It may be unfathomable in architecture, but it is very practical, or routine, for a person in theater to use action. You have the line, "Come home, son," but you can't play that line by going out and being a mother; you can't be a noun. But you can play to smother your son; you can play to grovel to your son. Again, the real information is carried in action. And, to an annoying degree, theater people talk to each other in infinitive expressions. If you don't have a vivid verb to describe what you're doing, you're probably going to be a pretty bad actress.

Rather than asking architecture to be more interdisciplinary - a perennial issue within the discipline - I am suggesting that other disciplines might exploit the powers of architecture and urbanism. When addressing urgent situations, whether it's the depletion of the rainforest or abuse of labor, well-meaning people are working with tools, like standards, that seem like very blunt instruments. I am suggesting that spatial variables that are underexploited in governance might add to that repertoire.

It wasn't an architect who did this, but if it had been an architect, it would have been a good day's work: there was a marketing person who convinced Walmart that their products sold better in daylight than electric light. It would have been interesting if an architect had deliberately designed this change with all its spatial consequences in mind, thinking about how the change would multiply across all the square footage of all the roofs of all the Walmarts in the world. It would have been a beautiful trick - a physical, practical, political pleasure.

There are dangers surrounding innocuousness and consensus and habit. ISO organizes hundreds of people on technical committees who are, no doubt, trying to do their best. But the standards in some cases end up reinforcing violence and destruction thousands of miles away.

It may be unfathomable in architecture, but it is very practical, or routine, for a person in theater to use action. You have the line, "Come home, son," but you can't play that line by going out and being a mother; you can't be a noun. But you can play to smother your son; you can play to grovel to your son. Again, the real information is carried in action. And, to an annoying degree, theater people talk to each other in infinitive expressions. If you don't have a vivid verb to describe what you're doing, you're probably going to be a pretty bad actress.

In the context of the kind of infrastructure space I'm looking at, I'm making a very unlikely argument by saying that all the stuff that's repeated, from spatial products to whole cities, which looks so daunting to architects, might be especially empowering. At this moment, it might be harder to make a meaningful object form alone, but easier to make an active form that can piggyback on those multipliers to recondition spaces in a politically significant way.

It would never occur to me to map my research against events in my life, and the recent history of globalization seems to be part of someone else's life. Still, maybe I have been trying to fill in a history or address that amnesia for the recent past. There's so much that's opaque about the ways in which extra layers of global governance have developed since Pax Americana and really accelerated in these last thirty, forty years.