It's essential for me to be working on a nonfiction sort of research project simultaneous with multiple projects that are in different realms of art practice or not.

We are not evolved really very well to be able to understand or to be able to work with and grapple with technologies that we have.

I think that I feel that I have no choice but to operate under the illusion, which may be a delusion, that we can somehow get past the destruction that we have brought and that we are causing today.

The interesting thing writing about [Buckminster] Fuller is really to attempt to resurrect all of that and to do so for a new generation that has not grown up with him.

I was interested first of all in trying to capture this myth that was always changing and to create some sort of a master story, some version of the myth that resonated with me, since I could have taken more or less any detail that I wanted or the opposite and try to put that down on the page in a way that I could express from that outset for myself and for our readers what it was that was so magical about [Buckminster] Fuller's way of putting together the world.

I would certainly never want to inflict anything on the world exactly as [Buckminster Fuller] envisioned it because there is a technocratic worldview that I find horrific.

On the other hand, the way in which that car fit into this whole very roundabout way of attempting to solve the problem of what - the problem that [Buckminster Fuller] perceived as being the cause of his daughter's death and meningitis. I mean how you get from your daughter dying from meningitis to making a car with three wheels and saying that it's like a bird and a fish. That really is amazing.