My think

Ipatia was a student of philosophy and also a bibliophile very passionate, she read very much and much gender, literature, history, philosophy, the first, and romance, but classic, and on different languages, she has travelled much but alone for libraries, she knows every libraries, public and private, she has free access for everyone libraries, every librarian knows Ipatia, she entered in libraries and she gone out with three book, some libraries was very generous and lets that she took five, every month Ipatia was present, and one time she didn’t it, and somebody phoned hers: “Ipatia, we attended you, where are you now?”, and she: “One moment I am make up”, and librarian: “Not later more, stop”. She was very loved by librarian because she was one of little person who again attended libraries, and sometime somebody helped hers for to carry books. During night Ipatia, daughter of two business persons, who have neglected hers and she has found her love between books; she was grown up with an aunt who has started hers to philosophy and she often dreamed hers and every problems was solved with philosophy; but now one problem was born, Ipatia asked herself: “What is my think?”, and her aunt Athena showed herself on the wall, and: “Usually I must solve your problems, Ipatia, but when do will you grow up? You must consider that every philosopher has always took by other but after has developed with oneself his think”, and Ipatia: “Yes, but what I must make now?”, and Athena: “You are searching your think, but alone by other you can take your think, you must consider the think of every philosopher and to consider what is that you…”, and Ipatia: “What that I feel next”, and Athena with look very angry: “Not absolutely, you don’t feel your think, the think is rational and not certainly emotive, you must consider the truth as inherent to a philosopher and to search it in conformity with an address; philosophy is alone a method which you must follow because is your think and your address”, and Ipatia: “What I must follow?”, and Athena: “I must start again!!! Your, and alone your!!!” and Ipatia: “What is mine?”, and Athena: “Do you remember Socrates?”, and Ipatia: “Yes, know yourself”, and Athena: “What is mean”, and Ipatia: “I don’t know”, and Athena: “It is means that you must know your borders, and your border is that you now don’t know what is your think”, and Ipatia: “How can I solve this problem?”, and Athena: “A question, do you have red some book of philosophy?”, and Ipatia: “yes, some alone, I has had an aunt very pain in the neck who has ordered me read always, and may you have known”, and Athena: “Not certainly but I would know this person because she has an idiot nephew, and has hoped that she become an intelligent person, but it is failed experiment, because her nephew is again idiot”, and Ipatia: “Do you think? You think it because you haven’t know this aunt”, and Athena: “Socrates taught that you must search you think, and you can take think of others, you must take it and consider if it is important for explication of reality, how do you explain reality? What is your method?” and Ipatia: “I see reality and…”, and Athena Interrupted soon: “Therefore you are speculative”, and Ipatia: “Yes but not only, I want consider that much realities are very different, and I search what is motive, and therefore I want know because it is so, therefore I won’t alone describe, I want know because”, and Athena: “Very good, but how do you search it?”, and Ipatia: “I don’t know”, and Athena: “But speculative philosopher explains because a reality, Aristoteles has made it”, and Ipatia: “Yes but his explications are now laughable today”, and Athena: “Not all, because much explications are valid now, but it isn’t address for you, and I think, because I know you perfectly, that you will be a perfect eclectic woman” and Ipatia: “Eclectic haven’t an address”, and Athena: “Why do you have it?”, and Ipatia: “No”, and Athena: “Eclectic let you a chose very wide and you can take and have cause for every phenomenal, you can justify and change when you consider that one thesis is failed”, and Ipatia: “Eclectic haven’t one think”, and Athena: “Yes they have it but is isn’t unambiguous they think that every thesis has a truth, and you can find this truth for every thesis, therefore you can consider that this will be your first address, after you will follow others, but gather all and after you will think with your address”, and Ipatia nodded and she looked a image of her mother and: “But who is that woman?”, and Athena: “My sister, this is your mother”, and Ipatia with goggle eyes: “But she is travelling”, and mother: “No love I am dead by much time, by your born, as your father, alone Athena was life, you have talked with alone images, we were dead and now you can speak with us as with your aunt”, and Ipatia: “I have seen you this morning”, and mother: “No you have seen that you want see, but we are here by your birth; you have seen us always little because we aren’t; it is a think, and a problem: What do you want is a projection? Solve this problem and we will consider your solution”; Ipatia plug off light and: “Tomorrow, now I must solve other problem, it is if sleep is right or not, for answer after my awake; good night”.

