Pragmatic is the approach that is entitled to engineers and their profession. Subjective and philosophical is the role that is attributed to artist and their profession. An exploration of the merge of the two characteristics is encouraged to evidence, promote, and highlight the role of the artist, if possible, unify them into examining present environmental challenges of our time.
There is a concurrent and present dialog about nature, environment and the exploration of the resources that encompass us. This jargon, as a collection of interventions, was constructed over several years of social mobilization. From the late 1960’s several socio political movements raised to open the space for environmental groups among other voices that were ignored at the time. This opening created a cultural vocabulary in which words such as, green, environment, resources, sustainability gained social value. That is, they became part of the culture that used them to refer to the events that were important to address as a social collective. Around the same time, and as a result of the movements, the practice of public art and installation was also born. It was one of the many tools among protest, manifestation, political liberation, insurrection used to construct such dialog .
The role of artist and engineers in the environmental dialog has merged into disperse and conflicting identities and spaces. From that historical perspective, artist had the leading role of shaping aesthetic symbols to nurture ideas of change. The role of the engineer was to become aware of the new realm opened to explore his pragmatic interaction with the environment. Such roles were not static, the evolved in differentiated shapes and have become what we see today. The engineer now is aware that his practices create environmental unbalances, and further explores his sets of techniques to diminish them. The artists, obliterated by the passage of time without sensible change has isolated itself in spaces of abstraction. Those spaces of abstraction led to the creation of public art installations that ushers confusion.
With their public abstractions, artist’s behavior is further described by Malcolm Miles as;
“keeping a secret from the world, creating the effect of knowing something it does not and will never know that is so central to avant-garde art, is not only a paranoid withdrawal from the worlds indifference, but also a vicious, however, sublimated attack on it.” 
From the pedestrian perspective the landscape has been inundated with buildings (product) structures. In cities such as Pittsburgh, Sydney, New York. Pedestrians find themselves into a hunt, to dig up and find meaning in cities public expressions among the vast sea of buildings and living spaces. From such interactions, the public feels as an aesthetic incompetent, the authorities that manage public resources confirm that same public disguise, and the public at large reflects on the interaction as an active source of a joke . There is a lack of representation. There is no shared identity in the work of the artists.
The artist retreat into movements and specialized contemporary abstract practices led him isolated and heavily influenced by the same society it tried to alienate. “Most of public sculpture does not have aesthetic value in the eyes of the public it is supposed to serve.”  How can it be another way? The colossal machinery of commodification that surrounds us permeates every single corner of the western world. I felt deeply disappointed to sense this reality. I sought in the class Sculptures’ Expanded Field of Installation/Site art a space for liberation of the commodification intrusivness experienced as an engineer. What a disturbing impression is to find, that the artist, in aims to find legitimation of its work, turned out to be a bureaucrat. Creating novelty within restricting settings to then replicate it oversee it, institutionalize it and at the end of the day, manage it, distribute it, and sell it. Continuously I sensed that this ideology of the new and mass consumption also permeated the art world. The continual new, the same attitude that created present environmental challenges. Even if the reader is not a believer on climate change, the continual new has the characteristics that it displaces streams of harmony for temporary alibis, reinforcing short attentions spans, momentary pleasures, as described by Kown  “A compensatory fantasy in response of the intensification of fragmentation and alienation wrought by a mobilized market economy (following the dictates of capital)” A temporary antidote, for the anxiety boredom, for humans that are caged, in the jail of consumerism. The beauty appreciation of our actions, that is providentially given by gifted artists, is set aside for production.
The artist is then in a position of using and reinforcing present ideologies to manifest its abstract position, a circumscribed mechanism that must be challenged. There is no use in denying it. Yes, it is rooted in our ideology of capital. While the engineer has found support of public policies to pursue his methods, due to the increase of revenue that it generates, the artist has no support from the policy arena. Its concepts are not valued by the system so the economic structure has turned his back on the artist and sees them as mere form of entertainment, not as an active ingredient of developing a society. “The cultural turn in public policy mirrors the artist oversight of the agency of members of society to imagine its future for itself.”  I like the remark made by Malcom Miles about how to enact change we need to look for new methods “the master’s tools will never dismantle the master’s house” he says. An ideology of capital is so enmeshed and permeated into the world that it has become who we are. Again, it manifests itself as a conflict between social schemes with no representation and a set of continuing streams of materials. An artist in the cloud of abstraction finds no motivation what so ever to represent the dormant public. More art commodification will not create an inclusive society, it will just create more stuff, and distractions to let time pass by. Artist, if you are to become a bureaucrat anyway; why not play the role of a useful bureaucrat? As a whimsical attempt to reclaim art’s seriousness in face of a mass culture of absurdity and deception, let us venture in to the promethean task of negotiating aesthetic values with the public. A task that will surely seek to transform our present ideology of the new.
