Precision! - Evidence for Ancient High Technology, part 2

[Music] hello everyone and welcome to Uncharted X my name is Ben and this is part two of my series looking at the evidence four forms of ancient high-technology part one is worth a watch before this if you haven't seen it already in that video we set up some of the context around these claims for ancient high technology how they correlate to the story of history as we know it and then we dived into the evidence for ancient machining and polishing in this video we're going to look at another category of evidence for ancient high-technology the one that I think is the most convincing that of precision the nature of precision bears some explanation as while it's a word we all know and hear pretty frequently it certainly gets used constantly as a marketing term precision this or precision that it's a concept with some really far-reaching consequences our entire modern world is built on precision we are constantly surrounded by its application from the engines in our cars and the aircraft that we fly in to the electronics that are omnipresent in every single device that we use watch or interact with without it modern civilization simply wouldn't exist our way of life is the direct result of the relentless pursuit of precision these days we take the benefits of precision for granted for example the mass-produced and pervasive semiconductor microchips that are in all of our devices from dishwashers to phones and computers these all contain millions of transistors that are packaged in tiny power efficient silicon footprints these tiny transistors are assembled in a process that's measured on the nanometer scale which is to say measured in the billions of meters and yes that's billion with a B the width of a helium atom is measurable on this scale coming in at around point oh six of one nanometer I recently read a book called the perfectionists how precision engineers created the modern world written by Simon Winchester it was recommended to me by Philip Adams in a brief email discussing the precision of the Serapeum in this book Winchester describes the rise of the modern pursuit of precision beginning with its origins in the 18th century in England with the birth of accurate chronometer and developments in Canon manufacturing for the Navy and also in the progression of the steam piston engine all of a sudden it started to become very important to be able to manufacture precision surfaces with low tolerances like Pistons and cylinders such that pressurized steam didn't just leak out and could be made to do actual work it also turns out that when the barrels of cannons are accurately balled out and rifled which requires both the solid cast Cannon and the tool that's boring it out to be held rigidly in place they are far less prone to exploding randomly and far more likely to shoot straight before this development naval cannons were made by casting the molten iron into its rough shape including the hollow space for the barrel and then they would fire the cannon while it was still cooling and pretty much just hope for the best it was in small but significant leaps like this that modern precision manufacturing was born from this point on precision drove the Industrial Revolution and it's applications seemed endless modern engines are much more powerful and compact today thanks to the precise flatness of cylinder heads and the low tolerances of Pistons rings and balls as well as the mechanical precision of all of their other parts we enjoy the godlike ability to travel halfway around the world in a matter of hours by zipping through the stratosphere at nearly the speed of sound even though we often complain bitterly about it all thanks to precision mankind has the ability to send humans into space without instant death and to even bring them back again all thanks to precision modern firearms rely on precision made parts and ammunition as before we developed this capability gun parts were handmade and had to be hand filed to fit individual weapons before this misfires jams or malfunctions were very common although on the positive side I suppose wars were probably a lot harder to fight back then ultimately the application of precision in warfare led to the development of nuclear weapons and now us talking monkeys have the ability to uncork Armageddon without the assistance of any space rocks or burps from the Sun so I guess it's not all good news clocks watches and other mechanical devices got smaller and more accurate and eventually the micro electronic and semiconductor industries were born our civilization progressed from measuring precision in units of tenths of inches in the 1700s right down to the nano technology of today that can be measured by the diameter of individual atoms why did we do this why did we go to all of the trouble expense and effort to develop and keep pushing back the boundaries of precision this question may seem obvious but it reveals one of the fundamental aspects of precision and that is its relationship to function we develop these expensive capabilities because they gain us notable functional benefits in their application inventing their capability to create hard surfaces that are perfectly flat to within one twentieth the width of a human hair is a difficult and expensive thing to do developing the capability to even measure such precision is equally expensive if not more so it requires calibration and none of it comes naturally to us you can't see this level of precision with your eye you can't feel it with your hand you need sophisticated calibrated and expensive metrology instruments in order to do so we simply don't create precision manufacturing capability to level for any other reason than function we don't develop it for ceremonial purposes nor do we develop it for artistic reasons however once we have this type of precision manufacturing capability it can be applied to all sorts of end products just consider a couple of examples from the modern age take the reductive process like 3d CNC milling machines or an additive process like 3d printing whether we are making artwork or machine parts it's the process itself that provides the precision the process was developed in the first place so that we could gain the functional benefits of that precision but then we can apply it to pretty much anything we want to do with the process and this is an important point to remember when we're looking at the precision that's evident in some ancient objects as some of these precision ancient objects appear more functional than others so keep this point in mind as we go through the examples overall I enjoyed Simon Winchester's book as it certainly makes the case for precision forming the backbone of the modern world one thing that I'm mildly disagreed with was the notion that the concept and practice of precision only began in the 18th century I think it would be more accurate to say instead that the practice was restarted in the 18th century all that the concept was only rediscovered at that time by modern man as it seems clear that at some point ancient man had a pretty damn good grip on the concept and application of precision as well although this isn't something that you will often see or hear discussed by Orthodox archaeologists there is tremendous evidence for very high degrees of precision in many of the vastly ancient stone objects and architecture all around the world some of these objects display a level of precision that simply could not have been accidental and by its very nature required sophisticated tools and highly advanced knowledge and capability in order to achieve although we find neither sophisticated tools