All the weather outside is frightful, but the fire is so delightful.
And since we've no place to go, let it snow, Let it snow.
Let it snow.
Man, it doesn't show signs is stopping.
And I've brought me some corn for Poppa.
The lights are turned to weed down load, Let it snow.
Let it snow. When we're finally kissed, good night.
Yeah, it's Christmas time going out. The classics are being played. Everyone's doing the last minute shopping and trying to get in the mood. And it is Christmas is a prelude to the big day coming up here. And I hope you're doing well. Welcome to earth, ancients. I'm your host, Cliff Dunning. And if you're not in the spirit, I hope you're getting in the spirit. And I've always talked about eggnog and brandy and good food and companions and you know, friends and things like that. And that's what
Christmas is all about, is gathering. And I hope you are preparing for the holidays and whatever way that I usually used to do a tree, now it's more of a wreath and lights. Some people do big production. My brother who has the annual Christmas event has this huge ceiling, I think it's ceiling, and it's like seventeen fifteen, seventeen feet high, and he gets a huge tree. The tree is about twelve feet and my sister in law decorates
the tree as lavishly as she can each year. And it's really it's fun to live vicariously through others because I don't want to go do all that preparation and then have to take it all down. So anyhow, we're getting close. We're getting close to Christmas, and I hope you're getting in the mood in the season. I just got back from an amazing tour two weeks in Guatemala.
Had never been there before, and I got to say that the group we had to a person, were wonderful, really good people, and together we experienced the ancient world of the Maya at places like to Call and we started at Guatemala City and then we did a tour. I got to mention this. The museums in Guatemala, the National Ethropological Museum, is really fabulous and if you want to see a few of the photographs that represent this one major anthropological museum, go to Earth Ancients Facebook page.
I'm posting groupings of photographs the sculpture, this standing sculpture is really quite wonderful, and there's one piece in particular where this king is is really emerging from the stone, beautifully carved arms, legs, his clothing, and his face is pretty much worn down, but you get a sense of what he must have looked like when he was carved.
And it's just one of many pieces that I feature in these galleries, and I'll continue to post these galleries for the next couple of weeks as I can download
the information. I have a unique special edition that's coming out next week as kind of a Christmas present, where I interview one of the local archaeologists, a Guatemalan archaeologist, who has a completely different take on what we consider tolleric energy coming out of these pyramids, and I was surprised that he hadn't been indoctrinated into the hole there's no energy. These are temples built to the gods kind
of thing. This perception that I recorded will be surprising to a lot of people because basically their belief is from the generations of earlier families in Maya that these are energy generators, and they don't quite know how that energy was used because there's no more information. The earlier generations didn't leave much on how to work with that energy.
But we actually all together climbed to the Lost World pyramid in Tikal and sat up at the very top, and you can feel, if you close your eyes a low frequency of some kind of pulsation of energy that
was emerging from this pyramid. And this is exactly what I've been talking about for years about John Burke's work, this scientist businessman who climbed to the top of the Lost World and to call and actually conducted testing on how much energy is coming out, what the energy seems to be doing, and the time of day when it's the strongest. And we were there in the as I see, the afternoon, so the field energy was a lot weaker,
but you can still feel it. And we were up there, our group with some other people, and I wondered if all those people were dissipating the energy. I would have liked to have gone up there alone, but it's just not possible because to cause a very popular place. So anyhow, this interview that I'll feature next week with this archaeologist is a little bit of an eye opener and it's a breath of fresh air. And I'm really glad that I was able to interview him and get a sense
of what the local thinking is on these pyramids. So you can expect that next week now Today's programs with returning guest Adam Young. Adam used to be a regular in the very beginnings of Earth Ancients. He was a research investigator and at the time he had in his possession some of these stone were were from Egypt that we didn't really pay a great deal of attention to, other than the fact that they were cut with a level of perfection and precision that was strangely out of
sorts for the time period they were found in. And these plates and vases and bowls now have been recognized as very very early pre Dynastic representations of an unknown civilization. And they're very hard stone, and we think they're cut on lays, but now we're not so sure, and they are falling into the classification of out of place artifacts. That means that they are so anomalous that no one has a clue. In fact, at the end of this interview today, you'll hear from Adam that he doesn't even
know after years of analysis. Our technology just is not able to perceive. Current technology is not able to perceive how these were cut, how they were shaped, how they were polished, and above all were they used for everyday household items holding liquids, holding food, whatever or has been. Van Kirkwick, who he had on a few months ago, likes to think they may be a form of technology.
They may be part of a machine, because the tolerances that they are cut at are so precise that it doesn't make sense that they'd be just used for simple household use. Hence the term stoneware, like you would get that you would buy at a store, plates and bulls
and cups and such. So that's our program today, And I gotta tell you there is a series of photographs that Adam has sent to me which represents the testing pieces, but also there's some other images of machinery testing devices that were used to get a sense of just how perfect and how precise these objects were cut. So today's program is out of place artifacts from ancient Egypt. And my guest is Adam Young. Yeah, I got a new product for you. It's called Nord VPN. What's a VPN.
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while now. And when we talk about ancient Egypt, artifacts are collected in the thousands, if they're not the millions, and a number of them are out of place. In other words, they are unique in many ways. Mohammedan Imbrahim and introduced me to a number of stone where pieces. This is about almost eight ninety years ago, and I didn't realize that they not only are available to see in the museums, but they're collected by people. And I
remember when we had Adam Young on the program. He was discussing these and I didn't pay attention until Been Kirkwick brought him up and was just talking about him. And we've had Adam on, Adams coming back to us. We had Adam on quite regularly about seven eight years ago, and we have him back with this to talk about these these artifacts. And you know, Adam's like, hey, look, I got I have these for many years and I wasn't paying attention, and I'm paying attention now. And Adam
is a research investigator. He's done not only some excellent work in describing these out of place artifacts, but he's shown up and was part of the Cosmic Summit which just happened in North Carolina and was presenting these. So hey, Adam, great, welcome back, buddy, and thanks for joining me.
Well, thanks, Cliff. Yeah, it's been too long.
Yeah, it's funny because you know, I remember you telling me about these items that you had, and I thought at the time maybe my head wasn't screwed on, right, but they were very, very unique because of the precision. But what was attraction? What was the attraction for you when you began collect these I don't know, it's been at least ten years now, right, Yeah.
I think I probably wasn't as knowledgeable back then, so I was describing what I thought was anomalous, and I think I had only conducted a few, you know, somewhat rudimentary or initial scans in that analysis afterwards, and just didn't really know how big it would be or how
prevalent this sort of data is. And since then, we've, you know, we've I've created a pretty big team of researchers from mostly North America and Europe, and we've been conducting this in concert with institutions like museums and universities, and so it's really grown a lot and we have
a lot more data. We have a bigger story oftell I think at this point, and you know, it's taken a while, but it's difficult because of the thousands of years of sort of like dogmatic archaeological accepted, mainstream ideas that we had to you know, overcome.
