Determining the "U" in UAP

Ask Ethan: Could we determine if UAPs/UFOs are aliens?

"Although a great many unidentified sights have been seen in the skies, none have conclusively demonstrated the presence of aliens. So far."

"This is actually very robust; if you can find objects that either:

• accelerate at hundreds of gs (or more) for several seconds,
• that move at speeds of hundreds of thousands of km/hr (or greater),
• or that can change their distance from you by amounts that are greater than any known rocket can travel in the same span of time,

you have evidence that you’ve observed a technology that goes well beyond the technologies that are known to humankind at present."

***

- Via a Big Think article (link above) which attempts to establish "clear evidentiary thresholds we'd need to pass to conclude that an unidentified anomalous phenomena (UAP) truly defies natural or terrestrial explanation."

The video introducing this post reports one account of a mysterious spiral light which appeared over Norway in 2009. A CBS report of the same phenomenon appears in the Ethan article - Spiral Phenomenon Explained - but, judging by most of the comments on the YouTube page, I'd say the explanation (a Russian missile) was not popular.

Alternative explanation? The death of Mothra.

More Fun:

Angels or aliens? Some researchers say Vatican archives hold UFO secrets

The sci-fi future stands derelict: Taiwan’s abandoned UFO houses

***

The moon in a phi-shell. G - DS - 22024.

A belated Happy Birthday to Mac in the Multiverse!

Art connects us to the past... which is a good thing, or we might try to forget it. The artwork above and inset left is a tiny detail of a much larger religious painting, a fresco of the Crucifixion from the Visoki Decani Monestary in Kosovo, Serbia, 1350, artist unknown. The image has been all over the web, mostly misinterpreted as a medieval UAP. According to The View from the Junkyard, and with whom I agree, the two UAPs which fly in the background of the crucified Christ are, in fact, medieval symbolist depictions of the sun and moon; this detail is of the moon. That the sun and moon happen to be vehicles for UHE (Unidentified Human-like Entities)... well, let's just say, it's probably one of those Pre-Christian things. The UHE may symbolize gods... the old gods who still lingered in artist's minds regardless of what new gods they were hired to portray.

If I remember correctly, Mac Tonnies adored the old gods as a boy... along with dinosaurs and robots, of course. But, then again, artists, writers and makers of all varieties still appreciate the old gods till this  very day. Well, they were Immortals, weren't they? Oddly enough, in visual art, the celestial gods often appear in vehicles that echo the shape of the pentagonal golden ratio's spiral mechanism. Even this one does to some degree, and, so, I embellished it with a phi-shell.

For more images and info regarding ancient future vehicles (and/or the "Chariots of the Gods"), try Crystalinks, or this  Preterhuman .pdf.

True Science Fiction Tales - The Plasma Lights

A photograph of the Fornax galaxy. (Previously posted about here.)

"Plasmas may have been photographed in the 1940s by WWII pilots (identified as 'Foo fighters'); repeatedly observed and filmed by astronauts and military pilots and classified as Unidentified Aerial-Anomalous Phenomenon. Plasmas are not biological but may represent a form of pre-life that via the incorporation of elements common in space, could result in the synthesis of RNA. Plasmas constitute a fourth state of matter, are attracted to electromagnetic activity, and when observed in the lower atmosphere likely account for many of the UFO-UAP sightings over the centuries."

- Via the abstract of a Research Gate publication (.pdf): Extraterrestrial Life in Space Plasmas in the Thermosphere.

"Plasma-like entities have been filmed congregating in their hundreds, particularly around satellite tethers which generate electromagnetic activity.

They have numerous shapes, travel in different directions, with some moving quickly while others hover in place. They even appear to target or follow each other and sometimes collide, leaving what resembles a plasma-dust trail in their wake.

Co-author Dr Christopher Impey, of the department of astronomy at the University of Arizona, said: “This does not mean these plasmas are alive, or engaging in intelligent purposeful behaviour.

Rather, as documented experimentally, these upper atmospheric electromagnetic plasmas may be engaging in ‘energy cannibalism’ and behaviours referred to as ‘collisionality’ in which they turn, follow, collide, intersect, and, possibly exchange energy.”

- Via a Telegraph article found today: We know what ‘foo fighters’ that buzzed Second World War pilots really were, say scientists. Oddly enough, while we're told earlier in the article that the plasmas are not "alive", later on we find:

"Some of the authors believe that the plasmas may even represent an alternate form of life that is not carbon-based, although others are skeptical.

