Category: MEDIA

I am astonished by the magnificent costumes of Louis XIV, le Roi Soleil, even though this blog is about Linear A B & C: Part 3



I am astonished by the magnificent costumes of Louis XIV, le Roi Soleil, even though this blog is about Linear A B & C: Part 2



f620Louis XIV crown



I am astonished by the magnificent costumes of Louis XIV, le Roi Soleil, even though this blog is about Linear A B & C: Part 1




I am astonished by the magnificent costumes of Louis XIV, le Roi Soleil (the Sun King), although this blog is about Linear A B & C. Unlike the male costumes under Louis XV and Louis XVI of the 18th. century, which were effete, effeminate and decadent, those of the young Louis XIV of the 17th. century were truly magnificent. I am posting several photos and one painting of Louis XIV in this and the next few posts for you to feast your eyes on. Some of these photos are from the movie, The Man in the Iron Mask (1998), starring Leonard di Caprio as Louis XIV, while others are from the magnificent series, Versailles (2016-2017), starring Alexandre Vlahos (Canal + and Téléfilm Canada). Strangely enough, the latter series is in English, though entirely sponsored by French TV and movie companies. Comments are welcome.

Linear B numerals 100, 1k and 10k are atemporal, like those in the movie. Arrival:

It is quite clear from the following illustration of the numbers 1-12 in the Heptapod circular language, which correspond to the number of ships landing on earth, that their numbers, occurring in a circle, are similar to the numerals for 100, 1k and 10k in Mycenaean Linear A. This correspondence reveals an intriguing characteristic of these Linear B numerals, namely, that they can serve as ideograms for extraterrestrial communication. In other words, just as the Heptapod numbers serve to communicate from the extraterrestrials, the Linear B numerals can serve to communicate with them or any other extraterrestrial civilization.

movie Arrival heptapod 12 and Linear B 100 1k 10k


How circular language in the movie, Arrival, determines the aspacial/atemporal nature of logograms throughout the ages:

In the movie, Arrival (2016), which chronicles the arrival on earth of 12 mysterious ships, apparently from outer space, the following statements leap out at us:

parsing the language of the heptapods in the movie, Arrival

1. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity.  
2. How heptapods write: ... because unlike speech,  a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly.

The key to all of this is the phrase a logogram is free of time. Allow me to illustrate. Logograms are also often called ideograms, and that is what I prefer to call them. Another word to describe them is icon. When we examine ancient Linear A and B ideograms and compare them with modern ones, the results are astonishing, to wit:




All of the aforementioned examples make it quite clear that ideograms, whether they be as ancient as those in Linear A and Linear B (i.e. about 3,400 years old) or modern ... or for that matter, neolithic or even earlier, all bear a striking resemblance to one another. Take for instance the Linear A ideogram for “scales” and compare it with just one modern one (among so many others), and we see immediately that they are extremely similar. Now take the Linear B ideograms for man” and “woman” and compare these with the washroom symbols for the same and once again the similarity is almost too good to be true. Then there is the Linear B ideogram for a four-spoke wheel compared with a modern one for an eight-spoke wheel. The number of spokes is not relevant to this discussion, only the fact that the ancient Linear B ideogram for “wheel” is practically identical to the modern one.

The implications for the decipherment of ideograms in any language, ancient or modern (let alone Linear A and Linear B) versus those in any modern language are staggering. We can be sure that the ancient ideograms varied little from one language to another, let alone between Minoan and Mycenaean. In fact, the syllabogram TE, which sometimes represents wheat, in Linear A and Linear B is almost identical to the same ideograms in cuneiform!

It is patently obvious that since the distinction between the ancient ideograms and their modern equivalents enumerated above is so thin, all of these ideograms (or logograms or icons) are not only time independent (atemporal) and spatially independent (aspatial), they are also language independent. This is a stunning phenomenon.

The implications for the further decipherment of Linear A are simply overwhelming.