Do you now feel that these items are much more important than just being vases and plates and bowls for everyday household use or do they have more of a place as machines or devices that are part of machines, or sophisticated applications of some kind.
That's a great question. I really don't know. I think it could go either way. I have a strong sense that they were made using advanced knowledge of machining and techniques to achieve the levels of precision and very little tolerance as that we're seeing. But what to what end? Well, if this was just easy and very possible, it's it's conceivable that the rudimentary, like normal objects would would be made.
We don't really make anything today purely by hand that's designed to be purposeful, right, So like most of our most art is made by hand today, but not things that you find in your kitchen and bathroom that's generally made using machines just because it's easier, it's faster. So I don't think there's anything wrong with saying these were mundane objects. They were vases and stoneware or platewaar, things like that. That could potentially be true, or they could
be components in something different, something with higher function. It's been speculated by Kristow and others that potentially there's resonant properties and some of these things that they could have functioned in harmony in some sort of a monumental building like a pyramid or other places. I just don't know enough to say whether or not. You know, I have an opinion on that. I'm more concerned with kind of when these are made and by who, and less so
to what end. It would be great to have answers to all of these questions, so maybe one day we'll have a little bit more than we do now.
Yeah, exactly did Petrie collect these items? I know he's got like cores. I was at the Peatrie Museum in London a couple of years ago, and the cores are very obviously some form of machinery. But does he collect I didn't. I don't think I saw any of the bulls or vases that are very popular right now.
You know, Petrie was all he was in Giza, he was in Abydos, he was he was up and down the Nile, and he he did, he collected them. He he brought back hundreds of thousands of objects from Egypt. So these were a big part of it. He was fascinated by these. He thought these were originally he thought they were made by like he said, he used the term aliens, but he was talking about aliens that were
not native to the region. So he thought there were some sort of invaders or Libyans or something like that that had come into the to the area and potentially found in Egypt. Because he he he had excavated some of these in very old sites and said, oh this, these people must have been who built all this stuff. And because there's so much more advanced than any of the other pottery or or lithics or or whatever surviving in these in these burials, it's not much pottery would survive.
Generally would wouldn't, but sometimes it would if it was preserved in the desert, and it was especially the Middle and Lake Kingdom. We see, we do see wood objects, but these were just of a much different nature, and they seemed to be replicated in other mediums potentially later on, such as such as the pottery. You see some pottery that seems to be emulating a lot of a stone. And so yet he was he was obsessed, uh, with
a lot of this. He he was in themes, he was in the Fayoum, Nakada, of course Albudo's lux or Armana, a lot of different places, and he he found these in relatively small quantities in specific geographical locations. A French archaeologist later on uh up to probably up to thirty years after Patree first started finding these in recording them, found many thousands of these at Sakara. So it wasn't
just Petrie, was others. But Petrie started really documenting this and he was He's called the father of Egyptology for a reason, right. He introduced He introduced really at the end of the day, he was he just really cared more than anyone else, and he didn't think this was a treasure hunting game. He thought this stuff had to be protected in some way, and so he did take a lot of stuff back, but he's and he gave it to his benefactors and museums and sold some stuff. Yes,
but what he didn't do was destroy it. He never used dynamite. He was very careful. He was concerned about preservation because he recognized the importance of this a lot of this material.
What is the unique factors in these vases and the I'm just going to call him stoneware because that's what I considered them as I have. Two years ago, I got a part of a cup that was cut right in half. I got it from an archaeologist. From that Muhammad introduced to me. And the level of precision is machined, is some form of machinery. But describe the uniqueness of these vases, bulls whatever, that makes them really out of place for the time period, and why there's such a unique item.
I think it's important to recognize that not everything we dig up and look at is super impressive, right, and not every stone base is very precise. A lot of them are a lot of the ones that we're interested in analyzing end up being that way because we can see that they are before. We can see that they look symmetrical, right, they look very geometric. They look like they were made by hands or something that wasn't making the other stuff, and so you know, we have a
bit of a selection bias. Not there's millions of objects that were taken out of Egypt. You know, we don't have the time or the energy or the interest analyze everything. But when we're talking about like the different categories, perhaps generally the ones that are the most precise are the oldest, So that is that's something that really needs to be clarified.
Many of them are labeled pre dynastic. They were found in burials that pre date any of the dynasties by up to thousands of years, up to one to two thousand years at least, and I've heard other excavations have potentially uncovered things that were even older. But there's there's a gap in the archaeological record also. But what we're seeing is complex spherical geometry in these vessels called in phases if you like, That is not of a simple
cylindrical nature. Cylinders are not that difficult to get around. We can use grinding tech. Very rudimentary grinding techniques given enough time, will in part round us. They have you know, potentially low friction as well, so you can carve a really really round cylinder with primitive techniques. But these are complex spherical geometry. Sometimes there's there's hyperbolic features. Sometimes they're elliptical, which is crazy. We could talk about that and a
bit too like ol in nature. So there's effectively too radio folk. We don't know how they were made, but we haven't. I haven't seen anyone make them really today, even with modern machinery. We think it's possible. Sure, a lot of people think it's possible, but it's expensive and time consuming and so, like you were asking me earlier, some of these used to be cheap one hundreds of dollars or a few thousand dollars. That wouldn't really make sense if it was very difficult and laborious to create.
Not to mention the the old the different geometric features like the interiors that a contour to the outside for to some extent, whether or it's not just a cordial or cylindrical dig out, it's really contour and that's extremely difficult to do in any hearts igneous rock. Right, So we're talking about grantite diarte sometimes porphyry and serpentine and others like that, but we're not really talking about, or at least not enough is the alabaster, so that there's
a whole lot of alabaster. Alabaster was an industry in Egypt all the way through the New Kingdom, and so we know that Dynastic Egyptians did make a lot of alabaster. The ones that they appear to have made, we don't really see the level of quite the level of precision that we see in the older ones, but we do see some alabaster that appear to be old, that appear to be as precise as the igneous rock ones too.
So it's a long period of time. There's thousands of years that evolved that went on there, and there was different groups doing different things. But I think it's, you know, something that that really was never It wasn't studied enough. It was came to vogue in the Victorian error and archaeologists to use something called form based dating to try
to date some of these things. So they were found in tombs, and if the tombs, if we think we know the tomb is to twenty five years old or six nine to see whatever, then they would describe that age to the object. Irrespective of the fact that every rooms are handed down right, So that was always ignored. But then they would they would say, well, this form
matched another form, we're confident on that date. So then everything that looks like that, or most things that look like that are now that age just because they look similar, right, And what that's led to is just I think inaccuracy and dating of all sorts of objects, not just these vases. There's extreme it's it's extremely imprecise, is what I would
the way I would describe it. Yes, we can carbonate bodies if you can't carbon date stone, of course, so form based dating doesn't make sense, and it relies on assumptions like people are going to make the same thing
for a period of time. We see certain objects that are classified, they look very very similar, and the date dates can range by two thousand years, which I think is just really knowledgical to think that a group of people would be making the same thing for two thousand years, or that a group of people would even exist for two thousand years. Right. So it's a huge subject. Yeah, and we can talk about it all night, Like, can you show us.
