If you're steering a boat down a river, it's not something about which you can know that. You can only know how to do it. It's unfinished, it has no start-stop time, it's fluid. Practicality relies on indeterminate markers. It's just another kind of knowledge that's sexy, in a certain way. It's reactive, and often physical.

Few would look at a concrete highway system or an electrical grid and perceive agency in their static arrangement, spaces and urban arrangements are usually treated as collections of objects or volumes, not as actors. Yet the organization itself is active. It is doing something.

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.

There is a comfort with design that may be a detail, rather than a building; comfort with form that is time-released and never finished. How do you represent an instruction set that will play out in time? There may be slightly different kinds of documents for representing those forms, and different skills for advocating change outside of our fee-for-service habits.

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.

The whole idea of action being a carrier of information is something that comes directly from theater. That's, in some ways, the one thing I've been trying to contribute. I still write things outside of architecture - not really fiction, but not nonfiction. I like dialogue as a form, because the text is only the trace of an action. The consequential information is carried in the action you choose to put on that text.