Inhalt

Reading sample

Metainformation about the book

Voynich manuscript and Codex Rohonczi have been known for decades or even centuries as previously not decrypted books with unknown content.

For the first time, this collection makes further extensive works available with texts in an unknown language including unknown writing and font decryption. This is also done in digital form. In addition to the extensive works, there is also a smaller work about numbers and basic mathematical calculations.

Due to the forms of the glyphs, the writing is called Cusy (cubic-symmetrical), the language CusyA, just in case, in the future further documents with the same characters may appear, using words in a different language.

The content of the texts has not yet been deciphered, only the rough semantic structure of chapters, headings, paragraphs, verses, lines is known and accordingly transcribed in the publication. From the same source as the texts themselves the so far decoded grammar of CusyA is made available, rather a plausible hypothesis to it, whose extent lets assume that there are further works in CusyA, on the basis of which the grammar was decoded, which are not available however at present.

CusyA surrounds many secrets. Origin and history are unknown, the script shows little similarity with writings from human history, the grammar is also special, but reflects typical language structures in a strongly formalised, regular form.

The authors of this book were given the texts because they have already dealt with xenolinguistics, quantitative text analysis and statistical cryptology of texts in other books of the series Abstract Literature.

The texts are supplemented with Abstract Art, whereby these graphics take up again the cubic Bézier curves of the glyphs, but without symmetry in order to loosen up the book graphically a little, also in order to offer a contrast to the text works as commentary. The graphics are thus also conceived in the sense of alienation effects to keep the critical view of the audience awake and to remain sceptical of one's own hypotheses when decoding the texts.

Works A, B, C, D, E, F, G, H and Z are included.
Works I, J, K, L, M, N and O can be found in the supplementary 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

Contents

Front Matter
1. Cover
2. Metainformation
3. Epigraph
4. Foreword
  1. About the Content
  2. Techniques
5. Font Test
Text A
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
66. #65
67. #66
68. #67
69. #68
70. #69
71. #70
72. #71
73. #72
74. #73
75. #74
76. #75
77. #76
78. #77
79. #78
80. #79
81. #80
82. #81
83. #82
84. #83
85. #84
86. #85
87. #86
88. #87
89. #88
90. #89
91. #90
92. #91
93. #92
94. #93
95. #94
96. #95
97. #96
98. #97
99. #98
100. #99
101. #100
102. #101
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
124. #123
125. #124
126. #125
127. #126
128. #127
129. #128
Text B
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
Text C
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
Text D
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
Text E
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
18. #17
19. #18
20. #19
21. #20
22. #21
23. #22
24. #23
25. #24
26. #25
27. #26
28. #27
29. #28
30. #29
31. #30
32. #31
33. #32
34. #33
35. #34
36. #35
37. #36
38. #37
39. #38
40. #39
41. #40
42. #41
43. #42
44. #43
45. #44
46. #45
47. #46
48. #47
49. #48
50. #49
51. #50
52. #51
53. #52
54. #53
55. #54
56. #55
57. #56
58. #57
59. #58
60. #59
61. #60
62. #61
63. #62
64. #63
65. #64
Text F
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
Text G
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
10. #9
11. #10
12. #11
13. #12
14. #13
15. #14
16. #15
17. #16
Text H
1. #0 (title page)
2. #1
3. #2
4. #3
5. #4
6. #5
7. #6
8. #7
9. #8
Text Z
1. Loose Work about Numbers
2. +, -
3. *, /
4. #
5. Special Numbers

Epigraph

Who doesn't know foreign languages doesn't know about his own.

Johann Wolfgang von Goethe

The language of truth is simple.

Euripides

The language of art is understood everywhere.

Lu Hsün Shujen (Chou, Lu Ssün, Zhou Shuren)

Always the language is more bold than the action.

Friedrich von Schiller

The immediate reality of thought is language.

Karl Marx

Every person has an own language. Language is an expression of the mind.

Novalis (Georg Philipp Friedrich Leopold Freiherr von Hardenberg)

Drawing is language for the eyes, Language is painting for the ear.

Joseph Joubert

The higher the culture, the richer the language.

Anton Pawlowitsch Tschechow

Language and spirit have their limits; the truth is inexhaustible.

Luc de Clapiers, Marquis de Vauvenargues

The most wonderful thing is that the best of our beliefs cannot be put into words. The language is not set up for everything and we often don't know if we finally see, think, remember, fantasise or believe.

Johann Wolfgang von Goethe

The more you learn to distinguish a language by reason, the harder it becomes to speak it. In finished speaking there is a lot of instinct, it cannot be achieved by reason.