Alessandro Lusana

       

Do you want change?

Robert was a student very of philosophy, much appreciated by his colleagues and professors, he was always attentive to rationality of discourse of his student, and also during examination he was always inclined to explication of a philosophical concept rather correction of a word of explication; he loved ancient philosophy and he dreamed always attended place of Athens; during a night, after read of book around life of Socrates, he slept, and he dreamed an ancient place with much persons, much philosophers, and he identified Socrates, he approached to him and asked: “Are you Socrates? Master of philosophy”, he looked Robert and answered: “It is all right, except master, who are you?”, and Robert: “I am Robert Nicholson and I came by future”, Socrates looked him and other, and: “By future, what future?”, and Robert: “By a time that now isn’t but will be”, Socrates looked around and: “This future to me is past, just now”, and Robert: “No possible, because it isn’t will be no past”, Socrates meet the fingers and: “When do I have snap fingers?”, and Robert: “Never, or no now”, and Socrates soon snapped fingers, and: “No now, but now is past, because while I tell it time is past, and I have snapped fingers some second past, therefore it is past, and no now, but anon, therefore past, is I snap…”, and Robert: “You haven’t snapped now, therefore it is future”, and Socrates: “Dare you sure?”, and Robert: “Certainly?”, and Socrates, while Robert ended his think snapped fingers, therefore: “Contrary, is past, because I have snapped…”, and Robert: “Now you have snapped”, and Socrates: “No, I have snapped anon, therefore it is past”, and Robert: “And future?”, Socrates then: “When I will snap fingers”, and Robert waited that he make it, and Socrates: “You wait future snap of fingers, therefore it is will be”, and Robert: Certainly, it will be”, and Socrates, snapped soon fingers: “No it is past”, Robert very pensive asked: “Do you want go to future, without fingers? My future, therefore do you want change?”, and Socrates: “Yes, but without fingers?”, and Robert: “Yes, do you want it?” and Socrates thought a moment and: “Yes”, Robert took a chalk and on a wall he drawn a door, he knocked tree time and opened the door, and Socrates very astonish entered and gone in. Robert since Socrates was gone away, continued heard all persons and philosopher in place of Athens, therefore he met Platoon, Aristoteles Epicures and Heraclites and other; he heard thesis of all, he meet also historical Herodotus and Thucydides and he heard his history of war in ancient Greek, he heard Egypt of Herodotus and Babylon, and fight with Persians to Salamis, and other episode very important; he heard speculative philosophy of Aristoteles and the word of ideas of Platoon, conception of Heraclitus and his “panta rei”, and the atomism of Democritus, Euclid and his math, Pythagoras and his theorem and much other; he often participated to discussion and with much emphasis he argued, is till he heard knock to door and somebody, Aristoteles ordered to a pupil open the door, he opened and Socrates entered with expression very angry, he looked Robert and: “Do you want live still?”, and Robert: “Yes, why?”, and Socrates: “Because I will bring you court with thirty judge, they will condemn before you and after me, because you merit it!”, and Robert: “What is wrong to future?”, and Socrates: “I prefer die here for too words than die in your future without word; in your future isn’t word, I have tried to talk somebody but they were dead just, silent and always angry, everybody busy for hate next and all attentive for a set on chair, everything is mine, and who touch I cut hand, everybody lives with oneself, they don’t talk and think; therefore I have very pleasure that you are here but now you can, or better, you must go back to your future; I want stand on my past, and now I asked to you: do you want change?”, and Robert: I not would, but it is your past, and that is my future. Without fingers”, but Socrates snapped fingers and opened the door, therefore Robert looked last time place and he entered and snapped fingers, and door was closed.

