Does the world need yet more Voynich Manuscript-themes novels? Errrrm… obviously it does, or else why would so many of them be parachuting down out of a clear blue sky?

First up in today’s list is H. L. Dennis’ “Secret Breakers: The Power of Three”. Even though this is a kid’s book, between you and me it’s actually a jolly good read, with lots of Bletchley-Park-Station-X and mint-imperial-crunching-British-code-breaker stuff threaded throughout it, like so much Csjhiupo Spdl. My 8-year-old son enjoyed it so much that he’ll be posting a review of it here soon. All you need to know for now is that the ending sets up book two with Edward Elgar: so, Dorabella here we come! 😉

Next up is Linda Lafferty’s “The Bloodletter’s Daughter” – this 480-page heft weaves the Voynich Manuscript’s threads in with the even more obscure (and, actually, far bloodier) story of Holy Roman Emperor Rudolf II’s mad son Don Julius. There’s a copy right beside my desk waiting to be read… I just wish I didn’t have so much actual cipher research to do at the moment. But I promise I’ll get there (eventually)… oh well!

Finally, R. J. Scott’s “Book Of Secrets – Oracle 2” is due for release at the end of the month, though I get the feeling that it may not make a lot of sense unless you’ve already read the first book (“Oracle”).

Enjoy! @-) <--- belated Wenlock smiley 😉

OK, let me try a Cipher Mysteries-themed mind-reading trick on you…

Perhaps you feel in the mood for a mooch around an art exhibition where all the pictures are inspired by the Voynich Manuscript, but you’d prefer to stay at home than catch a plane all the way to Ireland?

Well, if my mind-reading skills are on the mark, I can surely do no better than suggest the one-man show by Damien Flood called “The Theatre of the World” currently on display at Ormston House in Limerick, running until 27th October 2012. The blurb runs:-

“Through researching the Voynich Manuscript, Flood became interested in how people throughout the ages have created their own worlds in order to understand the one around them. The artist similarly uses paint to create a new place to situate the viewer and to give them a feeling of journeying through a new or parallel world that mixes micro and macro, the botanical and the astrological, and inner and outer consciousness. The paintings in Theatre of the World ask to be studied, for the viewer to take their time and allow each individual mystery to unfurl.

This body of work was developed for the the Italian-inspired architecture of Ormston House and with the building’s illustrious history of functions and uses in mind: a ‘cabinet of curiosities’ to question technological acceleration and our insatiable appetite for data consumption. These modern landscapes are not cryptic messages however, the ideas are explicitly present on the canvas and the implications beyond the frame highlight a loosening grip on our understanding of the physical world and our rejection of intuitive perception in favour of dubious scientific absolutism. The paintings are conversations (figurative and abstract) on the dichotomy between our understanding of the civilised world versus our understanding of nature, between fact and fiction and the slippages in-between.”

But wait! The neat bit is that there’s a four-minute video on YouTube taken walking around Flood’s exhibition. Hence the part about not catching a plane. Enjoy (virtually)!

Every once in a while, I get accosted by something delightfully tangential to the while cipher mysteries arena. A nice example of this recently popped up as part of the University of Western Australia’s Second Life (a well-known online virtual world) presence, where a certain ‘Hypatia Pickens’ built herself a Voynich-themed area, with odd-looking plants and nymphs sliding down a curious slide into the cool water.

Naturally, that’s not the real story here, not when the question I immediately wanted answered was “who is Hypatia Pickens, exactly?

It turns out Hypatia’s real name is Sarah Higley; she teaches medieval literature at the University of Rochester; she wrote a 2007 book on Hildegard of Bingen’s Lingua Ignota (which I wonder whether my friend Philip Neal has yet seen); she has created a conlang (constructed language) called Teonaht; and she created the (largely satirical) Star Trek character Reginald Barclay.

All of which probably serves to explain her interest in the Voynich Manuscript, which is surely – if you believe all you read on the Internet – nothing less than a medieval constructed lingua ignota invented by aliens… specifically Ferengi (simply because the world is itself a lovable medieval Arabic term meaning Franks). 🙂

Just when I thought it was safe to pack my mallet away for the Olympics, a whole load more Voynich moles popped up (if you remember the arcade game Whac-a-Mole, it’s a lot like that). I go through all this stuff so that you don’t have to…

(1) Tom O’Neill claims in a YouTube video that the Voynich Manuscript is written in a polyalphabetic cipher that, after three and a half years of exhausting labour, he has finally cracked. His decrypt of the first paragraph of f1r goes something like this (I’ve had to guess at a few words, but I think it’s generally pretty close):-

Woman, this mouth sense in the daytime, Lisa do you taste on the side of rich lips, bias corely that away from love dies from will. Nymph, nymph, know this male, he adores for company. My estate because of a lover, mistress of a house, say this or mouth our love between one another, that our faith on the side of a mountain. Would that destroy this cord asunder?

