Architecture visibly bears economic scars that film represses and conceals

Evidence

Besides the corrugated aluminum of this building, he has an obvious predilection for steel mesh, raw plywood, cinder block, telephone poles, and the like, and even at one time in his career designed (astonishingly ornate) cardboard furniture. Such materials clearly “connote”; they annul the projected syntheses of matter and form of the great modern buildings, and they also inscribe what are clearly economic or infrastructural themes in this work, reminding us of the cost of housing and building and, by extension, of the speculation in land values: that constitutive seam between the economic organization of society and the aesthetic production of its (spatial) art, which architecture must live more dramatically than any of the other fine arts (save perhaps film), but whose scars it bears more visibly even than film itself, which must necessarily repress and conceal its economic determinations. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 294

Categorization

• DEFINE: Defines how postmodern cheap-材料 aesthetics inscribe economic/infrastructural themes, annulling modernist matter-form synthesis.
• XREF: This ‘seam between economic organization and aesthetic production’ echoes the reader’s stated goal that aesthetic form is the economy’s way of appearing — direct support for the book’s key idea.
• ADDENDUM: The emphasis that materials ‘connote’ cost and land speculation resonates with the trees-as-infrastructure piece’s point that material choice carries infrastructural meaning.