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

När nutida betraktare blickar bakåt och ser varumarknader och penningväsen, fast i enklare form, då är detta bara ett exempel på hur framstegstänkandet är en fetisch. Mynten under antiken var inte en “enklare” form än dagens pengar, utan de var någonting helt annat, minst lika komplext.

Rasmus Fleischer, 'Geld ohne Wert: läsanteckningar del 3' at Copyriot, http://copyriot.se/2013/04/14/geld-ohne-wert-lasanteckningar-del-3/ (14/04/2013)

Det som gör hoppet till en så intensiv lustförnimmelse är att framtiden, som vi efter eget gottfinnande förfogar över, samtidigt uppenbarar sig för oss i en mångfald lika leende och lika möjliga former (une multitude de formes). Även om den starkast åtrådda av dessa förverkligas, måste vi ge upp de övriga och mister därmed mycket. Vår föreställning om framtiden, rik på oändliga möjligheter, är alltså mer fruktbar än framtiden själv. Härav kommer det sig att man finner mera tjusning i hoppet än besittningen, i drömmen än i verkligheten.

Henri Bergson, 'Tiden och den fria viljan' quoted on Intensifier, http://christopherkullenberg.se/?p=2661 (14/04/2013)

Om du då träffar en man som frågar dig om det är en spade du bär på axeln, då ska du svara ja och börja gräva i jorden med åran. Då finner du kanske lycka, Lyckan kanske är nergrävd just på den platsen. Då kanske du kommer ut ur din ensamhet och till varelser som gräver i marken med enkla spadar efter lyckan och som inte gräver efter Lyckan med svärd eller lans i andra mänskors kroppar. Då kanske du blir en alldeles ny mänska, den allra första av en ny sort.

Eyvind Johnson, Strändernas svall (Albert Bonniers Förlag. 2004) p. 149

Historien säger ingenting annat än att den eller den personen som har gjort den eller den inskriften på den eller den stenen har blivit tillsagd att göra inskriften på befallning av den eller den härskaren – historien säger ingenting annat än att den som har fått befallning att sjunga den eller den hjältedikten eller krigarvisan faktiskt har sjungit så högt att hans efterkommande och lyssnarna och lyssnarnas barn lärde sig sången utantill och förde den vidare!

Eyvind Johnson, Strändernas svall (Albert Bonniers Förlag. 2004) p. 44

Han visste, att om man vill komma ihåg någonting så ska man gå baklänges in i minnesdjungeln, minnesmoraset med små, små steg och då kommer men ju tillbaka in i det och står där. Vill man glömma kan man smyga sig bort, smyga sig framåt så försiktigt att inte ens nuet klibbar vid ens kläder, smyga sig in i framtidens verklighet med så lätta steg att minnet inte hör, ja, så att man rent av villar bort minnet.

Eyvind Johnson, Strändernas svall (Albert Bonniers Förlag. 2004) p. 34

Låt mig vara tydlig: arbetssamhälle = kapitalism = tillväxt = modernitet.
Att tänka sig ett uppbrott från detta är en ganska stor sak. Det går bortom allt trams om “nolltillväxt”, vilket mest är ett sätt att bejaka tillväxtens kris – ett nollmål förutsätter ett samhälle där det fortfarande är meningsfullt att mäta “tillväxten”. På samma vis är “postmodernismen” mest ett sätt att bejaka modernitetens kris, utan att avskaffa dess kategorier.

Rasmus Fleischer, 'Till kritiken av arbetskritiken' on Copyriot (08/04/13)

FREEDOM: a state emptied of preconceived value, use, function, meaning; an extreme state of loss within which choice is unavoidable; a condition of maximum potential, realised fully in the present moment.
[...]
KNOWLEDGE: the invention of the world in all the complexity and multiplicity of its phenomena.
ARCHITECTURE: instrument for the invention of knowledge through action; the invention of invention.
[...]
HIERARCHY: a predetermined vertical chain of authority that works from the top down.
HETERARCHY: a spontaneous lateral network of autonomous individuals; a system of authority based on the evolving performances of individuals, eg, a cybernetic circus.
[...]
CONSTRUCTION: the invention of reality.
REALITY: a state necessitating the invention of construction.
OBJECTIVE/SUBJECTIVE: terms of dualism divorcing experience from reality.
[...]
BEAUTY: 'knowledge without interest'; ideas embodied in and transcended by forms.
[...]
MEANING: the free interaction of values.
[...]
RELATIVITY THEORY: the great destroyer of hierarchies; description of the world according to an observer.
[...]
CONSUMERISM: a state of becoming limited by the total entropy of a system.
MASS CULTURE: a system diminishing the autonomy of individuals; a state of undifferentiated nature within which the making of distinctions is difficult.
REVOLUTION: self-cancelling mass political machinations; the necessity of formlessness.
[...]
FORM: the condition of boundaries, perceived as exterior to self.
SPACE: the condition of boundaries, perceived as interior to self.
[...]
STRUGGLE: the essential condition of freedom.

Lebbeus Woods, 'Glossary' in ANARCHITECTURE: Architecture is a Political Act (Academy Editions, 1992) p. 142

If I could believe in utopia, it would be a utopia of free movement, a perpetual assertion of self-determined existence in space and time. But I cannot believe in utopia, so I believe in movement attained through and limited by struggle, tension, anxiety and the assertion of my personal power against the power of the earth, against gravity and death.

I cannot believe in utopia, because utopia insists on an absolute consensus among people, and such a consensus cancels the individual's power to assert his and her presence in the world. Consensus is an ally of gravity. It is in fact a form of gravity that slowly and insidiously disables individuals and makes them impotent before the relentless claims of gravity and death. I declare war on consensus.

Lebbeus Woods, 'Aerial Paris' in ANARCHITECTURE: Architecture is a Political Act (Academy Editions, 1992) p. 64

The construction of a new city within and in opposition to an existing one amounts to an act of renunciation and even of violence, more lasting in its effects than those achieved by the gun. One need only compare the changes made to cities by modern warfare and by modern architecture to confirm this idea. The process of changing from one type of order to another is always violent. Over time, architecture can be the most potent weapon of change.

 Lebbeus Woods, 'Underground Berlin' in ANARCHITECTURE: Architecture is a Political Act (Academy Editions, 1992) p. 50

Self-preserving cultures seek static equilibrium, the maintenance of a status quo, as the founding principle of social coherence. The means of this maintenance is conformity to standards and norms. Contradictions, conflicts and paradoxes are intolerable in such societies, because they are inconsistencies that undermine requisite conventions.

Contemporary society is not self-preserving, but essentially self-transforming. It seeks dynamic equilibrium. Continual change is what it is based on, and what it needs above all else. This extends fully into the realm of knowledge, what it is and what it means today. Knowledge is no longer that inertial body of facts which enforces stasis, but is in fact the impetus to and energy driving change on every level of society and culture.

Lebbeus Woods, 'Heterarchies' in ANARCHITECTURE: Architecture is a Political Act (Academy Editions, 1992) p. 46