And this is why in the movie, Arrival, the heptapods assert, “There is no time.”

Earth-shattering linguistic data from the Movie, Arrival (2016)


Not too long ago, I had the distinct pleasure of watching what is undoubtedly the most intellectually challenging movie of my lifetime. The movie is unique. Nothing even remotely like it has ever before been screened. It chronicles the Arrival of 12 apparent UFOs, but they are actually much more than just that. They are, as I just said, a unique phenomenon. Or more to the point, they were, are always will be just that. What on earth can this mean? 

The ships, if that is what we want to call them, appear out of thin air, like clouds unfolding into substantial material objects ... or so it would appear. They are approximately the shape of a saucer (as in cup and saucer) but with a top on it. They hang vertically in the atmosphere. But there is no motion in them or around them. They leave no footprint. The air is undisturbed around them. There is no radioactivity. There is no activity. There are 12 ships altogether dispersed around the globe, but in no logical pattern.

A famous female linguist, Dr. Louise Banks  (played by Amy Adams), is enlisted by the U.S. military to endeavour to unravel the bizarre signals emanating from within. Every 18 hours on the mark  the ship opens up at the bottom (or is it on its right side, given that it is perpendicular?) and allows people inside. Artificial gravity and breathable air are created for the humans. A team of about 6 enter the ship and are transported up an immense long black hallway to a dark chamber with a dazzlingly bright screen. There, out of the mist, appear 2 heptapods, octopus-like creatures, but with 7 and not eight tentacles. They stand upright on their 7 tentacles and they walk on them. At first, the humans cannot communicate with them at all. But the ink-like substance the heptapods squirt onto the thick window between them and the humans always resolves itself into circles with distinct patterns, as we see in this composite:

Eventually, the humans figure out what the language means, if you can call it that, because the meanings of the circles do not relate in any way to the actions of the heptapods.  Our heroine finally discovers what their mission is, to save humankind along with themselves. They tell us... There is no time. And we are to take this literally.

circular language from the movie Arrival 2016

I extracted all of the linguistic data I could (which was almost all of it) from the film, and it runs as follows, with phrases and passages I consider of great import italicized.   

1. Language is the foundation of which the glue holds civilization together. It is the first weapon that draws people into conflict – vs. - The cornerstone of civilization is not language. It is science.
2. Kangaroo... means “I don't understand.” (Watch the movie to figure this one out!)
3. Apart from being able to see them and hear them, the heptapods leave absolutely no footprint.
4. There is no correlation between what the heptapods say and what they write.
5. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity.  
6. How heptapods write: ... because unlike speech,  a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly.
7. There is no time.
8. You approach language like a mathematician.
9. When you immerse yourself in a foreign language, you can actually rewire your brain. It is the language you speak that determines how you think.
10. He (the Chinese general) is saying that they are offering us advanced technology. God, are they using a game to converse with... (us). You see the problem. If all I ever gave you was a hammer, everything is a nail. That doesn't say, “Offer weapon”, (It says, “offer tool”). We don't know whether they understand the difference. It (their language) is a weapon and a tool.  A culture is messy sometimes. It can be both (Cf. Sanskrit).
11. They  (masses 10Ks of circles) cannot be random. 
12. We (ourselves and the heptapods) make a tool and we both get something out of it. It's a compromise. Both sides are happy... like a win-win. (zero-sum game). 
13. It (their language) seems to be talking about time... everywhere... there are too many gaps; nothing's complete. Then it dawned on me. Stop focusing on the 1s and focus on the 0s. How much of this is data, and how much is negative space?... massive data... 0.08333 recurring. 0.91666667 = 1 of 12. What they're saying here is that this is (a huge paradigm). 10Ks = 1 of 12. Part of a layer adds up to a whole. It (their languages) says that each of the pieces fit together. Many become THERE IS NO TIME. It is a zero-sum-game. Everyone wins.
NOTE: there are 12 ships, and the heptapods have 7 tentacles. 7X12 = 84. 8 +4 =12. 
14. When our heroine is taken up into the ship in the capsule, these are the messages she reads: 1. Abbott (1 of the 2 heptapods) is death process. 2. Louise has a weapon. 3. Use weapon. 4. We need humanity help. Q. from our heroine, How can you know the future? 5. Louise sees future. 6. Weapon opens time.
15. (her daughter asks in her dream). Why is my name Hannah? Your name is very special. It is a palindrome. It reads the same forward and backward. (Cf. Silver Pin, Ayios Nikolaos Museum and Linear A tablet pendant, Troullous).
16. Our heroine says, * I can read it. I know what it is. It is not a weapon. It is a gift. The weapon (= gift) IS their language. They gave it all to us. * If you learn it, when your REALLY learn it, you begin to perceive the way that they do. SO you can see what’'s to come (in time). It is the same for them. It is non-linear. WAKE UP, MOMMY!

