(19-05-2017, 11:11 PM)Torsten Wrote: You are not allowed to view links. Register or Login to view. (19-05-2017, 10:36 PM)Emma May Smith Wrote: You are not allowed to view links. Register or Login to view. (19-05-2017, 08:51 PM)Torsten Wrote: You are not allowed to view links. Register or Login to view.See all the words similar to [shol] like [shory], [sholdy], [shar], [shod] and [chear]. See also the words starting with [cth], [ckh], [cph] and [cfh]. Or see the words ending in [aiin].
In what way is [shod] or [shol] or [sholdy] like [chear]?
The glyphs used are similar to each other. [ch] is similar to [sh], [o] is similar to [a] and [l] is similar to [r]. If you can replace one glyph with a similar one you can also replace all glyphs with similar ones.
So they have an underlying connection, that the relationships between glyphs is more than superficial?
So [r] and [l] are similarly shaped?
(20-05-2017, 01:07 PM)Emma May Smith Wrote: You are not allowed to view links. Register or Login to view.So [r] and [l] are similarly shaped?
One feature of the glyphs of the VMS is, that in many cases one stroke is enough to change one character into another one. [r] and [l] are distinguishable glyphs. But in the sense that they differ in only one stroke both glyphs have the same start stroke in common and only differ in the second stroke. A description of what I mean is described by Currier in the section "The nature of the symbols" in You are not allowed to view links.
Register or
Login to view.: " We have the fact that you can make up almost any of the other letters out of these two symbols i and e ... These letters: [o] , [d] , [y], [s] all seem to start with a [e]-curve, which was made first ... The forms all have counterparts starting with [i] : [j] , [l] , [r] etc." (You are not allowed to view links.
Register or
Login to view.).
It's pretty easy to find examples of self-similarity.
I opened a couple of random pages in the small-plants section and immediately saw these:
![[Image: RepetitionExample.png]](http://voynichportal.com/wp-content/uploads/2017/05/RepetitionExample.png)
(20-05-2017, 01:42 PM)Torsten Wrote: You are not allowed to view links. Register or Login to view. (20-05-2017, 01:07 PM)Emma May Smith Wrote: You are not allowed to view links. Register or Login to view.So [r] and [l] are similarly shaped?
One feature of the glyphs of the VMS is, that in many cases one stroke is enough to change one character into another one. [r] and [l] are distinguishable glyphs. But in the sense that they differ in only one stroke both glyphs have the same start stroke in common and only differ in the second stroke. A description of what I mean is described by Currier in the section "The nature of the symbols" in You are not allowed to view links. Register or Login to view.: " We have the fact that you can make up almost any of the other letters out of these two symbols i and e ... These letters: [o] , [d] , [y], [s] all seem to start with a [e]-curve, which was made first ... The forms all have counterparts starting with [i] : [j] , [l] , [r] etc." (You are not allowed to view links. Register or Login to view.).
Hi Torsten,
I have been lurking for a while and have just joined this site to say, at the very least, you have a valuable Model which can be further tweaked to explain some characteristics of the VMS.
Even if as Nick said in another thread, you only explain 10% of the characteristics, that is a lot better than some who make a big deal out of translating (?) only 10 words!
What I want to suggest is, maybe in the Mark 2 version of your software, you could code in the boundary conditions of actual measured text width and paragraph length and use that to substitute in the known common line begin and line end characters according to your thoughts above where an extra pen stroke was added.
I have in mind another thread where the page layout was discussed and there was no sign of text tightening towards the ends. I find that fact persuasive and fits with your view of the process. Other discussions postulated a draft made on a wax tablet but one could also suggest a paper cutout window to impose strict width and length restrictions while composing and writing "on the fly."
What would the effect of these restrictions have on later iterations and final output of the process, I wonder. Perhaps some of the other positional restrictions on some characters mentioned by Emma and Nick would follow naturally from just that adjustment.
Forgive me if you have already thought of this, or even done so. There is a lot to follow here!