A couple of pieces that you find are great examples of perhaps your own collection?
Yeah, yes, let's see.
My curiosity is that you've named a number of very hard rocks stone and the initial idea was that they were placed on lays and spun a great revolution and then cut. But the tools to cut would have to be very very sharp. And also there's the issue with the handle or the grip. I don't know how I should describe it. If they stop and then start again and then carve the handle, it's like, how the hell did they explain that? You know, it's a very unique vessel.
Yeah, so if you're talking about lug handles, you're talking about these sort of these things, right or how how would that have happened? Right? I don't know. It's it's difficult to to really even speculate. But most likely there was a toroidal band that was left around the body of the ain't it and the materials removed to reveal
the handles. Uh, we don't. We don't see. What we do see is a very high levels of precision in the middle of where the handles are, which which would not correspond to cutting the whole thing on the leaves. So there must have been multiple processes involved. I think that's probably not controversial, but we do see you know, we see other we see playing that don't. So here's a few that don't. This is from the Peture Museum. Here's another one from the Peture Museum that we be analyzed.
This one was remarkably precise, but interestingly enough, the interior was much more precise in the exterior.
Are you showing something because I can't see it? Oh?
Yes, one second, be able to see this.
Now I can see the screens in the night. There you go. Perfect.
Yeah. This is an example of a vessel with lug handles and then vessels without. On the left. This is from the Petring Museum, where the interior is more precise in the exterior.
Hm hmmm.
So it's not always the other way out. Most of the time we've seen xteriors are much more round than the interior because the interior is very difficult to cut to begin with, let alone to finish to whatever level of accuracy or precision that was desired. And I think back to your other point, we don't see any that are exactly the same. But from these four you can see that there's this is this would be something that would let it tell to form based dating. So these
these look very similar. It's a very similar design. They're not exactly the same, but these are all different materials. That's real red granite to you know, to assault and then limestone the right.
You know what's funny about these adam is that I don't have never seen these this this shape. They're all kind of similar design, but they're gorgeous, they're beautiful, and to say these are just random? What are archaeological What are thetological communities saying about these? Are they paying attention to the craftsmanship or is it just the general assumption that this is just the way it is with the Old Kingdom, Middle Kingdom, New Cakedom. You know, how are they explaining this.
Well in terms of how First of all, in terms of dating, there there's there's there is, there's consensus with respect to you know, we think we know who made these things. We think they think they know where most of uh, the pharaohs and kings were eventually buried right not inside pyramids namely, but and in other areas. There's there's burials around Abbeydoss burials and their Gizes burials in the around Luxwre and u value of the kings and queens.
But in terms of like who made things. That's a lot, it's a lot less clear. Uh. You may find the name of someone on a on a building or on a wall, and that's typically who who is who is attributed to having made that thing. But what if you don't right, what if there's no what if there's no name on something that still needs a name, It still needs to be attributed to someone. And so that's where I think the theory came in. That's where the you know, the practice of that we still sort of see today.
It started in the eighteen hundreds and it's persisted, and that's archaeologists are very reluctant to question those ideas, like did Pharaohs build the very impressive pyramids? Did dynastic Egyptians make this stuff? Some of this stuff? They were very impressive people. Yeah, they were astronomers, physicists, like spectacular doctors
and musicians, everything. They were extremely impressive. However, I think with some of these objects, we don't see any evidence that they had the tools of the technology to make them. I think I think some of these vessels are an example of that. But we have something also very interesting in that a lot of these vessels, a lot of the very precise ones were actually not found in the possession of dynastic Egyptians. They were found in a precursor
civilization that was much less advanced. Yeah, and that's namely Nakata. And so that's that's really probably my favorite part of the story because this culture was living in mud husts. They they trade it a lot, so who knows where they got them from. But then they were found buried with these and so that's what Petri was excavating and was very focused on for much of his life. But this culture didn't have spindles. They didn't have the wheel
as far as we know, and they did have pottery. Coincidentally, their pottery was handmade. It was made by coiling or pinching the clay. What they didn't have a pottery wheel. These objects, these these stone vessels, appear to have been made on something that's rotating. You can see rotational marks in a lot of these. You see grooves, you see the evidence of pantoles. Or imagine something spinning on a lathe and you holding an object to it. You see
that pressure equally rotating around the object. That's that had to have been done by revolving equipment of some sort right indicating the wheel or the lay that was used. That doesn't seem to have been in Egypt until three thousand years oh, three thousand BC, and it certainly wasn't in Nakata. They didn't use it for anything else, so they must not have had it.
What's caught a time frame that these are found is that like four thousand BC.
I think it's roughly three to five. A lot of these are found in that sort of forest, a little Singakata two a lot in a lot of times, which is like thirty five hundred to four or up to forty five hundred pc. So sometimes I think it's you can say one to two thousand years before thy dastic Egypt.
What are two thousand years? So are you speculating that this is from a culture that is Ice age, like perhaps nine thousand, five hundred or earlier, prior to the hypothesis of the catastrophe, the Younger Driest hypothesis.
Yeah, Again, it's really hard to speculate that this is evidence of the turning marks I was referring to. Oh excellent, yeah, yeah, So this this the thing was being rotated right on a fixed axis spindle something something that was rotating in a circular motion. That's why you see those lines like that.
Your exercise very precise cuts too.
There. You wouldn't get that if you were holding it and scraping it right, you wouldn't see that. So they're made using rotating tools. It's of some sort. The timeline that you're asking about is tricky, so let's just use five thousand BC as the start of Nikata, just for argument. Seeing we don't see much in the filesil record or in the archaeological record, excuse me, from five to ten thousand BC, there's very little. I don't know. Why. Is
that because Nikata found them? All right? I don't know. Was there something else at play? Did Nikata? Did they? Did they trade for these things? They were world travelers. They were all up and down Africa, they were in the Middle East, all the way up to Syria. Did they trade for these and bring them back somewhere else? I don't know. But a lot of these were you know, a lot of these were found during that time period and not much before. I've heard stories that some of
these have been found before. I haven't really seen documentation of it yet. So that's very interested to see that. I don't know when they were made. But Nikata is really the only civilization that predates Dynastic Egypt that we really know much about it all. There's Badarians, There's a number of other cultures that existed back then. None of them were sophisticated. They weren't even close to Dynastic Egypt from what we believe is true. They were much simpler,
were rudimentary people. So who made these is a big question and when? How is it how? Of course it is an audious question, but who and when? We haven't Literally no, I don't think anyone knows.
Yeah, the latest uh genre of thought on ancient cultures has the idea of reuse of temples, reuse of buildings, reuse of artifacts. In fact, I had we've had Kara Cooning, doctor Cooney from UCLA come on a few times, who has had written a whole book called Reusing for the Dead, whereas where they were using their tomb goods and the artifacts and items for the dead over and over and over again over hundreds of years, which was a shock.