The team has called for more research studying the plasmas, including sending up satellites which generate electromagnetic pulses equipped with infrared and X-ray cameras to capture the phenomena."

***

When I came upon the Telegraph article (cited above) this morning, I found myself completely astounded. It brought me back to my early days as a Traveler - the summer of 2017 specifically - after I had spent a full year living in my Nissan sedan, the "black turtle" (or tortoise); photographing mountains, following the ravens, and sleeping (literally) beneath the stars. All things considered it was not a bad life.  Nowadays, I see it as a kind of privileged life. But, then, I merely felt like "the (wo)man who fell to earth": an anomaly; dazed & confused, subversive, unwanted and essentially invisible.

I used to blog from libraries in those days. Great places, libraries - the best places in the world if you're a traveler - they accommodate you regardless of who or what you are.

Watching people coming in and out of a library is good practice for a writer. You'll note a number of diverse and fascinating faces drifting through its halls. Some faces radiate intelligence, some don't. But, it doesn't matter. Every one has a story. Every one is like a closed book (but some of them have more intriguing jackets than others).

The best part of my days were either spent at the library, or lying on my car's front seat late at night, watching the stars through my windshield (which I distinctly remember had a small hole in it). New Mexico has great sky views in places... even parking lots. I slept in vacant parking lots off and on throughout that period.

Strangely enough, it was not entirely surprising to me when - for three consecutive midsummer nights - while watching the sky above Bernalillo, I saw weird little lights moving in the distance, seemingly weaving through the many stars like bioluminescent microorganisms. My first thought was: "Wow, my eyes must be really tired!" My second was: "Satellites?" By the second night, after noticing them again - this time, in larger numbers - I knew that what I was seeing was some kind of phenomenon... possibly extraterrestrial... in the sense that the lights didn't "live" on planet earth, they operated in the atmosphere only...

Dangling Conversations & Trifurcated Views

"Time needn't be relevant in the cosmic screening room. Whether a particular pattern emerged in the past or future is irrelevant. Information from the 'past' and 'future' (mere cognitive constructs) freely integrate. This is a realm without spatial or temporal boundaries. It's something like the 'implicate order' suggested by physicist David Bohm. The 'explicate order,' of course, is the intricate sensory illusion that we inhabit. Or think we do.

The ever-changing patterns in the protean cloud dictate the nature of whatever universe happens to be illuminated by our imaginary laser. Since our perceived reality is constantly modeled by the myriad ones and zeroes in the timeless cloud, we find ourselves diced into informational slivers. From this perspective, "continuity" is meaningless. The 'I' writing this sentence could be hundreds of billions of 'I's removed from the one that wrote the last sentence. More disturbingly, 'I' might not have existed at all until right . . . now." 

"The newly formed 'I' happens to have 'memories' of composing this essay, but memories, like everything else, are simply advantageous fluctuations in the filmic cloud, subject to constant revision. And since I'm ostensibly a component in day-to-day reality, it's inevitable that the randomly constructed parameters that define my world -- all of it, from my living room to the coffeeshop down the street to the structure of galaxies -- is every bit as flimsy and malleable. Reincarnation is quite real. It's happening all the time -- invisibly. 

Several months ago I was in an automobile crash. My memories contain the adrenalized moment of impact, the literally breathless aftermath as I pondered the crushed metal and broken glass, and a trip to a hospital inside an ambulance. It would appear I survived, albeit bruised and aching. But who am I to tell the story of what 'really' happened? Perhaps the arc of my life, as defined by the fluctuating patterns (and bits of would-be pattern) in the cosmic screening room bifurcated shortly before I collided with the other car. In one variation I came to a bloody end. In yet another there was never an accident at all."

"I pick the crash incident not because of any intrinsic importance -- at the most fundamental level, the blind dance of possibilities doesn't care if I live or die -- but because it illustrates how flawlessly one or two frames can be altered (or randomly inserted or deleted) to potentially catastrophic effect in the observable world. So long as a pattern remains intact -- and it will, since it has infinite space and time to organize itself -- so will some permutation of 'I.'