Alessandro Lusana                                     

Qualche nome

Purtroppo molti ceramisti hanno consegnato il loro nome ad un passato ancora imperscrutabile, solo iniziali che stentano ad essere sciolte in denominazioni definite, ma di qualche referente nominale abbiamo certezza, ad esempio Piero e Stefano di Filippo poi appellato Fattorini , a cui seguirà Jacopo, e a Siena opera, dal 1503,  Benedetto di Giorgio; un ausilio giunge anche dai marchi che riportano le sole iniziali degli autori di cui abbiamo per una integra, sebbene limitata ovvero unica, documentazione che, traducendo il nome dell’autore e quindi il prodotto, agevola anche l’identificazione e la soluzione dei segni grafici, il caso dei citati Nicola Pelliparo(Fig.1) e di Fontana(Fig.2) sono, e restano, una certezza per le future ricerche che agevoleranno, almeno per i succitati, la scoperta di altre produzioni autografe. Ma dopo tanto colore e fragorose pennellate, anche la ceramica ritrova la sua laconica natura cromatica; durante la seconda metà del XVI secolo la ceramica, almeno in alcuni esempi stilistici, palesa “il ritorno all’ordine”, ossia dirada la cromia a favore della materia. Un referente resta l’opera di Leonardo Bettisi(m.1589), detto Don Pino, attivo per la Casa di Baviera ad un servizio di porcellana(Figg.3-4), per il quale il Nostro adotta la definizione della linea improntata ad una sobria resa pittorica atta a narrare piuttosto che decorare quindi coonestando a livello filosofico, per il contesto prettamente narrativo raggiunto dal ceramista, l’esempio del Bettisi che resta prettamente didascalico piuttosto che fugacemente decorativo. I Lumi intellettivi, tanto celebrati soprattutto nel contesto filosofico e politico del Settecento, non mancano di estendere, ovvero convogliare, anche la ceramica che volge le lanterne verso orizzonti già conosciuti all’Europa sin dal Medioevo, ma ignoti all’arte figula, ossia la porcellana cinese, la cui resa materia raggiunge la produzione europea solo nel XVIII secolo. La natura estetica del Settecento, detto comunemente Rococò, assimila la fragorosa lezione barocca e la rivolge alla plastica, spesso sviluppandone o migliorandone gli esiti stilistici, e traducendone anche il divenire formale e materico di assunti drammatici, nel senso greco del termine, che deviano la loro fenomenologia formale anche nella ceramica.

Alessandro Lusana

Some names

Unfortunately muche ceramist have given their names to past now unknown, and we keep alone initial name’s very difficult for to decode, but we have some name, for exemple Pietro and Stefano di Filippo, called Fattorini, and Jacopo, while to Siena is busied Benedetto di Giorgio, by 1503; the mark with alone initial, whose we have only complete documentation, what translated name of author become easy identification e solution of sign, name of Nicola Palliparo(Fig.1) and Fontana(Fig.2) are insurance for discover of other flat. One reference is Leonardo Bettisi(dead 1589)(Fig.3-4), called Don Pino, who worked for aristocratic of Bavaria, and Don Pino adopted a line with sober colours fit for narration rather decoration. The Enlightenment, beyond the philosophical conception involve also the ceramic, and include also country ready known during Middle Age, but unknown again for ceramic in Europe, Chinese ceramic, which in in Europe alone during 18th century. The esthetical nature of painting of 18th translates in ceramic his dramatic to Greek exception of word and ceramic is very lively in Italy and French, with exemple of painting.

Alessandro Lusana 

Fig.1.

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Ceramic centuries

The rebirth with figure of painting includes, with emulation spirit very commendable also the ceramic, which almost tried emulation until copy with major painter, although we can’t apart by costumer, who can’t commission to Botticelli he asked a copy on flat ceramic. This art is extended to Germany and France, centre as Faenza and Urbino, has had European schools, and translated formal style of Italy; while Spain has joyed of tradition of Arabian ceramic and in fact has much merchant. Naturally function of ceramic and flat is different; practical use of flat is different from decorative function of same flat, for exemple pawn of love is a gift which trough ceramic attested report between two persons; therefore a pitchers and flats with portrait of lovers, or subject which suggest report love. For religious subject the natura naturans has lavished her style with notes very next to Pollaiolo(1431-1498) to a Master of Resurrection. Other painter of ceramic is Nicola Pelliparo(1480-1450)(Figg.1-2), who seems leave skill of graphic master for very serious brushstroke, fir also for definition of particular of cloth; Pelliparo and his style is followed also by Xanto Avelli(Figg.3-4), whose use of colour and brustroke remembers above mentioned, but with definition very important of body and plastic body, while he take the architecture structures. Orazio Fontana(dead 1571)(Figg.5-6), ceramic has her assimilation between decorative function and ideology of pictorial grotesque, for Fontana is very important the flat of Guidobaldo II, where pictorial grotesque use with strong of grotesque, assuming this motive for pure moment of decoration with master skill.

