The next step in this strategy to negotiate the territory between the

subjective and objective, is to expose the fallibility of the notion that

we can think in a way that is objectively neutral and see things as they

really are, out there in the world. An approach that leads irrevocably to

the view that there is an objective modus operandi, often defended in

the studio as the only true, legitimate way to design, both the antidote

and a counterbalance to subjective whimsy and artistic illusion. But in

reality, the idea of engaging an objective mode of thinking is no more

an aid to good practice than subjectivist conceptions and as profoundly

unproductive as listening to singing rocks, communing with the genius

loci or gleaning primordial resonances. Tracing its reductive influence on

cognition, the design process and practice, this chapter redefines what it

means to be objective and absolutely true and sets out the contribution

this new approach makes in the development of artistic practice.