I would say that what the value of talking about and thinking about a dome over Manhattan is that [Buckminster] Fuller has identified a scale of action I think is actually really compelling.

Architects in urban planning are talking about this but they're not talking about it yet I don't think at that level that [Buckminster] Fuller is talking about when he talked about putting a dome over Manhattan, which is to say an attempt at integrating all of these different technologies in a way that makes for a city that, without having an actual dome, thermodynamically manages the heat flow for that urban environment and therefore makes it so that it is a highly efficient machine for a living or a dwelling machine as he would have preferred in terms of thermodynamically optimizing it.

I think that in the first place, why we can get excited about [Buckminster ] Fuller, why it's plausible that people might - why my publisher would publish this book [You belong to the universe] about it long after he's dead and irrelevant by many standards has to do with the fact that he was in a sense coming up with this job for himself that is the job that we now refer to when we speak about world change.

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.

Since I live part of the year in Italy, I live in a society in which I'm the optimistic American relative to the people who I'm around there. And that has actually brought to my attention the fact that I do have some sort of optimism and has made me think about it enough that I can attempt an answer.

We're back around to [Buckminster] Fuller again. Back around to the recognition of patterns, which may be true or may not be. But nevertheless, have enough of a semblance that they're worth exploring. That, to me, is where my work begins.

Serendipity looks a lot like creativity, at least at a distance, and if I can tap into these ways in which one thing resembles another.