in the archaeological record nor any records of advanced capability in what we know of ancient civilizations the that both existed at some point in the past is incontrovertible the results of sophisticated tools and the results of these processes are still sitting right in front of our eyes in the megalithic objects and architecture that puzzle and captivates so many people from all around the world perhaps the best example of measured ancient precision is found in a place that I've talked about extensively on this channel the Serapeum of Saqqara in terms of smoking-gun evidence for ancient high technology this underground labyrinth and its 24 huge megalithic boxes is really at the top of the list the precision of these mighty single piece boxes and their lids some of which weigh up to a hundred tons is measured in straight lines in flat surfaces and in the perfect square nosov corners and relative faces these are easily understood dimensions of precision and it's a good place to start our investigation as we'll move on to the more complex evidence of compound curved surfaces and three-dimensional proportions of objects like the tiny stone jars and the giant granite statues afterwards I have a five-part series of videos dedicated to the Serapeum that's on my channel so I'll be brief here but if you haven't seen them please do check out the Serapeum playlist the link is below in the description using a calibrated and expensive precision straightedge manufacturing engineer Chris Dunn has measured the inside surfaces of a couple of these boxes to be precisely and absolutely flat to within one twentieth the width of a human hair or point zero zero zero one inches which is the limit of his straightedge wherever he moved the straightedge over the flat mirror-like interior walls of the box light did not pass underneath it which it would have if the surface was not perfectly flat using a precision square calibrated to within five one hundred thousandths of an inch or point zero zero zero zero five inches he found the inside faces of the boxes to not only be perfectly square and parallel to each other but also perfectly square relative to the lid this is a profound achievement remember that this all has been done in massive single-piece granite boxes these aren't separate pieces of granite that are then bolted together which is how we might construct something like this today and one single mistake anywhere would mean that you need to change the entire geometry of the box the complexity and difficulty of getting this feet perfectly correct particularly in faces up to ten feet apart really can't be overstated now not only was this done perfectly for one box it appears to be a feat repeated time and time again across many of these boxes quoting Christopher Dunn from his article the amazing boxes of the Serapeum which you can find on his website at Giza power com quote think of it as a geometric reality in order for the lid to be square with the two inside walls the inside walls would have to be parallel to one another along the vertical axis moreover the top side of the box would need to establish a plane that is Square to the sides that makes finishing the inside exponentially more difficult the manufacturers of these boxes in the syrup am not only created inside surfaces that were flat when measured vertically and horizontally they also made sure that the surfaces they were creating was square and parallel to each other with one surface the top having sides that are five feet and ten feet apart from each other but without such parallelism and squareness of the top surface the squareness noted on both sides would not exist while it may be argued that modern man cannot impose a modern perspective on artifacts that are thousands of years old an appreciation of the level of precision found in these artifacts is lacking in archaeological literature and is only revealed by an understanding of what it takes to produce this kind of work as an engineer and craftsman who has worked in manufacturing for over 40 years and who has created precision artifacts in our modern world in my opinion this accomplishment in prehistory deserves more recognition nobody does this kind of work unless there is a very high purpose for the artifact even the concept of this type of precision does not occur to an artisan unless there is no other means of accomplishing what the artifact is intended to do the only other reason that such precision would be created in an object would be that the tools that are used to create it are so precise that they are incapable of producing anything less than precision with either scenario we are looking at a higher civilization in prehistory than what is currently accepted to me the implications are staggering this is why I believe that these artifacts that I have measured in Egypt are the smoking gun that proves without a shadow of a doubt that our higher civilization that what we have been taught existed in ancient Egypt the evidence is cut into the stone end quote the Serra pium isn't the only place that one can find precision stone boxes they're found in many pyramids and in so-called temples as well as in other underground galleries and tunnel systems like those in the Valley of the Kings the Egyptian Museum also has many examples of precision boxes that have been recovered from all over Egypt the best and biggest of these boxes however are still down here in the Serapeum probably because they're basically impossible to move around down here in these confined spaces the logistics of which is a topic we'll get into later in this series as it's also a pretty clear form of evidence for ancient high technology the Serra pian boxes are also at least to my knowledge the only boxes that have been measured and tested at least to some degree for aspects of high precision that analysis was done by Christopher Dunn on his own initiative and even then was only performed on a couple of the boxes in the Serra pium and not on all of them while many of the other precision boxes seem to have very similar characteristics to those in the serra p.m. i can't find any evidence that they've ever been tested this way even by the relatively rudimentary testing that you can do with handheld precision straightedges squares and corner radius dyes I think this fact speaks volumes about the motives of the academics and the institutions that control the access to and the research funding for sites and artifacts like these they just don't seem to be that interested yet there are and have been for years now several non invasive techniques and tests that could easily be deployed in order to learn much more about the true nature of ancient precision that we can see in these objects hand held precision tools would be a start but more modern laser based metrology tools could be used to determine the dimensions and tolerances over the entire surface of these artifacts high-definition lidar based 3d scanning or the emerging field of hyper spectral imaging could be used to dramatically advance our understanding of the exact nature of precision and the construction methods that we use to manufacture boxes like these not only boxes but these techniques could and should be used to model and study many of the precision objects and architecture that are found around the world it's worth noting that when you look at the various boxes in Egypt there is also strong evidence for multiple levels of technological capability although they're always uniformly labeled as sarcophagi whether it's for people or for balls there always seems to be two types of boxes there are the precision made ones with straight lines sharp corners flat and polished