Georg Christoph Lichtenberg

The spirit of a language is most clearly revealed in its untranslatable words.

Marie Freifrau von Ebner-Eschenbach

If nobody spoke unless he had something to say, the human race would very soon lose the use of speech.

William Somerset Maugham

Foreword

Content

As a result of our previous publications on Abstract Literature, especially the works Ic, #3, Syegih, Fetish Numbers, and thus also on quantitative xenolinguistics, we are now in a position to present an already relatively extensive corpus of very mysterious texts, which clearly show a grammar that has already been decoded, while the actual content still lies in the dark. It cannot be excluded that with time further works in this language may appear and thus help to shed light on the significance of the content of the collection.

The sources of the texts should remain anonymous, therefore it is necessary to concentrate on the texts and the script. The general publication may not be so popular in some circles, which is why the source has meticulously avoided leaving traceable hints when contacting and sending the raw data of the works.

The texts of the corpus are written in a special script. Due to the forms and symmetries of the glyphs of the script, this was named Cusy, short for cubic symmetric. The postfix A could indicate that different languages are written with the letters. Similar to the scripts linearA or linearB there could therefore also be works which use the same grammar, the same glyphs, but completely different word meanings.
The collection now comprises several works, each beginning with a title page, on which title, author's name and a short text like a summary or abstract are identified as content structures.
In the case of the few sheets on digits, numbers, operators, there are, however, further decoded characters, although the author is or the authors are unclear in these sheets.

Unfortunately, little is known to the editors of this book about the history of the works. Not the originals themselves are available, only scanned digital copies in the form of pixel graphics of good quality and high resolution.
The challenge of the final digitalisation and further general and efficient distribution was therefore to recognise the glyphs in the pixel graphics and to arrange them into a real digital text with an error rate as low as possible.
For known fonts this can be done relatively efficiently with optical character recognition (OCR), for known languages a combination with lists of known words for automatic error display or even error correction is possible. This is not applicable if neither the writing nor the language are decoded.
Because, however, a complete glyph set was available, it was possible to enter everything into a modified OCR program, which was used in this adapted form to generate raw versions. Due to the good quality of the pixel graphics, the error rate was low, so a combination with the unavailable word lists was redundant.
From the sources it is only known that the digitalisation in pixel graphics has only taken place in recent times, which does not include all available works. Further digitalisation could therefore lead to the emergence and distribution of more digitised works in CusyA over time.

According to the pixel graphics, the original carrier material is old, yellowed paper or a similar material with slight signs of use and abrasion at the edges, but without marginal notes from previous owners or readers. The original copy is not a book with single pages, it is scrolls. The title page is to be understood as a kind of binding, which surrounds the respective chapter rolls in closed condition. All in all, a work should also be placed in a kind of quiver for transport and archiving, which, however, could be made later independently of the works. In any case, there are indications that the protective quivers have nothing else to do with the actual works. The main indication for this is that they themselves are not inscribed in CusyA, but rather have archival and bibliographic notes of various origins.

Due to the signs of ageing of the carrier material, the traces of use, the structure of the material, it can most probably be assumed that the roles originate neither from this nor from the last century, probably also not from the penultimate one. Unfortunately, the works themselves do not contain any passages that could be classified as dates about the creation of the works, nor are the locations, which can certainly be found on the basis of markers, to be assigned to previously known places; consequently, they do not offer a key for decoding. Due to the lack of time data, there is also no indication as to whether or how the works relate to each other.

The sources merely told us what was to be understood as rumours. According to this, some famous people have already tried to decode CusyA under strict secrecy. These rumours are therefore hardly suitable for the chronological classification of the works; if they are correct, the persons mentioned do after all result in a minimum age for the works. From these attempts results at least the list of available glyphs, the assignment of number glyphs, markers of grammar and some other signs.

There are said to be indications that Pierre de Fermat, René Descartes, Blaise Pascal, Jakob I Bernoulli, Johann I Bernoulli, Gottfried Wilhelm Leibniz, Isaac Newton, Leonhard Euler, Joseph-Louis Lagrange, Pierre-Simon Laplace, Johann Carl Friedrich Gauss, Augustin-Louis Cauchy, August Ferdinand Möbius, Évariste Galois, Bernhard Riemann, Henri Poincaré, David Hilbert, Emmy Noether, Kurt Gödel, Alan Turing, Friedrich Wilhelm Heinrich Alexander von Humboldt and Johann Wolfgang von Goethe tried their hand at CusyA. In addition, there are said to have been several other people from the mathematician, alchemist and Freemason scenes of the time who worked on the works, without any results in terms of decoding.
However, the works are said to have had an influence on certain other activities of the decoders.

