Je demeurai longtemps errant dans Césarée

[Q: Why did you decide to do this experiment?

A: Snake behavior has been generally neglected as a field of research, especially in Brazil. And most studies don’t examine what factors make them want to bite. If you study malaria, you can research the parasite that causes the disease—but if you don’t study the mosquito that carries it, you will never solve the problem. Up until now, the popular wisdom was that the jararaca would only attack if you touched it or stepped on it. But that was not what we found.

Q: Why did you need to be the victim?

A: The best way to do this research is to put snakes and a human together. In this case, the human was me. We put the snakes inside a ring on the floor of our lab until they got used to it, then I stepped in wearing special protective boots. I stepped close to the snake and also lightly on top of it. I didn’t put my whole weight on my foot, so I did not hurt the snakes. I tested 116 animals and stepped 30 times on every animal, totaling 40,480 steps.]

What accounts for the repeated misfortunes of the rainbow in figurative painting? It may well be that an excess of ostentatious cuteness, by its provocative ready-made, found-it-so nature, alienates the true painter. But more likely, there is another cause: what prevents the integration of a rainbow into a painting is not an insurmountable technical difficulty, but rather the admission it represents, of the painter's failure to subject all natural elements, without exception, to the organized arbitrariness of their personal vision. The rainbow is the introduction, in the midst of a colorful symphony entirely written in a subjective key, of a dioptric formula resistant to any substitution. And such prohibitions signified by painting also apply to literature.

KYLIAN MBAPPE VIA TWITTER AFTER THE DESPICABLE COMMENTS SHE THIS WOMAN MADE AGAINST HIM

EDIT | FRANCE FOOTBALL FEDERATION STATEMENT