surfaces and then there are the clearly handmade boxes which are imperfectly done and still display chisel and hammer dressing marks although this isn't always the case in general the poor quality boxes tend to come from the later periods with the precision boxes being attributed to the older and earlier periods even the oldest box known an eight-ton single piece of granite that is under mastaba 17 at my doom appears to be a precision made box and it's not something that's been roughly carved by hand we have here examples of the same backwards progression of technological capability the same contradiction in the story of history that is demonstrated in general by the old kingdom of egypt when it's held up relative to the rest of the Egyptian civilization if we can't explain how the dynastic Egyptians made these boxes with what we know of their primitive capabilities or with the tools that we have in the archaeological record does it not make more sense that they might have inherited these objects they might have used them for ceremony and imitated them they might have tried to create their own boxes ones that are explainable by their tools and are explainable with their known capabilities here at the site of Tanis you have the two types of boxes actually lined up side-by-side one is clearly precision made and the other is obviously not they reflect vastly different levels of capability and technology and only one of these matches what we know about the tools and techniques of the dynastic Egyptians before I move on I do want to take a minute to acknowledge and thank Christopher Dunn for his contribution to the world in this field his book lost technologies of ancient Egypt is in my opinion incredibly important work and I think that it will be widely recognized as such in years to come so we've established that while precision seems to have existed deep in the past it's only something that our civilization has recently developed and then put to significant use over the last two to three hundred years the fact is that it wasn't until after we had begun our own modern voyage down the path of precision that we even had the capability to notice and accurately measure ancient forms of precision or to even appreciate the sophistication of the manufacturing techniques that were required to achieve it this evidence has been sitting in front of humanity for thousands of years like some sort of coded message sent down through time but it's one that we've only relatively recently developed the capability to read so William Flinders Petrie was one of the very first to apply our civilizations knowledge of precision and manufacturing to the objects of ancient Egypt and he did so to various degrees across his work through the late 1800s and early 1900s he observed and quantified the drilling and machining marks that are left in artifacts and he measured and speculated on the techniques required to manufacture the many ancient stone vases and vessels that come from the oldest times of ancient Egypt these stone jars bowls or other objects are truly remarkable pieces that by their very nature provide proof that advanced manufacturing techniques and precision were alive and well deep in the distant past found in the tens of thousands these vases and objects are today mostly associated with the very earliest periods of ancient Egypt even the 1st and 2nd dynasties as well as the archaic and pre-dynastic periods which is a huge clue right there as these periods are quite literally considered part of the Stone Age the range of shapes and materials used in the manufacture of these jars and vases is both wide and varied some are tiny almost as if their makers were teasing us with their capability and some are quite large but they all seem to display a frankly astonishing degree of symmetry and precision this jar is one of my favorites and it seems to have been so precisely made and so well balanced that it can stand upright on its tiny base almost like an egg standing up on its tip many jars seem to be made this way and while I've not had the privilege of handling them directly in order to test this I'd like to see anyone try and make these by hand with copper chisels and the known techniques of ancient Egypt all I can say is good luck while some vases or jars seem very solid others are almost ridiculously thin to the point of transparency like these examples in some cases like this vase that has suffered some damage we can get an idea of just how thin this material is shaping and carving out the inside angles and the inside cavities of these jars some through very long and narrow necks and then keeping the material thickness consistent and accurate is an extraordinarily difficult challenge when working in very stone quoting Flinders Petrie from his article in the 1884 Journal of the anthropological Institute of Great Britain and Ireland quote the finest examples of turning in hard stone are in the British Museum a small highly polished narrow necked vase in diorite or rather in transparent quartz with veins of hornblende has its neck only point zero five inches thick a large vase of cyanide is turned inside and out remarkably thin considering the size of the component crystals but the greatest triumph is a bowl of diorite number four seven one six translucent and full of minut flaws which must render it very brittle yet this bowl six inches diameter is only one fortieth of an inch or point zero to four inches thick over its greatest part just around the edge it is thicker in order to strengthen it but a small chip broken out of the body of it shows its extraordinary thinness no stouter than thin card an alabaster vase of Bernice of the fifth dynasty almost rivals this in thinness being only one twentieth to one thirtieth of an inch thick end quote working in these brittle and very hard materials particularly to these tolerances is a remarkable feat of manufacturing from granite to diorite to schist breccia Flint conglomerate quartz basalt and even obsidian these small objects are typically made from some of the hardest and most difficult to work materials you can find there is one vase that I know of that is made from corundum and yes this is corundum there are several forms of it it doesn't all look like gemstones and corundum is a nine on the Mohs scale of hardness it's the hardest substance on earth next to diamond supposedly these were all made by hand with basic hand tools Flint or copper chisels adjustable up Kristen Bissell and obsidian imagine we don't also we go public figure it out to be different but imagine these types of analysis of the stone itself reveals further challenges many stone types have vastly varying degrees of hardness in the material itself being made up of conglomerate mixes of different individual chunks of various materials and crystals as the piece is being worked cutting edges would move from relatively soft material into very hard and brittle crystals that would typically shatter rather than cut cleanly when worked yet many of these vases are both mind-bendingly thin as well as being finished and polished to a very high level the technology involved in making these jars is so far beyond clay pottery or ceramics that it's laughable to house them together and say look these all came from the same place so they must have been made by the same people some of these jars were undoubtedly used as canopic vessels as part of ritual mummification why then were they sealed with rough mud and clay lids these clay lids are still housed and displayed in the museum right next to the incredible stone jars yet how can you say that these are equivalent technologies that came from the same people for a