Which begs the question: What happens when someone dies? It's possible that informational death is impossible and that the person who "dies" in the "explicate order" is expediently recycled, living his or her life again and again in a state of total amnesia. Or maybe something like my crash incident applies and that observers who die -- in the directly perceivable world -- are shuffled into a future in which they "miraculously" survive their own crashes (or cancer treatments or heart transplants).

There's nothing concrete or absolute about our so-called universe. It is an alluring, insidiously clever simulation. The Many Worlds Interpretation of quantum physics implies that the universe is constant "branching" into parallel, exclusive states. A better term, in light of the scenario described above, might be 'flowing.'"

- Mac Tonnies from this November 8, 2003 Posthuman Blues post.

***

"Yes, we speak of things that matter
With words that must be said
'Can analysis be worthwhile?'
'Is the theater really dead?'
And how the room is softly faded
And I only kiss your shadow
I cannot feel your hand
You're a stranger now unto me
Lost in the dangling conversation
And the superficial sighs
In the borders of our lives"

- Lyrics from The Dangling Conversation (video), 1966, Paul Simon.

I guess the anniversary of Mac's birthday, i.e., the beginning of his last, known, brief journey through our "directly perceivable world," is becoming sort of a extravaganza this year on Post-Mac Blues. Not since the very early days of this blog have I posted so frequently... well, apart from the series which inspired this one. And, there's one more birthday-related post yet to come: a sort of Araqinta greeting card.

Mac's quote above is actually a fuller version of a quote appearing in this post, one of a series on PMB appearing in October of 2012. I even find myself using the same graphics, pulled from M.C. Escher's Another world. I guess Escher's odd little avian/human hybrid resonates with me still. Inset left is Still Life With a Spherical Mirror  found in the last entry of that series.

I didn't particularly want death to be a theme of any of the birthday posts, but, for the past 2 weeks I have had one song going through my head... over an over again like an endless soundtrack: an old, wistful Simon & Garfunkel tune: The Dangling Conversation. I don't know where it came from and I don't know why, but, in an effort to finally relieve myself of it, I thought I'd better work it out.

As it was, Mac was a fan of the 60s folk/rock duo Simon & Garfunkel despite the fact that they parted ways before he was born, and, with Mac in mind, I finally had an epiphany: unexpected death is somewhat like a dangling conversation. Your relationship with the departed person is left hanging in the air with no visible means of support as if someone cut the telephone wires mid-conversation... or your cell phone's battery hit 0 at that same crucial moment.

But is a dangling conversation necessarily a narrative cut short?

This reminds me of a photo of Mac I mentioned recently: the one in the tattoo parlor. As it was, I wasn't the only person who had never seen it before. Mac's mom, Dana, confirmed that  she hadn't seen it either. And Dana knows Mac's Flickr pages like the back of her own hand. She did remember the other photos (I'd forgotten), but not that one.

So, what are the chances of a new photograph appearing in a departed man's online Flickr album 9 years after his death? I suppose anything is possible in cyberspace and one shouldn't take a minor glitch too seriously. It might just be the results of Flickr's constantly changing formats... or, really, it could be that Dana and I are mistaken and it was hidden there all along.

Then again, theoretically, it might just be that the borderlines between the Universe's "parallel, exclusive states" are weakening - the veils are growing thin - and all sorts of phenomena are beginning to bleed through.

The Voynich Manuscript (Part 3b) - The Empress & the Alchemist

Three classic versions of The Empress tarot card, the third trump of the Major Arcana.
From left to right: 1. The Empress from the Visconti Bergamo deck, 1452.
2. L'impératrice from the Tarot de Marseilles, 1890 reproduction of Arnoult's 1748 edition. 3. The Empress from the Rider-Waite deck, 1910.

"Then again, via the Wiki entry for salamander folklore we learn that the Bretons of France so feared the salamander that to even utter the amphibian's name aloud was potentially lethal; especially if a local salamander was in ear-shot!  Oddly enough, however, the French King, Francis I (1494-1547), had as his symbol the salamander, and emblems carved with salamanders (inset, right) can be found in a number of places in his chateau at Fontainbleu... That a king might choose a salamander for an emblem is a curious thing, especially when his countrymen so loathed the creatures. Well, that is, unless King Francis had some knowledge of alchemy. For, it was around the time of Francis's reign that a Swiss-German alchemist by the name of Paracelsus ordained the salamander as the honorary elemental of fire, although it wouldn't be till the next century that Michael Maier regarded it as the metaphorical embodiment of the Philosopher's Stone."

