There’s license in the arts to question very normative assumptions. The engineering approach of designing infrastructures as living systems does still give me hope for how we might rethink human systems more broadly. But I continue to feel quite frustrated with the way that engineering as a discipline tends to frame problems as technical challenges. You’re supposed to scope out the political and social forces that are causing an environmental problem, and just slap a technical fix on the end of it. Even the work I was doing — that really nice, innovative, environmental work — was facilitating terrible housing developments full of huge McMansions. It seemed like my job was to make these wildly unsustainable projects just a little bit less bad.

So I started to get more and more interested in different kinds of questions. Like, who and what do we value? What do we think we need in order to have a good life? These weren’t questions we asked as engineers, but they were questions I could ask as an artist.

For example, as an engineer, your goal is to minimize risk to humans living in the environment, and to do this, you have to adhere to regulations such as human health standards. But the cost may be the capacity of other, nonhuman species to live and flourish. At some point, you have to think about how you weigh that cost. We urgently need to expand the definition of human health to also include the fates of other life forms. There was very little room in the space I was working in to explore these assumptions and the cost of designing from a solely human-centric perspective.