singular purpose once again I think this is strong evidence for inheritance in ancient Egypt if these jars were truly made to be canopic vessels by the dynastic Egyptians surely they could have afforded to manufacture stone lids for them but that's just not the case some 40,000 of these vases and jars were found to beneath with the very first pyramid the Step Pyramid of Djoser the first Pharaoh of the Fourth Dynasty of the old kingdom other objects date back even further even to so-called pre-dynastic times like this just beautiful hollow tube of lapis lazuli with a gold sheath it's housed in the pre-dynastic section in the museum next to bone needles beads and basic pottery make no mistake this is a precision object it's made from a very hard and brittle material that required an advanced capability to create and that's just the stone part even the presence of gold means mining smelting and refining it's an out of place object and it really has no business being housed next to the known products of Neolithic pre Bronze Age hunter-gatherer cultures and it's just one of the many hidden in plain sight clues to the truth of our history that you can find in the Egyptian Museum take a look at this huge granite jar it's attributed to the archaic age this is very much like the syrup in boxes we have here evidence for some very poor and badly aligned early forms of writing that barely scratched the surface of what is essentially a precision object that's made from very hard stone from observing the markings of tube drills which I've covered in detail in other videos Flinders Petrie deduced that the ancients were familiar with rotating tools but from analyzing the vases and bowls he realized that they were also familiar with turning the work itself he concluded that they must have used to something that's similar to a lathe with features like mechanical tool wrists in order to manufacture these objects quoting Petrie from his book the pyramids and temples of giza quote the principle of rotating the tool was for smaller objects abandoned in favor of rotating the work and the lathe appears to have been as familiar an instrument in the 4th dynasty as it is in modern workshops the diorite bowls and vases of the Old Kingdom are frequently met with and show great technical skill one piece found at Giza number 14 shows that the method employed was true turning and not any process of grinding since the bowl has been knocked off of its centering resented imperfectly and the old turning not quite turned out thus there are two surfaces belonging to different centering and meeting in a cusp such an appearance could not be produced by any grinding or rubbing process which pressed on the surface end quote and here is a further quote from Petrie this time in his article in the 1884 anthropological journal quote for the use of a hook tool in turning the insides of vases a very rigid rest or even a mechanical tool holder is almost necessary but one specimen here shows that the early Egyptians were already familiar not only with lathes and jeweled turning tools but with mechanical tool wrists and sweeping regular arcs in cutting the diorite Bowl of which this piece is a fragment has been turned as a segment of a sphere inside by a tool working from a fixed centre in the axis of the lathe with a radius of three point nine four inches having cut this spherical curve the centre of play of the tool was shifted about 0.5 inches higher and 0.7 inch out of the lathe axis and a fresh arc was struck from this centre of the bowl thereby cutting out a fresh curve which left a raised lip around the edge end quote despite this evidence and despite the other clear evidence for large circular saws and tube drills remember that according to mainstream academics today the old kingdom Egyptians did not have access to the wheel or its principles of which lathes are an advanced technique and still something in vastly widespread use today in workshops and manufacturing all over the place they say this because there's no evidence for the wheel in their writings or in their diagrams and according to most academics they didn't have command of the wheel until the second Intermediate Period thousands of years after the old Kingdom around the time when the Hyksos invaders showed up with their wheeled chariot just as an aside can you imagine the Egyptians when they saw the wheeled chariots of the Hyksos and then they looked over at their old sleds no analysis of the objects in the museum would be complete without a mention of the notorious shifts disc this is a very complex artifact labeled naturally as a jar or a vase that was found amongst primitive Flint knives and copper tools in the mastaba of prints Sabu a royal from the very first dynasty of the old kingdom it was broken and then reassembled it's been carved from a single piece of very hard schist stone and then carefully put back together by the museum staff many people have said many things about this schist disc and there is lots of speculation as to its purpose was it part of a machine was it a tool or was it just artistic expression and a nice place to put a bunch of flowers I'm less interested in the speculation about its purpose than I am with the technology that's required to make this piece although it's been reassembled and it looks a little wonky this does not seem to be the result of lathe work but rather these complexed curved surfaces have been precisely carved into very hard stone and then repeated accurately for each of its wings in these sweeping motions that the stone makes it's a masterpiece of stone work yet supposedly this was created in the very first dynasty of ancient Egypt as nothing more than ceremonial artwork now it's not only the small stone jars that show evidence of advanced manufacturing that used the principles of the wheel and then produced precision results it is also shown in some of the largest objects known from ancient Egypt so buckle up because this is where it gets really interesting as these massive objects take the evidence for advanced technology in vastly ancient times to a whole new level I'm talking about the giant columns and the giant statues that are found across many sites both up and down the length of ancient Egypt in terms of pure symmetry and a demonstrated mastery of working in hard stone the huge single piece flared columns are really hard to beat my favorite example is a remnant from this column shaped from pink granite found at the Old Kingdom site of the temple of Bastet it's hard to describe the stone work here as anything less than pure mastery consider that the original quarried block of stone must have been wider than the widest part of the flared end on the column and then worked down to the width of the column body on a perfectly aligned centerline then shaped and finished with accuracy and symmetry although this one has been broken it would have likely been more than 40 or 50 feet tall over 15 meters we know that some columns were truly giant like this one that's still standing at Alexandria which is well in excess of that figure the flares angles ridges and curves on this piece all appear flawless they are made entirely smooth and well polished and the entire massive body seems to be utterly symmetrical and balanced was this made by hand do you think with pounding stones and copper chisels I just can't imagine how to my mind this must be the result of some very advanced tools along with significant mechanical assistance and guidance once again I think objects like this column would be a very easy target for a non-destructive analysis using modern metrology techniques and high-resolution 3d scanning it wouldn't even be that