In
Euthenics, the Science of Controllable Environment, written a year before her death in 1911, she vehemently calls for her contemporaries to recognize the potential hazards and benefits of indoor air.
Ultimately, then, Blasted is an experiment in
euthenics that, in the words of one critic, "blasts its own structure apart" (53) and, through these environmental ruptures, transforms viewers into alienated exiles within a remapped theatrical space.
The environmental strain of thought is sometimes labeled "
euthenics," to distinguish it from the more common 20th century understanding of eugenics as a program to change humans through selective breeding.