WEBVTT - Dendera Lights and Ancient Egyptian Pseudohistory

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you, welcome to Stuff to Blow Your Mind. My

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<v Speaker 2>name is Robert.

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<v Speaker 3>Lamb and I am Joe McCormick. In the past two

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<v Speaker 3>episodes of Stuff to Blow Your Mind, we've been talking

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<v Speaker 3>about a couple of famous, supposedly anomalous underwater images, weird,

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<v Speaker 3>spooky looking photographs and images produced by sonar of objects

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<v Speaker 3>on the ocean floor, which, to observers with the right predisposition,

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<v Speaker 3>seemed like compelling evidence of alien visitation of Earth, or

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<v Speaker 3>ancient technology of lost civilizations, or something else in that

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<v Speaker 3>narrative space. And in a way, I think it's kind

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<v Speaker 3>of telling that you look at an object and say, well,

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<v Speaker 3>this could be aliens, or it could be atlantis. It's

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<v Speaker 3>one of the two or both.

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<v Speaker 2>You can have both sometimes yeah.

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<v Speaker 3>I guess you could. But anyway, explanation referring to explanations

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<v Speaker 3>that are big, exciting, mind rending explanations that would change

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<v Speaker 3>everything we think we know about the world and about

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<v Speaker 3>the history of life on Earth. Today's episode is not

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<v Speaker 3>a strict like Part three or anything, but we are

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<v Speaker 3>going to be continuing the theme, so I thought it

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<v Speaker 3>would be good to start off with a recap of

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<v Speaker 3>what we've talked about in the last couple of episodes,

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<v Speaker 3>though today we're going to be taking it in a

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<v Speaker 3>different direction. So what's the theme. Well, to start with,

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<v Speaker 3>I'll do a brief review of the things we talked

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<v Speaker 3>about in the last two episodes. One object was something

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<v Speaker 3>that was photographed in the nineteen sixties and known in

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<v Speaker 3>the UFO literature as the el tanin antenna. It looks

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<v Speaker 3>to the untrained observer like some kind of antenna, some

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<v Speaker 3>kind of receiver, you know. They called it, I think

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<v Speaker 3>a microwave aerial or something in some of the early

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<v Speaker 3>articles on it. But actually once people with the right

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<v Speaker 3>background of marine biolology knowledge looked at this photo, they

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<v Speaker 3>identified it with near certainty as a species of carnivorous

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<v Speaker 3>sponge that lives on the bottom of the ocean. The

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<v Speaker 3>other object that we talked about in the second of

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<v Speaker 3>those two episodes was captured on fuzzy sonar images by

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<v Speaker 3>treasure hunters and salvage divers in twenty eleven, and it

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<v Speaker 3>has been referred to in the media as the Baltic

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<v Speaker 3>Sea anomaly because it was supposedly somewhere on the floor

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<v Speaker 3>of the Northern Baltic Sea and hidden knowledge. Enthusiasts called

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<v Speaker 3>it everything from a crashed flying saucer to a monument

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<v Speaker 3>built by the civilization of Atlantis, and in this case

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<v Speaker 3>a positive idea is slightly more difficult than it is

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<v Speaker 3>in the case of the Eltanan antenna, which is almost

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<v Speaker 3>definitely the sponge, But numerous experts have commented that this

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<v Speaker 3>is most likely just an interesting looking geologic formation, in

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<v Speaker 3>other words, a big mass of rock that may be

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<v Speaker 3>a result of the freezing and thawing of glaciers. But

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<v Speaker 3>ultimately we don't know for sure, and so it's kind

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<v Speaker 3>of interesting that in both cases, the story goes that

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<v Speaker 3>someone captured a fuzzy or low resolution image of something

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<v Speaker 3>that looked weird and to some extent, looked intuitively unnatural

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<v Speaker 3>or out of place. That image was then published to

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<v Speaker 3>a lay audience that had no background knowledge to help

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<v Speaker 3>them understand what they were looking at, and then some

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<v Speaker 3>observers concluded that since the object looked unusual, unnatural, or

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<v Speaker 3>out of place, it must be a piece of anomalist

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<v Speaker 3>technology deposited by aliens or time travelers, or a past

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<v Speaker 3>human civilization about which all knowledge has been erased. However,

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<v Speaker 3>in both cases, the more information entered into the picture,

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<v Speaker 3>the more it seemed like these anomalies were probably just

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<v Speaker 3>weird looking natural phenomena like animals or rocks. And so,

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<v Speaker 3>while it's always important to keep an open mind, you

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<v Speaker 3>want to keep your mind open to good evidence if

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<v Speaker 3>it were to age of big and worldview changing discoveries,

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<v Speaker 3>it is at the same time important not to let

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<v Speaker 3>emotional excitement guide your reasoning. And one reason to be

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<v Speaker 3>skeptical about putting something that looks weird and out of

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<v Speaker 3>place into the aliens or atlantis column is that if

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<v Speaker 3>you follow these kinds of stories long enough, you really

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<v Speaker 3>start to see a trend. And that trend is the

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<v Speaker 3>more information we have to inform our judgment, the less

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<v Speaker 3>it seems like aliens. So the cases where a piece

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<v Speaker 3>of evidence like a photograph or a video, remains unexplainable

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<v Speaker 3>and thus still possibly aliens, those tend to be the

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<v Speaker 3>cases where there are notable deficits of information, and these

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<v Speaker 3>could be deficits within the evidence itself, like the picture

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<v Speaker 3>or the video is very grainy and low resolution, so

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<v Speaker 3>it's hard to tell exactly what you're looking at, and

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<v Speaker 3>you kind of just have to shrug and say, I

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<v Speaker 3>don't know, it looks weird, hard to say what it is.

