ABSTRACT
If theory and philosophy, according to Rancière, have been used to invert the critical sense of the spectacle, what can we say about architectural discourse from the 1960s to the present? Are the pressures observable in a field such as architecture, subject as it is to quite different, and sometimes particularly strong, external institutional constraints, analogous to those in the human sciences and the humanities? In what way was the revolutionary impulse of situationist critique neutralized or deflected by the generally conservative professional and business culture latent within architectural theory?
