Inhalt

Reading sample

Metainformation about the book

Voynich Manuscript and Codex Rohonczi have already been known for decades or even centuries as previously undeciphered books with unknown contents.

The CusyA corpus is a collection of works in an unknown script and in an unknown language. Due to the shapes of the glyphs, the script is called Cusy (cubic-symmetrical), the language CusyA, as a precautionary measure, should further documents with the same characters, but with other words, appear in the future.

In this collection, further extensive works in unknown script as well as in an unknown language are now made available. Moreover, this is done in digital form.

Because of the shapes of the glyphs, the script is called Cusy (cubic-symmetrical), the language CusyA, as a precautionary measure, should further documents with the same characters but with different words appear in the future.

This is a supplementary volume to Corpus CusyA in the sense of an extension to make further works available in this mysterious language.
Included are works I, J, K, L, M, N and O.
Works A, B, C, D, E, F, G, H and Z are in the main volume.
The works P, Q, R, S can be found in the volume Addition.
The Analysis volume contains statistics in the sense of quantitative linguistics.

Corpus CusyA Supplement

Contents

Front Matter
1. Cover
2. Metainformation
3. Epigraph
4. Foreword
  1. About the Content
  2. Techniques
5. Font Test
Text I
1. #0 (title page)
2. #1
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92. #91
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103. #102
104. #103
105. #104
106. #105
107. #106
108. #107
109. #108
110. #109
111. #110
112. #111
113. #112
114. #113
115. #114
116. #115
117. #116
118. #117
119. #118
120. #119
121. #120
122. #121
123. #122
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125. #124
126. #125
127. #126
128. #127
129. #128
130. #129
131. #130
132. #131
133. #132
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135. #134
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138. #137
Text J
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Text K
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Text L
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Text M
1. #0 (title page)
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Text N
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Text O
1. #0 (title page)
2. #1
3. #2
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5. #4
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17. #16

Epigraph

Novelty does not rest on the strangeness of the object, but in the new and clear conception of it.

Henry David Thoreau

It is not in the higher and richer growth of tops and branches that the genius is most recognisable, but in the strangeness of the whole plant.

Jean Paul

Johann Wolfgang von Goethe

Man is inclined to deny everything that seems incomprehensible to him.

Blaise Pascal

Foreword

Content

As early as 2018, when the main volume of the CusyA corpus was published, it was more or less known that there were more works in this language, which, however, were not yet available for digitisation at that time.

Partly, because of the fragility of the originals, the first step of digitisation was very time-consuming, and partly there were still some reservations about whether the works should be published digitally, which simply had to do with who had the originals in question. However, the latter reservations have now been dispelled in the case of some of the works, which are finally also being made available digitally and to the general public with this volume.

Poor preservation is, however, a real obstacle that cannot be removed by persuasion. Rather, great care and effort must be taken here. However, because work on the works requires general access anyway in order to discuss the content, which does not further burden the originals, digitisation is ultimately unavoidable in order to be able to use these works practically at all. As a supplement to the already existing digital old corpus, these works are also very important for research because they provide a broader basis for analysis.

In terms of content, there were also certain concerns with most of the works that have now been digitised, because unlike the first corpus, there is mostly a different structure here: The number of chapters is no longer necessarily a power of two. This now makes speculation on this matter seem obsolete, although there is now a refined hypothesis that the works with a power of two follow a strict structure, while the others follow a different, looser structure. Corresponding differences are also known in various forms of poetry.

All in all, it should be noted that the recording in the form of a digitisation of the entire corpus of surviving works on CusyA is by no means complete. There are other works in a difficult state of preservation for which digitisation has not even begun. However, due to technical and practical progress in handling, there is hope that these will also be made accessible to a broader public at some point.

Furthermore, there are still a few works that are still subject to the reservations of the current owners, who guard them like a treasure, whereby the state of preservation can be quite different. So there is still work to be done to convince them.

With regard to the research itself, there have been various new ideas and approaches to coding since the publication of the digital version of the corpus, thus the general accessibility. Some of these have also already been reliably refuted. Others are still awaiting refutation, or their proponents are still hoping to find confirmation, circumstantial evidence that can support their assumptions with further analyses. In this sense, this supplementary volume offers further material for analysis.

Either way, it remains to be said: CusyA has not yet been deciphered. The corpus continues to hold its secret.

Furthermore, there is a relevance discussion. Works that have not been deciphered, such as the Voynich manuscript or Codex Rohonczi, are individual works from a still roughly comprehensible social context. As a result, a decipherment may be interesting or entertaining, but it has little relevance culturally or cryptographically.

A work such as the Codex Seraphinianus by Luigi Serafini or Book of Heaven by Xu Bing, on the other hand, with well-known authors, well-known histories, are artistically relevant, but a decryption would also only have entertainment value.
The historical context of artefacts such as the Phaistos Disc - art from historical times or a document from antiquity?

In the case of works in extinct languages that no longer survive, on the other hand, there is an immediate cultural or historical relevance if a decipherment would be successful. This would be the case, for example, with Linear A, the Cretan hieroglyphs, the Kypro-minoic script, the Byblos script, the Indus script, the Issyk-Bactria script, the Jiahu script or the writing system of the Easter Islands, also called Rongorongo. The fact that available works belong to a vanished culture is indisputable in the case of these remnants, artefacts. The catch here is rather that the amount of surviving writings is rather small, which in turn greatly limits the information content of the still available works. In the case of ancient artefacts, the correlation between the content of the work and the extinct culture is also difficult to establish.

Archaeologically relevant finds with inscriptions such as the axe from Arkalochori, the Cascajal stone, the rune stone from Rogäsen, objects with Vinča symbols also remain enigmatic. The number of glyphs here is probably considerably too small to decode reliably. Thus, the cultural background or context of the inscriptions will probably remain in the darkness of history.

