Archive for the ‘Glen Caston’ Category

Odd Distributions of “oy” and “ay”

August 23, 2012 6 comments
A few weeks ago I posted some images showing the positions of the 
gallows characters on each of the VMs folios.
(The blog post is here is you missed it: )

With a couple of small changes to the code, I have generated a set of 
images showing the positions of the "oy" and "ay" glyphs on each of the 
folios. (I believe the oy and ay are transcribed in EVA as ol and or, 
not sure.) This was prompted by the observations that
a) these glyph pairs often occur many times on a folio,
b) on some folios they don't appear at all
c) on some other folios only "ay" appears, on others only "oy"
d) often the "oy" glyphs appear to the left of each line, and the "ay" 
to the right, and sometimes vice-versa.

I wanted to link to a few example images from the set. The colour code 
is "oy" yellow and "ay" pink, with the coloured square indicating the 
position of the "o" or "a", a grey square indicating another glyph, and 
a black square a space.

1)  Examples of "oy"s at the left, and "ay"s at the right:

2) Example of the opposite: "ay"s at the left, "oy"s at the right:

3) Example of only "oy" on the folio:

4) Example of only "ay" on the folio:

5) Example of numerous "oy"s to only one "ay":

6) Example of an even mixture of both types, across the lines:

What might be going on here? Nick Pelling commented on my blog that GC, 
while working on the Voyn_101 transcription, got the impression that the 
change from dominant "oy" to dominant "ay" was a vocabulary change in 
the text (at least, that's what I understood from Nick's comment).

I'd welcome comments on this. Also, if you would like me to generate 
images for your favourite glyph's distribution, it's a trivial process - 
just let me know
Categories: ay, Glen Caston, Nick Pelling, oy, oy Tags:

Does the language of Dante fit the VMs?

October 4, 2010 Leave a comment

Having spent many pleasurable hours checking various exotic cipher and code ideas, none of them remotely fits when using a GA, except one. My faith in the GA technique is that it very quickly gives an idea of how well a code/cipher theory fits the VMs text.

The one cipher idea and plaintext language that does notably better than all others is an nGram mapping with the language of Dante as the plaintext. This is a form of early Italian, and it produces results significantly better than all other languages tried with nGrams, including Latin, German, English, Spanish, Dutch, Chinese etc. .

I’ll post some results from this nGram/Dante GA later.

There is a significant obstacle with applying computational techniques to the VMs, and that is the machine transcriptions of the VMs text. Basically they differ substantially, to the extent that statistics obtained with, say, EVA do not match well with statistics obtained with, say, Voyn_101. A particular problem is glyph bloat … my opinion is that GC’s Voyn_101 transcription contains many more glyphs than the scribes were actually using. Little differences between the ways of writing “9″ for example, are classified as different glyphs. This plays havoc with statistical analysis. Thus I have a procedure that filters the Voyn_101 and remaps e.g. those multiple “9″ glyphs to the same glyph. This allows a smaller, more realistic, search space. But it still doesn’t address the question of what strokes make up a single glyph, which is often open to interpretation. Thus any nGram mapping procedure has to allow for at least 1-3 Grams in the Voynich to be reasonably sure of covering the glyph correspondences properly.

Here is an extract of the Dante Alighieri text that matches decently using nGrams to the VMs:

Cjant Prin

A metàt strada dal nustri lambicà
mi soj cjatàt ta un bosc cussì scur
chel troj just i no podevi pì cjatà.

A contàlu di nòuf a è propit dur:
stu post salvàdi al sgrifàva par dut
che al pensàighi al fa di nòuf timour!

Che colp amàr! Murì a lera puc pi brut!
Ma par tratà dal ben chiai cjatàt
i parlarài dal altri chiai jodùt.

I no saj propit coma chi soj entràt:
cun chel gran sùn che in chel moment i vèvi,
la strada justa i vèvi bandonàt.

Necuàrt che in riva in su i zèvi
propit la ca finiva la valàda
se tremaròla tal còu chi sintèvi

in alt jodùt iai la so spalàda
vistìda belzà dai rajs dal pianèta
cal mena i àltris dres pa la so strada.

(This is modified from a reply to Knox who commented on an earlier post.)


March 3, 2010 4 comments

The significance of the Gallows characters

There are 19 gallows characters in Glen Caston’s Voyn_101 transcription:

Unlike the majority of standard VMs characters/glyphs, these are unusual in appearance and some appear to be composites of other gallows with the “c” and/or “cc” characters. My opinion is that the 2nd and 4th in the above set are the same, as are the 1st and 8th. This reduces the count to 17. An attractive proposition is that these are simply the capital letters in an alphabet of 17 letters. Indeed, the gallows characters often appear initially in the first word on a page. However, they also appear within VMs words, which is odd – unless a) the VMs words are not words at all, orb) they have been assembled unusually (e.g by anagramming).

Categories: 17, anagrams, c, cc, gallows, Glen Caston Tags: , , , , ,