- Quoting myself from the Trans-D Digital Art post, Eye of Newt.

"This is a zodiac illustration from a medical almanac, 1486. Ideas of astrology in medieval Europe were a long way from today's star sign horoscopes. Although some medieval astrologers were thought to be magicians, many were highly respected scholars. Astrologers believed that the movements of the stars influenced numerous things on Earth, from the weather and the growth of crops to the personalities of new born babies and the inner workings of the human body. Ancient studies of astrology were translated from Arabic to Latin in the 12th and 13th centuries and soon became a part of everyday medical practice in Europe. Doctors combined Galenic medicine (inherited from the Greek physiologist Galen - AD 129-216) with careful studies of the stars. By the end of the 1500s, physicians across Europe were required by law to calculate the position of the moon before carrying out complicated medical procedures, such as surgery or bleeding."

- Text and illumination (inset right) from this British Library page. The illumination is an example of the "zodiac man," illustrating the body parts the various zodiac signs ruled. Note the eight-legged, amphibious-looking Scorpion near the genital area.

"The first horoscopes written for Jadwiga's and Jogaila's child predicted a son in mid-September 1398. However, a girl was delivered on 22 June 1399 at Wawel Castle. Reports of the time stated that the child was born prematurely. According to the horoscope, however, she was actually born a bit late. More than a bit surely - a due date of 18 June would rule out the suspicion of pregnancy as early as mid-September."

- From the Wiki entry for Queen Jadwiga of Poland. I've used this quote to demonstrate how seriously astrology was considered throughout Europe at the time... especially for the royal houses who could well afford to keep court astrologers. Inset left is an example of medieval astrological chart.

***

Seriously, cats and kitties, when I first began this investigation, I neither intended to - nor expected to - come to any major conclusions regarding the mysterious maker(s) of the Voynich MS. Which is not to say that I've actually solved anything in the interim, but, as it turns out, I did ferret out another enigmatic personality to add to the Voynich mix... which will (no doubt) go against the grain of previous speculations, but, well, maybe it's time to shake up things a bit.

Now, obviously I'm not an expert in the medieval manuscript field, and virtually a neophyte when it comes to the Voynich MS, but, I love discovering new possibilities, and, when I do, well, in the spirit of Mac Tonnies, my impulse is to just throw the idea "out there." So, allow me to present (yet) another Voynich proposition to play around with... and you can blame it on the salamander.

As it happened (and as I mentioned in my last Voynich post), I had cause to research salamanders in 2016, at which time I discovered that, not only was the salamander an alchemical symbol, it was also the symbol of a certain French king: Francis I (12 September 1494 - 31 March 1547). Above inset right is one of Francis's wooden emblems of a salamander emerging from flames. Inset left is Francis I (as St. John the Baptist) from a painting by Jean Clouet). (Also, see: Francis the Salamander KIng.)

Anyway, for one crazy minute I wondered if the Voynich salamander was a reference to Francis I, but, as one can see by his birthdate, apart from the fact that he wasn't born with his sun in Scorpio (he was a Libra, as was his wife Claude), he was also born too late in the century to fit our time frame. So, that was one idea that wouldn't fly.*

Yet, In the end, I still had the feeling that some (if not all) of the figures wandering around on the zodiac pages represented actual people contemporary with the time and, possibly, born under the zodiac sign in which their caricatures are found. While this interpretation isn't without its flaws, there's seemingly no other recognizable purpose for the pages... nothing remotely "medical" nor particularly astrological beyond the central zodiac symbol. Moreover, a few of the zodiac pages (above: a page for Aries) seem to depict members of nobility - or even a royal house - in lieu of the marching nymphs.

Inset left is an another (actual) medieval astrological chart found here. Below is another 15th century "zodiac man."

In any case, if the drawings are caricatures of actual personalities and the (estimated) early 15th century time-frame is correct, identifying them - although seemingly an impossible task - might reveal (at the very least) the country of the manuscript's origin... and offer some clues regarding the author's true identity.

Ultimately (and essentially), it might only be necessary to identify a single one of them. My choice? The little Empress figure in the zodiac "chart" for Libra...

