18-01-2021, 09:01 PM
There are two aspects of origination that need to be separated. One is the physical origination of the Voynich Manuscript itself, where and when was it made. The other aspect is the ideological origination of the content, as primarily interpreted from the illustrations. While it is more 'convenient' when these two aspects are closely proximal, that is not necessarily true, when retelling history etc. And regarding location, if you can find an Irish monk in St. Gall, then it's difficult to require further restrictions.
Of course history matters, but I'm looking at this more as an example of Social Media: 1400. Covering 1400-1450 roughly and therefore including all of the single source interpretation from the C-14 dating. What the artist conveys is influenced by what the artist knows. What did the VMs artist know? The interpretation of the reader is influenced by what the reader knows. Does the reader know Social Media: 1400?
In astronomy, that would include the VMs cosmos and the comparative illustrations of BNF Fr. 565 and Harley 334. It's quite a distinctive cosmic structure sourced to Paris. C. 1410 and 1430s. This opens a door to VMs
interpretation. It reveals in small parts, what the VMs artist knows as their Social Media: 1400. It also further reveals the extent of ambiguity available for disguise in VMs illustrations.
Intentional obfuscation is also created through the use of combined images. The VMs artist has combined a pair of images in several illustrations; the cosmos, the mermaid, and Virgo.
The VMs cosmos combines Oresme and Shirakatsi.
The VMs mermaid combines the bestiary type of illustration showing a generic mermaid among other sea-creatures with the mermaid replaced by the Luxembourgian mermaid version of Melusine. (Harley 334 second connection)
And add VMs Virgo as the combination of an astrological Virgo with the image of the Virgin Mary standing on a crescent moon.
What is seen here shows just the most obvious examples. The VMs artist is clearly playing tricks with Social Media: 1400. The ability of this technique to deter interpretive resolution speaks for itself. It's the same sort of 'free association' thinking that was used in heraldic canting. And the VMs uses that too. Things are disguised. They are hidden; they are altered, they are obfuscated, but they are not removed, and critical factors (color, position, structure) are not altered, according to the traditions of Social Media: 1400.
Of course history matters, but I'm looking at this more as an example of Social Media: 1400. Covering 1400-1450 roughly and therefore including all of the single source interpretation from the C-14 dating. What the artist conveys is influenced by what the artist knows. What did the VMs artist know? The interpretation of the reader is influenced by what the reader knows. Does the reader know Social Media: 1400?
In astronomy, that would include the VMs cosmos and the comparative illustrations of BNF Fr. 565 and Harley 334. It's quite a distinctive cosmic structure sourced to Paris. C. 1410 and 1430s. This opens a door to VMs
interpretation. It reveals in small parts, what the VMs artist knows as their Social Media: 1400. It also further reveals the extent of ambiguity available for disguise in VMs illustrations.
Intentional obfuscation is also created through the use of combined images. The VMs artist has combined a pair of images in several illustrations; the cosmos, the mermaid, and Virgo.
The VMs cosmos combines Oresme and Shirakatsi.
The VMs mermaid combines the bestiary type of illustration showing a generic mermaid among other sea-creatures with the mermaid replaced by the Luxembourgian mermaid version of Melusine. (Harley 334 second connection)
And add VMs Virgo as the combination of an astrological Virgo with the image of the Virgin Mary standing on a crescent moon.
What is seen here shows just the most obvious examples. The VMs artist is clearly playing tricks with Social Media: 1400. The ability of this technique to deter interpretive resolution speaks for itself. It's the same sort of 'free association' thinking that was used in heraldic canting. And the VMs uses that too. Things are disguised. They are hidden; they are altered, they are obfuscated, but they are not removed, and critical factors (color, position, structure) are not altered, according to the traditions of Social Media: 1400.