Надо сказать, что в данной рукописи содержатся кодировки ментальных образов головного мозга, которые, так или иначе, определяют некоторые функции человеческого организма, назовем их бинарными опциями.
Нейронная сеть головного мозга делится на четыре сектора A, B, С, D.
Ум – это ничка, т.е. счет идет слева направо…
Сектор A – отвечает за функционирование организма.
Сектор B – это личность человека.
Сектор C, D – за продолжительность жизни.
На рисунке 1 изображено денежное дерево. Само дерево – это головной мозг. Три ветки – три сектора нейронной сети головного мозга. Зеленые листочки, значащие биты. Коричневые листочки - ложные... Цифры 3 и 1 определяют порядок счета бит. Белый цветок – это поврежденные участки головного мозга, с которых нельзя считать информацию.
В тексте зашифрована кодировка, которая позволяет на базе нейронной сети головного мозга создать две виртуальные машины. Т.е. расколоть Я.
Элементарным процессором головного мозга является куб, в котором пляшут фотоны. Цвет четырех граней этого куба определяет его состояние. Цветов всего 16. И каждый цвет в двоичной системе счисления можно представить 4-х битной кодовой комбинацией. Например: 1011 или 0000 или 0110…
Давайте рассмотрим еще одну картинку из Манускрипта ВОЙНИЧА. На ней изображен цветок каланхоэ. И обратим внимание на корень. Мы видим три отростка с минами. Посмотрев на рис. 3 становится понятно, что на рис. 2 приведена кодировка, позволяющая организовать мост между двумя виртуальными машинами, полученными при делении Я.
На последней странице манускрипта ВОЙНИЧА (рис. 4) мы видим цифры 7484. Это проверка. Количество 4-х битных кодовых комбинаций (КК) в кодировке должно делится на 4 без остатка. А результат деления должен быть либо 7, либо 8 или 7+8=15.
Так в кодировке каланхоэ количество 4-х битных КК (N4) равно 60. И 60/4=15
В кодировке денежное дерево N4=28. И 28/4=7.
И проверка на нечетность. Т.е. количество 1 в кодировках должно быть нечетным.
Так в нашем примере количество 1 = 85, в денежном дереве = 47.
It becomes increasingly clear that the manuscript is most likely to have been made in Italy, as was the opinion of both Nick Pelling and Edith Sherwood before 2008.
Sherwood believed so because she thought then that the manuscript was by Leonard da Vinci; Pelling's opinion was drawn from his own research into an Italian architect nicknamed 'Filarete'.
Codicological evidence for this view has been less often addressed.
Recently, however, Alain Towaide has said that the binding itself (i.e. the style of stitching) is characteristically Italian, an important new insight. (on which point, see the publication by the Villa Mondragone, and a summary review by Rene written for Stephen Bax' website).
In this connection, I have noted again a comment published some time ago on ciphermysteries by Menno Krull Knul, who said he thought that an Italian manuscript in the library of the University of Vermont (Burlington) was 'convincingly like' the botanical section of Beinecke MS 408.
Bald assertions of this sort abound in Voynich studies, and finding the reason and evidence for an opinion is often very difficult.
So I've recently begun to write up a detailed comparison of the two manuscripts. My conclusions are (for those who don't want to wade through the comparative evidence, reasoning and all that) that the similarities are primarily those of similar practices and materials in use in northern Italy during the fifteenth century. As example, one page of the Vermont herbal, folded across the middle, differs not at all from the VMS vellum in one dimension and only 2.5mm to either side on the other.
The palette is comparable, though the Vms' is broader. More telling is that both have had the pictures made before the text was added, and in *some* cases, the text of the Vermont 'Tuscany Herbal' also weaves the text through and around a central image.
However, the length in time between them - as much as four or five generations - suggests that it is the use of paper and membrane supplied by a constant source over that period which explains the dimensions, as well as the possibility that the 'Tuscany' herbal drew upon the earlier Beinecke manuscript, or upon exemplars in common. I conclude that the Vms is most likely to have been made c.1427-8 in the Veneto.
I think that, given the earlier ideas about where the manuscript was made (which is not the same thing as where the contained matter was first enunciated), Towaide's comment and Menno Krull's Knul's observation become important. We may need to switch attention from 'central Europe' to northern Italy in our hunt for the text.
I should appreciate comments on the posts from members here.
Came across this compilation on pinterest today. Look at image #9 - the stars and the little face are very Voynichese.