Cryptographically, on the other hand, those documents or writings have relevance where one can assume that interesting information has been successfully encrypted in them, which can now no longer be deciphered without knowledge of the key. In the classical approach of cryptography by a clever other assignment of glyphs to known letters, syllables or words, in the case of an encryption in the sense of a transcription from a known language, statistics can subsequently help in the decoding without an existing key. With an unknown language, on the other hand, known references to other languages or concrete assignments to objects, activities are useful for decoding. If both are missing, there is a poor prognosis for decoding. Cryptography therefore always needs information that is embedded in a known context.

With CusyA, on the other hand, one has the attractive situation of having a broad basis with extensive writings by various authors.
The cultural context, on the other hand, is diffuse, so the relevance remains difficult to classify: Art, past culture or subculture with relevant historical information?

Technique

We have transcribed the script of the contained works for this work into common font files for the first time in order to make them generally available in the form of the international standard for digital books EPUB. In any case, the originals or facsimiles of these, which are available to us, point to clearly automated production processes; the glyphs are thus clearly identifiable as such, and can therefore also be transferred unambiguously into the form of a font file. This stage of the transcription can thus be regarded as safe and complete.

Therefore it is necessary for the further text analysis that the used representation program can interpret font files. Since there is no standard Unicode encoding for the script, a private Unicode usage block had to be used here. So display programs cannot have any font pre-installed for this unknown language, they are dependent on the font files offered.

If the display program used has problems with the presentation of the texts, it should first be checked whether the program is allowed to use embedded fonts. If the display is still defective even after such activation of the book's own fonts, the use of a more suitable display program is recommended. It is therefore worthwhile not to give up on minor problems right away – alternatively, which is probably the more likely case – to be happy about a nice and correct presentation right from the start.

Technically, this EPUB has some built-in help to give the reader better access to the content. There are, for example, different style sheets to choose from. For a presentation program that can interpret EPUB completely, there will be such a choice. Therefore, you can easily switch between light glyphs on dark background and dark glyphs on light background. For your own settings you can use the alternatively available simple style, which only highlights or arranges some structures.

Available alternative style sheets:

dark on light: dark writing on light background (default)
light on dark: light writing on dark background
simple: simple style without colour specifications, especially suitable for combination with your own specifications

Authors as well as the coworker of this book have no influence on lack, errors, gaps in the interpretation of EPUB by the respective used representation program. With representation problems these should be analyzed first, localized. For this it can help among other things as the first step to check with different programs the reproducibility or also with special test programs to verify that in particular in the book itself really no error is present.
Correspondingly, it will subsequently be possible to correctly address a targeted error message. The authors as well as the coworker may well be the correct contacts depending on the error. With the quality of current representation programs these can be however likewise with high probability the developers of these representation programs. Accordingly as precise as possible data are always helpful to the problem with an error message.
. Generally the error rate is clearly smaller with representation programs of the type browser of usual offerers than with special programs or extensions for browsers for the interpretation of EPUB. In this respect it can be with larger problems with the representation likewise a way out to unpack the EPUB-archive (it concerns with EPUB always an archive of the type ZIP, to read the book then directly in the browser, for which first the file Inhaltsverzeichnis.xhtml is to be opened in the directory Inhalt, in order to get an entrance into the reading order as well as an overview of contents. Over the reference function of the directory can be called afterwards in each case the desired contents.
This procedure can be equally useful to locate problems or errors. For single documents, other check programs can also be used.

Automatic conversions of this book in the format EPUB to other formats can cause various defects, which can be caused by errors and problems of the too naive and simply designed conversion programs as well as by the format into which it is converted. The authors and staff of this book have no control over later manipulations or format conversions, so they have no influence on the complete availability of content and help information of such manipulated versions. They therefore strongly recommend to use the unchanged original and to have it presented by a powerful presentation program.

Manually it is quite easy to simplify some techniques and features of the book so far, to prepare content differently, to make it also available in reduced quality in other formats. Especially with still quite popular proprietary Amazon formats (Mobipocket or KF8) it is quite easy to create a simplified EPUB from which you can create a readable book in these inferior formats, if you are familiar with EPUB and the possibilities of these formats.

Font Test

For a reception of the work to be possible at all in a meaningful way, font files must be able to be interpreted in a meaningful way. To test this, two graphics are available below. These should look essentially the same. If this is not the case, or if the glyphs are not displayed at all, switch to a more powerful display programme in order to be able to receive the corpus.

The upper graphic contains the necessary glyphs, which the display programme takes from a font file. The lower graphic contains the glyphs directly as simple paths, therefore without a font file with formal definition of the glyphs.

Note for audiences with read aloud programmes or other than visual presentations: The works in the actual corpus are written in a font that has not yet been deciphered, which is represented here with its own font for a private Unicode block.
Only some glyphs, for example those for numerals, punctuation marks are taken from a general numeric block because these characters are already deciphered or a distantly related meaning is assumed. The correct graphic presentation, however, also differs here - if necessary, these glyphs could always be defined later with their own number.
In this respect, a presentation other than visual for the entire works is inevitably difficult.

However, the following file may be formally suitable for linking the Unicode number used in each case with an unambiguous definition of the glyph, as well as with a cubic path. At a sufficiently high level of abstraction, it is thus equally possible to imagine the glyphs without visual presentation, although certainly not trivial: Formal Definition of the Font for CusyA
Note on this: For a completely correct visual display, the presentation programme must interpret font definitions in SVG format. For other text passages in CusyA, other derived formats are used, which are less accessible but more likely to be interpreted by the usual programs. Consequently, a correct visual representation of this file is not necessary for the reception of the book; the visual representation corresponds to the following two graphics.

Impressum

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