expensive to do the hard part would be gaining permissions for the tests it's a good thing granite is such a durable substance I suppose as I can only hope this analysis does happen at some point in the future and unreasonably confident that this fragment of truth will still be here waiting for it when it does one of these columns alone is really a masterpiece but there is another dimension to their precision entirely and that is that there are far more than just one of them here at the Old Kingdom site of tennis you can see the same shaped column ends that we saw at Bastet although they're more heavily eroded by time and weather some huge single pieces of multiple columns still remain here today for tourists to puzzle over these seem to have been stamped out in ancient times as if they were made in some sort of giant factory dozens of these huge single piece granite columns are known to exist or have existed and the ones from the same installation are all typically identical and they all feature flared ends in palm or Lotus shapes they've all been found on the oldest of Egyptian sites places like Bastet Tanis Saqqara and Giza the results of like 16 pellets all the same measurements no extensions and things like that this reflects that those who were covering these stories they have total power we have control the Hindi won't accomplish something their composition all the same mission you know how challenging is this pillars that's over five and a half meters where do you find 16 pillars 16 pieces that you can make 16 pillars out of the crown is assuming that solid piece with the pillar not like the Roman pillars stamina yeah yeah the pillars and the pyramid structures I've seen the solid piece that polish a pillar is very very challenging of course the piece itself was as big as the width of the crap Department of the crown layer of the pillar and then the base of it as well and then it keeps going over your network like this and then the pillar very very miniature you can find it in the sites that's dated only related to the fifth dynasty especially and that's of course subordinated and I think even that we saw Paris from winning structure the pyramids are coming from that open court still has crude writings in the Paris but that's how doesn't fit somebody who have the capability of creating a three dimensional piece of art close and then he would do the writings this school don't tell me that they ran out of buying or something like that or tennis itself must have been a mighty and or inspiring megalithic triumph in antiquity a true playground of the giants the remnants of some just massive statues can still be found here you have to use your imagination to picture the scale of some of these works so try to do just that working from the size of just this one big toe which is carved from granite this statue would have been a single piece likely of a figure either seated or perhaps even standing in terms of sheer mass these types of statues far exceed the boxes in this era p.m. in terms of precision and analysis shows that they bury the theory that they were made by a Bronze Age culture using nothing but pounding stones and hand tools right into the ground at the temples of Luxor and Karnak in Upper Egypt we find the best-known examples of these giant precision statues named after and labeled as ramses ii and these are named so because he carved his name onto them they seemed to loom eternally over the crowds of tourists that visit these sites every year the largest of these statues at Luxor are estimated to weigh up to 400 tons and there are several of them all identical if somewhat damaged today they also got much larger and at least for the statues that aren't damaged the faces are identical in proportions and in features there are remnants of a syenite Ramses statue at the Ramesseum which is across the Nile from Luxor that was over 60 feet tall and is estimated to have weighed more than 1,000 tons the remnants from the statues at Tanis that I showed you before would have actually put their heights at over 90 feet tall which is 30% larger than this statue at the Ramesseum again it's no wonder that these statues with their consistent expression seemed to be subtly smiling as if daring anyone to try and replicate them anyone to dare to try to uncover their secrets these statues with their enigmatic expressions were the inspiration for Shelley's Ozymandias sonnet Ozymandias being the Greek name for ramses ii and when pondering these mighty works you can begin to understand the iconic phrase from that sonnet quote my name is Ozymandias king of kings look on my works ye mighty and despair end quote for the best technological analysis of the precision manufacturing techniques that must have been used to shape these behemoths once again we turn to the work of Christopher Dunne by analyzing a huge array of photographs that he captured during several visits to the statues Dunn has shown that some incredibly complex geometric engineering and precision manufacturing was involved in creating these statues not only that but this plan was executed to perfection again and again we start this analysis with the head Jets and the percents which are the elongated crowns that sit on top of these statues representing upper and lower egypt and several of these crowns have been detached from these statues done shows how they are the result of an extremely complex series of compound radial curves and spherical geometry that's been made into three dimensions and then these precise shapes were repeated from crown to crown there are no flat surfaces here this is something far more challenging yet the smoothness and the consistency of the arcs in the shape are basically perfect and they seem to be replicated exactly from one example to the next to make these shapes radial cuts need to be made in a fashion such that the radius stays consistent but the center of the radius arm that's making the cut moves and moves precisely in three dimensions the crown appears perfectly symmetrical from side to side if you take a photo lined up from the front then reverse the image and lay it transparently down on the center line of the original image the sides line up exactly as done shows here using this technique his analysis of the spherical radial and ellipsoid geometry required to make these crowns is very thorough and it's something that I will get into in some depth in a dedicated video but his conclusion as to what this infers in terms of the capability of the builders of these crowns is worth sharing quoting Chris Dunn from his book lost technologies of ancient Egypt quote the design and precise geometry that was crafted into Ramsey's crown is a symbol of a society that was disciplined in precision engineering and craft the pieces could not have been created without the aid of some kind of mechanical device that guided the tool along a prescribed contour neither was this mechanical device a simple machine figures 1.29 and 1.30 illustrate a path of the center point of an arc extrapolated from the geometry of the crown if the designers were to convey to the engineers or craftsmen what they wanted drawings similar to figure 1.29 and 1.30 may have been used the design is one thing but devising from the drawing a means of cutting the design into granite with the exactitude noted in the photographs and transmitted through the palms of my hands to my brain as I felt each surface is entirely another matter creating such an object today using modern computers software and computer numerically controlled or CNC machines would present some significant challenges to be sure but not as much head scratching would be involved today as they would