Let us get into a personal argument about why an action was not taken, please.
Jkp has established that Wolfgang 99 has not used his system to translate any substantial portion of the text and Wolfgang 99 has given his reasons. Let us concentrate on the method, not the implementation.
(04-01-2017, 08:07 PM)davidjackson Wrote: You are not allowed to view links. Register or Login to view.Let us get into a personal argument about why an action was not taken, please.
Jkp has established that Wolfgang 99 has not used his system to translate any substantial portion of the text and Wolfgang 99 has given his reasons. Let us concentrate on the method, not the implementation.
The theory assumes a level of skill and a level of scale that are not practical in a small manuscript with a rough surface.
Vellum is generally smoother than regular parchment, it's a finer texture, but it's still rough enough that the pen will stutter as it crosses certain portions and tiny amounts of ink will pool in the fissures and pores. The pooling and scumbling can be seen in some of the portions that are painted and the pen stutters can be seen in the high-resolution scans.
Wolfgang is proposing that tiny portions of each glyph are so finely tuned that the shape and angle of each micro-portion varies enough to represent four different recognizable sets of letters/words/phrases. Some of the VMS glyphs are only 1/32nd of an inch in width. For that letter to contain three, four, or more micro-portions supposes that the scribes, who were not expert penmen, could control angles and shapes down to less than 1/64th of an inch in an era where people didn't have eyeglasses, reading lenses were primitive and hard to get, and smooth writing surfaces, like calendered paper, didn't exist.
I said at the beginning that I think it's a cool idea, but I see no evidence in the script that there was any effort to control the individual curves in each glyph in a way intended to convey meanings. I spent a great deal of time studying the script and the variations in pen are normal and natural when compared to other less formal manuscripts and do not show signs of having an embedded subtext in the shapes.
To say that a straight-9 might mean something different from a curved-9 is certainly possible—but to say that there are 4 or 5 letters/phrases (multiplied by four different stencils) incorporated into a single 9 glyph at such a tiny scale needs further substantiation.
to davidjackson: just to understand the level of this blog:
You don't have to print it to translate it. You can translate it from the screen. And many printers these days, even cheap ones, can print at 1200 DPI if you set them to high resolution and print on smooth paper.
if I use a HDTV (1920x1080) as monitor for my PC that have a video card VGA (640*480) the resolution will be always 640x480
if I print beinecke 400 DPI scans with a laserprinter 1200 DPI the resolution will be always 400 DPI
Everybody agree this?
I'm preparing a new video entitled "back to real dimensions" in which I use stencil n.2 reproduced with a 3d printer and a ancient pen-nib to write some words with letters container system and of course, a goldsmith lens.
I only need a enlargement to give the solution!
whoeha, thank you wolfgang. it was really funny.

I clicked on a random link and saw part of the video:
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Especially the Voice Over did a marvelous job in creation of a "X-file" atmosphere!
Of course this is all a lot of nonsense in the docu which will hopefully be proven someday.
Wolfgang99to davidjackson: just to understand the level of this blog:
You don't have to print it to translate it. You can translate it from the screen. And many printers these days, even cheap ones, can print at 1200 DPI if you set them to high resolution and print on smooth paper.
if I use a HDTV (1920x1080) as monitor for my PC that have a video card VGA (640*480) the resolution will be always 640x480
if I print beinecke 400 DPI scans with a laserprinter 1200 DPI the resolution will be always 400 DPI
Everybody agree this?
...
Actually, you can adjust the resolution of the scans to about 150% or 200% and, with antialiasing, this gives substantially good results without distortion of the fine details. In the following example, you can clearly see where the ink has skipped over some of the rough parts of the vellum and you can also see the light and dark shades from the uneven composition of the ink quite clearly.
Here is an example of how much you can see in the high-resolution scans. It's really quite a bit larger than what you could see (or achieve with a pen) in the actual manuscript (you may have to click on it to see if full-sized). Compare it to the ruler. What you see on the screen is about three times larger than what you would see if you were holding it in your hand:
High-resolution scan:
Here is what it looks like when the scan is shrunk down to the approximate size of the actual manuscript:
Approximate size of manuscript:
The scans really do show a lot of detail that would be difficult to see in the actual manuscript without a magnifying glass. If you open the second one in a new window and put them side-by-side, it's easier to see the difference.
Mr. Zandbergen, these are pinholes I ONLY SEE in F57v. I marked evident ones. didn't you see them? they don't exist? am I a visionary?
joining them you obtain trangles corresponding to page folds magnitude. but also page folds are casual.
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Login to view. [4:02] page folds are not casual and mapped
but maybe is another coincidence, we can call Voynich the book of coincidences
![[Image: F57v_Pinholes.jpg]](https://dl.dropboxusercontent.com/u/77989429/F57v_Pinholes.jpg)
this is the only photo I found in the web not belonging to Beinecke
but unluckily its resolution it is not enough
![[Image: photo-24.jpg]](https://dl.dropboxusercontent.com/u/77989429/photo-24.jpg)