Personally, I prefer his YouTube videos where he dresses up in army fatigues, calls himself Commander or Admiral Mansfield, proclaims his desire that we should all fight the New World Order, and recites his own rather gory poetry. But taste is a subjective thing, I guess.

(2) Algorithmic music programmer “Dan of Earth” has released a noise thing called Voynich Was Here, self-described on archive.org as “algorithmic composition as applied to horrible noise”. Even what appears to be its biggest fan on the Internet has trouble seeing its positives:-

Some might find Voynich Was Here more interesting to read about than it is to listen to, but that would be factoring out the small, subtle nuances that are difficult to pick up on. The intent listener will be focused on hearing those shifts in sound, however small they are.

(3) Here’s a quicky link to an upcoming unsolved mystery comic book thing called Hic + Hoc, that’s going to be covering the Voynich Manuscript (along with a load of other stuff) fairly soon, I guess.

(4) And lastly – inevitably, it would seem – comes a Voynich theory proposing not only that the Olympic stadium in Stratford is a pagan altar, but that the blueprints for it might well be in the Voynich Manuscript’s nine-rosette page. Shocking stuff, but very possibly not entirely true, it has to be said. 🙂

Given that (a) I’m somewhat overstretched right now (imagine Doctor Who fighting Daleks and Cybermen with the Tardis and his underpants on fire, and you’re 10% of the way there) and (b) I’ve got a whole heap of Voynich-related bits to work through, it’s time for another Voynich miscellany post. Yes, just like last year’s one. Only better! 🙂

Firstly, the Voynich theories

Don’t inhale too deeply!

* If you first read about the Voynich too late at night through a haze of smoke, you can end up with some pretty hazy theories. Like this one, where the nine-rosette page is “a map of the general functioning of the multiverse. If you look closely, you can see eyeballs. This represents the observer effect, and the craziest part of all.” Moreover, “the manuscript is a guide for how to extract entheogenic substances or mixtures from plants, or to graft them together to create novel substances. I believe the author learned the theory of everything from a psychedelic trip, and that’s why there’s a clear galaxy picture.” Like, yeah, it all makes sense now, cool.

* The Federation of Light would like to let us know that the Voynich Manuscript was accidentally lost by “a child from Orion ( peacefull breed ) in training as a botanist“. Which is, of course, a great weight off all our minds. 🙂

* Here’s a channelling session with an entity called “Master Ruanel” who gets asked about the Voynich Manuscript. He thinks it’s nonsense! That was easy… now to solve the Euro crisis. 🙂

* Oh, and there’s a claimed Voynich decryption (“BE A RAS RABBLE”, really) on YouTube, if you like that kind of thing. Not my bag, sorry!

* Might the Voynich Manuscript actually be visual music? Composer and sonic contemplator Dan Wilson wonders so… it’s true that projecting cymatics back into the Quattrocento seems a bit of a stretch to me, but you may have a different opinion!

…and now all the other Voynichiana:

* Here’s a nicely composed photograph by Espen Gleditsch entitled “Voynich Manuscript 2009”, which basically looks like my own desk half the time (except I haven’t got a copy of Levitov’s book here).

* Pineal’s “A Key To Voynich” MP3 is available for download on Amazon. £0.89 buys you over 7 minutes of pulsing electronic dance stuff!

* However, that’s as nothing compared to “Manuscript 408”, the first track on Ice Dragon’s “Tome of the Future Ancients”, whose meatily metallic slice of bass-heavy doom rrrrock weighs in at over 10 minutes, and at whatever price you name. Basically, if you have long enough hair to flick and a virtual plectrum to air-guitar with, this could well be The Ultimate Voynich SoundTrack For Your Life:-

Words written down so long ago / In a language already gone
From hand of scribe / Down through the pen / And marked into vellum
Cloaked in darkness / The secret remains / Hidden from us for all time
The ravings of a madman / Or learned scholar / We may never know why
Brought forth while in possession / Of knowledge from other realms
Through supernatural process / One may obtain / That which is withheld
The scryer, the seer / Can talk to beings / Who remember the ancient days
When men were more / When they weren’t lost / In their mathematical ways
32 gone, 240 remain / Torn out by a dark mage
Who knew of the power / Held within / They are in use to this day
Herbal / Astronomical / Biological / Cosmological / Pharmaceutical
When all combine / Madness of the mind / Destroy all life / And reset time
When all combine / Madness of the mind / Destroy all life / And reset time

* E6 Town Hall Hoursong has released Volume 8 Voynich Manuscript, containing a number of Voynich-themed tracks. It’s all a bit experimental, you might like it, who knows?