Then the heptapods disappear, dissolving into mere clouds, the same way they appeared out of nowhere in clouds, only in the opposite fashion. There is no time. They do not exist in time.

The implications of this movie for the further decipherment of Linear A and Linear B (or for any unknown language) are profound, as I shall explain in greater detail in upcoming posts.


My article, Lexicon of Chariot Construction in Mycenaean Linear B, has been accepted in advance by the international historical journal, Epohi/Epochs:

Epohi Epochs historical journal

I shall be submitting it to the editor-in-chief, Stefan Iordanov of the Faculty of History of St. Cyril and St. Methodius University of Veliko Tarnovo (hence forward referred to as UVT), Bulgaria. The editorial board consists of highly prestigious researchers:

Executive Editor:

Stefan Yordanov, Associate Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo


Ivan Tyutyundjiev, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo

Deputy Editors in Chief:

Plamen Pavlov, Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo

Nikolay Kanev, Associate Prof., Ph.D., St. Cyril and St. Methodius University of Veliko Tarnovo


Acad. Vasil Gyuzelev, Prof., Dr. Hab., Member of the Bulgarian Academy of science and President of the Association of Byzantinists and Medievalists in Bulgaria

Demetrios Gonis, Dr. Hab., Professor Emeritus of University of Athens (Greece)

Mirosław Jerzy Leszka, Prof., Dr. Hab., University of Lodz (Poland)

Tatyana Leontyeva, Prof., Dr. Hab., State University of Tver (Russia)

Milko Palangurski, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo

Petko Petkov, Проф. д-р Петко Петков, St. Cyril and St. Methodius University of Veliko Tarnovo

Rumen Yankov, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo

Mariya Ivanova, Prof., Dr. Hab., St. Cyril and St. Methodius University of Veliko Tarnovo

Dan Dana, Chargé de recherche de 1ère classe, Ph.D., Centre Nationale de la Recherche Scientifique – Paris (France)

Issue editors:

Nikolay Kanev, Associate Prof., Ph.D.

Stefan Yordanov, Associate Prof., Ph.D.

Google image search “Minoan Linear A grains” reveals that practically every last image is from Linear A, Linear B, Knossos & Mycenae:

Click on the image search banner to see the results for yourself:

google search on grains and their decipherment in Linear A

This confirms that the almost all current research (2015-2017) is almost exclusively founded in my studies and decipherments of grains (wheat, barley, flax, spelt etc.) on Linear A tablets.


in commemoration of the savage attack on a Muslim mosque
in Quebec City, Sunday, January 29, 2017


3 So watch yourselves. “If your brother or sister sins against you,
rebuke them; and if they repent, forgive them. 
4 Even if they sin against you seven times in a day, and seven times
come back to you saying ‘I repent,’ you must forgive them.” 

