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His essay on the topic was included in The Anti-Aesthetic, a 1983 anthology edited by Foster.
Around the time that Karl Marx wrote his critique of society and stated that religion was the opiate of the people, artists were also rebelling against conventional forms in a movement known as Realism (1850-1940).
Realism rejected the idea that art should try to find beauty in this world or the next.
And it may well be that both art and architecture are fields too important to be left to their professional defenders.
And anyway, if Foster’s observations are accurate, architecture has itself been dissolved, our ways of building and dwelling transformed into cinematic encounters under consumer media’s management.
” (2) Foster’s attitude with regard to electronic media culture makes him a traditionalist.
Another writer afflicted with what is often called “Benjaminian nostalgia,” the historian of architecture Kenneth Frampton, invoked a practice he called “critical regionalism,” in which architechtonics, truth-to-materials, site-specificity and other such dreams of the decade were the key aspects of building.
In this way, Realism marks the beginning of the Anti-Aesthetic movement.
The next stage in the Anti-Aesthetic movement is found in Dadaism (1915-Present).
He typically opposes resistance and transgression to complicity, outside to inside, the real to the illusory, and the virtual to the actual.
This marks a limit to his analyses and, for some, renders his conclusions helplessly conservative, even though his objections to “capital” might seem necessary.