* Here’s a nice picture by artist Barbara Suckfüll, more than a tad reminiscent of the Voynich’s nine-rosette page. (Click on it to see more detail).

* My favourite link of the day is to Rigid Hips Stockholm Motorcycle Space Sect (I kid you not), who writes that “The herbal, medical, astronomical/astrological, balneological and mechanical secrets of the Voynich Manuscript is basicly what keeps me going, and ofcourse the live albums the Ramones did in the late 70’s. […] The Ramones didn’t play all downstrokes, that’s a myth, if you analyse most their live albums Johnny and DeeDee goes 16 downstrokes / 4 up and down / 16 downstrokes / 4 up and down, and for some reason that is really important to me.” Now that’s someone with a finger on their own pulse, which I can really admire. But the real question is: would Rigid Hips like Ice Dragon? 🙂

A few days ago, Diane O’Donovan asked if there was a good place online to ask me questions about “The Curse of the Voynich”: but because I’m not a part of the main Voynich mailing list (sadly, I don’t have nearly enough spare time to sift through all that chaff), the answer was a no.

However, I’ve just now added in a “Tal.ki” forum plugin to the Cipher Mysteries WordPress install, which you can get to easily here. I don’t know how it’s going to work out, nor what open topics people would like to have there: but it’s up and working so let’s find out!

The most immediate limitation is that it uses Facebook for logging in (and I don’t like Facebook much). Still, it is what it is (both easy to install and free), so we shall see…

Not only can writers now get books published hyper-fast, so too can their debunkers reply no less quickly: where faulty observing, theorizing or reasoning leave holes large enough to languidly drive a truck-load of Voynich conference attendees through, you can these days expect the same to be pointed out quickly enough. So it rapidly proves to be with the recently published “Le manuscrit Voynich décodé” by mystery writers Fabrice Kircher [love the surname] and Dominique Becker, who boldly claim to have decrypted the Voynich Manuscript: but, as you’ll see, this comes with an unexpected twist in the tail…

Their four-page Chapter One briskly dismisses the preceding history of the Voynich up to 2004, before launching head-first into an explanation of their transcription and analysis. Chapter 5 transcribes the ten last words on f20r thus:

olluig ollug llug golliig hand has ouand uos uouiig lluig

This babble poetry they fearlessly translate as:-

Le mouvement du lac, le mouvement d’ouverture, l’ouverture. Marche la lumière, advient, en glissant, le mauvais esprit inférieur, la basse fumée, l’inférieure vapeur de l’eau, du lac.

They get to this point by interpreting Voynichese as a polyglot mixture of (p.157) “l’allemand, le suédois, le néerlandais, le latin, l’anglais, avec quelque notions de gaélique et de nahuatl“. Because of the presence of Nahuatl (which got to Europe no earlier than 1521) and various other features, they date the object to (p.157) “entre 1570 et 1610“.

By now, most people who’ve read anything about the Voynich Manuscript in the last three years will be sighing miserably at the futility of this whole exercise. Not only have the authors recapitulated Levitov’s sorry polyglottism, they’ve also created a reading that has little obvious to commend it over other long-failed decryptions such as John Stojko’s. Frankly, to my eyes their base theory is a mess; the way all the polyglot languages are supposedly linked together is a mess; and the final translation is a mess. And I suspect that any broadly sane reviewer would say the same.

But here’s the twist: the book comes with an afterword by Jean-Michel Grandsire, a self-taught anti-conformist with a interest in the paranormal. To my great surprise, Grandsire points out the inconsistency with the 2009 radiocarbon dating and the 15th century swallowtail merlons in the nine-rosette page; and suggests (p.170) that the authors may have fallen foul of what Pierre Barthélémy in the discussion at the front of “Le Code Voynich” called la “malédiction du manuscrit” – basically, the curse of the Voynich.