Luke 17: 3-4

Is humankind so kind or so unkind
we have embraced and have abandoned love
we harmonized ... or despotize to blind
ourselves to pitying the mourning dove? —
or mob ourselves with xenophobic crime? —
and chase our dreams but chase them all away? —
We pillorize our neighbours half the time,
while terrorizing those for whom we pray.
Come on! What, come again?  Can you explain
why our religion has to reign supreme,
while theirs and yours must suffer mindless pain
to kill our worlds that no one can redeem. 
     Excuse me, God... Hey, do You give a damn
     as we expose our souls to another scam?

Richard Vallance,

January 30, 2017

Attack on Mosque, Quebec City an act of vile, barbaric & senseless violence!

At least 6 people were killed, 5 critically injured and 3 more injured in a shooting at a mosque in Quebec City during evening prayers, police said. Gunmen fired on about 50 people inside the Quebec Islamic Cultural Centre on Sunday at 8 p.m. local time (01:00 GMT).





mosque-attack-quebec-reutersSix people are confirmed dead - they range in age from 35 to about 70, Quebec provincial police spokeswoman Christine Coulombe told reporters, adding that eight people were wounded and 39 were unharmed. Police said two suspects had been arrested, but gave no details about them or what prompted the attack. The mosque's president, Mohamed Yangui,was not inside the mosque at the time of the shooting. He received frantic calls from worshippers.
He said, “Why is this happening here? This is barbaric.”

Comment by Richard Vallance Janke:

As a Canadian in a peace-loving and highly tolerant country such as Canada (quite unlike the United States with its xenophobic president, Donald Trump, at whose doorstep we can lay part of the blame!), I am utterly horrified and shocked at the act of vile, barbaric, senseless, violent murderous attack on a Muslim mosque in Quebec City, around 8:00 p.m., Sunday, January 29, 2017. Words cannot describe my horror or that of almost all 36 million Canadians at this savage act of terror! I urge and implore all who visit Minoan Linear A, Linear B, Knossos & Mycenae to tag this post with LIKE and to reblog it, as well as to retweet it on your twitter accounts! I dissolved in tears this morning when I woke up to hear of this vile act of terrorism. Here are two photos from the night of the attack:


East Boys







More illustrations (Figures) for my article, “Pylos tablet Py TA 641-1952 (Ventris), the “Rosetta Stone” to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” in Vol. 12 (2016) of Archaeology and Science: PART B

Here you see more of the Figures, many of them of actual Minoan Linear A tablets as I have deciphered them, which are to appear in my article, “Pylos tablet Py TA 641-1952 (Ventris), the “Rosetta Stone” to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” in Vol. 12 (2016) of the prestigious international annual, Archaeology and Science. 




It usually takes me between one and two hours to design each figure.  

First  2 haiku in Minoan Linear A, English et français : qareto & datara



in a lease field
a shepherd
and a cedar tree

dans un champ loué 
un berger
et un cèdre



a grove of fig trees
in a kylix

figuiers dans un bosquet
dans un kylix

© by/ par Richard Vallance Janke
Sept. 27/ le 27 sept. 2016

UPDATED Table of 27 supersyllabograms in Minoan Linear A:


After scanning all of the Minoan Linear A tablets I have deciphered, more or less accurately, I have been obliged to revise the former Table of 24 supersyllabograms in Minoan Linear A to this revised and updated Table of 27 supersyllabograms in Minoan Linear A.  The 3 extra supersyllabograms all appear in the vessels and pottery sector of the Minoan economy. These are PO, SU and U. In addition, the supersyllabogram A is common to both the olive trees, olive oil & olives sub-sector of the agricultural sector and the vessels and pottery sector. 24 of the supersyllabograms in Minoan Linear A are associative, i.e. they accompany, either to the left or to the right, the ideogram with which they are associated. Associative supersyllabograms in Minoan Linear A, as in Mycenaean Linear B refer to some major element or object associated with the ideogram in one way or another, without however defining the ideogram itself in any additional way. On the other hand, the 4 supersyllabograms in the vessels and pottery sector are all attributive, in so far as they  portray a particular attribute of the ideogram in which they are incharged. I have managed to decipher with a high degree of accuracy 1 of the 4 supersyllabograms in the vessels sector,  SU, which signifies supa3ra (supaira), i.e. a two handled small cup, as we see here:


