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Axial Symmetry in Lines
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Objective comparisons |
Posted by: R. Sale - 11-03-2018, 02:01 AM - Forum: Voynich Talk
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The investigation of VMs illustrations has long been based on the comparison of appearance, proposing a match between a particular VMs illustration with something from a historical source. It has generally been considered that the best approach to making such a discovery is to match appearance as closely as possible. And conversely, the failure to demonstrate a sufficient similarity in appearance has also been considered to be a failure of the comparison per se. Given that the interpretation of appearance is subjective, differences of opinion will arise on specific issues, but, basically, investigation remains stuck in this appearance-based paradigm.
Let’s consider a different tactic. Let’s make a more fundamental inquiry. If appearance is subjective, *what* is objective?
Structure, position, sequence, number, and color can be considered objective factors. Some of these are just natural; others require the knowledge of particular traditions and historical examples. With that knowledge, comparative similarities can be demonstrated objectively, even when appearance is subjective and ambiguous. And this is important because the VMs illustrations are not only subjective in their interpretation, they are often ambiguous in their creation. And by ambiguous, I mean that they intentionally contain visual elements of confirmation and contradiction.
Ambiguity in the VMs often seems to contain enough contradiction to confuse and frustrate identification and also to maintain sufficient confirmation to prevent complete rejection. And this ambiguous, visual appearance is then given objective confirmation by structure, for example, as seen in the cosmic comparison. *Once the proper and absolutely necessary historical illustration [Oresme BNF Fr. 565] has been rediscovered!* (E. Velinska 2014)
What is more, the degree of structural similarity reveals that Oresme (565) is a highly probable source for VMs f68v, while the degree of visual dissimilarity reveals the extent to which the creator of the VMs representation was able to play off of the original Oresme image in order to create the intended difference in appearance that attempts to disguise the source of this particular cosmic structure. The VMs creator avoids the pictorial version of an inverted T-O earth, makes a circular joke from *surrounded by stars*, clearly knows the cloudy interpretation of a nebuly line, has hidden the good cloud band in the Central Rosette, and has tossed in a big old wheel with curved spokes entirely composed of textual banners, purely for the sake of visual effect in creating apparent difference where none exists.
The use of these objective factors as a means of identification occurs in other VMs locations.
You are not allowed to view links. Register or Login to view. In the 4 x 17 symbol sequence, the fifth symbol has three different interpretations: as a medieval number, as a Roman numeral (inverted), and as a Greek alphanumeric. Each interpretation is confirmed by a separate sequential or positional (objective) fact.
F70v2 This is VMs Pisces at the start of the Zodiac sequence. This is the start of the pairing paradigm. The pairing paradigm follows the law of Deuteronomy in the requirement that the truth must have two or more witnesses. And, despite the outrageous beginnings of the VMs Zodiac sequence, the pairing paradigm is maintained, in various ways, through the central medallions of the first five zodiac houses.
Pairing continues in a second (paired) phase in the tub patterns at the top of VMs Pisces. Some of the basic patterns found on the Pisces and Aries pages invite comparison with heraldic insignia, perhaps such as those that were used on pharmaceutical jars for a time. But the lack of color and other discrepancies create a very difficult problem. There is in fact an intentional ambiguity involved, that seeks to provoke sufficient difficulties to prevent the investigator from working around the entire circuit. And that is because something significant is sitting in the fourth quadrant. It is a strange twist of history that something so significant to the interpretation of these illustrations turns out to be an almost obscure and forgotten heraldic fur – paired in Pisces and Dark Aries.
The path of pairing continues on White Aries. And behind the optical illusion of radial orientation there sits a pair of blue-striped patterns. And this pair of armorial insignia, in combination with a potential red galero, make an unmistakable visual reference to a specific historical event. *If the reader knows that event!* And otherwise there is no event recognition..
Built-in confirmations occur nevertheless, with the recognition of the presence (1) of the proper, traditional placement of the relevant figures according to clerical hierarchy; (2) of the most favored location according to heraldic positioning; and (3) of the use of the only acceptable zodiac medallion based on ancient sacrificial rituals. All of this, which conforms to historical examples and known traditions, based on objective determinations of position and structure, is confirmed by being represented in the VMS.
