The “pile fields,” as she terms them, “are stunning reminders of a city past. As compared to the monumentality of the [Queensboro] bridge,” which also appears in the book and in the public art project she proposes, “the scale here has been anthropomorphized, and thus demands that we acknowledge the physical history of this place, its decay, and the topography of desire that is New York City.” Roysdon “asks people to focus on the ethics of communication, the ways in which we move about this city and the speeches we employ. Talk is territorial and speaking is a dance.”115 The nonfunctionality of
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