The promises of the artist potential are examined by negotiating and giving new meaning of the public space. “Perhaps it is away to pursue a negotiation of values through work which occupies an axis between resistance and complicity, but does not resolve the tension, but rather makes it evident” With responsive stances artist create forms with social meaning, meaning that work as “ideological tokens”  to drive change. A systematic creation in public spaces of personal encounters. Creating mental lapsus in which the public experiences glimpses of liberation. There is an interstitial place in society that is calling to filled up. It is urgent to test concepts, assumptions, and boundaries, risk and uncertainties of the present world. When the artist is called to address and give value to present aesthetic annoyances of the world, he faces the challenge and temptation to decline to be involved in the valuation of aesthetics (on moral grounds) and turn into a commodification business. Nevertheless, it also has the social responsibility almost duty to value the aesthetic circumstances that we have enmeshed ourselves. By depositing ideological tokens into the public’s mind, the artist positions in the void interstices of our collective minds a new set of lexical connotations; harmony, dignity, understanding, uncontestable values that would expand our vocabulary and push us into new forms of ideologies and dialogs.
To bring tangible action artist can find in engineers, their solid expertise on developing concepts and getting public policy resources, a support to develop and take to completion their projects. This is an integrative challenge to unify the concepts of prosperity and beauty in an eternal dance of pragmatic features and philosophical stances. “If a society believes that it will benefit from a population in which delight results from attention and reflection given to certain intrinsic features, it will attempt to provide opportunities for aesthetic experiences … all that is needed is shared traditions and readiness and ability to stop an indulge”  A promise of representations that it will be so attractive that the public finds pleasure in it. Don’t artists make a promise with the beautiful by default? Keep that promise, and put it at the service of our interactions with our surroundings.
The artist cannot enjoy the position of endless critic and abstractor. It is opted to do, create tools, ideologies that challenge the present. Create consensual pieces as ideological tokens that make sense to all of us involved in the context of the piece. Additionally, enhance awareness of people who are delighted and not confused; in order to construct a new set of terminology that sparks dialog with a dormant society.
Those who are in the pursuit of social change ought to consider the public spaces as enabling arena where social change is enacted. As time has passed we take a look around and we observe cities, spaces, and people living their hectic life. The installation of objects in public spaces instead of resonating with the dogmas of the past, have the enormous opportunity to facilitate the ideological transition to awareness with our surrounding and resources. We don’t need to seclude inbounds or scape the places we inhabit. We have the great occasion to let artist come in, speak and give appreciation to our daily environments. Their appreciation is to increasingly take part of our daily interactions and relate us, speak to and transform our public spaces.
What reactions members of society in public spaces are emanating? Are we isolating ourselves and as Merlin said it, seeing at a distance how the world is burn by evil lunatics? Or are we vibrating with the harmony and beauty that artist has shared with us and opening the doors for their appreciation of nature? If we take into consideration the psychological, physical and ideological responses to public art and how we can shape the mindset of society by addressing such encounters, then, we can certainly state that a positive response in terms of peace, harmony and dignity to those spaces reflects a confirmation that we are doing a decent evaluation of our environment and ultimately echo that human energy emanated alone is a piece of art .
This piece in Pittsburgh downtown it is amazing, very few people can see it though.
 The Practice of Public Art – Edited by Cameron Cartiere and Shelly Willis
 Critical Spaces: Monuments and Changes – Malcolm Miles
 Art, Space and the City Public art and urban futures – Malcolm Miles
 Basic Issues in Aesthetics Marcia Muelder Eaton- Waveland Press
 One Place After Another: Notes on Site specificity – Miwon Kwon October
 ‘Human energy alone is a work of art’: Nancy Spector on the role of artists in society
 In the case of the U.S., Can we compare the budget for the National Endowment of the Arts, with the budget for the military (Defense budget)? Let us thrown some numbers. A federal budget for the National Endowment of the arts od $146 million with reduction of 13% over the last three federal budgets versus and increasing $601 billion for defense.