But we now are thinking that these temples like Karnak looks Are and then Dera were used and perhaps were pre Deluvian and so if that's the case, that's the evidence of the of an earlier race of people who could be behind these these stone stoneware. But there's no way to know because there's no writing. But I think the only thing you can really track is the sophistication
of these temples. And these megalithic temples are very very difficult to put together, and if they are being used continually over thousands of years, maybe they do have a connection to these stoneware items that you are presenting.
We can't prove that what you said is na true, right, Yeah,
you can't prove. We can't prove that it was not made by an earlier civilization because there's no evidence that anyone made it that we have been told yea productively, I see, yeah, I see strong overlaps in the geometry and symmetry, the medium, the types of stone that was used in these objects and in larger buildings like the pyramids, like there's there's I suspect it was the same group of people, And I don't think that the Dynastic Egyptians had the technology or the tools of the know how
to build either one of those personally, So I do think it was someone else. But I don't. We don't. There's no evidence to say it. So it's older than it's pretty lit be it's total than years old. There's no evidence for that, but there's no evidence. I don't think there's any evidence that suggests Nakata or curly dynastic Egyptions made these either. Yeah.
We're going to take a short commercial break to allow our sponsors to identify themselves, and we will return shortly with my guest today, Adam Young, discussing out of place artifacts from ancient Egypt. Will be right back.
I never had much for winter eyes and snow leaves me totally cold, but something's up each eve in December. I love it like a mine loves gold. It's never about the presence of the turkey or the Christmas tree. It's all about the glow in my baby's eyes.
My guest today is Adam Young. He is a research investigator who has a collection of very very early pre dynastic bulls, plates and vases that he has analyzed over the years and discovered some quite unique aspects to these ancient stoneware. Let's talk a little bit about this new analysis you've taken. Simply conceiving of a sophisticated society into the lab and are doing some very very inhabitantent need
you to do some very very sophisticated analysis. Talk a little bit about what you have been able to find with the use of present day technology.
So here's an image of us at the Petrie Museum. This is Kyleie Poker. He's another member of the Artifact Foundation. He has his own independent podcast as well. It's called the Ancient Technology Podcast. He's on YouTube. So he's a member of the Artifact Foundation with me, and we've gone into a number of museums in the last couple of years. This is the Petrie Museum in London. I was in twenty twenty four and so we're using a laser scanner.
This just accumulates data points around that object and puts it into a point cloud data set which is like a Cartesian xyz coordinate system that you can then bring with you portable right, so you can now do the analysis anywhere you want. Oh wow, and so you know this is kind of what looks like on the screen where we're just captains.
How did you get permission to pull U don't wear from Peatries Museum?
Jeez? They were the they're the most friendly really apparently establish a relationship with them a while ago, and we've we've also been to the Term Museum in Italy, the Brooklyn Museum here in York, and then the MFA in Boston. The MFA actually took the longest dight. It took me a couple of years to ingratiate ourselves with them. But we were not seeking to challenge the narrative or to challenge anything, you know, We're looking to analyze first and foremost.
There's a preservation aspect here. But if we get something like this digitized, it's uh, it can then be shared and stored by the museum.
Oh right, so you share your your your researching, your analysis.
Certainly the scans, you know, the research and analysis. I think traditional institutions are probably less interested in that. They're it's curious to them, but I don't think they're they're thinking of the implications yet just yet.
Are they having any is does anyone else scanned their Uh, there's stoneware same manner.
That you are.
Since us, others have been there and used other equipment. But in all the places we've been, we were the first. We were the first to even ask them wow. Generally, or we were the first that they allowed, they generally don't allow this level of that's fantastic, but it's not. It's non destructive, right, we're not touching the objects aside from placing them on a pedestal or a rotating table like an inspection table, not touching them. So we're not
taking prints. We're not using like wax or rubber or anything else, no chemicals, it's just light. Effectively, it's laser light. These are or photo photographmetry, capturing photographs and stitching them together. There are there machines like like CMM machines. We don't have anything that's portable that would be more accurate that does involve touching, So it's really a question of what
are the policies. Petrie considered this as teaching material, so this was like probably the bottom five percent of the object he brought back and he eventually donated and sold these to this museum here at this college in London, which maintains it, and they allow researchers here. While we were here, there was another table next to us with someone doing something else, not the same thing, but they were also doing research.
How extensive is his collection Adam. Does he have like a whole room of vases and plates and bowls and things or is it limited?
There's eighty or ninety thousand objects in this museum, I would say, you know, there's less than thirty or forty of these types of hard rock vessels that we were interested in. He also has fragments and shards. But again, most of his the best stuff that he found generally might say the best, like the most interesting from a variety of perspectives, was given or sold given to his benefactors and the people that he worked with in concert with his family retained a lot, and then other stuff
was sold off. So you know what we found here is let me hope you can see this file. We're able to see this, Yeah, So this is just a comparison of the different objects we saw and we and we analyzed, and so across the bottom is the circularity median circularity, which is the deviance from a perfect circle.
Right.
If we take a scan image of an object, we then cut it into vertical slices, maybe thousands of slices, and then each slice we overlay a circle on and we measure the distance from each point to a circle. So if it was perfect, there'd be no deviation. Every point would be on that circle. We just we just
layer it on right, photoshopped on. Effectively, if the less perfect it is, the more either damage, wear and tear, or just the less round it is, the more deviation, the more of these points are going to vary from true circular at your perfection. And so that this is the object I was showing me. Really the inside it was more on the all way and the left. Did you see four one oh five three where the inside was more precise in the exterior and then and then
it kind of ranges. So this is These are not the best results we've seen. We've seen other objects, particularly in private collections, that are more precise than this, far more precise in some cases. But even the ones here that that seem to be less precise are still are still very interesting and are probably I believe, not not possible to do strictly by head. You would need some sort of machining apparatus.
So they're considered machine. They're considered machine basically by me.
I would consider these machined by archaeologists. No, they're not. Archaeologists have a mainstream set of instructions that involve I'll go through it real quick. So you get like a stone boulder. You know, if you find the target stone, you carve it into like some sort of a round spherical object using dolorate pounders, which is about a six on the most go. So it's quite hard. It's almost it's not quite as hard as granted, and copper chisels.
Copper has to make its way in there somewhere. You pierce the top of it using a tube drill also made of copper. Now and it might have it's going to have something some sort of removal material that could potentially be like coroundulum or quartz which is all over Egypt, to hollow that out. You then fix it somewhere. So the traditional story goes, you fix this into a hole
or at a work table. You then use flint and you attach the flint to a fork stick and you turn it into basically like a forked drill that you then rotate around by hand. So everything, everything in the traditional story is is you know, we're revolves around hand tools. So here's another.
So I don't understand, even in the face of advanced engineering and machining, they still go by this rudimentary handcut stone ball or stone vase.