But I can't find the source. Anyone have any idea?
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I wonder if the nymphs on top of You are not allowed to view links. Register or Login to view. could be the constellations of Cepheus, Cassiopeia and Andromeda. They were all placed in the sky as a punishment: Cepheus as a fish, Cassiopeia chained to her throne with her arms spread, and Andromeda chained to a rock in the waves.
Later MSS depict them differently, but yesterday by coincidence I came across Revised Aratus Latinus, which depicts them in a way that reminded me of these nymphs. Especially the correspondence between the middle nymph and Cassiopeia is striking. The nymph to her right, which should be Andromeda, is also standing in wavy water.
DATE
809
LOCATION
Paris, Bibliothèque nationale de France → Nouv. acq. lat. 1614, fol. 86v-87r
TEXT/BOOK/DOCUMENT
Revised Aratus Latinus
A very interesting depiction can be seen here as well, in another version of this text: You are not allowed to view links. Register or Login to view.
What is interesting, is that this latter manuscript does something very Voynich-like: it gives the figures a small base to stand on, indicating their environment. Cetus and Andromeda get water, Cassiopeia gets a palace platform.
I'm not an expert in astrological matters so I wonder if it could be possible.
Yes, i know this should probably have been posted at the water cooler,
but i already entered the text and attachments, when i realized that,
so please don't get angry on me again, and perhaps you can help moving this to the correct category?
-------
I know there was a discussion on a page on many oooooo's after a 15 minute search i give up
and post this thread, perhaps it can be moved after we 've located that other posting ?
I wanted to share these images:
[attachment=329]
page 29r
Wanted to show these many oooo's in this ms.
Update: Yes Marco, thanks page 70r1. So the thread concerned is You are not allowed to view links. Register or Login to view.
[attachment=330]
page:front paste down
What is interesting about this text is that on the 4th line resembles two letters, as in the vms,
you see something that looks like yortalem or ajortlem, but there are very little words i can read.
[attachment=331]
page 19r
Here you can see letters in the picture have been used to show a=oriens, o=occidenz d=angulus ..?
This is used on the other pages as well.
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here a pdf about the text: You are not allowed to view links. Register or Login to view.
Basel, Universitätsbibliothek, F III 25 Parchment · 51 ff. · 23.5-25.5 x 16-17 cm · 13th-14th century Composite manuscript (Astronomy) Language: not specified Manuscript Summary: This composite manuscript of content related to astronomy consists of three independently created parts with leaves of different sizes and varying layouts. They were produced by several scribes in the 13th and 14th centuries. The texts describe instruments for observing the sky and treat the planetary orbits, which are also represented in astronomical drawings. This composite manuscript belonged to the chained library of the Dominican Convent of Basel. (gam/flr) Standard description: Aus: HAN. Verbundkatalog Handschriften - Archive - Nachlässe. You are not allowed to view links. Register or Login to view. [font='Open Sans', sans-serif]Online Since: 06/25/2015[/font]
Posted by: Koen G - 07-05-2016, 09:17 AM - Forum: Imagery
- No Replies
I analyzed You are not allowed to view links. Register or Login to view. in the same way as I did the Philomela story.
This folio tells the myth of Callisto, as she is raped by Jupiter (Zeus), banished by the goddess Diana, and turned into a bear as a punishment by Jupiter's wife. Finally, Jupiter takes pity on her and puts her and her son in the heavens as the Ursae constellations.
The neutral-downfall-ascension theme is reflected in the layout of the page:
My analysis of every image on this folio can be read in You are not allowed to view links. Register or Login to view..
I have tried to explain what I can, but also indicate the things that are still unclear to me. Like the honest used car salesman I am, I will mention those again separately:
- The VM does never show a half transformed person. In this case, it skips the bear altogether: it goes straight from nymph to constellation/goddess.
- As soon as a male figure becomes a representation of an abstract entity (like a constellation) he is pictured with a female body.
--> These two oddities lead me to believe that the focus is on the end result of these stories. In the chapter of Philomela these were winds, and the birds associated with them. In this story, they are some of the most important constellations.
- The constellations' attributes are highly specialized and do not immediately derive from Greek myth. Ursa minor is holding a red ring, which might be a reference to Polaris, though I don't know how. Ursa major is holding a known object: it can be compared to a sundial, and was used to determine one's position on earth. Ursa major had a similar function in antiquity (and later periods that adhered to the ancients' practice), being the most important constellation in navigation.