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<v Speaker 3>Or the information deficit could be in the person or

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<v Speaker 3>community that is assessing the evidence. It could be in us.

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<v Speaker 3>For example, most of us have a lack of background

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<v Speaker 3>knowledge about what sponges on the ocean floor look like,

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<v Speaker 3>or about what kinds of patterns can be found in

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<v Speaker 3>natural rock formations, and so information deficits kind of keep

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<v Speaker 3>the mystery alive. Meanwhile, the converse also seems true. The

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<v Speaker 3>more information there is, the more likely it becomes that

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<v Speaker 3>the object gets pinned down to an explanation from within

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<v Speaker 3>the range of known causes. So you get a higher

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<v Speaker 3>resolution video, or you get new videos of the same thing,

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<v Speaker 3>maybe an additional angle, better light conditions, more experience or

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<v Speaker 3>background knowledge with which to judge the video or photo,

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<v Speaker 3>and oh okay, in these cases it's a milar balloon

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<v Speaker 3>or oh I see that's a star, or that's an airplane.

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<v Speaker 3>Rob Actually, another excellent example that you brought up in

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<v Speaker 3>the last episode was the so called face on Mars.

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<v Speaker 3>You know this was it's a wonderful photo, like I

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<v Speaker 3>love the face on Mars, but this was done in

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<v Speaker 3>by higher resolution photography.

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<v Speaker 2>Done in to a certain extent. But like some of

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<v Speaker 2>these other images, the face of Mars still remains this

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<v Speaker 2>image that's kind of an article of faith to some

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<v Speaker 2>you know, or at least this kind of totem of

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<v Speaker 2>the paranormal and the potentially you know, cosmic, And I

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<v Speaker 2>guess it is still certainly a testament to our ability

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<v Speaker 2>to see ourselves in anything.

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<v Speaker 3>Well exactly. And I wouldn't wish, by the way, that

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<v Speaker 3>we could not read beauty and meaning into I don't know,

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<v Speaker 3>things that might on their own merits not necessarily shout

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<v Speaker 3>out to be meaningful, like a rock doesn't necessarily say

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<v Speaker 3>that it has meaning, but you can see faces in it,

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<v Speaker 3>and it can make you feel all kinds of things.

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<v Speaker 3>This is like the basis of all art. Yeah, But

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<v Speaker 3>when it comes to looking for explanations of things in

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<v Speaker 3>the world, this pattern just pops up again and again

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<v Speaker 3>and again. If the picture stays fuzzy, it still might

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<v Speaker 3>be aliens, or it still might be atlantis. But if

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<v Speaker 3>you're able to sharpen the focus or to have more

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<v Speaker 3>background knowledge when you're assessing it, it's almost definitely not aliens.

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<v Speaker 3>Then that's when you realize it's a balloon. And this

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<v Speaker 3>doesn't mean we will never discover good evidence of alien

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<v Speaker 3>visitation of Earth or anything, or of you know, maybe

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<v Speaker 3>some big discovery about something previously unknown about the ancient world.

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<v Speaker 3>That's always possible. But I think if you follow these stories,

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<v Speaker 3>it's sort of impossible not to notice the trend, and

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<v Speaker 3>awareness of the trend should put us on guard when

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<v Speaker 3>new pieces of evidence bubble up from the low information

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<v Speaker 3>or low resolution zone. So today we wanted to look

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<v Speaker 3>at some similar trends, not in underwater imagery, but in

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<v Speaker 3>imagery related to another domain that can often appear in

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<v Speaker 3>degraded or low resis form and be kind of put

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<v Speaker 3>cold in front of people who don't have contextual background

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<v Speaker 3>knowledge to understand what we're looking at. And this is

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<v Speaker 3>artifacts from ancient history.

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<v Speaker 2>Yeah, I think examples like this can be at times

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<v Speaker 2>a little harder for us to wrap our heads around,

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<v Speaker 2>especially if we are more inclined to sort of rally

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<v Speaker 2>behind an outside idea about what we're looking at, because

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<v Speaker 2>in some of these other examples of n amalists, data,

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<v Speaker 2>anomalist photography, et cetera, there's often maybe a sense of

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<v Speaker 2>kind of like a a rabbit duck illusion scenario, you know,

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<v Speaker 2>or one of these, you know, one of these optical

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<v Speaker 2>illusions where someone shows it to you and they say, hey,

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<v Speaker 2>do you see a duck or a rabbit and you say, well,

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<v Speaker 2>I see a rabbit. I don't see a duck at all.

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<v Speaker 2>And then someone says, well, look, i'll show you, and

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<v Speaker 2>you show show them the parts of the duck, and

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<v Speaker 2>they're like, okay, now I can see it both ways.

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<v Speaker 2>It can maybe be a little bit harder if in

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<v Speaker 2>order to truly see it both ways, you have to say,

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<v Speaker 2>understand ancient Egyptian hieroglyphics. So, like one of the examples

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<v Speaker 2>I'm gonna touch on here is one where we absolutely

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<v Speaker 2>know what it is and we absolutely know what it's not,

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<v Speaker 2>and yet even you know, reading the explanation, you know,

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<v Speaker 2>hearing from experts about it, you know, it can still

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<v Speaker 2>be difficult. It's difficult for me to see exactly what

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<v Speaker 2>we're talking about there, and it's actually easier for me

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<v Speaker 2>to sort of lean in to the ridiculous explanation for

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<v Speaker 2>what appears to be in front of us. So we'll

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<v Speaker 2>get to this in a second, but first I just

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<v Speaker 2>want to talk in general about the overarching theme of

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<v Speaker 2>egypt Doomania. Now Egyptomania is more often used to refer

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<v Speaker 2>specifically to nineteenth century European fascination with all things Egypt

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<v Speaker 2>during Napoleon's Egyptian campaign, but it can also generally be

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<v Speaker 2>leveled at various points in time when various cultures have

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<v Speaker 2>pursued sued an interest in ancient Egyptian civilization and culture.