And here's why. These are pictures from tombs of the nobles on the rad hand side, which isn't hieroglyphs. By the way, this is painted on basically with effectively plaster walls. So this was New Kingdom and they're talking about making you can see on the lower right rectangle here they're talking about making a big jar. So this is a description of life back in their day. They're also making
wooden furnisure and other things. And archaeological archaeologists have extrapolated this to explain how everything was made based on a couple of accounts, third party accounts, potentially many thousands of years later. And I think these stories are probably meant to relate to both pottery and limestone or calcite. So yeah, so limestone vessels, calcite alabaster, those are very soft and you can cut these things with bronze copper. You don't
even really need an abrasive. The Romans were doing that too without an abrasive. And this whole concept of beforek drill. I believe this was used in the Egyptian alabaster industry. The problem is it's not capable of precision at all, and when we analyze these vessels, they're off by orders of magnitude one to two orders of magnitude, which is between ten and one hundred times less precise. And that's where the traditional narrative comes from.
I think there's a book in there somewhere, Adam, there's a book with some the alternative view with engineering analysis and some of the equipment and the analytical tools that you've used. To wake people up, because this is crazy. To keep thinking that they're using hand tools to create these bowls, vases and plates. It's just crazy.
Yeah, So I want to share something with you also, This is we haven't really been talking about yet because we haven finished our analysis. We just pull it up. So about to share my screen here. This is a vessel. This is a vessel from from the term Museum in Italy. And so the term Museum is like the second largest collection of Egyptian objects outside of the Cairo Museum in the world. It was it was really like the first Egyptian museum outside of Cairo.
And now when did the Italians start collecting such volume.
It was late eighteen hundreds. It was it was private collection then that that was then gifted or sold to the museum.
Oh so that was during the Nomad period of Egypt, when there's nobody out there and they could just kind of come in and oh yeah.
The Italians were The Italians were prolific in archaeology, as well as the French, Austrians, Germans, and then of course the BRITSKAY. So this is a you know, I don't remember the actual dating, but most of these are either Early Dynastic Egypt or before pre Dynastic, including Kata. So when we were analyzing this, we at first we thought, well, you know, I love it when there are these these feldspar inclusions to either court. When you see these big things.
These crystals are either quarts or felsparget typically, and they're usually a lot harder than the grand mass than the ground mass, which is that the blackish material. Usually the crystals are harder. Quartz is sort of like a seven on the most scale. I think feldspar is close. So it would have been really hard to cut and make this. However, it can be done you using techniques that have low friction, like grinding. So I think we have an idea that
sure this was possible. Obviously somebody made it using something, but when we looked at it, we realized it's not perfectly round. We were looking at in the top down and it just didn't seem to be round. But what it did look like was an oval. Said, okay, this looks like an oval, and so how do we put this together? Recently on the right, so this is a silhouette.
So this is the object. The exterior walls are in red and blue, and the reason it's suit forerent colors is because we rotated the object night degrees, So the red is a ninety degree rotated view of the blue, and you can see that it is a mobile. There's a better way of showing this. Well, we need to show three dimensionally. This is an oval, so it's ellipsoid. There's effectively there's there's two axes in here. So if you think these were made on a lathe, I have
never seen a lave that has two axes. The layer would be rotating in an old fashion at some point, right, or the grinding apparatus, whatever you're using to cut the stone would have to be rotating around it in an oval fashion. Yeah, I don't know. It is the word perfect. It's not a perfect not a tough thing is perfect. There's no perfect circles, there's no perfect stoneware, there's no perfect ovals. But this is pretty oval.
I think the other thing that makes this remarkable vase is this these unusual grip or hand holding protrusions at the top. It's like, wow, that is so cool. It's almost modern thought, you know it's not. I mean, wow, it's pretty beautiful.
This was like eighteen interest. This was huge too. It was large.
No, it's big, huh.
Yeah. Yeah. The blood handles have always been a point of interest. They're they're potentially functional, like to pick something up easier. Yes, but yeah, only some of these have them, you know, I might relative minority of objects have walg candles.
I mean, this goes beyond a lathe spinning. This is something entirely unique. Is there any way through microscope or or fine imaging that you can see cut lines, any kind of chipping away or carving on that on that vase, this one.
In particular, Yeah, I don't recall what we were looking at. There is, though, there's and there's evidence of hand tooling on a lot of these, so in some of them. Okay, here's an image of the og vessel. This is a and I'll share it in a microphone camera. I'm click too. So this is the og base. It's it's red granite, potentially a sway and granite. You can see it's it's very nice. It's not perfect, nothing's perfect, but this is one of the highest precision objects we've we've ever measured.
Now there's enough close picture of it. Right here we go. So this is a lug handle. Now you can see besides there seems to be some some wear or tear tooling or something. Yeah, there's there's evidence that something else
was touching this. So you do see this in a lot of these where the body is perfect and there's something there's a top or a lip or a lug handle, and there seems to be evidence that maybe somebody went by with a some sort of hand tool would finish it off or was removing was removing a feature that wasn't meant to be there.
Mm hm. When you say lug handle, it's got a hole in it. Was there something attached to that so it was easier to lift, or holes or something.
The lug handles in some cases, in many cases were drilled out, so you'll see that drilled out. Yeah, and so you see this drill, this is a drill.
Yeah, that's a beautiful I mean, that's a perfect hole that's been cut.
That's almost like it looks like it from one side, but if you look at the other side, they don't align. They're almost they're almost always destroying. They're not parallel or symmetrical to each other. Sometimes it looks like they came in from two different sides and didn't quite meet. Really. Yes, so yeah, I suspect that these holes were made much later by a different civilization. Same thing here. I think
the holes were all pretty much all added later. Maybe not all the time, but from what I've seen, it looks at the case amazing because we've seen we've seen in a number with with no holes as well.
So with the analysis that you and your team has have have been using, what are some of the takeaways.
That you have formulated, you know, I would say, yeah, we don't know how these were made. We suspect that there's there's various methods and some of them could be could be very simple. They could be they could they could appear to be complex or modern, but maybe aren't. Here's a here's a video of what's called centerless grinding. So you're basically setting up two rotating wheels and you have the piece in the middle, and this this can
make a cylinder that's remarkably precise. A cylinder though right it's it's going to be used for a very specific purpose. So that's based on some complex mathematics as you see here, But you could also iterate this. You could figure this out by trial and error. It doesn't mean that you need to have advanced trigonometric capabilities to build a centerless
grinding tool. It means that you just experiment by moving things in different configurations until you get something that works, and given enough time, you can Here's another sort of bad drawing of minds showing how potentially the bottom of these vessels may have had kind of like a stalk
or a piece left off it. So this bottom spindle and this effects of this functions like a spindle to hold the workpiece, and that could have been rotated and then at the end, once you're done grinding or whatever else, you snap that bottom piece off and then just finish off the base. So if the bases on a lot of these don't seem very precise, and that could explain that, and then you see you would effectively remove that and end up with finished product. Ah okay, I think you know.
