To be human in 2025 means to navigate a world highly saturated in spectacle, technology, and human regimes of order. Evolutionarily, we are a young species, but as we adopt and seamlessly integrate new technology into our lives at an accelerating pace, our animal history can feel increasingly abstract, unnecessary, or discarded. Our dissociation from the land that sustains us exacerbates the climate crisis as we attempt to live separately from it. My body of work investigates Florida's ecological dysfunction as a result of human intervention through the language of software limitations, video games, and computer bugs.  Each sculptural assemblage is a hybrid digital object composed of layered, intersected, suspended, and painted wooden panels. My sculptural assemblages analogize ecosystems with software, reimagining the complex interactions between species and environment as a program of coded steps that sustains itself within parameters on a hardware that accommodates the needed resources. Both systems support only a predetermined number of outcomes and are susceptible to disruption by human interference that risks cascading system failure. Video game environments manifest these disruptions visually, and I borrow from the language of broken video game wildernesses to represent real environmental harms that often go unnoticed or represent long-term harms that have yet to manifest.