So there you have it: a Voynich theory presented in a way that preempts the need for writing a critical review of it (because they do that for you). How very modern!

Much as you’d expect, YouTube user weasel6666 (not me, not even slightly!) has uploaded WAGtv’s “Ancient X-Files” Series 2 Episode 4 “Sodom and Gomorrah” episode that aired on National Geographic UK only a couple of days ago. If you fast forward to 22:00, you can see the Voynich Manuscript half, which is loosely based on reprising the research I did for my 2006 book “The Curse of the Voynich” (copies still available, very reasonable postage rates, etc).

Even if you’re one of the many who don’t agree with my art history conclusions (but given that you’ll all get there in the end, I’m cool with that 🙂 ), enjoy the historical ride to Venice and Milan, and have a look-see at all the fabulous things I was able to get to for the first time, thanks to the magic of having a film crew filming my every damn move for a week. 🙂

I think it’s fair to say that the WAG team recorded enough footage for a 2-hour special and then tried to edit it down into a 22 minute half-episode slot: which in a curious way is a fair representation of my book, which similarly should probably have worked through its material at a far more leisurely pace (say, over 500 pages) than jammed into 230 pages.

But all the same… how was it for you? Leave your comments below…

A few days ago I promised you my post-Frascati thoughts on the Voynich Manuscript radiocarbon dating. Errrm… little did I know quite what I was letting myself in for. It’s been a fairly bumpy ride. 🙁

Just so you know, the starting point here isn’t ‘raw data’, strictly speaking. The fraction of radioactive carbon-14 remaining (as determined by the science) first needs to be adjusted to its effective 1950 value so that it can be cross-referenced against the various historical calibration tables, such as “IntCal09” etc. The “corrected fraction” value is therefore the fraction of radioactive carbon-14 that would have been remaining in the sample had it been sampled in 1950 rather than (in this case) 2009. Though annoying, this pre-processing stage is basically automatic and hence largely unremarkable.

So, the (nearly) raw Voynich data looks like this:

Folio / language / corrected fraction modern [standard deviation]
f8 / Herbal-A / 0.9409 [0.0044]
f26 / Herbal-B / 0.9380 [0.0041]
f47 / Herbal-A / 0.9389 [0.0041]
f68 / Cosmo-A / 0.9338 [0.0041]

What normally happens next is that these corrected fraction data are converted to an uncalibrated fake date BP (‘Before Present’, i.e. years before 1950), based purely on the theoretical radiocarbon half-life decay period: for example, the f8 sample would have an uncalibrated radiocarbon date of “490±37BP” (i.e. “1460±37”).

However, this is a both confusing and unhelpful aspect of the literature because we’re only really interested in the calibrated radiocarbon dates, as read off the curves painstakingly calibrated against several thousand years of tree rings; so I prefer to omit it. Hence in the following I stick to corrected fractional values (e.g. 0.9409) or their straightforward percentage equivalents (e.g. 94.09%): even though these are equivalent to uncalibrated radiocarbon dates, I feel that mixing two different kinds of radiocarbon dates within single sentences is far too prone to confusion and error. It’s hard enough already without making it any harder. 🙁

The problem with the calibration curves in the literature is that they aren’t ‘monotonic’, i.e. they kick up and down. This means that many individual (input) radiocarbon fraction observations end up yielding two or more parallel (output) date ranges, making using them as a basis for historical reasoning both tricky and frustrating.

Yet as Greg Hodgins described in his Frascati talk, radiocarbon daters are mainly in the business of disproving things rather than proving things. In this case, you might say that all radiocarbon dating has achieved is to finally disprove Wilfrid Voynich’s suggestion that Roger Bacon wrote the Voynich Manuscript… an hypothesis that hasn’t been genuinely proposed for a couple of decades or so.

Of course, Voynich researchers are constantly looking out for ways in which they can use or combine contentious / subtle data to build better historical arguments: and so for them radiocarbon dating is merely one of many such datasets to be explored. In this instance, the science has produced four individual observations (for the four carefully treated vellum slivers), each with its own probability curve.

The obvious desire here is to find a way of reliably combining all four observations into a single, more reliable, composite meta-observation. The two specific formulae Greg Hodgins lists for doing this are:-

So, I built these formulae into a spreadsheet, yielding a resultant composite fractional value for all four of 0.93779785, with a standard deviation of 0.004169. I’m pretty certain this yields the headline date-range of 1404-1438 with 95% confidence (i.e. ±2 sigma) quoted just about everywhere since 2009. But… is it valid?