The Voynich Manuscript (Part 3a) - The Star

Three classic versions of the "The Star" tarot card, 17th of the 22 trumps.
From left to right: "Hope" from the Visconti Bergamo deck, 1452; "L'Étoile" from the Tarot de Marseilles (Pierre Madenie), 1709; "The Star," Rider-Waite deck, 1910.
(Click on images for enlargements throughout the post.)

"Early tarot images may seem exotic to us, but they were very familiar to 15th century card players from wall frescoes, illustrated books, plays and pageants. From the start, all tarot decks exhibited a great deal of consistency. They all had the same twenty-two images we’re familiar with, and no other. For instance, the Star card could depict an astronomer, the Magi following the star of Bethlehem, or a woman holding up a star; but the card was easily recognizable as illustrating the concept of Star."

- An excerpt from the Tarot Heritage article: Italian Tarot in the 15th Century. Inset right: The Star from the contemporary Silver Era Tarot.

"The 14th and 15th centuries were a major period of popularity for alchemy, which continued into the 16th and 17th centuries. Alchemical works used a combination of text and pictures. It presented its material in discreet stages, many with accompanying illustrations, with both a spiritual and a material goal. The stages usually involved symbolic death, transformation, and spiritual rebirth...

... Some surviving alchemical texts antedated or were contemporaneous with the first tarot. The Turbo Philosophorum, an anthology of Arabic sources, was part of the Visconti Library in Milan. A so-called "Arnaldian" work (from Arnald of Villanova) called the Rosarium Philosophorum existed in manuscript by the end of the 14th century... illustrated versions circulated by 1400, called 'Rosarium cum figuris'."

- Excerpt from the introduction to Tarot and Alchemy: Two Parallel Traditions, 2012, Michael S. Howard.

"Secrecy is virtually inseparable from alchemy.  Already in the Greco-Egyptian period, alchemists had devised ways of speaking to hide the very information they claimed to transmit.  They used “cover names” to conceal the identity of key ingredients, and called one substance by many different names and many different substances by a single name.  This culture of secrecy had partly been inherited naturally from the craft traditions that sired alchemy, where keeping proprietary secrets was equivalent to maintaining one’s livelihood.  But the secrecy that accompanied alchemy from its origins intensified in the Middle Ages."

- Excerpt (and inset images) from Primer 2 - Alchemy (.pdf), 2013, by Lawrence M. Principe and Laura Light. The subject matter of the photograph above (inset left above): three alchemical miniatures (circa 1450-1475) from Southern Germany or Austria. Inset right is the cover of a MS from Northern Italy (circa 1425-1450) which is described as including: "Recipes and Extracts on Alchemy, Medicine, Metal-Working, Cosmetics, Veterinary Science, Agriculture, Wine-making, and other subjects." Although difficult to see, the beaded metal work on the leather binding is in the shape of a six-pointed star within a circle. For an  investigation of the alchemical meaning of the six-fold star see: The Restoration of Symmetry: The Philosopher's Stone.

***

From the Voynich MS: the top portion of the zodiac page for Scorpio featuring
4 nymphs (apparently named). Two other zodiac pages also feature this same
arrangement of nymphs placed outside and above the chart: Gemini & Sagittarius.

One of the most striking things about the Voynich MS is the almost obsessive repetition of what must be one of its key figures: the naked (skyclad) blonde nymphs who (more or less) hold large stars aloft with their left hands. They appear in the majority of the zodiac pages in varying numbers, marching clock-wise around the charts, and although a handful of male figures* appear as well - inset left is one male nymph amid the females on the Gemini page - for the most part the star-bearers are women... and women of all ages. Although their appearances change somewhat throughout the zodiac sequence, there seems to be no obvious rhyme nor reason for their presence except to possibly establish the importance of their presence. Once again, they seem to have been individually named - like the bathing nymphs in Part 2 - and, in light of this possibility, I'm inclined to tentatively agree with Voynich researcher Claudette Cohen in that the authors were, in fact, a group of actual women whom the nymphs represent... a sort of Sisterhood of the Star. Well, that's one of the more plausible interpretations anyway.

But, what's most odd about the star-bearing nymphs is that they are uncannily familiar, similar to an esoteric figure that, certainly, some of us have encountered before: the nude, blonde woman with a star (or stars) on the 17th trump card of the tarot: The Star. The interesting thing about The Star is that it corresponds with the astrological sign of Aquarius, the Water Bearer, which just happens to be one of the Zodiac pages missing from the manuscript. (The other is allegedly Capricorn.**) In any case, as you can see in the three versions of the card introducing this post, in the first and oldest image (first documented in the mid-15th century), the position of "Hope" - inset left - who is cloaked and holding a star aloft - is similar to that of the nymphs. One gets the impression that this symbolic figure may have had an even older precedent...

