through a sort of personality. I opened my hand, looked: I was simply holding the door-knob.

There's two kinds of women--those you write poems about and those you don't.

The question of what kind of a thing a text or poem is now becomes a function neither of what the poet might have intended by its words nor of what the conventions of grammar and meaning might seem to require of them, but rather of the reader's irreducibly subjective experience in her encounter with those words.