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<v Speaker 2>And of course this general interest is irresistible because we've

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<v Speaker 2>touched on many times in the show. I'm ancient Egyptian civilization,

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<v Speaker 2>ancient Egyptian culture and mythology. These are fascinating.

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<v Speaker 3>Topics, absolutely, Yeah, a beautiful entrancing and not just to

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<v Speaker 3>people in the modern world. I mean, something I've read

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<v Speaker 3>before is that people in the world that still appears

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<v Speaker 3>as the ancient world to us looked back to the

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<v Speaker 3>even more ancient Egyptian civilization and they were fascinated by it.

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<v Speaker 3>There were there were ancient Greco Romans who had a

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<v Speaker 3>kind of Egyptomania.

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<v Speaker 2>Yeah, absolutely, I think we've we've mentioned the sort of

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<v Speaker 2>mind blowing fact before. You know that the ancient Romans

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<v Speaker 2>were greatly intrigued by ancient Egypt, which was already as

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<v Speaker 2>ancient to them as the Romans are to us.

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<v Speaker 3>Right, So at the time of Caesar Augustus, ancient Egyptian

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<v Speaker 3>civilization was thousands of years old.

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<v Speaker 2>Yeah, yeah, And of course we've touched before on the

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<v Speaker 2>ancient wonders of the world. You know, the Pyramids, the

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<v Speaker 2>Great Pyramids were certainly on that list, and those still

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<v Speaker 2>remain some of the most enigmatic man made structures on

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<v Speaker 2>the planet, and we still don't know everything there is

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<v Speaker 2>to know about them. So Egyptology remains a living field

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<v Speaker 2>of study. Now. I was looking at a really, really

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<v Speaker 2>good book about this that I highly recommend. It's from

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<v Speaker 2>Ronald H. Fritz, titled Egyptomania, and in the book, the

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<v Speaker 2>author discusses various forms of Egyptomania over the ages, from

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<v Speaker 2>the ancient Hebrews, from Greeks and Romans to European models.

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<v Speaker 2>There's a whole section on like fiction and gets into movies.

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<v Speaker 2>He also has a great chapter on Afrocentrist movements that

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<v Speaker 2>engage in Egyptomania, and he drives home that just many

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<v Speaker 2>different peoples across different times have attempted to imagine and

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<v Speaker 2>even remake the ancient Egyptians in their own image, to

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<v Speaker 2>enhance their own worldview, their own their own ideology, etc.

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<v Speaker 2>And the energy of this exercise ranges from just merely

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<v Speaker 2>attempting to understand a fascinating time in people. I mean,

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<v Speaker 2>that's one of our main tools is to think about

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<v Speaker 2>even people from the distant past in different lands, to

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<v Speaker 2>try and imagine what it would be like to be them.

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<v Speaker 2>But on the other end of the spectrum you get

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<v Speaker 2>into just outright pseudohistory, pseudoscience, and just everything else you

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<v Speaker 2>might expect to encounter on the fringes.

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<v Speaker 3>Well, yeah, there's an interesting duality that comes from trying

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<v Speaker 3>to see yourself and imagine people like you and other

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<v Speaker 3>times and other civilizations, because of course there probably is

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<v Speaker 3>something that all people at all times kind of have

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<v Speaker 3>in common. There is a common human experience, and you

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<v Speaker 3>can try to imagine what it would have been like

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<v Speaker 3>to live in ancient Egypt. But there's a possibility that

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<v Speaker 3>in doing so, you kind of lull yourself into the

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<v Speaker 3>false belief that you can say, look at ancient Egyptian

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<v Speaker 3>art or look at ancient Egyptian artifacts and just intuitively

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<v Speaker 3>identify what you're looking at, when in fact, you would

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<v Speaker 3>probably need some very specific cultural knowledge to understand what

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<v Speaker 3>you're looking at.

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<v Speaker 2>Yeah, and a lot of this imagery getting right into

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<v Speaker 2>what we're talking about here is the kind of stuff

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<v Speaker 2>that can be mysterious enough, that can seem cryptic enough

0:13:21.840 --> 0:13:25.160
<v Speaker 2>to folks who don't know what they're looking at that

0:13:25.280 --> 0:13:28.640
<v Speaker 2>you can apply other ideas modern ideas to them. You know,

0:13:28.800 --> 0:13:31.240
<v Speaker 2>like you just read a book about UFOs. Well, go

0:13:31.320 --> 0:13:35.080
<v Speaker 2>look at these these images without any context, and you

0:13:35.200 --> 0:13:38.800
<v Speaker 2>may see UFO related ideas. There. Read a book about

0:13:39.320 --> 0:13:42.920
<v Speaker 2>the bicameral mind and start looking at some of these images. Well,

0:13:42.960 --> 0:13:47.240
<v Speaker 2>you might have some alarming ideas and some interesting interpretations

0:13:47.240 --> 0:13:48.200
<v Speaker 2>of what you see as well.