Alessandro Lusana

Secoli figulati

La rinascenza figurata della pittura comprende, con uno spirito di emulazione davvero rimarchevole, anche la ceramica, che quasi stenta a non emulare, anche stilisticamente la produzione prettamente pittorica, quantunque non si possa prescindere dal ruolo determinante del committente, che non potendo commissionare un Botticelli ovvero un Lippi ne ordina una copia o una sintesi stilistica su piatto, sembra di descrivere un costume assai vicino a noi, ma trattiamo del Rinascimento. L’insegnamento indiretto figurativo ha agevolato esiti compositivi e formali che, a livello estetico, era tanto gradito da estendere i limiti del mercato fra diversi paesi europei come Germania e Francia , i centri, ad esempio, di Faenza ed Urbino determinano l’insediamento di botteghe ovvero scuole in Europa, che mutuano dalla versatile fattura figula italica, ovvero ausonica, e la traducono, fenomeno speculare all’ambito pittorico, nei rispettivi centri di produzione; mentre la Spagna, erede diretta della ceramica araba, fin dal Trecento godeva di fama e mercati assai fiorenti. Il carattere esornativo del Rinascimento evolve il proprio divenire verso una più o meno concreta via della ceramica, quindi la netta distinsione fra quella decorativa e quella destinata a compiti pragmatici permane: i cosidetti pegni d’amore sono un prodotto destinato a consolidare un connubio che, tramite la ceramica, consolidava, ufficializzandolo, il rapporto fra due amanti, quindi brocche e piatti con i ritratti degli spasimanti ovvero con soggetti che suggerissero il rapporto fra i due, mi perdoni il Manzoni, “promessi sposi”. Un esemplare di tale affinità spirituale che indusse alla commissione di omaggi grafici e pittorici è una maiolica, qui scelta fra le tante, con il ritratto forse ideale dell’amata Silvia bella, per la quale emerge una labile ma presente affinità stilistica con i ritratti scultorei di Desiderio da Settignano, qui mutuato e rapportato ad un criterio naturalistico più efficace. Per i soggetti religiosi la natura naturans profonde la sua sussistenza con referenti pollaioleschi, da Antonio del Pollaiolo(1431-1498), pittore, scultore ed orafo fiorentino, che certamente suggerì, per il Martirio di San Sebastiano, attribuito ad un Maestro della Resurrezione , la drammatica composizione mutuata dal nostro Maestro sull’omonimo soggetto dello stesso Pollaiolo, di cui certamente il ceramista colse anche la forte plastica anatomica e la naturale impronta gestuale delle figure, denunciando così sia la capacità di esemplare da motivi figurativi noti che di reinterpretarne la composizione. Altro esponente di rango della ceramica rinascimentale è Nicola Pelliparo(1480-1540)(Figg.1-2) , che sembra tralasciare, nel Martirio di Santa Caterina, la dovizia grafica della resa complessiva per stendere ubertose pennellate cromatiche atte a definire anche rigorosi passaggi tessili, davvero rimarchevoli per la plastica melliflua; il Pelliparo e la sua forte impronta materica è seguita da Xanto Avelli(Figg.3-4), la cui resa nella tessitura riporta alla forte usta del Pelliparo di cui, però, stempera la profusione cromatica trattenendo la marcata plastica, ed inoltre riporta, da bravo imitatore, la resa architettonica scandita nelle strutture, pareggiando così quelle del Pelliparo. Con Orazio Fontana(m.1571), la ceramica rinascimentale trova l’assimilazione concreta nella fattura decorativa con l’ideologia da grottesca pittorica, per il Fontana emblematico il piatto per Guidobaldo II, dove il gusto esornativo, temprato sui cicli esornativi cinquecenteschi, acuisce l’impiego falsamente allegorico della grottesca, traducendolo ed interpretandolo come un puro motivo decorativo, la cui fattura esemplare denuncia la mano di un artefice di magistrale perizia.