And to leave no doubt, there is the structural correspondence, in quadrant and in sphere of the paired blue-striped patterns on White Aries with the pair of papelonny patterns of the pages just prior. The VMs author has created an example of heraldic canting that works well in French. Oresme was French. The scallop-shell patterned version of the cloud band is well represented in French sources.
A fancy pair of Stolfi’s text markers are found in the circular bands of text on White Aries. They are connected to the investigation of historical heraldry because there is a connected example drawn on the page! The possibility of further investigation might be discussed later. The point here is that the objective means of investigation have yielded some success, while the subjective appearance of images spin some strange stories that have no objective confirmations in the VMs.
What are the necessary criteria for the consideration of an alternative paradigm in the VMs investigations? The investigation of VMs illustrations can not be totally based on visual appearance. Rather, such an investigation depends predominantly on the objective means outlined above, as a way to connect the ambiguous illustrations with established traditions and historical events.
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Generated word tokens from chars ( pairs ) |
Posted by: bi3mw - 10-03-2018, 02:45 AM - Forum: Analysis of the text
- Replies (13)
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I've started an experiment to see if it's possible to generate word tokens from word types under certain conditions. The following conditions must be met:
- The ratio of word types to word tokens should be as similar as possible to the VMS ( as extrapolated ).
- The method should be simple enough to use, i. e. conversion to ciphertext and back to plain text should be possible without using a codebook or other tools.
- Only character set A-Z and 0-9 was used.
- All text should be generated with only one method. Subsequent adjustments were excluded.
The wordlist was generated from the "Regimen sanitatis Magnini Mediolanensis (vol. 1)". It contains 5391 words types. The plaintext has 25014 words, the generated text has 23264 word tokens.
Rules:- The first letter is always single, so "D" is 4.
- If char is A-Y then it must be replaced with a number ( A=1, B=2, C=3 ...).
- "Z" is space.
- If char is a number then no change is needed.
- If the second and third chars are "AZ" ( 1 ) then no division or swap is needed ( see "CAZC" ).
The diagram looks like this:
This is the procedure explained by the word "zodiacus":
Full string: D390ZX0 B36Z36 CAZC D39IZ30D
First string: D390ZX0
D = 4
3 = 3
9 = 9
0 = 0
Z = SPACE
X= 24
0 = 0
Result: 4 390 240
--------- count divisions
| |-------------------------------------------------------dividend ( for first number )
| |
4 390 240 --------------------------------------------------------------------------basis for division ( / 2 )
Division:
------------
240
1 120
2 60
3 30
4 15 <= ( divisor for first number )
The second number is 15 = O
390 / 15 = 26
The first number is 26 = Z
Result first letter pair: ZO
Second string: B36Z36
B = 2
3 = 3
6 = 6
Z = SPACE
3 = 3
6 = 6
Result 2 36 36
Division:
------------
36
1 18
2 9 <= ( divisor )
The second number is 9 = I
36 / 9 = 4
The first number is 4 = D
Result second letter pair: DI
Third string: CAZC
C = 3
A = 1
Z = SPACE
C = 3
Result: 3 1 3 => second is "1" , so no changes are needed ( see above ).
The second number is 3 = C
The first number is 1 = A
Result third letter pair: AC
Fourth string: D39IZ30D
D = 4
3 = 3
9 = 9
I = 9
Z = SPACE
3 = 3
0 = 0
D = 4
Result: 4 399 304
Division:
-----------
304
1 152
2 76
3 38
4 19 <= ( divisor )
The second number is 19 = S
399 / 19 = 21
The first number is 21 = U
Result fourth letter pair: US
To be clear, i don't know if this procedure shows a similar result for other comparable texts. The table is attached.
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Volume of overlapping information |
Posted by: Wladimir D - 04-03-2018, 08:08 PM - Forum: Analysis of the text
- Replies (8)
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I noticed that on bifolio 104v-115r on sections 2 and 4, ink was applied, which are not found in color on other pages. On site 3, in the process of writing quality of writing letters worsens , either the ink in the ink tank dried up, or the feather worn out. Finding such ink supports the version that the text was written before stitching.