0:13:48.520 --> 0:13:51.200
<v Speaker 3>Right, we read the world through the lenses that are

0:13:51.200 --> 0:13:54.040
<v Speaker 3>available to us, and very often the lenses that are

0:13:54.080 --> 0:13:56.560
<v Speaker 3>available to us sort of, what's the top lens on

0:13:56.600 --> 0:13:59.120
<v Speaker 3>the stack is whatever you've recently been thinking about.

0:13:59.559 --> 0:14:01.360
<v Speaker 2>Yeah, not to say that, you know, fresh eyes and

0:14:01.400 --> 0:14:06.000
<v Speaker 2>fresh perspectives are not potentially important in reevaluating what we

0:14:06.080 --> 0:14:09.400
<v Speaker 2>know and what we think we know. But oftentimes, when

0:14:09.440 --> 0:14:13.080
<v Speaker 2>there is a particular preconceived notion in mind, you're not

0:14:13.160 --> 0:14:15.800
<v Speaker 2>necessarily checking back in with the experts to see if

0:14:15.800 --> 0:14:19.600
<v Speaker 2>this radical new theory matches up with the old school interpretation, etc.

0:14:19.920 --> 0:14:31.520
<v Speaker 2>Certainly when we get into fringe ideas. So anyway, there's

0:14:31.520 --> 0:14:35.560
<v Speaker 2>a long history of Gyptomania in Western magic and occultism

0:14:35.960 --> 0:14:39.560
<v Speaker 2>continues to play into modern ideas of magic and ocultism,

0:14:39.560 --> 0:14:44.640
<v Speaker 2>but also modern branches of fringe ideas concerning UFOs, ancient

0:14:44.680 --> 0:14:47.680
<v Speaker 2>alien discourse, which of course we've discussed on the show

0:14:47.680 --> 0:14:51.000
<v Speaker 2>in the past, and other paranormal concepts and yeah, so

0:14:51.000 --> 0:14:55.720
<v Speaker 2>it's no surprise that various examples of iconography, archaeological remnants,

0:14:55.760 --> 0:14:57.960
<v Speaker 2>and so forth that are not located on the bottom

0:14:58.000 --> 0:15:00.600
<v Speaker 2>of the sea still end up speaking to us across

0:15:00.640 --> 0:15:04.000
<v Speaker 2>time and culture in a way that to inexpert eyes

0:15:04.120 --> 0:15:08.000
<v Speaker 2>or eyes seeking only confirmation of the paranormal examples of

0:15:08.360 --> 0:15:13.160
<v Speaker 2>ancient technology and so forth, you know they're going to

0:15:13.200 --> 0:15:17.000
<v Speaker 2>see that in these images. So in just a few

0:15:17.000 --> 0:15:19.400
<v Speaker 2>minutes we'll get to a couple I think of interesting

0:15:19.440 --> 0:15:23.200
<v Speaker 2>examples of this. But going back to the book Egyptomania,

0:15:23.800 --> 0:15:27.800
<v Speaker 2>Fritz points out that there are other not necessarily alien

0:15:27.880 --> 0:15:34.720
<v Speaker 2>fringe ideas that pre exists UFO fascination that already insisted

0:15:34.720 --> 0:15:38.680
<v Speaker 2>that ancient Egypt was, for instance, much older than mainstream

0:15:38.800 --> 0:15:42.080
<v Speaker 2>historians believe today some of these pushed back to like

0:15:42.120 --> 0:15:46.560
<v Speaker 2>ten thousand BC or earlier, as opposed to the accepted

0:15:46.640 --> 0:15:49.960
<v Speaker 2>view that the Archaic Age stretches five thousand to three

0:15:50.000 --> 0:15:53.120
<v Speaker 2>thousand BC, with the Old Kingdom coming in at around

0:15:53.120 --> 0:15:56.040
<v Speaker 2>three thousand BC. And then you have a number of

0:15:56.280 --> 0:16:00.600
<v Speaker 2>fringe ideas that don't again don't concern alien or anything

0:16:00.600 --> 0:16:04.040
<v Speaker 2>like that, but they they get into this idea that like,

0:16:04.160 --> 0:16:07.680
<v Speaker 2>surely there is some ancient advanced civilization at the heart

0:16:07.680 --> 0:16:10.400
<v Speaker 2>of all of this, and so Fritz discusses a few

0:16:10.400 --> 0:16:13.120
<v Speaker 2>of these. There's this idea. One idea is that the

0:16:13.160 --> 0:16:18.120
<v Speaker 2>ancient ancient Egyptian civilization extends from civilization X or the

0:16:18.200 --> 0:16:19.800
<v Speaker 2>Ice Age supercivilization.

0:16:20.280 --> 0:16:23.680
<v Speaker 3>Oh, there are similar analogs to this that are still

0:16:23.720 --> 0:16:24.640
<v Speaker 3>kicking around today.

0:16:24.920 --> 0:16:27.520
<v Speaker 2>Yeah, and of course a big, big one is Atlantis,

0:16:27.560 --> 0:16:33.760
<v Speaker 2>the idea that like refugees from sunken Atlantis founded ancient Egypt,

0:16:33.800 --> 0:16:35.840
<v Speaker 2>that sort of thing. And then you also have the

0:16:35.880 --> 0:16:39.800
<v Speaker 2>ancient alien discourse coming in the ancient Aliens teaching the

0:16:39.840 --> 0:16:45.200
<v Speaker 2>ancient Egyptians how to do things, or ancient Aliens interbreeding

0:16:45.240 --> 0:16:49.560
<v Speaker 2>with the ancient Egyptians, supercharging human DNA and basically anything

0:16:49.600 --> 0:16:51.200
<v Speaker 2>else you want to happen. I don't know.

