by Peggy Lee
Noah Kahan
𓃗
Not today Justin
Keni

tannertan36
One Nice Bug Per Day
Claire Keane
Mike Driver

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macklin celebrini has autism

bliss lane
Jules of Nature
taylor price
he wasn't even looking at me and he found me
Sade Olutola
todays bird
hello vonnie

#extradirty

titsay
🩵 avery cochrane 🩵

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@madscientistnz
by Peggy Lee
Charley Harper - Line-o-saurs (2011)
One Day 2019 ink on Paper 62x77 cm. Teng Pu-Chun
some words you can only spell on autopilot. once you stop to think about it you've already lost the fight
Orchid in Roman vase - Adriana van Zoest,
Dutch,b.1966-
Oil , 80 x 55 cm.
Architect ~ Tadao Ando
One chonky Dragon Insta twitter Prints
TM Davy, "Light Waves", 2021, pastel and gouache on toned paper. American, b. 1980.
Gannet Diving necklace by Rie Taniguchi
Frances Featherstone
somewhere in there
Theodor Kittelsen • Stave Church In Snow, 1907
Fake Cuneiform Seals and the Power of Unreadable Writing. Across the ancient southern Levant, some cylinder seals carried inscriptions that
The study shows that writing in the ancient southern Levant was not only a matter of literacy. It was also a matter of appearance, memory, status, and political connection. Some seals carried readable names and divine invocations. Others carried signs that resembled writing without transmitting stable language. Both belonged to the same wider symbolic world. For scribes, cuneiform could record identity and devotion. For many others, its visual form alone could speak of authority. The so-called fake cuneiform on these seals was not fake in the modern sense of forgery. It was an ancient way of using the image of writing. Across roughly 1,500 years, from Middle Bronze Age prestige objects to Neo-Assyrian imperial seals, the southern Levant turned cuneiform into more than a script. It became a sign of belonging to worlds of power.
From Mazes and Labyrinths by William Henry Matthews, 1922.
From Mazes and Labyrinths by William Henry Matthews, 1922.