It begs a question like and this is what gets archaeologists and traditional historians anxiety. Gives them anxiety to talk about what's you know, what is what's a machine? These are? These are machines from the eighteen hundreds. These are all foot and hand powered machines. Because a sewing, sewing machine, a pottery wheel, I laid in, a saw, the table saw all powered by humans. But these machines, I think, sure, So when we're talking about machines, I think these were machined.
I think there were There were machines used in the construction or the manufacturing process of a lot of these, But they could have been powered by humans or camels, right, And that means that there's still a human involved. And we do see a lot of imperfections, we see we see various levels of quality and sophistication. But this, this story is not told. This is really left out of the paradigm. Nobody suggests that they have these types of
things back then. I'm suggesting that something at least the sophisticated must have been used at least we do not think, and I don't either, that the Dynastic Egyptians have these I don't think I certainly don't think Nakata or Badarian on those civilizations pre dynastic had any of these things, which leaves the question than who did and when? You know?
And where are the tools is another big question. So in all of Egyptian history, we found only one hundred to two hundred copper tools total, saws and drills, we found ten to twenty. That's it, Max, And these people were using copper for at least two thousand years and we found one or two hundred. So where are the tools? If this was, like you said, prediliving ten thousand years ago,
well long gone, repurposed, stolen, rotten, disintegrated, oxidized, whatever. We don't necessar sssarily need to find tools to show that the evidence of tool use is in. It is in the perfection, it's in the witness marks, it's in the symmetry.
Yes, we're going to take a short commercial break to allow our sponsors to identify themselves, and we will return shortly with my guest today, research investigator Adam Young, coming to us from the East coast of the United States. We will be right back every Christmas.
Baby rain Dass coming out of place across his back and the pre.
My guest today is Adam Young. He has made a lifelong study of unusual stoneware from Egypt, found in grave sites and at Sakara. These are stoneware bowls, vases, and plates that are remarkably precise and come from a period of great technological advancement. If you were to pick an item that is from what you might think as the time period, or perhaps an item that is similar to a oz to the stone where what would you choose in Egypt? Would you choose a temple that is very
highly constructed? Would you? I mean the pyramids by themselves are enigmatic because there's huge and each stone is minimum two point five tons. Egyptologists seem to think that dynastics built it. There's no way in hell that they touched it, that they dealt with it.
It came with him.
But with your net, with your work, what would you say is something that would be from a similar time period or a similar technology that you can identify?
You know, I don't know if I, if I, if I necessarily would would take one side or the other I know the dynastic Egyptians were very capable. I think they were rehabbing a lot of these sites. They had the minister, like one of the pharaoh's brothers. Forget to forget the one. I'm terrible. My Egyptian is not good. But the pharaoh had a brother who he appointed a ministry of reconstruction rehabilitation. His job was to go around
and rehab ancient sites. Why would he need a person like that if they were making these things, they they stumbled upon a lot of these and they tried to make them better. Yeah, I don't know why. Is that because they were destroyed in a cataclysm, by water, by flooding, by by other humans. I don't know. But the Egyptians were rehabbing these sites actively. You can see it. That's not it's not controversial, right that The controversy as well,
did they actually build them? Right? They built some things. They built beautiful temples. They typically use much smaller stones. They used effectively bricks. Like if you look at the Washington Monument, that's not an obelisk, that's not a solid piece of granite that Those are bricks. Those are blocks, construction blocks, right, You can't do that today. But they are obelisks. Whoever made the real obelisks? Those are solid pieces of stone that are one hundred plus feet tall.
Sometimes that's incredible, right. The pyramids have they and they have you know, less impressive limestone blocks, but they also have giant granite that's that's made to unbelievable levels of flatness and precision. We were I'll show you one that's really that's really incredible. So there's a there's region of Egypt called the Fayum. It's a it's south of Cairo, south of Giza, so it's not it's not too far away. Sorry, I'm going through my library here and here it is.
So there's mud break pyramids in this region. There's of these four of them are that are surviving. I don't know how many, oh, mud brick pyramids. Yeah, like, yes, exactly. So this is in the fire region. It's called a Lahoune pyramid, so a lah or send it. It's attributed to uh send Us read the second, which is a pharaoh.
I think they can look at all those mud bricks. I mean, it's ridiculous.
So this is a special type of mud. It still survives even though It doesn't rain very much here, but it used to, and you still see a lot of this. It gets it gets very windy there and occasionally when it when it does rain, you would expect probably more destruction than there has been. So it's a remarkable it's a remarkable chemical composition. They're large, they're not small red bricks like we think of. They're much bigger. But look
at what's underneath here. Megalithic limestone blocks seem to form the infrastructure, and I think that's the case with a lot of these, So they're not just simple mud bricks stacked up. There's a grand plan here. If they could build with megolithic limestone, we see that all of the place,
why would they use mud bricks. Well, it turns out that there was also casing stones, probably limestone in some cases basalt or granite on top of this p tree described some casing stones were still in place, and some of these pyramids at the bottom you could still see where the original casing stones were. So perhaps the mud brick was a design element, right, a feature like an insulating way, or it was purposeful for some reason. These
were lazy people. They were like the most accomplished race of humans probably, ever, it seems like a crucial component. So what's really interesting to me about these pyramids is that they're not, at least from what I know, I don't know any interior chambers, the chambers, want to call them burial chambers whatever. The interesting parts are like below grate, they're below the base. They're underground, not really connected to
the pyramid itself. And p Tree drew this. So this is I think at eighteen ninety one, and this is where he says, so this is the pyramid. You can see the original casing stones which were here covering the mud brick, and then this is the base level. So you go a few hundred feet away down and then back sort of in towards the pyramid. And so all these underground shafts and chambers are entirely below grade. They're like not connected to the pyramid.
So is he suggesting that the mud bricks were initially designed as a feature of this pyramid.
I don't know what he said about that, but they were certainly designed. The pyramid was built using a megalithic limestone core infrastructure. I don't but I don't know what that looks like. And then mud brick around it, and in some cases in Juaa and other cases there's several layers like it might go like rock, mud, brick, rock, et cetera. And then in this case there was that there were smooth casing stones which I think were limestone. Weird. So I think in some of these bodies were found
of it. Actually, Uh again, all that to me, all that says is that dynastic Egyptians found these and put dead people inside them. I don't how many evidence to suggest they made them. Yeah. So in this chamber here, it's got it's a it's a room made of granite. Okay, it looks like this this room is granite. Petrie said that the walls here and I touched the walls, they feel rough.
Uh.
The walls were ground to like extreme levels of flatness, but not polished. However, this big bathtub shaped box in the middle was this was this was cut beautifully and then polished where you know, if it was so red sea reflection in it.
So this is kind of like SERAPM site. Is it SERAPM size box or is it smaller?
Uh?
No, much smaller than this. Well, yeah, the dimensions are less than half most of the Serapium boxes. We don't know what the top is. The top has never found.
But there's no there's no hieroglyphics on any of this.
