His essay on the topic was included in The Anti-Aesthetic, a 1983 anthology edited by Foster.
(3) Here, Frampton lays out a heartwarming defence of real things, place as the here and now, and an actuality that is understandably founded in a longing for “the” body.
” (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.
REVIEW The Art – Architecture Complex by Hal Foster is a book concerned with contemporary architecture and design, a subject I am vastly under-qualified to critically pursue.
How I could venture into this task without the requisite specialization is best explained by my conviction that marginality with respect to such specialization is sometimes preferable to expertise.
“Capital” and “spectacle” are the concepts by which Foster navigates the tyranny of contemporary culture.
Why not take the first few lines from Debord’s book as predictive: “Everything that was directly lived has moved away into a representation.” (1) This still seems close enough to a description of our current situation, although what it means and how it came about is debated.
That is, their materiality was bodily, although understood in the sense of a physicality that stops short of recognizing “flesh,” that wonderful term of Merleau-Ponty’s that now encompasses the electronic environment.
This metaphysics, the foundation for Foster’s criticism in general, is oppositional in form.