0:16:51.240 --> 0:16:53.800
<v Speaker 3>I feel like a lot of alien discourses like wrong

0:16:53.960 --> 0:16:57.800
<v Speaker 3>but fun, But like the alien supercharging DNA thing goes

0:16:58.080 --> 0:17:01.040
<v Speaker 3>is not wrong and fun, it's like wrong Engross.

0:17:02.280 --> 0:17:04.960
<v Speaker 2>Yeah, you get it. You, I mean so much of this.

0:17:05.200 --> 0:17:07.960
<v Speaker 2>It can these ideas, they can start in a place

0:17:07.960 --> 0:17:11.880
<v Speaker 2>that feels just fun and escapist, but you follow them

0:17:11.880 --> 0:17:15.960
<v Speaker 2>long enough, they can get into perhaps creepier territory. But

0:17:16.240 --> 0:17:18.520
<v Speaker 2>there is still a lot of variety here to choose from.

0:17:18.600 --> 0:17:22.600
<v Speaker 2>And Fritz writes the following quote. The outpouring and accumulation

0:17:22.760 --> 0:17:26.639
<v Speaker 2>of the many theories that alternative historians advanced about ancient

0:17:26.680 --> 0:17:29.960
<v Speaker 2>Egypt could be considered a cornucopia. But since so many

0:17:30.280 --> 0:17:33.719
<v Speaker 2>of the theories clash with and contradict each other, a

0:17:33.720 --> 0:17:36.639
<v Speaker 2>better description might be a cacophony. And I think we

0:17:36.680 --> 0:17:38.760
<v Speaker 2>saw this in some of the discussion of our previous

0:17:38.960 --> 0:17:42.880
<v Speaker 2>underwater examples as well. You know what is the anomaly? Well,

0:17:42.920 --> 0:17:46.680
<v Speaker 2>there's never like this single paranormal explanation, but a whole

0:17:46.720 --> 0:17:50.520
<v Speaker 2>host of them. Certainly, the deeper you go into a

0:17:50.600 --> 0:17:53.760
<v Speaker 2>theme like okay, it's an antenna, but is that is it?

0:17:53.800 --> 0:17:56.439
<v Speaker 2>The secret world? Government that built it, or is it

0:17:56.440 --> 0:17:58.840
<v Speaker 2>the ancient loss civilization that built it, or is it

0:17:58.920 --> 0:18:02.879
<v Speaker 2>current UFO, current alien visitors that built it. And within

0:18:03.080 --> 0:18:05.399
<v Speaker 2>a given person's body of work, they might have a

0:18:05.440 --> 0:18:07.800
<v Speaker 2>specific idea, but it's going to be different from the

0:18:07.840 --> 0:18:08.800
<v Speaker 2>next book on the shelf.

0:18:09.200 --> 0:18:11.800
<v Speaker 3>Or as we mentioned directly earlier, if you look at

0:18:11.800 --> 0:18:13.800
<v Speaker 3>an object on the ocean floor and you think, well,

0:18:13.840 --> 0:18:16.320
<v Speaker 3>this could be a UFO, or it could be a

0:18:16.359 --> 0:18:19.120
<v Speaker 3>temple built by the people of Atlantis, or it could

0:18:19.160 --> 0:18:22.480
<v Speaker 3>be a Nazi bunker. In that case, like, could it

0:18:22.680 --> 0:18:27.200
<v Speaker 3>really possibly even suggest any of those like that? Those

0:18:27.240 --> 0:18:30.520
<v Speaker 3>are so different it sounds like you're just kind of

0:18:30.560 --> 0:18:33.840
<v Speaker 3>like reaching around for whatever, not like saying, oh, it

0:18:34.000 --> 0:18:37.159
<v Speaker 3>really has attributes that would make us conclude it is

0:18:37.720 --> 0:18:39.280
<v Speaker 3>x yeah exactly.

0:18:39.960 --> 0:18:43.280
<v Speaker 2>Now. The Atlantis connection to ancient Egypt goes way back.

0:18:43.359 --> 0:18:45.879
<v Speaker 2>Apparently goes back to the writings of Plato concerning the

0:18:45.920 --> 0:18:50.520
<v Speaker 2>idea that the ancient Egyptians coexisted with Atlantis nine thousand

0:18:50.600 --> 0:18:54.080
<v Speaker 2>years earlier. Fritz writes that while Plato was likely stating

0:18:54.119 --> 0:18:57.959
<v Speaker 2>all this purely to make a philosophical point, the idea

0:18:58.000 --> 0:19:00.640
<v Speaker 2>that Egypt was already a nine thousand year old civilization

0:19:01.119 --> 0:19:04.639
<v Speaker 2>was probably what contemporary Greeks believed in the fourth and

0:19:04.680 --> 0:19:08.720
<v Speaker 2>fifth centuries BCE, and to be clear, other civilizations of

0:19:08.760 --> 0:19:11.720
<v Speaker 2>the day were cited with bloated timelines as well.