Not on these, on some of them. There's boxes underneath the black pyramid that do have some inscriptions on them, but they're generally crude. Like if you go back to the Serrapeium, the inscriptions on the side are really rough chiseled.
Yeah, it's like later period. They're terrible.
Yeah, yeah, they don't look impressive. But this one, this is one of my This was Petrie's favorite object. So you can see it's off. It's off, it's off cut right at the bottom. This side on the left is thirty thirty two inches or so I think, and then on the other side is thirty six so it's about it's about four inch differential and then cut like that diagonally, and you can see it if you look at it against the back wall too. Right, So this is off
by four inches left or right? Why where's the top? These people were masters of perfection. Look at the rest of the of the box.
I'm just gonna ask you, is it because the floor is uneven No, so the floor is perfectly square and level.
From what I from what I can see that the floor is perfectly square and level. Petrie also into so he footnoted this really interesting factor in his paper. He said, the entrance shaft that led into here, the way we got into this room was narrower than the width of the box. Mmm, so how did it get here? Effectively? What that means is that the room was built around the box.
Oh wow, So maybe the box contains some technology or something.
I don't know. So that the lipid cheer is incredible. It's it's like four thousands of an inch deviation from a perfect straight line. That's that's well beyond uh what's required in like modern countertop manufacturing. This is much flatter than a countertop.
Does Does Petrie attribute this to old Kingdom?
Yeah?
This is early Donastic Okay, so that's that I mean right there.
He didn't he wasn't big into dating. I think he recognized it was a it was tricky, okay. He originally he thought all this stuff was made by a precursor civilization, and then his peers kind of convinced him to get with the program and he stopped sort of saying that.
Really did he actually write about that there was a precursor, uh, pre civilization.
I don't remember that he called Yeah, he called these he called them he thought there were aliens, uh from they were invaders from Libya and he found in Egypt and that was his initial Okay, so he calls this box. I love this quote. This is one of the greatest triumphs of accurate work in such a material that has ever been done.
Hmmm. That's saying a lot from him if he's impressed like that.
Yeah, he came back here a few times before he died.
How deep is that uh tomb or that that arcovacus? Underground? Is it under the surface or it's just in the guts of the pyramid.
It's not in the pyramid, right, So it's below grade, it's below the surface of the earth. It's below the base of the pyramids. It's like one hundred feet. I think you go down about about eighty or ninety feet that walk up a little bit, so it's it's not very far. It's a dozen or twenty meters, but it's not it's not connected to the pyramid. You don't go inside the pyramid. It's underground. So was the pyramid built on top of this thing? Or was this thing built later?
We don't know. This is a to put that in context, this is that box again. So the flatness deviation is across the one point two seven meters that's the side of the narrower side, So it's four thousands of an inch. To put in perspective, a modern granite countertop is basically never made ladder across the similar span than sixty thousands or or six hundreds. So this is over in order of magnitude. It's it's more than ten times more precise than a grand of countertops made today. With diamond tips,
circular saws and fine polishing. Now, this is possible, and you actually can achieve very high levels of flatness or lempage with hand polishing techniques. That's that's well known. There's there's ways of getting it down. This this flat. However, how do you know? How would you know it's this flat? You can't see this, this level of deviations, You can't touch this or see this. You would have no idea if you're achieving this, and they're maintaining this across the
whole way. So they have to have some way of measuring, some way of of analyzing it, some metrology effectively.
Is there any kind of gassing or discharge on the walls of that chamber that that sarcophagus is laying in. I mean, that's one of the things that Christine's always harped on, is that there is gassing of hydrogen extracts and things like that on the walls. Is there anything like that?
I don't know. I did not really, I wasn't really looking at that when we were here or so.
You actually got that's actually you you taking photograph.
Yeah, we were there. We were there, so all the pews of the Artifact Foundation, so where Kyle Allen Ben ben Kirkuk was here on and me and Caroly Poka we're all here back at two thousand and twenty four.
Wow, very impressive. It's almost like it's a container for something, like it's housing. It's a housing, it houses something, you know what I mean?
Yeah, it does I know what you mean? What you know, why do you need to top that flat? Well maybe if you wanted to seal it, right, if you wanted the container sealed potentially, but they never found a top. The serapean boxes are also very similar. The tops are remarkably flat, and you would you would get a pretty tight you would get almost an erritight. So I don't know if it would be perfect, but who knows it
could have been. It could have been. You know, people have theorized that there was chemicals in there, there were growing crystals. I've heard and many of these things have extraordinary residence properties. And they're not all They don't all look like perfectly symmetrical, like rectangular boxes. Not all the time. You'll see some edges where there's a really wide radius in the uh in the corner, and other times it's very tight and maintained across a few meters, So it's
it's inexplicable. You don't always see extreme levels of precision, not always, but sometimes you do, and you can, and so it's like, well, why did they sometimes employ extreme levels of manufacturing acumen and other times not?
Do you think that the technology that cut shaped and smooth these surfaces is beyond us right now or in your analysis, do you think that it's something that's close to what we can achieve, perhaps lasers or some kind of arc welding or torturing. I don't know how they call it. That's that exists, but it's used in a difference or sophisticated way.
Well, we don't really. We don't really work in stone like this today. The exception would be in inspection plates that are that are this flat and even more flat. They're using metrology labs and they're made of granite because granted it's less, it's more tolerant to heat and changes in teat, humidity and things like that. I think we do have the capability of making this stuff. We probably can. The question is how so would we use carbide kill tips,
would we use brinding techniques? I don't know, and no one. I haven't seen anyone replicate these today using modern technology, partially because it's expensive. You would break through tools, you'd be wearing, tearing your equipment. It's cost prohibitive, right, So we haven't seen anyone do it. There's no evidence that hand tools couldn't make those. A few people have tried, but the results don't come close to what we've seen
and analyzed. So you know, there's a big question. Most likely there's some culture had advanced dollars that we're unaware of.
Well, that was my next question to you, is that it's beginning to appear that there's an advanced science behind this that we either have not evolved to or it's under our nose and we're just not paying attention. It's like, we don't cut stone in the way that they did. But whatever the hell they were using, it's very very Uh, it's a powerful tool. It's and it has an elegance to it as well. And when we see these stone.
Ware, it's us Yeah. Really, some of them are very quite striking in the proportions, and some of the sides will follow like a quadratic equation. Effectively, they're they're you know, it's it's advanced spherical geometry. We don't really do that today. Uh, with the exception of marble, So we will use marble because marble is very smart. Marbles much softer than these these stones. These are all igneous uh granite, dirites, Portyry
type type stones frescia. Yeah, they're very hard. Marble's not. And so when an artist wants to make a statue of dated or something, they typically always use marble.
Yeah.
I haven't seen any anything like this at all, in granted not not not all. We've seen cylindrical shapes though what I've seen the toothbrusholders made out of what looks like granted that are very round, but again it's not that hard. What's hard is the complex spherical geometry and the interior is being hollowed out. I have not seen that done at all.