This would also imply that the "pangolin" represents the constellation Draco, which arches in between the Ursae and has its belly bent over Little Bear's head, just like is shown here.
For the full analysis of the narrative and the iconography, please read my blogpost, where I discuss everything in detail.
I recently posted a You are not allowed to view links. Register or Login to view. on the blog of Stephen Bax in which I point out a regular pattern of words in the zodiac pages. Here is a slightly edited and extended version
I used Job's excellent voynichese tool to You are not allowed to view links. Register or Login to view. for two prefixes that commonly appear in the manuscript: shed- and ched-
In the 12 zodiac pages, there are 15 matches, on 7 different pages: Shed- Libra, Leo, Sagittarius ched- Pisces, Taurus (dark), Cancer, Scorpio
All occurrences appear in the rings of text, not in the labels of the “nymphs”.
According to an ancient tradition (You are not allowed to view links. Register or Login to view.), masculine (or diurnal) and feminine (or nocturnal) signs alternate in the zodiac. Other sources (e.g. You are not allowed to view links. Register or Login to view. II, 150 or the Pseudo-Ptolemy’s You are not allowed to view links. Register or Login to view.) only classify the signs as masculine and feminine (not diurnal and nocturnal).
All the 15 occurrences of the two prefixes give a consistent match on 7 different zodiac signs. A possible hypothesis is the existence of some kind of equivalence: Shed- masculine (diurnal) ched- feminine (nocturnal)
There is another possible interpretation, based on the classical association of the zodiac signs with You are not allowed to view links. Register or Login to view.:
Aries, Leo, Sagittarius correspond to Fire (hot and dry)
Taurus, Virgo, Capricorn correspond to Earth (cold and dry)
Gemini, Libra, Aquarius correspond to Air (hot and wet)
Cancer, Scorpio, Pisces correspond to Water (cold and wet)
So, the masculine signs are “hot” and the feminine signs are “cold”. Another possible interpretation is: Shed- hot ched- cold
Of course, it is well possible that this is just an irrelevant coincidence. It should also be noted that a possible inconsistency is a “nymph” labeled “ched” in Sagittarius (a masculine sign that should have “shed”, according to this theory). Apparently, the hypothetical regularity I observed is not respected in the labels of the nymphs. The above linked search on voynichese.com searches for the ched- prefix and only matches if the prefix is followed by one or more characters.
Other possible regularities:
oty You are not allowed to view links. Register or Login to view. to four of the six (or five, since Capricorn is missing) “dry” signs (Taurus, Leo, Virgo and Sagittarius). Again, two Pisces nymphs should be ignored.
choteey You are not allowed to view links. Register or Login to view. exactly to the three Water signs (Cancer, Scorpio, Pisces)
A table of the Galenic properties of the signs (hot - calidus, cold - frigidus, dry - siccus, wet - humidus) by You are not allowed to view links. Register or Login to view..
I just noticed something pose-related: the male "gemini" has his arms crossed. This makes it look less like embracing, and more like a double handshake.
Has this been noted before?
Several people here have studied many other zodiacs. Is this something that returns? It seems like a very deliberate and significant cultural pointer to me. You don't "just" let people "embrace" with a double handshake.
I'm focusing my efforts on the balneo section so I'm not going to look into this at the moment. Just wondering if someone has found parallels for this pose - not just in gemini images, but the pose in general. I have a suspicion it may provide a key for the image.
Since it's a man and a woman, I'd start by looking into marriage rituals.
Edit: or is he holding her one hand and giving her something with the other?
Hi everyone,
Following an expression of interest from ReneZ in the thread about Philomela/80r, I'm opening a thread about the poses in the Voynich manuscript.
I've slightly updated my You are not allowed to view links. Register or Login to view. about the subject.
In short, although there are hundreds of people depicted in the Voynich manuscript, the range of poses is very limited. The vast majority of them (haven't done a stat count but I'd say over 90%) are represented in one of seven basic poses.
Additionally, I haven't touched on the issue of models in my post, but I'd like to add here that there is an interesting book about the use of model-books of drawings in medieval art:
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I have gone through a few of the model-books mentioned in this publication's catalogue, but so far, none seems to comprise all seven poses.
![[Image: order.jpg]](https://herculeaf.files.wordpress.com/2016/05/order.jpg)
![[Image: Roman_marriage_vows.jpg]](https://upload.wikimedia.org/wikipedia/commons/0/03/Roman_marriage_vows.jpg)