Well… as with almost everything in the statistical toolbox, I’m pretty sure that this requires that the underlying observations being merged exhibit ‘normality’ (i.e. that they broadly look like simple bell curves). Yet if you look at the four probabilistic dating curves, the earliest calibrated date (on f68) yields two distinct dating ‘humps’, whereas the latest calibrated date (on f8) has almost no chance of falling within the earlier dating hump. This means that the four distributions range from normal-like (with a single mean) to heteroscedastic (with multiple distinct means).

Now, the idea of having formulae to calculate weighted means and standard deviations is to combine a set of individual (yet distinct) populations being sampled into a single larger population, using the increased information content to get tighter constraints on the results. However, I’m not convinced that this is a valid assumption, because we are very likely sampling vellum taken from a number of different animal skins, very possibly produced under a variety of conditions at a number of different times.

Another problem is that we are trying to use probability distributions to do “double duty”, in that we often have a multiplicity of local means to choose between (and we can’t tell which sub-distribution any individual sample should belong to) as well as a kind of broadly normal-like distribution for each local mean. This is mixing scenario evaluation with probability evaluation, and both end up worse off for it.

A further problematic area here is that corrected fractional input values have a non-linear relationship with their output results, which means that a composite fractional mean will typically be different from a composite dating value.

A yet further problem is that we’re dealing with a very small number of samples, leaving any composite value susceptible to being excessively influenced by outliers.

As far as this last point goes, I have two specific concerns:
* Rene Zandbergen mentioned (and Greg confirmed) that one of the herbal bifolios was specifically selected for its thickness, in order (as I understand it) to try to give a reliable value after applying solvents. Yet when I examined the Voynich at the Beinecke back in 2006, there was a single bifolio in the whole manuscript that was significantly thicker than the others – in fact, it felt as though it had been made in a completely different way to the other vellum leaves. As I recall, it was not far from folio #50: was it f47? If that was selected, was it representative of the rest of the bifolios, or was it an outlier?
* The 2009 ORF documentary (around 44:36) shows Greg Hodgins slicing off a thin sliver from the edge of f68r3 (the ‘Pleiades’ panel), with the page apparently facing away from him. But if you look just a little closer at the scans, you’ll see that this is extremely close to a section of the page edge that has been very heavily handled over the years, far more so than much of the manuscript. This was also right at the edge of a multi-panel foldout, which raises the likelihood that it would have been close to an animal’s armpit. Personally, I would have instead looked for pristine sections of vellum that had no obvious evidence of heavy handling: picking the outside edge of f68 seems to be a mistake, possibly motivated more by ease of scientific access than by good historical practice.

As I said to Greg Hodgins in Frascati, my personal experience of stats is that it is almost impossible to design a statistical experiment properly: the shortcomings of what you’ve done typically only become apparent once you’ve tried to work with the data (i.e. once it’s too late to run it a second time). The greater my experience with stats has become, the more I hold this observation to be painfully self-evident: the real world causality and structure underlying the data you’re aiming to collect is almost without exception far trickier than you initially suspect – and I can see no good reason to believe that the Voynich Manuscript would be any kind of exception to this general rule.

I’m really not claiming to be some kind of statistical Zen Master here: rather, I’m just pointing out that if you want to make big claims for your statistical inferences, you really need to take an enormous amount of care about your experimental methodology and your inferential machinery – and right now I’m struggling to get even remotely close to the level of certainty claimed here. But perhaps I’ll have been convinced otherwise by the time I write Part Two… 🙂

If you simply can’t bear the idea of waiting a whole week until National Geographic airs its Voynich half-episode of “Ancient X-Files” in the UK, then you now have the option of watching the French dubbed version (courtesy of DailyMotion). Fast forward the time-slider to 22:00 to see a whole load of Venetian & Milanese Averlino Voynich theory stuff, including Francesco da Mosto doing his delightful historian thing. Love that guy.

I should perhaps also add that if you can’t find the UK airing of the same episode in your various TV channel guides, it may be (a) because it’s listed under “Sodom and Gomorrah” (which occupies the first half of the show), and (b) because the half with me in is listed as focusing on the “Voyinch Manuscript” *sigh*. Perhaps I spent last week at the Livva Mongradone in Crasfati, too, and never realised it. Oh well!

PS: my behind-the-scenes page is here, if you somehow managed to miss that.