have been forty-nine years ago when I first entered the manufacturing trade as a young apprentice applying the tools of fifty years ago to the Ramseys challenge with severely tax craftsmen skilled in manufacturing and the tools and instruments necessary to ensure such precise geometry would not even be in a sculptors toolbox end quote this is a profound statement a professional expert and well credentialed manufacturing engineer is stating that we could likely not have created such objects even 50 years ago Dunn's work on the technological characteristics of these statues should be the basis for much further analysis and study but as far as I can tell he's the only one who's really made the effort so far the next time somebody's scoffs at the idea of ancient high technology who tells you that they think they know how this was done that the ancients just applied time patience and chisels to the problem asked them to replicate one of these crowns it would be quite the challenge even at one fiftieth of the scale to create something that exhibits the same precision dimensions and proportions of the original object ask them to do it in granite by hand using the tools found in the archaeological record and I think we'd start to see some of the truth behind what we're really looking at here this truth becomes only more astounding when a similar analysis is made to the faces of the Ramses statue here once again we see evidence for advanced three-dimensional geometric precision and remarkable symmetry made into huge granite objects that has been replicated over and over again these statues be those at Luxor Karnak or at the Ramesseum appear to have all been cut and shaped to the same a plan to the same face and then that work was care with an absolutely mechanical degree of precision Chris Dunn has derived many different aspects of complex geometry in the construction of the faces and he's shown that core sacred geometry and mathematical principles like the Fibonacci sequence Pythagorean right-angled triangles the golden ratio and even the flower of life are reflected in the stone varying degrees of radial cuts were consistently made into the granite and the axis of these cuts were blended to form compound surfaces that curve in three dimensions making up the features of the face these complex surfaces were precisely inversed and replicated from side to side these faces are symmetrical and the implications of this when applied to the manufacturing techniques used to make them are quite frankly staggering this near-perfect symmetry is not a characteristic of human faces nor is it one that we find in other statues from other cultures and the precision of this symmetry makes this achievement exponentially more difficult to replicate by doing the same experiment of reversing a photograph and overlaying it transparently onto the center line of the original we can see this symmetry in action centerline measurements back up this observation and what is even more astonishing is that this was repeated time and again across multiple statues just look at the consistent profile ratio shown here between the eyes and the mouth across multiple statues how could these have been made the only way we can accurately and consistently create such complex surfaces today is with computer design and mechanical guidance in CNC machines that are basically milling machines that operate in three dimensions how does this process work for something that is 40 60 or 90 feet tall and weighs anywhere between 400 and a thousand tons and is made from granite further quoting Chris Dunn from his book quote the contoured surfaces of Ramsey's symmetrical face would be familiar to designers of everyday products that are created routinely today with computer algorithms known as non-uniform rational b-splines or NURBS which allow them to smoothly morph one shape to another with unbroken perfection by using NURBS computer-aided design programs create contours of airplane wings turbine blades and even the computer keyboard at your fingertips surfaces are now routinely designed and manufactured to the apparent precision of Ramsey's head incredibly the ancient Egyptians were also able to routinely craft Ramsey's head and achieved the same results again and again from the north to the south of their linear Nile based empire the stunning implications are analogous to looking through the static interference pattern of time and confusion and seeing the elegance and precision that is normally built into a Lexus in a place where only the most rudimentary techniques of manufacturing are thought to have existed the techniques that the ancient Egyptians are supposed to have used those taught to us in school would not produce the precision of a Model T Ford let alone Alexis or a Porsche endquote Chris Dunn has been working from extensive and well aligned photographs of the faces but I want to make the point again how much do you think we could learn with a modern analysis using modern metrology tools and high-resolution 3d scanning some scanning of objects like these has actually been done but it seems to have been done at quite a low resolution and done more for the purposes of artistic modeling rather than precise metrology it's certainly a good start however and I have to think that taking this type of analysis to the next level should really not be particularly difficult for our archaeological institutions and their authority figures if only they were actually more interested in it I do want to make the point that these statues are not like other statues that come from later cultures I think we can all agree that stylistically ancient Egypt stands alone these are precision objects as much as they are artwork and in this characteristic they are distinct and separate from the classic and evocative beauty of more modern artwork like that of the Renaissance period they really aren't the same thing I've heard many people suggest that because sculptors like Michelangelo could create artwork as incredible as the Statue of David then surely this is proof that artists can do anything I've been to Florence and I've seen David it's a profoundly beautiful achievement but it's just not the same thing as the mechanical precision and symmetry reflected in the Ramsey statues David is utterly and emotionally human in its lack of symmetry whereas Ramsey appears to be so inhuman or perhaps beyond human because of its symmetry and what's more it's made out of granite this substance is orders of magnitude more difficult to work in van marble and modern sculptors understand this Kristen contacted contemporary sculptor Mike Leckie whose beautiful touch in marble resulted in pieces like this one called bather in marble I'm quoting now from a letter from Mike Leckie sent to Chris Dunn on the subject of the Ramses statue x' quote dear Chris thank you for this opportunity I've been interested in Egypt and its sculpture since I was a child as a stone sculptor I can say that the granite of the Ramses head and figures is an extremely hard stone and I believe tools much more durable than hardened copper chisels must have been used in the carving process it would be necessary for me to upgrade my normal tools to carve such granite my modern diamond blades and grinding points would be worn out before the head was started the ancient Carver's must have had advanced technology although the ancient Egyptians had stone chisels and hammers which could cut the extremely hard granite even with an army of disposable labour completing for large-scale exactly alike with hand tools would take more time than we can conceive of as possible modern man with all his modern tools would be challenged to