Roger wrote:...
If I understand your analogy correctly, you are saying that in the case of Alma 5 & 7 the colors that were there to begin with were so vibrant that even when the lens is overexposed (in the case of Bruce) there is still enough color there to register over the white light. Is that more or less correct?
Well, Roger, it all goes back to those pesky frequently occurring non-contextual
little words like "and," "it," "came," "to," etc.
For some reason or another, Bruce's application of NSC methodology recognized
something strongly connective between Alma 5 and Alma 7 (along with Alma 34,
and some other chapters also assigned to Rigdon in his report).
Now perhaps that connectivity was induced by the open set NSC analysis itself,
as Glenn is attempting to argue. Or, perhaps the connectivity was based upon
actual, hidden relationships between those pesky little words being examined.
I've already pointed out some additional evidence, indicating that Alma 5 and Alma 7
share language patterns that can be discerned through various other types of
computerized analysis, which results in charts where those two chapters plot
out adjacent to each other. They are, in effect, textual identical twins -- and
Alma 34 is their 9-month-older sister.
Glenn is obviously unprepared to address the issue. Ben would be a better bet
on that score -- if he took enough of an interest to look into the matter.
Since Jockers attributes Alma 5, 7, and 34 all to Oliver Cowdery, I'm currently
examining them (and their adjacent chapters) as a set. We shall see what
textual oddities that inspection uncovers. You'll recall that Ben already pointed
out that Alma 5 and Alma 34 share the peculiar "go no more out" phraseology.
Perhaps we can discover what else these separated Alma texts share.
UD