All in all, the 27 supersyllabograms in Minoan Linear A amount to 75 % of the 36 supersyllabograms in Mycenaean Linear B, without however being in any way related to the latter, either as individual syllabograms or in the semiotic values of these. For instance, the supersyllabogram A incharged in a vessel ideogram in Minoan Linear A does not mean “amphora” as it does mean in Mycenaean Linear B, and by the same token, the SSYL PO in Linear A does not signify “Potiniya”, unless by some sheer co-incidence, Potiniya happens to be a pre-Mycenaean non-Indo-European name of a goddess... which is possible though unlikely.  

I have managed to decipher, more less accurately, 9 or 33 % of the 27 supersyllabograms in Minoan Linear A. These are:

DA = dadumata = grain/wheat measurer (probably) = Linear A sitowoko 
KA = kapa = foot soldier, attendant to the king = Linear B eqeta
KI = kidata = to be accepted for delivery = Linear B dekesato
kireta2 (kiritai) = delivery = Linear B apudosis
kiretana = (having been) delivered (past participle passive) = Linear B amoiyeto
kireza = unit of measurement for figs, probably 1 basket
kiro = owed = Linear B oporo = they owed
NOTE: the semiotic value of the SSYL KI is sector dependent, hence, polysemiotic. This is also true of many supersyllabograms in Mycenaean Linear B, although the polysemiotic values of the former are never the same as those of the latter, with one exception only, and that exception is the very next supersyllabogram. 
NI = nipa3 (nipai) or nira2 (nirai) = figs = Linear B suza. But Mycenaean Linear B shares NI with Minoan Linear A, in spite of the fact that the Mycenaean word for figs is suza.   
PA = pa3ni = silo or amphora for storing grain + pa3nina = grain or wheat stored in an silo or amphora, more likely the former than the latter, as amphorae are not the most practical recepticle for the storage of grain. Recall that the middle Kingdom Egyptians, who were co-temporaneous with the Minoans, stored their grain in dry silos. 
RA ra*164ti = approx. 5 litres (of wine) 
SA sara2 (sarai) = small unit of measurement: dry approx. 1 kg., liquid approx. 1 litre
SU = supa3ra (supaira) = a small cup with handles
TE = tereza = standard unit of dry or liquid measurement

For the time being, the semiotic values of the remaining 18 or 66 % supersyllabograms in Minoan Linear A are beyond my ken.

On a final note, you can see for yourselves that I have displayed the actual appearance of each supersyllabogram in Linear A immediately to the LEFT of the Latin value. In addition, the 9 Latinized supersyllabograms which I have managed to decipher, more or less accurately, are incharged with the alphabetical character D.

All of the above text will be part and parcel of my upcoming major article, “Pylos tablet Py TA 641-1952 (Ventris), the Rosetta Stone to Minoan Linear A tablet HT 31 (Haghia Triada) vessels and pottery” and a Glossary of 110 words in Linear A”, Vol. 12 (2016) of the prestigious international hard-bound annual, Archaeology and Science (Belgrade) ISSN 1452-7448, to be released sometime late in 2017 or early in 2018. This is to be the most significant article I shall have ever published in my entire lifetime, as it represents the first serious attempt in the 116 years since the first discovery of a smattering of Minoan Linear A tablets by Sir Arthur Evans  at Knossos in the spring and summer of 1900 to decipher at least a portion (21.5 % of Minoan Linear A vocabulary, but certainly not the Minoan language itself, in a unique approach never before assayed by any previous philologist or historical linguist who has endeavoured to do the precise opposite to what I have done, i.e. to decipher the entire Minoan language, a goal which is manifestly impossible and plainly unrealistic. All prior philologists have claimed to have deciphered the  Minoan language, a claim I would never be so rash or idealistic as to forward.