finish one Rameses in a generous timeline creating four of them as large as they are all the same seems almost impossible best regards Mike lucky end quote so what can we infer from all this it should be clear at this point that there is utterly no chance these statues the columns or the precision boxes and vases could have been so precisely and repeatedly fabricated by a Bronze Age culture using the tools that are found in the archaeological record an analysis of these objects isn't proof in and of itself for a lost civilization that predates the dynastic Egyptians but it is pretty solid proof that they required forms of high technology to manufacture regardless of whether or not we found any tools like that at the same time we need to balance this conclusion against the fact that we know an awful lot about the dynastic Egyptians we know about their capabilities about their daily lives and we have their tools in the archaeological record and none of it explains the manufacturing of these precision objects despite this our academics insist that they built everything we see in ancient Egypt but you just can't have this both ways one of these two premises has got to give which leaves us with some pretty simple options either we're completely woefully incorrect about the capabilities and the tools of the early dynastic Egyptians and they did in fact have advanced capabilities that rival our own and they were able to make these precision objects or we're wrong in saying that they created them at all to insist that both statements are true that the dynastic Egyptians both made all of these objects and did so with the primitive tools of the Bronze Age is logically inconsistent and it makes no sense at all yet this contradiction is exactly the ground that our mainstream academic Egyptologists and archaeologists choose to occupy why do you think they don't want to discuss or investigate the nature of precision and technology evident in the manufacturing of these artifacts almost every expert who investigates these precision objects the engineers stonemasons the architects they all recognize the achievement they represent and they inherently understand just how far out of a Bronze Age cultures reach that they are by acknowledging that there's a degree of sophistication and high technology evident in these artifacts then you're acknowledging that our current story for them just doesn't make any sense perhaps this is why it seems to be so difficult to get our academics attention on this issue as it leads to some very confronting questions for the Orthodox story of history of course there is a simple concept that can make sense of everything we see here when you introduce the idea of inheritance of longer timelines of the rise and fall of ancient and lost high civilizations when you look at the evidence for multiple levels of technology on these ancient sites or if you really listen to what the Egyptians themselves said about their own past then the facts as we know them can begin to make some sense these ideas are supported by much new science in our modern times with the extension of the human genetic timeline and with the discovery of recent and devastating global cataclysms like the Younger Dryas these ideas would be supported further I think with a full and honest assessment of what it might take to manufacture the remarkable and ancient precision objects that are still sitting right before our very eyes when it comes to these mighty statues remember that we label them as statues of ramses ii purely because he has his name carved into them but whether or not they're actually statues of Ramses and I don't think that they are they are undeniably and iconically Egyptian does this mean that the dynastic Egyptians made these statues or could it indicate that they inherited these objects and then built their civilization around these objects they revered them they modeled themselves after them if I were an emerging Bronze Age and I came across these statues or boxes or columns I might think these were direct representation of the work of the gods also use of Iowan master stonemason and expert guide explains further the fact that we have the status of dynastic Egyptians no matter will not Allah depend on the writings to defend religion but the sheep that race everything is that culture and it does have the power tools marking like the tubular drill and the power circular saw that means we cannot separate the pyramid builders from them but we can have something else we can extend the timeline with more intermediate periods and more up and down of the civilizations probably the Cataclysm or wipe everything off and then they were really inherently inherited and the of course inherited and early rise again or like you know rebuilding the civilization especially if you inherit Lots then it will be much easier to develop again maybe not the same but to develop a lot to understand a lot about the ancient Egyptian civilizations maybe they used these structures for initiations or what the what we call magic or what we call things like that all of history is ultimately conjecture at some point we are always faced with the challenge of assembling a story from a very limited set of incomplete evidence there are a few truly definite things when it comes to our past and new evidence that could change that story is unearthed all the time I think that this evidence now supports a different conclusion and tells a different story about the very roots of human civilization on this planet one that is longer and more traumatic than we ever thought possible even if this story raises more questions than it answers I hope that more people can open their minds to see it and then pursue it wherever it leads I know that I will be well that's the end of part two of this series there will be a part three I really wanted to make precision and in particular the precision manufacturing aspects of all of these things in Egypt its own its own video but I still got to look at the walls in South America puma punku-- as well as the logistics and the methodologies used in trying to construct and move to move around some of those just giant blocks and walls and and and objects like the ones we see here as always I do want to say just a huge thank you to everybody that does support the channel you guys are making a real difference in my ability to spend the time that it takes to research write and produce these videos so thank you very much for that if you are interested in supporting the channel I try to run it on something called the value for value model it goes along the lines of you know if you get some value from this ultimately free content please feel free to return some of that value to me whatever you think it's worth there's lots of ways to do that you can find all those ways on uncharted XCOM slash support I've got patreon there subscribe stop PayPal I even have a Pio box set up now I'm trying to do more and more content for everybody that signs up over there including PayPal I'll add your name to an email list which you can opt out of if you want but you'll get access to two newsletters and and update videos things like that I gave everybody a kind of a sneak peek the upcoming Egypt trip that I'm about to announce so if you like a lot of these artifacts in this video if you like Youssef and the things he has to say both of us will be in Egypt too in December of this year the trip should be announced I think in the next week on my website or so but I went through the itinerary in some detail with everybody on patreon so keep your eyes open if you're interested in and otherwise I will see you guys all in the next video Cheers [Music]

