In all language and linguistic creations there remains in addition to what can be conveyed something that cannot be communicated; depending on the context in which it appears, it is something that symbolizes or something symbolized. It is the former only in the finite products of language, the latter in the evolving of the languages themselves. And that which seeks to represent, to produce itself in the evolving of languages, is that very nucleus of pure language. Though concealed and fragmentary, it is an active force in life as the symbolized thing itself, whereas it inhabits linguistic creations only in symbolized form. While that ultimate essence, pure language, in the various tongues is tied only to linguistic elements and their changes, in linguistic creations it is weighted with a heavy, alien meaning. To relieve it of this, to turn the symbolizing into the symbolized, to regain pure language fully formed in the linguistic flux, is the tremendous and only capacity of translation. In this pure language – which no longer means or expresses anything but is, as expressionless and creative Word, that which is meant by all languages – all information, all sense, and all intention finally encounter a stratum in which they are destined to be extinguished.

Walter Benjamin, 'The Task of the Translator' in Illuminations (Pimlico, 1999) p. 80

The idea of life and afterlife in works of art should be regarded with an entirely unmetaphorical objectivity. Even in times of narrowly prejudiced thought there was an inkling that life was not limited to organic corporeality. But it cannot be a matter of extending its dominion under the feeble sceptre of the soul, as Fechner tried to do, or, conversely, of basing its definition on the even less conclusive factors of animality, such as sensation, which characterize life only occasionally. The concept of life is given its due only if everything that has a history of its own, and is not merely the setting for history, is credited with life. In the final analysis, the range of life must be determined by history rather than by nature, least of all by such tenuous factors as sensation and soul. The philosopher's task consists in comprehending all of natural life through the more encompassing life of history.

Walter Benjamin, 'The Task of the Translator' in Illuminations (Pimlico, 1999) p. 72

In the appreciation of a work of art or an art form, consideration of the receiver never proves fruitful. Not only is any reference to a certain public or its representatives misleading, but even the concept of an 'ideal' receiver is detrimental in the theoretical consideration of art, since all it posits is the existence and nature of man as such. Art, in the same way, posits man's physical and spiritual existence, but in none of its works is it concerned with his response. No poem is intended for the reader, no picture for the beholder, no symphony for the listener.

Walter Benjamin, 'The Task of the Translator' in Illuminations (Pimlico, 1999) p. 70

There’s always the possibility of an architectural hangover, something we regret that we built. That’s entropy — the impossibility of getting a site back to the state it was. One could be nostalgic, but I think of all these layers as one great, expanded archaeological site. There’s no nostalgia in my work. It’s always about now.

Cyprien Gaillard, 'Beautiful Ruins' in T Magazine, http://tmagazine.blogs.nytimes.com/2013/04/10/beautiful-ruins/ (20/05/2013)

All that matters is to hoist one's sails and make for the open sea, avoiding like the plague all those who persuade themselves that they have found what they sought, who cease to move forward, but build their little shelters and compose themselves to slumber.

François Mauriac, Thérèse (Penguin Books, 1959) p. 59