Alessandro Lusana

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Protomotec

Robert was a professor of philosophy at a prestigious university of USA, as much philosophers he was very modest, he loved Socrates and other, but he doesn’t hates nobody but he has his preference, his love and passion for some philosopher and age of philosophy, he loved to study in his protomotec, where he, usually, talked with sculpture and these often, or always, quarrel with him and one other; therefore he asked to Aristoteles: “You are very important because you have found speculative philosophy”, and Aristoteles: “Or better speculative philosophy has found me, because I have alone seen what was present and I have thought that was present, and I have described it, my think is very important because is easy, for understand my think is sufficient see reality and his dynamic become; it is evolution”, and other sculpture: “Yes Aristoteles, but the finished object, real object is alone share of absolute, and absolute is individual spirit of man”, and Aristoteles: “You are continuing with your consideration around absolute spirit, but I think that alone reality is motive for to understand and for to think”, and Robert who was busied for read a book, raised eyes and: “Do you have never think that these argument, this is speculative and Subjective idealism are moment of same search, therefore the philosophy is alone method, a method for to search the acknowledge, but is alone this, you have your method for to know, and everybody has his method; dear Georg, you think that all is part of absolute spirit, but you consider speculative philosophy as necessary for understand spirit and material”, and Georg: “It is part of absolute spirit, also negation of all is part of spirit, because is present everywhere”, and other portrait: “Nothing is true in word, all material is false because only true is ideas of object, and this talks Platoon”, and other portrait: “Therefore mankind be silent, fantasy has talked, alone reality is present and not metaphysical think exists; alone the reality which is created by atoms, all is material and not ideas word is present that is matrix for this word, and…”, and a voice: “You must consider that you are using same tool for your think, you use alone sight and for this you can consider the senses as tools for to know, therefore the sensationalism, but here with an extended exception, was right”, and other: “Yes, but with senses you can alone understand that object is present, but alone with speculative think you can understand what is reality”, and this discussion with then voices quarrelling continue while Robert continued read, calm; he was accustomed therefore they cried and he got up, close is book and gone away. Day after Robert with a group a person entered in protomotec and Robert started his explication: “this portrait is Epicurus…”, and a voice: “What? I would be so?”, and Robert: “Yes you are so!”, and man: “I am certainly more beautiful than this portrait, I haven’t this hair, and who has sculptured this portrait is very incompetent”, and Robert: “We don’t know who is the sculpture, but it is your portrait and we must consider it; can we go ahead?” and: “Socrates, Socrates”, called Robert meantime Socrates talked with a person: “Socrates, do you want listen me?”, and Socrates: “Why?”, and Robert: “Because I must explicate your portrait”, and Socrates: “You must explicate me my face, why? I know perfectly my face but since I want know you limit and…”, meantime the crowd, which known Socrates, remembered that has an appointment, who must carry his wife to theatre, although he isn’t married, others that have something in oven, although he doesn’t cook and others; but Socrates, accustomed this behaviour, started to talk with sculpture, and therefore every fugitive gone back and started to cry for his philosophical thesis. They are again there and cry but I haven’t courage to enter; therefore if somebody want make it.

Alessandro Lusana                                                        

Evolution of space in hyper-realism

In fact more than evolution, which we consider, usually, as grow up now is contraction of space, now in material painting of Fernando Falconi(Figg.2-8); all material is concentrated and the abstract futurism seems ended, a confront with some past painting(Fig.1), is sufficient for this valuation; the dynamic painting of Fernando, that was usual search extension of space with lines and suggest, now all is concentrated, all superficies are engrossed in material concentration, now is material that become painting other is alone additional, colour is additional, the representation and subject are hyper-realist more than hyper-realist, because for painting is material which become subject, and no alone representation, therefore no certainly translation of a material, like is usually for painting, Fernando doesn’t translated a material with other material, he hasn’t painting material, jute, he has inserted jute on painting, and after has added painting around, but painting now is alone additional, an outline, therefore material is realism and is material that shows itself, but space, with this material, takes a borderline very limited, because now the material is real and no imaginary, therefore the space is limited, because real and no painted, the surface is real, material and objective, therefore is real and limited at same time.

