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This should be just about enough of a trigger for long-suffering Voynich researchers to work out precisely where this is all leading… Gabrovsky, who styles himself as a “Medieval Consultant“, who is about to have a paper published in the Spring 2018 issue of “Source: Notes in the History of Art” (Vol. With my Art History hat on, I’ll be interested to see whether or not the whole “Cushingoid Phenotype” was ever depicted in a recognisable way in the centuries before 1912: it would be a strange paper were it not to even pose that question. The metric Juzek uses to drive much of his argumentation is what he calls ‘MSD’ (“Mean Squared Distance”), which is simply the sum of the squares of the instance frequencies of bigrams (or trigrams), but then divided by the number of individual bigrams (or trigrams).
As an example, the 14-letter text “AAAAAAAAAABCD” is made up of thirteen bigram instances AA, AA, AA, AA, AA, AA, AA, AA, AA, AB, BC, and CD.
) The various landmarks mentioned in the letter do make historical sense, according to the Philly Voice article: […] Philadelphia historian John Fanning Watson, who died in 1860, referenced the drawbridge, Cherry Garden and a “precipitous and high bank” in Society Hill in his 19th century manuscripts detailing the city’s history, Rolph said.
However, Juzek quickly flags that this raw metric is not really good enough on its own: The problem with the msd is that there are difficulties with comparing msd’s across data sets.
I’d much rather have seen that tested than Vigenere (it’s not a Vig, not even close).
As I was reading through Juzek’s paper, I was struck by a quite different question.
That is, might encrypted homophonic English ciphertexts have a distinctly asymmetrical statistical “fingerprint” that would give us confidence that this is indeed what we are looking at in the Z340?
Perhaps this has already been calculated: if so, it’s not work that I’m aware of, so please leave a comment here to help broaden my mind.