The Voynich Manuscript (Part 2) - Puzzling Pieces: The "Map"

The Voynich MS "map" (This link has been repaired).
(Click on images for larger views.)

"The Voynich Manuscript isn’t a beautiful book; in fact, it’s crude and cheaply done. It’s traditionally divided into four sections - herbal, astrological, balneological (pertaining to baths), and pharmacological - not for what those sections are but for what analysts, grasping for understanding, think they resemble. The symbols arranged in prosaic lines look like language, though the significance of the “Voynichese,” as it’s called, has never been established. And the illustrations don’t illuminate the mystery; they only throw further shadows on the darkness.

The long herbal section, our first indication that something is off, comprises colorful drawings of what look like uprooted plants alongside paragraphs of text. There’s something unsettling about the drawings; it’s almost like a catalogue of extinct species. Hairy bulbs sprout rust-red tubers and yellow pods. Colorless flowers perch on leaves with spikes like Venus flytraps. A creature, a mix between a dragon and a sea horse, suckles on a speckled leaf. Some of the bulbs have faces.

... Many critics believe that it is a hoax. It’s probably the most persuasive theory, as everything in the book conveniently falls under the umbrella of “total nonsense.” While the European Middle Ages are often perceived as an austere and circumscribed culture, the Voynich Manuscript was conceived by a liberated imagination. There’s a genuine joy communicated through the details, like a monk doodling racy cartoons in the margins of a scholastic text. It could very well have been composed as an elaborate lampoon of medieval knowledge, and it’s amusing to imagine that we’re still falling for the trick."

- Excerpts from a article by Michael LaPointe via The Paris Review (2016): The Pleasures of Incomprehensibility. Inset right is the Voynich MS folio mentioned in the quote featuring the weird little dragon/sea-horse creature.

"The top righthand corner of each recto (righthand) page has been numbered from 1 to 116, using numerals of a later date. From the various numbering gaps in the quires and pages, it seems likely that in the past the manuscript had at least 272 pages in 20 quires, some of which were already missing when Wilfrid Voynich acquired the manuscript in 1912. There is strong evidence that many of the book's bifolios were reordered at various points in its history, and that the original page order may well have been quite different from what it is today.

...the colored paint was applied (somewhat crudely) to the figures, possibly at a later date.

...Five folios contain only text, and at least 28 folios are missing from the manuscript."

- From the Wiki entry for Voynich manuscript. Inset right is the rondel located in the upper right-hand corner of the Voynich map. It seems to describe a fortified castle overlooking a bay (with exaggerated ocean waves) in an easterly direction.

***

Apart from the indecipherable script, what is it about the Voynich manuscript that defies all attempts at definition?

Actually, let me re-phrase that: is there anything about the Voynich MS that makes sense? One has to wonder if the key to the whole dilemma was hidden within those 28 missing pages... and whether those pages were deliberately removed, rendering the remainder ultimately meaningless.

Perhaps, one problem is that we assume the various sections are intrinsically related when, in reality, the only element which ties them together is the enigmatic script. In other words, we have no reason to assume the sections were originally created in the order in which we presently find them nor even created for the same purpose. Was the Voynich MS meant to be an actual manuscript, or was it fragments of a private journal which were cobbled together and somehow survived? Do the bathing nymphs have anything to do with the plants or the star-charts or are they elements of something else entirely? Judging by the marginalia (inset left) we might be looking at a science fiction tale!

In any case, in this (my second) and my third (and last) Voynich post - I'll be tinkering with a few separate elements, without necessarily trying to stitch them into one recognizable whole, and the first of these will be the enigmatic fold-out  Voynich "map" (introducing this post): a series of interconnected vignettes or roundels defining a general locale... although, where this locale was located is anybody's guess!