0:19:12.200 --> 0:19:15.200
<v Speaker 3>Yeah, one big difference between like an ancient Greek historian

0:19:15.280 --> 0:19:17.679
<v Speaker 3>and a modern historian is that modern historians have a

0:19:17.720 --> 0:19:21.240
<v Speaker 3>wealth of physical scientific evidence that they can draw on

0:19:21.320 --> 0:19:25.119
<v Speaker 3>to help inform you how they should process the received

0:19:25.320 --> 0:19:27.560
<v Speaker 3>stories told about the past. You know, you can, like

0:19:27.920 --> 0:19:31.359
<v Speaker 3>you can do digs, and you can do radiometric dating,

0:19:31.400 --> 0:19:33.240
<v Speaker 3>and you can do all kinds of things that give

0:19:33.320 --> 0:19:37.640
<v Speaker 3>you physical clues to help you either confirm or disconfirm

0:19:37.760 --> 0:19:39.960
<v Speaker 3>things that have been written down about what happened in

0:19:39.960 --> 0:19:40.399
<v Speaker 3>the past.

0:19:40.920 --> 0:19:44.199
<v Speaker 2>Absolutely now, of course, one of the things about Atlantis

0:19:44.440 --> 0:19:48.199
<v Speaker 2>is that the concept never completely goes away, certainly in

0:19:48.200 --> 0:19:51.040
<v Speaker 2>the West, but it comes and it goes. It's heightened

0:19:51.040 --> 0:19:54.359
<v Speaker 2>by the discovery of an inhabited America's and then again

0:19:54.480 --> 0:19:58.240
<v Speaker 2>in the nineteenth and twentieth centuries, with modern pseudohistory of

0:19:58.320 --> 0:20:02.639
<v Speaker 2>Egypt and Atlanta's emerging largely from the writings apparently of

0:20:02.680 --> 0:20:08.840
<v Speaker 2>American politician Ignacious Donnelley in eighteen eighty two, Donnelly, if

0:20:08.960 --> 0:20:11.960
<v Speaker 2>you're not familiar with him, represented Minnesota in the US

0:20:11.960 --> 0:20:15.560
<v Speaker 2>House of Representatives from eighteen sixty three through eighteen sixty nine.

0:20:16.400 --> 0:20:22.720
<v Speaker 2>He pushed a number of ideas concerning pseudoscience and pseudohistory. So, yeah,

0:20:22.960 --> 0:20:26.760
<v Speaker 2>definitely one of the many characters that Fritz writes about

0:20:26.760 --> 0:20:30.679
<v Speaker 2>in this section. Oh boy, Now another figure that Fritz

0:20:30.720 --> 0:20:33.800
<v Speaker 2>touches on here and credits largely with this sort of

0:20:33.880 --> 0:20:37.600
<v Speaker 2>modern idea that Egypt had advanced technology. Ancient Egypt had

0:20:37.640 --> 0:20:41.560
<v Speaker 2>advanced technology. This goes back to the psychic readings of

0:20:41.600 --> 0:20:44.959
<v Speaker 2>when Edgar Casey, who lived eighteen seventy seven through nineteen

0:20:45.040 --> 0:20:49.560
<v Speaker 2>forty five, a self professed clairvoyant who carried out quote

0:20:49.640 --> 0:20:53.000
<v Speaker 2>unquote life readings for people and revealed their past lives

0:20:53.040 --> 0:20:57.000
<v Speaker 2>in ancient Atlantis, as well as the advanced technology that

0:20:57.040 --> 0:21:01.359
<v Speaker 2>the Atlanteans supposedly had, such as advanced crystal laser weapons

0:21:01.640 --> 0:21:05.000
<v Speaker 2>that they ultimately used to destroy Atlantis with the survivors

0:21:05.000 --> 0:21:05.960
<v Speaker 2>fleeing to Egypt.

0:21:06.359 --> 0:21:08.080
<v Speaker 3>Crystal laser weapons.

0:21:08.600 --> 0:21:13.840
<v Speaker 2>Yeah, I mean, it sounds remarkably like that old Atari

0:21:13.840 --> 0:21:16.600
<v Speaker 2>twenty six hundred game Atlantis. I don't know if any

0:21:16.600 --> 0:21:19.119
<v Speaker 2>went out there actually played this, but I remember as

0:21:19.160 --> 0:21:21.920
<v Speaker 2>a kid seeing the commercials for it online and it

0:21:22.000 --> 0:21:24.640
<v Speaker 2>was kind of a scary commercial with a whole narrative

0:21:24.840 --> 0:21:27.080
<v Speaker 2>structure going on. Had to do with that. I believe

0:21:27.119 --> 0:21:31.240
<v Speaker 2>Memory serves an ongoing war between the Gorgons and the

0:21:31.280 --> 0:21:34.760
<v Speaker 2>people of Atlantis, and it was a great commercial. Look

0:21:34.760 --> 0:21:35.800
<v Speaker 2>it up if you haven't seen.

0:21:35.640 --> 0:21:38.320
<v Speaker 3>It, you know, I kind of can't help but think

0:21:38.359 --> 0:21:42.720
<v Speaker 3>though all these ideas about ancient Egypt having advanced technology.

0:21:43.200 --> 0:21:46.200
<v Speaker 3>In a way, they did have advanced technology, but they

0:21:46.200 --> 0:21:49.960
<v Speaker 3>had advanced technology for the time in which they lived. Like,

0:21:50.040 --> 0:21:52.480
<v Speaker 3>you do not have to turn to bad standards of

0:21:52.520 --> 0:21:57.119
<v Speaker 3>evidence for examples of amazing technological achievements in ancient Egypt.

0:21:57.400 --> 0:22:01.880
<v Speaker 3>They built the Pyramids, among tons of other things. That

0:22:01.920 --> 0:22:05.480
<v Speaker 3>was not ancient aliens. That was extremely smart and industrious

0:22:05.480 --> 0:22:10.320
<v Speaker 3>people creating amazing technological achievements with a very limited set

0:22:10.359 --> 0:22:13.199
<v Speaker 3>of tools compared to what's available to people today. That

0:22:13.320 --> 0:22:16.800
<v Speaker 3>is an amazing technological feat. It was just an amazing

0:22:16.840 --> 0:22:18.600
<v Speaker 3>technological feat for the time.

