“It all begins with the stately splendour of the swelling counterpoint. The frontline is still sufficiently clear in the expanded portion of the stroke, but the contrast relies on its contraposition with a thin stroke in which the frontline spins about on an imploded counterpoint. When even contrast is renounced as superfluous ornament, writing is altogether without orientation. Now the barbarians can have their say with their plans to improve the alphabet so it will be easier for children, computers and other illiterates. Whatever they say is completely true in advance because the criterion is annihilated: a line can be drawn in any direction through a point, just as an echo chamber confirms any piece of nonsense.”

(Geerit Noordzij, The Stroke: theory of writing, trans. Peter Enneson, p. 70)