104v-115r.JPG (Size: 122.86 KB / Downloads: 243)
I decided to intersecting the words of the text on this bifolio.
V (tx) - the amount of text on the pages.
N - is the number of identical words.
N (un) - the number of unique words on the page.
N (U) - is the number of intersecting words, taking into account the repetition on the corresponding page.
It is necessary to introduce the term V (∩) volume of overlapping information. This ratio is N (U) / V (tx), expressed as a percentage.
[font=Tahoma, sans-serif] V(tx) N(un) N N(υ) V(∩)
[/font]
104V 458 64=14,0% 93 207 45,2%
[font=Tahoma, sans-serif]115R 444 64=14,4% 93 206 46,4%[/font]
The flip side of this bifolio gives results worse.
[font=Tahoma, sans-serif] V(tx) N(un) N N(υ) V(∩)
[/font]
104R 438 74=16,9% 80 158 36,1%
115V 399 74=18,5% 80 137 34,3%
114V/115R V(tx)=362/444 N=74 N(υ) =133/160 V(∩) = 36,7/36,0%
104V/105R V(tx)=458/370 N=60 N(υ) =142/120 V(∩) = 31,0/32,4%
103V/104R V(tx)=450/438 N=67 N(υ) =196/147 V(∩) = 43,6/33/5%
[font=Tahoma, sans-serif]104R/104V V(tx)=438/458 N=73 N(υ) = 153/178 V(∩) = 34,9/38,9%[/font]
Even higher results for bifolio 78V-81R, where the left and right pages are connected by pipes.
[font=Tahoma, sans-serif] V(tx) N(un) N N(υ) V(∩)
[/font]
78V 292 13=4,45% 53 157 53,8%
[font=Tahoma, sans-serif]81R 207 14=6,76% 53 112 54,1%[/font]
A high result (albeit a little lower), in bifolio 79v-80r, where stitching is done.
[font=Tahoma, sans-serif] V(tx) N(un) N N(υ) V(∩)
[/font]
79V 355 35=9,86% 66 169 47,6%
[font=Tahoma, sans-serif]80R 441 44=10.0% 66 225 51,0%[/font]
I did about 40 comparisons, from Pn = n! = 204!
The minimum V (∩) I received
[font=Tahoma, sans-serif] 1R/104V V(tx)=210/458 N=28 N(υ) =58/56 V(∩) =27,6/12,2%
49V/104V V(tx)=142/458 N=22 N(υ) =42/46 V(∩) =29,6/10,0% [/font]
But here V (tx) can exert a great influence.
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The Voynich Hotel Manga |
Posted by: VViews - 03-03-2018, 06:46 PM - Forum: Fiction, Comics, Films & Videos, Games & other Media
- Replies (5)
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So apparently there's a Japanese manga called The Voynich Hotel.
Synopsis:
"Welcome to the Voynich Hotel, a rundown resort located on an all but deserted island in the South Pacific. Owned by former Mexican wrestler Kandre Umeda, the hotel is maintained by two mysterious maids, Elena and Beluna, as well as a homicidal chef named Amelia.
Kuzuki Taizou, a Japanese tourist, comes to stay at the hotel to escape from his dark past. Soon he discovers that the strange occupants and happenings of the island are even more abnormal than what he is used to. Taizou quickly becomes embroiled in the spiderweb of affairs on the island, growing close to many of the residents and helping them out, though often causing even more problems for himself. But when Taizou's past comes to the island to haunt him, his new friends jump to his aid." (You are not allowed to view links. Register or Login to view.)
So far, there are only fan-made translations (for example You are not allowed to view links. Register or Login to view. ; the texts are translated but the layout is still right to left, so takes some getting used to) but it has been licensed to Seven Seas Entertainment who will be releasing an official English language version in June 2018.
I don't really know if any part of it has anything to do with the manuscript, but perhaps that gets revealed in one of the chapters.
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