Alessandro Lusana

Evoluzione dello spazio nell’iperealismo

Usualmente noi consideriamo l’evoluzione come uno sviluppo, mentre adesso dobbiamo considerare il perfetto contrario, una limitazione nella pittura di Fernando Falconi(Figg.2-8); tutto il materiale e l’astrattismo futurista sembra oramai trascorso, basti un confronto con una tela di qualche anno addietro(Fig.1); la dinamica pittura di Fernando che era solita ricercare l’estensione spaziale con linee e suggerimenti pittorici, ora invece si concentra poiché è il materiale che crea lo spazio, ora tutto è concentrato, ogni superficie è concentrata nella materiale concentrazione, ora il materiale diviene pittura il resto è solo accessorio, il colore è accessorio, il soggetto è iperrealista, ma sviluppando l’iperrealismo, poiché ora l’opera è il materiale che diviene soggetto, e non solo rappresentazione del materiale tramite altro materiale, quello pittorico, ma il materiale, la juta, che diviene soggetto quindi pittura, ora è il colore, la pittura che correla la materia, quindi accessoria, mentre il materiale mostra se stesso, ma lo spazio, per questo materiale assume anche un limite reale e non certo immaginario, la superficie è reale, materiale e oggettiva, quindi reale e limitata nello stesso tempo.

Alessandro Lusana 

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Criterion

Saturn was a man who has red much, very much, and he was professor of philosophy at famous University, he was always busied for think and write or read, he doesn’t speaks but he preferred to write and to think, a big brain who laughs around question which were for him very irrelevant, as the semantical think, the study of sign, every sign, that he considered very marginal, but his a friend has insisted very much so that he read a book around semiotic, a book that he has written and he has had gift, but until now he hasn’t red; in front of a library, a new library, which he hasn’t never seen he entered in, and a man with thick beard received him and: “The book which you are searching is at bookshelf to bottom to right”, Saturn looked and very astonish asked: “How do you know what I am searching?”, and man didn’t answered but accompanied him to bookshelf; he took a book and: “It is book of Albert Alcott, Sign as semiotic and contrary, Saturn was very astonish and he looked man and smiled and tough that his face has familiar something, but for his costume he opened book and started read; he raised eyes and he looked he was in street and next was same man of library who: “Now you must think to semiotic”, and Saturn, who recognized street our from library, was astonish because he didn’t gone out, but he tough that he didn’t remember what he has made, therefore he looked around and he tough that his bag and his jacket were in library, therefore he turned for to enter in library but it was disappeared, and now was a store toys for babies, he was very astonish and he was searching soon a rational explication but a voice: “Look forward and what do you see?” and Saturn, recognized the voice of librarian: “I see store of toys, and babies”, and man: “And?”, and Saturn: “And men and woman”, and librarian: “These men and women what do you think around them?”, and Saturn: “Certainly they are old for to play with toys”, and librarian: “Therefore?”, and Saturn: “Therefore they are parents of babies”, and librarian: “Why?”, and Saturn: “Because are old and…”, and librarian: “And because they have attention to babies, also if babies aren’t their; look women, you can recognize mothers why?”, and Saturn: “I don’t know”, and librarian: “Because every mom has always protective instinct for every babies, and every mom is attentive to her babies and other, if a baby has danger a mom works so that baby is save, and you can identify the mothers for this attention, which is evident”, and Saturn: “Yes it is true; it could be…”, and librarian: “Semiotic, alone semiotic. Do you have red Conan Doyle, Sherlock Holmes?”, Saturn smiled because this gender literature isn’t very distant from his taste, and in fact: “No, certainly”, and librarian: “Pity!”, because in every romance of Sherlock Holmes every case is solved by a particular, an exemple; The Valley of Fear, it is a romance of 1915; a dead who must be a Douglas is truly a man who has tempted to kill Douglas, and Sherlock Holmes will knows because wedding ring of Douglas isn’t to finger of Douglas, the dead man, but other finger; it is sufficient for Holmes for to understand that the dead isn’t Douglas but other”, Saturn smiled and: “Clever Sherlock but you don’t think that I am your Watson”, and Librarian: “On contrary, you are my Watson because you are learning, it semiotic, ring is sign of wedding and Douglas is married, but assassin hasn’t ring wedding, therefore it isn’t Douglas, but who is he?, it is semiotic”. Saturn looked well face of librarian and: “Albert, Albert Alcott, what are you doing?”, and librarian: “Very well thank you, Saturn red on book a dedication written with pen: “For Saturn, my dearest friend now dead”, and Saturn: “Albert but I am now life”, and Albert: “Read last page”, and Saturn red it: “Dear Saturn you must understand what is semiotic; therefore and other generation will work other, when you will understand what is semiotic is will be last your case, as Sherlock Holmes, but you have learned a criterion for acknowledge”, Saturn smiled close book and at library set again book on bookshelf  looked librarian and gone out without jacket.

Alessandro Lusana