Karl Joosep Pihel

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Narrative Dimensi...
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Feeling and Form
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The Fold: Leibniz...
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“Iga kordus on iga kord uus.”
Margus Ott

Walter Benjamin
“Every morning brings us news of the globe, and yet we are poor in noteworthy stories. This is because no event comes to us without being already shot through with explanation. In other words, by now almost nothing that happens benefits storytelling; almost everything benefits information. Actually, it is half the art of storytelling to keep a story free from explanation as one reproduces it. . . . The most extraordinary things, marvelous things, are related with the greatest accuracy, but the psychological connection of the event is not forced on the reader. It is left up to him to interpret things the way he understands them, and thus the narrative achieves an amplitude that information lacks.”
Walter Benjamin, Illuminations: Essays and Reflections

Richard Powers
“But people have no idea what time is. They think it’s a line, spinning out from three seconds behind them, then vanishing just as fast into the three seconds of fog just ahead. They can’t see that time is one spreading ring wrapped around another, outward and outward until the thinnest skin of Now depends for its being on the enormous mass of everything that has already died.”
Richard Powers, The Overstory

Eduardo Viveiros de Castro
“Just as we once abhorred the vacuum, today we find repugnant the very idea of deceleration, regression, retreat, limitation, degrowth, applying brakes, descent - sufficiency. Anything that brings to mind any of these movements toward an intensive sufficiency of world (instead of an epic overcoming of the "limits " separating us from a hyperworld) is immediately accused of naïve localism, primitivism, irrationalism, bad conscience, guilt, or even just fascistic tendencies, period.”
Eduardo Viveiros de Castro, The Ends of the World

Roland Barthes
“Rereading, an operation contrary to the commercial and ideological habits of our society, which would have us "throw away" the story once it has been consumed ("devoured"), so that we can then move on to another story, buy another book, and which is tolerated only in certain marginal categories of readers (children, old people, and professors), rereading is here suggested at the outset, for it alone saves the text from repetition (those who fail to reread are obliged to read the same story everywhere), multiplies it in its variety and its plurality: rereading draws the text out of its internal chronology ("this happens before or after that") and recaptures a mythic time (without before or after); it contests the claim which would have us believe that the first reading is a primary, naïve, phenomenal reading which we will only, afterwards, have to "explicate," to intellectualize (as if there were a beginning of reading, as if everything were not already read: there is no first reading, even if the text is concerned to give us that illusion by several operations of suspense, artifices more spectacular than persuasive); rereading is no longer consumption, but play (that play which is the return of the different).”
Roland Barthes

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