The Long Emergency will be chiefly characterized as a "time out" from technology. It could plunge us into a dark age of superstition. My guess is that we will lose a lot of knowledge and skill. But I also believe the human race desperately needs this "time out."

Building places that are worth living in and worth caring about require a certain attention to detail, and of a particular kind of detail that we have forgotten how to design and assemble. And that involves the relationship of the buildings to each other, the relationship of the buildings to the public space, which in America, comes mostly in the form of the street. Because it's only the exceptional places in America that have the village square or the New England green. You know. The street is mostly the public realm of America. And we have to design these things so that they reward us.

Cities like Detroit exist because they occupy important sites. In the case of Detroit, it sits on a river between two great lakes - very important and strategic.

Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

In my view, suburbia in general has very poor prospects. I think it will only become devalued and probably more dangerous. It's chief characteristic was that it represented a living arrangement with no future - and that future is now here.

Ridicule is the unfortunate destiny of the ridiculous.

I am a sur le motif painter, always in-the-field, with a French easel that folds up into a box, with backpack straps on it. Many of the sites I haunt are desolately beautiful. Few other people go there. I am gloriously alone, unmolested, and absorbed in attempting to see what I am looking at.