0:22:19.359 --> 0:22:21.480
<v Speaker 2>Yeah. Absolutely, I mean that's one of the tragedies about

0:22:21.520 --> 0:22:23.160
<v Speaker 2>all of this is like when you when you get

0:22:23.160 --> 0:22:26.040
<v Speaker 2>wrapped up in say ancient alien discourse, you end up

0:22:27.680 --> 0:22:31.440
<v Speaker 2>reducing the importance of of of what people were actually

0:22:31.480 --> 0:22:33.560
<v Speaker 2>doing if you're if you just attribute it to the

0:22:33.560 --> 0:22:36.920
<v Speaker 2>gifts of the gods, the gifts of the alien visitors,

0:22:36.960 --> 0:22:39.119
<v Speaker 2>and so forth. Now, I want to stress that in

0:22:39.160 --> 0:22:41.480
<v Speaker 2>this chapter, Fritz touches on a number of different names,

0:22:41.480 --> 0:22:43.240
<v Speaker 2>and I'm not going to get into everybody here, but

0:22:43.320 --> 0:22:46.120
<v Speaker 2>you know it's there there. There are various writers and

0:22:46.480 --> 0:22:49.640
<v Speaker 2>occasional outright con men that are engaged in the sort

0:22:49.680 --> 0:22:52.480
<v Speaker 2>of work, and there were kind of feeds off each other.

0:22:53.600 --> 0:22:55.800
<v Speaker 2>One of the big ones, uh, One of the big names,

0:22:56.080 --> 0:22:59.680
<v Speaker 2>certainly an ancient alien discourse, is the work of Eric Vondanikin,

0:23:00.000 --> 0:23:01.960
<v Speaker 2>who we've talked about in the show before because he

0:23:02.520 --> 0:23:05.600
<v Speaker 2>was the author of Chariots of the Gods in nineteen

0:23:05.680 --> 0:23:07.879
<v Speaker 2>sixty eight. I say it that way because the title

0:23:07.920 --> 0:23:11.360
<v Speaker 2>does have a question mark at the end, always pronounced

0:23:11.359 --> 0:23:12.240
<v Speaker 2>the question mark.

0:23:12.359 --> 0:23:14.400
<v Speaker 3>Like he's like kind of getting you with the elbow

0:23:14.440 --> 0:23:15.320
<v Speaker 3>and winking while he.

0:23:15.280 --> 0:23:20.440
<v Speaker 2>Says, yeah, I think we mentioned and we went in

0:23:20.520 --> 0:23:23.880
<v Speaker 2>and discussed this idea at length and the various criticisms

0:23:23.880 --> 0:23:27.480
<v Speaker 2>to it. But even this idea like it was influenced

0:23:27.480 --> 0:23:29.879
<v Speaker 2>by the writings of H. P. Lovecraft and other weird

0:23:29.920 --> 0:23:34.520
<v Speaker 2>writers of the early twentieth century. Lovecraft and his contemporaries,

0:23:34.560 --> 0:23:37.200
<v Speaker 2>by the way, also wrote about tales related to Egyptian

0:23:37.240 --> 0:23:43.280
<v Speaker 2>motifs and Egyptian oriented occultism and so forth, So you

0:23:43.320 --> 0:23:45.080
<v Speaker 2>have a lot of these sources feeding into each other.

0:23:45.720 --> 0:23:49.120
<v Speaker 3>It's been years since we did the Eric Vondanikin episode,

0:23:49.119 --> 0:23:51.879
<v Speaker 3>but am I remembering something about how he had like

0:23:52.080 --> 0:23:54.639
<v Speaker 3>created the Chariots of the Gods theme park?

0:23:54.920 --> 0:23:55.159
<v Speaker 2>Is that?

0:23:55.440 --> 0:23:56.600
<v Speaker 3>Am I losing my mind?

0:23:56.960 --> 0:23:59.600
<v Speaker 2>No? No, there was Slash is a theme park. I'm

0:23:59.640 --> 0:24:02.040
<v Speaker 2>not sure off the top of my head what's going

0:24:02.080 --> 0:24:03.800
<v Speaker 2>on with it right now, but like, that's how big

0:24:04.040 --> 0:24:04.800
<v Speaker 2>this guy.

0:24:05.320 --> 0:24:07.920
<v Speaker 3>I want to flat earth six flags.

0:24:09.400 --> 0:24:14.040
<v Speaker 2>Now. Fritz points out, though that early ancient alien discourse folks,

0:24:14.040 --> 0:24:18.320
<v Speaker 2>and even Vondanikin's original book don't actually reference Egypt all

0:24:18.359 --> 0:24:20.840
<v Speaker 2>that much. So you have other individuals who kind of

0:24:20.840 --> 0:24:26.240
<v Speaker 2>come in with the Egyptology alternative Egyptology view of everything,

0:24:26.320 --> 0:24:28.680
<v Speaker 2>and that gets, you know, sucked into the whole concept.