I went to a great deal of trouble to make this Table of 27 Supersyllabograms as professional looking as I could. So I hope that some of you will comment on its graphics and graphical layout, or at least vote for it, LIKE, with the number of stars you deem appropriate (hopefully 5).  

Richard Vallance Twitter KONOSO 1602 & Rita Roberts 548 followers for a total of 2,150!



Richard Vallance’s Twitter account, KONOSO, has now reached 1602 followers & Rita Roberts’ 548 followers, for a total of 2,150 followers! Amazing, considering how esoteric Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C are. Of course, Rita’s twitter account covers a far greater range of topics on the ancient world, archaeology, early modern historical goodies, and modern stuff too!

The last time we checked in about 4 months ago, we only had about 1,500 followers between us. We are growing like gangbusters!

Colour-coded keyboard layout & FONT for the Mycenaean Linear B syllabary:


I originally posted this colour-coded keyboard layout for the Mycenaean Linear B syllabary in 2014, but it bears re-posting, because it is so very helpful to people learning how to type in Mycenaean Linear B. Simply right-click on the image of the keyboard above, then SAVE AS + whatever name you wish to give it, then print it out on your printer.

NOTE that it is vital that you download the Mycenaean  Linear B FONT before you can even use the Linear B keyboard! You can download the font from here:


You can also download several ancient Greek fonts from the same site, but I highly recommend you select the SPIonic font, as it is the one which was used by the Athenians in the fifth century BCE. However, the font as downloaded appears in both upper and lower case and features all of the Greek accents. The original Athenian alphabet was in upper case only.  

A word to the wise: wolves and truly professional researchers are alike!


Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors: (Click the banner to visit)


Minoan Linear A, Linear B, Knossos & Mycenae reaches the threshold of 100,000 visitors after 3 1/2 years in existence. This may not sound very impressive to a lot of people, but when we pause  consider, even for a moment, that our blog deals specifically and almost solely with Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C, the statistics look much more healthy. No-one on earth, apart from myself, can read any Minoan Linear A at all, and very very few can read Mycenaean Linear B or Arcado-Cypriot Linear C. So in this light, the statistics are all the more impressive. After all, even most of our our most loyal visitors cannot read at least 2 of these three syllabaries, even though several are adept with Homer and Classical Greek, as am I. By the way, our blog also features my own translation of the Catalogue of Ships in Book II of the Iliad, which has a direct bearing on the features of Homeric vocabulary and syntax inherited directly from Mycenaean Linear B.

In this period, we have posted well over 1,300 posts, with translations of hundreds of Mycenaean Linear B tablets, scores of Minoan Linear A tablets and even a few Arcado-Cypriot tablets. Our media library consists of 10s of thousands of photos, images and frescoes & paintings.

We are, in a word, the largest Minoan Linear A, Mycenaean Linear B & Arcado-Cypriot Linear C site on the internet. Even omitting Linear A and Linear C, we rank in the top 3 of official Mycenaean Linear B sites.

The full range of marvelous, rich colours the Minoans at Knossos used on their stunning frescoes!


We notice right away that the colours they had at their disposal ran from various shades of yellows (saffron) and oranges to blues and various shades of purple. The Minoans at Knossos, Pylos, Thera (Thira, Santorini) and elsewhere were unable to reproduce green pigment.  This minor drawback had little or no perceptible effect on the splendid results they almost invariably came up with in their breathtaking frescoes, the likes of which were not reproduced anywhere else in the Occidental ancient world, except perhaps by the Romans, especially at Pompeii. The Romans were able to reproduce greens. 

Two lovely frescoes from Pompeii:




Beautiful photos of some of the magnificent frescoes at Knossos, taken by Richard while he was there on May 1 2012:






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