29-10-2026, 10:28 AM
I believe that is exactly right.
I hypothesize that these illustrations and the accompanying text serve as a model—a representation of something else. I say this because the illustrations contain many elements that appear to be "simulations" or "models" of other things—such as processes, procedures, methodologies, or structures.
I have been working to decipher the contents, and I believe I have grasped the general outline. That said, some details remain uncertain. I plan to share my findings on the web, bit by bit. I would greatly appreciate your support.
I anticipate that there may be counterarguments, but I view these as opportunities to refine my own theories—in fact, I welcome them.
As for the text, I am certainly interested in it, though I am not an expert. It is possible that the text, too, is a symbolic representation of something else, but at this stage, that remains unclear.
To venture a rather wild idea: it feels as though the text itself might possess a certain rhythm—perhaps it was written in a specific cadence, or maybe it was composed in close coordination with the illustrations? At the moment, however, I cannot say for sure.
Regardless, deciphering the text is essential for a complete understanding.
Furthermore, I happen to be well-versed in musical counterpoint. Since there are likely others who are also knowledgeable in this field, I would welcome the chance to hear their perspectives.
In truth, the study of counterpoint is, in its own way, as enigmatic as the Voynich script; it is deeply philosophical. Throughout history, it has been the subject of extensive inquiry—most notably through the theories of Arnold Schoenberg.
In this sense, both subjects fall into the same category: they are equally difficult to grasp, whether in the past or today.
In other words, they require a master; one cannot simply learn them through self-study. This leads me to hypothesize that the Voynich manuscript might have served as a teaching aid—a model used by an instructor to guide a student.
Well, there’s no denying that the work is rewarding, but it’s a long road ahead.
I hypothesize that these illustrations and the accompanying text serve as a model—a representation of something else. I say this because the illustrations contain many elements that appear to be "simulations" or "models" of other things—such as processes, procedures, methodologies, or structures.
I have been working to decipher the contents, and I believe I have grasped the general outline. That said, some details remain uncertain. I plan to share my findings on the web, bit by bit. I would greatly appreciate your support.
I anticipate that there may be counterarguments, but I view these as opportunities to refine my own theories—in fact, I welcome them.
As for the text, I am certainly interested in it, though I am not an expert. It is possible that the text, too, is a symbolic representation of something else, but at this stage, that remains unclear.
To venture a rather wild idea: it feels as though the text itself might possess a certain rhythm—perhaps it was written in a specific cadence, or maybe it was composed in close coordination with the illustrations? At the moment, however, I cannot say for sure.
Regardless, deciphering the text is essential for a complete understanding.
Furthermore, I happen to be well-versed in musical counterpoint. Since there are likely others who are also knowledgeable in this field, I would welcome the chance to hear their perspectives.
In truth, the study of counterpoint is, in its own way, as enigmatic as the Voynich script; it is deeply philosophical. Throughout history, it has been the subject of extensive inquiry—most notably through the theories of Arnold Schoenberg.
In this sense, both subjects fall into the same category: they are equally difficult to grasp, whether in the past or today.
In other words, they require a master; one cannot simply learn them through self-study. This leads me to hypothesize that the Voynich manuscript might have served as a teaching aid—a model used by an instructor to guide a student.
Well, there’s no denying that the work is rewarding, but it’s a long road ahead.