Not. Yes, yeah, we haven't even talked about statuary. There's a statue in the Cairo Museum of Caffrey that's made of door, right or something else, and Muhammed is of the belief that is one hundred percent manufactured. And as I've been looking at it, I actually wrote an article on it. It is one of the most beautiful sculptures I've ever seen, and I think that Ramsey's the second put his cartouge on the base of it in a
very scratchy, kind of crappy I was here kind of graffiti. Look, have you analyzed any of the you know, stone sculptures that we have left to us that are identified by our Egyptologists as left by known pharaohs.
No, not yet. I you know, Chris John has been a little bit more focused on that over his career. You know, he's famously looked at the Ramsey statue a couple of times. I think a Karnak, you know, I don't know how precise those are. And but again, like when you're saying machined or I guess when when he said manufactured with Mohammedan manufactured, he met machined.
Right.
Yeah, so you know a person holding a grinding a grinder or a circular saw, or somebody using a minor saw or somebody using a wage like that's I would say that's all machining, But it doesn't mean that there's nothing that involved. You could have an artist to using a grinder. But I do strongly suspect there's whoever was making these things, including probably many or some of the statue or the statues, was using rotating power tools of
some sort of a rotating nature. Because you can see circular saw marks and yeah, objects throughout all these museums, and you know they're circular because the center point is that you know, you can see the you can see the radius of whatever. We know it was based on the length of the cut. Yeah, so something revolving, something rotating. I don't know what the power was, I don't know what the tools are made out of, and I don't know where they are.
It's really a challenge when you're dealing with sophisticated technology and the science behind it, trying to identify it when perhaps we're not even up to speed on it. We don't we haven't evolved to that level of of science, you know, so we're kind of like walking in the dark and admiring these artifacts and going, what the hell who did these? It's kind of fun. And then, of course the big problem is.
We have a.
We have a social science of egyptological inquiry that shuts the door on anything that is questionable like this and relegates it to the dynastic period, which just does not make any sense anymore. So as we close out and what's your feeling on uh, continual analytics, analyze, analytical study of these artifacts? Do we have to come up to speed or is someone going to make a breakthrough? What's your what's your gut on this? Uh?
Well, we we know, we have we have plans, we have you know, additional projects that we've been working on for years, and eventually it's it's a combination of a larger data set, partnerships with more institutions. We have a few universities that are interested in starting to take interest now, so hopefully that continues and more publications before I think potentially people I hope will recognize that you can't make this stuff with primitive hand tools. That's number one that
that bags up. That opens up a Pandora's box of questions, right, and for career archaeologists and academics, those questions can be existential, like, Okay, well if these were made with machine tools, and we're very very confident the dynastic Egyptians didn't have them, and you know, erdo that the civilization right before them that was primitive must not have either. Then you you did was an ancient society that was advanced that's gone, and so then you have you know, you have the questions
of like, you know, the Atlantean type topics. I'm sure they had a different name for themselves. But there's yeah, there's a lot of possibilities. Why were people so focused on Egypt, why they're of all places? There's probably there's probably an explanation because you really don't see the same stuff in many other parts of the world. South America is very interesting, but it's very different levels of construction.
You don't see as many megalithic sites, We don't find objects that are made to such you know, heigh precision although I have seen things in South America in Asia as well, plates and other objects that seem to be extremely, extremely precise. So this, this, this level of technology was known, it was, it was, it was in other parts of the world, but really not to such a high concentration and impressiveness as as you see in Egypt.
Hmmm, amazing. Hey, I want to thank you for joining us. Uh, You've given us some uh some good uh material to think about. I am these are definitely out of place artifacts and there's no other way to explain them. We're not getting much help from the Egyptological community, are we. Uh, they're not into this at all, and I.
Give them, give them, give them some time. The younger generation eight is they're coming around a little bit. The older crowd maybe not. But we have some pretty good relationships with some of them. So it's a question of time. I think it's a question of time.
From Egypt or from American universities.
Egypt, Europe, North America.
Oh, excellent, excellent, fantastic. Hey, if we can get a few photographs for our Facebook page, it would be great. I want to thank you, Adam. I definitely see a book in this somewhere buddy. I know you're busy as hell. You got kids, and you've got a family and you got but you got to spit something out one of these days, because, uh, you got a lot of data and I think some of them love to publish it, so we get the word out. We do.
We do our best to put I wouldn't say we do our best. We have been publicizing data on our website and we will continue to do that. Sometimes we're just not able to immediately be for various reasons. We haven't finished analytics, we haven't vented it, or our partner doesn't want to release yet. So you can check out our website. It's just Artifactfoundation dot org. You know. Check
out some of the other members of the foundation. So Kyrie Polker Ancient Technology podcast, Chris King, who's a precision manufacturing expert. He machines like aerospace levels of tolerances. Ahmed Adley is another member. He has a YouTube channel devoted to the Arab speaking world to communicate a lot of this cocination to them. Of course, Ben van Kirkwick jud X and then Kyle and Russ Allen. We're brothers of
the Serpent podcast. You know, we're all, there's a lot of us that are that are interested in this in the subjected and hopefully we can continue to push it forward.
Are you Uh, I guess you're all over YouTube, but you guys don't have a channel specific to.
Your work due now. The foundation is really just it's it's a it's a nonprofit just devoted to the exploration and okay, you know, evidence based work, but many of our members.
Do very cool, very cool. Hey, I really appreciate your time, Adam, thank you, and uh uh, let's hopefully there's going to be a breakthrough one of these days where you could say, hey, we know what it is. It's a special laser because we developed it and now that's what they were using, you know, right. Really it's a challenge.
One day, one day. But thanks for having me on. If it's been been a pleasure and it's been too long, yeah, thanks man, We'll have you back, all right, cheers. You got to look at the photographs on the Facebook page. If not and you want to jump onto YouTube, you can go to our YouTube channel and see some of the analysis that Adam and his team came up with. We don't know what the source of cutting is.
We have no idea. Again, it's very likely a technology we are not prepared to understand because the science and likely the technology behind the cutting tools is we're not privy to. We don't understand what it is. We have no idea, we don't have the technology to replicate it, and it's not cutting blaze whatsoever. Apparently some of the early pieces are cutting blaze, but as Adam points out in his talk, the precision cuts make us think that the cutting blazes are even unusual, so we don't know.
For more and from on all of this, go to Facebook, go to Earth Ancients and you can see the photographs, or go to YouTube and see the details. It's pretty amazing. Hey, I want to mention if you're thinking about a great gift for twenty twenty six, consider our seventh annual Grand Egyptian Tour with Muhammad Ambrahem and Saba Tours. This is a world class tour that includes mostly private visits without
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slash Tours. Come out and join us. All right, that's it for this program. I want to think my guest today Adam Young, coming to us from the East coast of the United States. As always the team of Gail Tour and Feya, our video expert. You guys rock all right, take care of me well, and we will talk to you next time. Have a great Christmas.
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