Channel: UnchartedX

Views: 799,589

Rating: 4.8465195 out of 5

Keywords: Egypt, megalithic, pyramid, serapeum, granite, tomb, pyramids, cheops, khufu, Osiris, peru, Bolivia, Giza, Technology, ancient aliens, Ancient, History, Archaeology, Egyptology, graham hancock, randall carlson, Underground, Catacombs, Limestone, Caves, Tunnels, yousef awyan, Apis, Greek, Strabo, Roman, Masonry, brien forester, younger dryas, comet, evidence, science, scientific, dynastic, joe rogan, documentary, precision, ramses, luxor, karnak, museum, lathe, ramesses, hedjet, dunn, machining, polishing

Id: YZFN29FdCM0

Length: 60min 31sec (3631 seconds)

Published: Sat Feb 08 2020

Reddit Comments

[u/ImmortalTurnip]

Shitttt I'm always high and I use technology

[u/hoilst]

It's aliens again, ain't it?

[u/[deleted]]

Shame that this subreddit seems to now be regularly stooping to this level of rubbish.

[u/LongLeggedLurk]

Nothing to do with aliens.

If you for some reason find something you disagree with in the video then please provide some proof to your claim and timestamp the video. It helps the discussion a lot.

Thanks.

[u/dbtng]

Aliens!