cry me a river

Now you say you're lonely,
You cry the whole night through.
Well you can cry me a river,
Cry me a river,
I cried a river over you.

Now you say you're sorry,
For being so untrue.
Well you can cry me a river,
Cry me a river,
I cried a river over you.

You drove me, nearly drove me,
Out of my head;
While you never shed a tear.

Remember, I remember,
All that you said;
Told me love was too plebeian,
Told me you were through with me

And Now you say you love me,
Well, just to prove you do,
Come on and cry me a river,
Cry me a river,

I cried a river over you

LEWIS PAYNE ou le pouvoir d'une photographie

Lewis payne , etait un jeune soldat confédéré qui tenta d'assassiner le secrétaire d'État des États-Unis William H. Seward. Il est l'un des quatre inculpés qui fut pendu après le procès des conspirateurs de l'assassinat d'Abraham Lincoln . mais c'est qui attire sur cette photo est que quelques jours apres il serait execute. donc Barthes dit que la photographie est un isntant que ne reviendra jamais . cette phto est le meilleur example .

petrobras explained

amazing explanation about political's situation in Brazil those days

perspective dans la peinture

Paolo Uccello (Florence, 1397 - Florence, 1475)
Botticeli :

perspective dans l'architeture

avant davinci, à la fin du moyen age, pendant que le theatre etait fait dans la rue , des peintres et des architetes ont commence à mettre l'homme au millieu de la vision au lieu de favoriser la vision du divin et de cela naissa la perspective. Baldassarre Peruzzi, (Sienne, 7 mars 1481 – Rome, 6 janvier 1537)
Sebastiano Serlio (Bologne 6 septembre 1475 - Fontainebleau 1554) : 

brazilian life - SARAVAH -サラヴァ

it is like a greeting or salutation at times. It also heard it is used like "Amen". It is also the name of a record label and the name of a song by Les Nubians (as Saravah). The song, "Saravah" caught my interest and I thought it sounded like a pretty name, but I guess it is a loaded word as well. 

la theorie de tout

https://libraryofbabel.info/theory.htmlThe first paragraph of Borges’ “The Library of Babel” offers a minute description of the universe he has doomed his librarians to inhabit. Which is why I was shocked to reread the story recently and discover my mental image was completely wrong. He describes a vast architecture of interconnecting hexagons each with four walls of bookshelves and passageways leading to other identical hexagons. I had made the assumption that six walls minus four walls of book shelves equals two such passageways. I read to my astonishment:

The arrangement of the galleries is always the same: Twenty bookshelves, five to each side, line four of the hexagon's six sides; the height of the bookshelves, floor to ceiling, is hardly greater than the height of a normal librarian. One of the hexagon's free sides opens onto a narrow sort of vestibule, which in turn opens onto another gallery, identical to the first-identical in fact to all.

One of the hexagon’s free sides opens onto a vestibule - how could this be? So much of the story told by our narrator conjures endless, desolate expanses of hexagons, repeating infinitely and inspiring both the reverence of the God who created them and despair at a life trapped inside them. But this would only be possible if the hexagons had two openings each - otherwise the structure would terminate at its first junction.