However, nothing is known of even older personalities who would have been involved with CusyA. This at least provides a certain historical framework. According to this, the works should almost certainly have existed before 1700, otherwise Fermat, Descartes, Pascal and Bernoulli would not have been mentioned.
Are there simply no other people known by name from earlier centuries who were involved in this work?
However, it was not possible to clearly determine the age of the material because the surfaces are contaminated as a result of heavy use over the centuries. Based on the general condition of various smaller fragments that were presumably less recognised, the centuries 16, 15 and 14 still seem plausible. Some fragments even consist of differing material, which makes it seem possible that better preserved works could merely be early copies of older, long disintegrated copies - this would have been a considerable task for an unknown script, considering the size of the works.

With regard to the influence of CusyA, Leibniz's binary number representation may be a consequence of the strong affinity of many of CusyA's works to powers of two.
Euler's preoccupation in particular with the number e, today called Euler's number, could also go back to CusyA, as could his preoccupation with complex numbers.
This does not mean that these areas of mathematics have their origins in CusyA, because these areas have probably been known for longer than the CusyA works have been in circulation. At best, it is plausible that the mathematical notes, which can at least be decoded, could have stimulated further study of these sub-areas, possibly even in the mistaken belief that this would reveal more about the content of the undecoded text works, which, however, probably do not deal with mathematics.

In the analysis of the works and the grammar also made available, it is immediately noticeable that the grammar already describes structures which do not occur in the existing texts, in particular there are also mathematical operators and some punctuation marks which do not occur at all in the normal texts, however, appear to a large extent in the loose collection to the numerical work which comes from unknown authors.
Since the known grammar is somewhat more extensive as the character set of the available texts, it can be concluded that there are further texts in CusyA which are not available to us for this work currently. So there is hope that more works will appear in time, which will also help in the future to understand CusyA better, possibly also to supplement or correct the grammar, perhaps even to decode the contents themselves sometime!

An alternative hypothesis for the existence of the deciphered grammar is that CusyA has either already been deciphered once, but that this knowledge and other documents on the meaning of the syllables and words have been lost. It is also possible that this successful analysis of the grammar can be traced back to people who used CusyA themselves to write texts and wrote down the explanations for the translation as an aid for themselves or others.
The use of the short notation (e)BNF does not, of course, originate from original sources. In this collection, it merely serves to notate the grammar briefly, formally and clearly. This is also the first time that several documents with findings on this topic have been brought together in a compact and consistent manner.

Similar to the Voynich manuscript or the Codex Rohonczi, the audience with CusyA is confronted with a mystery that entices them to dive into and explore, which secret, which treasure may be hidden in the texts, which insights and valuable thoughts may be encoded there by whom and why.
It is the fascination of the unknown that draws us again and again hypnotically to explore, to investigate, to find out what has been revealed to us on the one hand, but on the other hand is still incomprehensible. In such cryptic writings, the mystery of one's own existence and of all being, of the universe and of all the rest is reflected on a small scale.
This is another reason why we feel so attracted, this is another reason why we are so eager to decipher at least such small riddles, which as the work of humans or other intelligent forms of life (extraterrestrials?) should actually be much more accessible to the limited human cognitive faculty than for instance the universe itself, on which we have been struggling with the natural sciences for centuries, in order to wrest a little more preliminary knowledge from it again and again, in order to be able to survive better in it.

In any case, our analyses, our contributions in this digital book are limited firstly to the reproduction of the works known so far and the grammar, and secondly to a quantitative analysis, to statistics on the works, in order to draw conclusions about the quality of the text from such a formal classification, in order to reliably confirm works with content, which thus do not only contain random noise, but really encoded, relevant information.

In any case, we are curious to see what other researchers might be able to contribute with specialised cryptologic methods, for example, to solve the mystery surrounding CusyA and make the content of the works accessible to us.

Abstract graphics have been added to a content page for this work as a decorative loosening. Similar to the glyphs, the graphics use cubic Bézier curves, but do without symmetries, so they partly harmonise with the glyphs, but also form a loosening contrast to the severity of the writing.

By 2018, the works A to H and Z available in this book could be digitised. By 2022, further works could be collected; works I to O are available accordingly in the supplementary volume. Works P to S were added in 2023.

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 about most of the works digitised by 2022 because, unlike the first corpus, they mostly have a different structure: 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 more refined hypothesis that the works with a power of two follow a strict structure, while the others have 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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