____________________________________

Location, Location, Location

Despite being wedged between the star charts and a second botanical section, my guess is that the Voynich "map" most likely originally accompanied the bathing nymphs. Once again, contrary to the "medical therapy" hypothesis regarding this section, we might as easily be discussing a narrative: a fictional tale, a fanciful, historical account or plans for the creation of a medieval "spa town".* In other words, the nymph section might have a marginal relation to the rest of the MS and represent nothing apart from the nymphs (and their world) within the context of the narrative. After all, the ladies even seem to have been given names in the illustration (above), indicated by the words inscribed directly over their heads. And, as for their world, well, the image may actually hold a clue. While the various bathing enclosures in the nymph section have been compared to Jewish ritual baths - or mikvah (see Part 1) - or even Roman baths, the background details here more closely resemble a Turkish bath or hammam. Inset right is an example: a medieval Turkish bath in Granada, Spain (sourced here). Below the jump is one in Istanbul, followed by one of several 16th century Turkish baths (Kiraly Bath) which continue to operate in Budapest (the "City of Baths"), Hungary.

The Voynich Manuscript (Part 1) - Curious Goods

A "star chart" found in the Voynich MS. The tiny group of 7 stars
in the upper portion of the chart is thought to be the Pleiades
(or Seven Sisters) constellation. If so, it is the only solid astronomical
reference I can find in the MS. (Click-on images to enlarge.)

"...These illustrations range from the fanciful (legions of heavy-headed flowers that bear no relation to any earthly variety) to the bizarre (naked and possibly pregnant women, frolicking in what look like amusement-park waterslides from the fifteenth century). With their distended bellies, stick-like arms and legs, and earnest expressions, the naked figures have a whimsical quality, though their anatomy is frankly rendered—something unusual for the period. The manuscript’s botanical drawings are no less strange: the plants appear to be chimerical, combining incompatible parts from different species, even different kingdoms. (Click on the images to expand.) Tentacled balls of roots take the forms of animals, or of human organs—in one case, sprouting two disembodied heads with vexed expressions. But perhaps the oddest thing about this book is that no one has ever read it.

That’s because the book—called the Voynich manuscript after the rare-book dealer who stumbled upon it a century ago—is written in an unknown script, with an alphabet that appears nowhere other than in its pages... What these glyphs signify—whether they represent phonetic information or numeric values or something else—is anyone’s guess. Judging by its illustrations, the manuscript seems to be a compendium of knowledge related to the natural world, including a section about herbs, a section apparently detailing biological processes, various zodiac charts, and pages devoted to the movements of celestial bodies, such as the transit of the moon across the Pleiades. The writing flows smoothly hesitation from one letter to the next; based on the handwriting, it’s thought to be the work of at least two and as many as eight practiced scribes, and possibly required years of labor."

- From the New Yorker article: The Unread: The Mystery of the Voynich Manuscript, (2013) by Reed Johnson. Inset right is an unidentified botanical illustration from the manuscript.

"...Despite numerous attempts to crack the code by some of the world’s best cryptographers, including Alan Turing and the Bletchley Park team, the contents of the enigmatic book have long remained a mystery. But that hasn’t stopped people from trying. The latest to give it a stab? The Artificial Intelligence Lab at the University of Alberta.

But Voynich scholars are skeptical. Medievalist Damian Fleming of Indiana University–Purdue University Fort Wayne was among those who responded to news of the work in frustration on social media, specifically critiquing the decision to use Google Translate to decipher the manuscript rather than consult a Hebrew scholar.

...Though we still do not know what the book says, researchers have several hypotheses about what the manuscript is about. Based on the book’s illustrations of plants and bathing women, a number of scholars believe that it’s actually a medical textbook about women’s health—a subject so mysterious that it had to be hidden away in one of the world’s most perplexing manuscripts."

- From the Smithsonian magazine article: Artificial Intelligence Takes a Crack at Decoding the Mysterious Voynich Manuscript. Inset left is a marginalia figure from the women's "bathing" section. Here the "nymph" seems to be depositing something into a disembodied sea-serpent tail as she whisks around in her oddly phallic-shaped vehicle. Note: the red square around a word on the right side of the image is my own notation.

"One of the world's most confounding literary mysteries may finally be, in part, solved: the author of the mysterious and as-yet untranslatable Voynich manuscript has been identified as a Jewish physician based in northern Italy, an expert in medieval manuscripts has claimed. The Voynich manuscript is an illustrated book printed on vellum written entirely in an indecipherable script, leaving scholars and code-breakers scratching their heads since it re-emerged a century ago. Writing in the foreword of a new facsimile of the 15th-century codex, Stephen Skinner claims visual clues in each section provide evidence of the manuscript's author. If proved true, Skinner believes his theory will help unlock more secrets of the coded manuscript.

