I mentioned in chapter 1 that we needed to cultivate public subjects who are capable of imagining themselves as situated within many complex networks. Not only are we all located within a specific home-work nexus, but we are also located within regional, national, and global networks. Furthermore, each of us is situated within transhistorical and transspatial networks of place. The choices we make for ourselves have effects on future times and places that do not only parallel our own lives. Thinking through these networks demands an ability to imagine the incongruent and asymmetrical networks within which our agency is lodged.
-“Distant Publics, Development Rhetoric, and the Subject of Crisis,” Jenny Rice
The passage doesn’t follow the “they say/I say” format because she compares her current point to that of the first chapter. As this passage occurs later in the publication, it does not necessarily present an alternative viewpoint.
The built environment is characterized by man-made physical features that make it difficult for certain individuals—often poor people and people of color—to access certain places. Bridges were designed to be so low that buses could not pass under them in order to prevent people of color from accessing a public beach. Walls, fences, and highways separate historically white neighborhoods from historically black ones. Wealthy communities have declined to be served by public transit so as to make it difficult for individuals from poorer areas to access their neighborhoods.
-“Architectural Exclusion: Discrimination And Segregation Through Physical Design Of The Built Environment,” Sarah Schindler
The wealthy communities say that they do not want public transportation service in order to prevent poorer individuals from entering, while I say that this in an unfair way to make it difficult for certain individuals to access the build environment.
This follows the “they say/I say” format because it offers two different points of view in the passage, one from the author and another from a third party.