The scholar draws evidence for his theory of the author's identity from a range of illustrations in the manuscript, particularly a section in which naked women are depicted bathing in green pools supplied by intestinal-like pipes. The doctor, whose work includes editing the spiritual diaries of the Tudor mystic John Dee, believes the illustrations show communal Jewish baths called mikvah, which are still used in Orthodox Judaism to clean women after childbirth or menstruation."

- Via the Crystalinks Voynich page. Inset right above are the infamous Voynich "nymphs" in what we can assume is water, but are they actually bathing? And, what are those bizarre features near the top of the page? The uppermost detail looks like one of the open parasol-shapes that appear often in the MS.

"Kennedy and Churchill use Hildegard von Bingen's works to point out similarities between the Voynich manuscript and the illustrations that she drew when she was suffering from severe bouts of migraine, which can induce a trance-like state prone to glossolalia. Prominent features found in both are abundant "streams of stars", and the repetitive nature of the "nymphs" in the biological section. This theory has been found unlikely by other researchers.

The theory is virtually impossible to prove or disprove, short of deciphering the text. Kennedy and Churchill are themselves not convinced of the hypothesis, but consider it plausible. In the culminating chapter of their work, Kennedy states his belief that it is a hoax or forgery. Churchill acknowledges the possibility that the manuscript is a synthetic forgotten language (as advanced by Friedman) or a forgery as preeminent theories. However, he concludes that, if the manuscript is genuine, mental illness or delusion seems to have affected the author."

- From the Wiki entry for Voynich Manuscript. Inset left is an image from Hildegard von Bingen's illustrated work, the Scivias codex in which she describes one of her visions. More images can be found here.

"This manuscript is of Martian origin, the strange astrological interpretations, the plants which don’t seem to exist on this planet. And last and finally a language that cannot be deciphered by humanity, or any “earthling” because the language and the writing system did not originate on our planet. Considering an advanced language beyond our own may be impossible to decipher even given thousands of years without access to this language in any other form. This book which seems to be drawn on parchments from earth, by an earthlings hand, may in fact shed light on the fact that advanced beings from Mars have “abducted” Earths inhabitants and given them tours of their own home planet. I had even heard some theories that suggest Leonardo Da Vinci could have written the book as a child. Perhaps he was the “abducted” taken and taught about another planet and it’s biology with sensitivity to the beings that inhabit the said planet." 

- Excerpt of a comment left on Nick Pelling's Cipher Mystery (VMS) page. Inset right are two "nymphs" that seem to be standing in structures which look like levitating fish or mermaid tails... joined by a rainbow.

***

As a self-described Fortean, Mac Tonnies always loved a good anomaly, and I seem to remember Mac mentioning the Voynich Manuscript at some point in time, if only in passing, but I can't remember when or where. A radio show, perhaps? In any case, there's no mention of it on Posthuman Blues... which leads me to believe that, as a popular Fortean subject, it hadn't yet surfaced on the internet before 2009.

In any case, if you (like me) thought the Voynich MS - a mysterious, anonymous manuscript carbon-dated from the 15th century - was merely a perplexing medieval herbal written in an unintelligible script, well, then, guess again, cats and kitties, because it's far weirder than that! "Martian," in this case, is an almost sober proposition.

I can't exactly remember the first time I heard about the manuscript but, at that time, the only interior shots online were its botanical illuminations accompanied by the cryptic script. It wasn't until recently, however, that I happened to come across a few articles implying the Voynich mystery had been solved (by AI) when I found links to the VMS image files via the website of Yale University's Beinecke Rare Book and Manuscript Library (where the  manuscript is housed). As for the Big Reveal, well, the AI hypothesis had already been debunked by the time most of the articles were written. And, this seems to be the trend: new Voynich code-breaking claims appear frequently, but, thus far, well, the champagne remains on ice.

Meanwhile, I wasted no time in heading over to the Beinecke pages and checking out the MS images for myself. As there's about 200 of them this was no small feat. I chose to download the "sequential" .jpg files and, basically, the first 113 pages are filled with botanical images. Arriving at image #114, I found the first diagram (above, inset left, and below)...