0:24:28.880 --> 0:24:32.280
<v Speaker 2>He points out one particular author, I believe this is

0:24:32.840 --> 0:24:37.440
<v Speaker 2>a book from nineteen eighty four from one zechariash Si

0:24:37.560 --> 0:24:40.560
<v Speaker 2>Chen who lived nineteen twenty through twenty ten. This is

0:24:40.560 --> 0:24:43.320
<v Speaker 2>apparently one of the only serious competitors to Vondanikan because

0:24:43.320 --> 0:24:46.919
<v Speaker 2>the Vondanakan's books generated a lot of discussion, and you know,

0:24:46.920 --> 0:24:48.960
<v Speaker 2>they're pretty popular for the time period. So a lot

0:24:48.960 --> 0:24:52.399
<v Speaker 2>of other authors came in to try and cash in

0:24:52.520 --> 0:24:59.000
<v Speaker 2>on ancient alien discourse, but this particular individual sition seems

0:24:59.000 --> 0:25:03.240
<v Speaker 2>to have been one of the more successful of those

0:25:03.280 --> 0:25:05.399
<v Speaker 2>to come in and try and get cash in on

0:25:05.440 --> 0:25:10.080
<v Speaker 2>everything here, and Fritz points out that he seems to

0:25:10.119 --> 0:25:12.400
<v Speaker 2>have avoided a lot of the criticism that was reserved

0:25:12.400 --> 0:25:15.240
<v Speaker 2>for von Dannakin. So Vontanagan got big enough to where

0:25:15.280 --> 0:25:19.920
<v Speaker 2>like when people like Carl Sagan entered the chat, Vondanakin's

0:25:19.960 --> 0:25:22.240
<v Speaker 2>ideas are the one or the ones that Carl Sagan

0:25:22.280 --> 0:25:24.280
<v Speaker 2>is going to respond to. Carl Sagan doesn't have time

0:25:24.560 --> 0:25:28.000
<v Speaker 2>to deal with everybody else in the genre.

0:25:28.520 --> 0:25:30.440
<v Speaker 3>And to be clear, Carl Sagan was not saying that

0:25:30.520 --> 0:25:34.440
<v Speaker 3>ancient aliens like were a viable explanation for the Pyramids

0:25:34.520 --> 0:25:38.040
<v Speaker 3>or anything. He, as I recall, entered the discourse to

0:25:38.119 --> 0:25:41.840
<v Speaker 3>kind of say, well, if we're going to entertain this possibility,

0:25:41.840 --> 0:25:44.080
<v Speaker 3>we should have some standards of evidence, right, like we

0:25:44.119 --> 0:25:47.080
<v Speaker 3>should lay out in advance what would we be looking

0:25:47.160 --> 0:25:50.120
<v Speaker 3>for instead of just like looking at what's out there

0:25:50.200 --> 0:25:51.960
<v Speaker 3>and saying like, eh, that could be aliens.

0:25:52.520 --> 0:25:55.720
<v Speaker 2>Yeah, yeah, I thought Sagan has some great responses to it.

0:25:55.720 --> 0:25:58.240
<v Speaker 2>They were not like one hundred percent shut it down,

0:25:58.280 --> 0:26:02.720
<v Speaker 2>dismissive of it as a concept, were but also reiterated

0:26:02.760 --> 0:26:04.520
<v Speaker 2>that there are high standards for this, and if you

0:26:04.520 --> 0:26:07.440
<v Speaker 2>were looking for evidence, you would be looking for very

0:26:07.440 --> 0:26:10.560
<v Speaker 2>specific sorts of evidence and so forth. But again, when

0:26:10.600 --> 0:26:13.600
<v Speaker 2>Sagin's entering the conversation, when other critics are coming in

0:26:13.640 --> 0:26:16.520
<v Speaker 2>and dealing with what Vondnigan's written about, especially with that

0:26:16.560 --> 0:26:20.640
<v Speaker 2>first book, they're not dealing with the Egyptian themed content.

0:26:22.000 --> 0:26:25.480
<v Speaker 2>Individuals likes Sitchin apparently are the ones who were the

0:26:25.520 --> 0:26:29.040
<v Speaker 2>ones to initially drag Egypt and ancient Egypt into the scenario,

0:26:29.560 --> 0:26:32.520
<v Speaker 2>and perhaps a lot of that Fritz Rights seems to

0:26:32.520 --> 0:26:36.560
<v Speaker 2>have maybe existed below the mainstream radar for a while,

0:26:37.480 --> 0:26:39.600
<v Speaker 2>you know, being just a part of the stuff that's

0:26:39.640 --> 0:26:42.240
<v Speaker 2>discussed in the fringe movements. And it's not until the

0:26:42.320 --> 0:26:45.639
<v Speaker 2>nineteen nineties. He writes that we see quote, the penetration

0:26:45.800 --> 0:26:50.920
<v Speaker 2>of highly speculative theories about ancient Egypt into mainstream popular culture.

0:26:51.160 --> 0:26:54.840
<v Speaker 3>I think maybe the designation as highly speculative is a

0:26:54.840 --> 0:26:58.040
<v Speaker 3>good one, because sometimes I'm looking for the right blanket

0:26:58.160 --> 0:27:01.719
<v Speaker 3>terminology to describe all these different types of explanations that

0:27:01.760 --> 0:27:06.720
<v Speaker 3>we're talking about. They're not all necessarily like conspiracy theories,

0:27:07.320 --> 0:27:10.320
<v Speaker 3>they don't all necessarily have exactly the same content, But

0:27:10.480 --> 0:27:12.439
<v Speaker 3>what they do seem to have in common is that

0:27:12.480 --> 0:27:17.080
<v Speaker 3>they are highly speculative, meaning they are elaborating a lot

0:27:17.119 --> 0:27:32.080
<v Speaker 3>of explanatory narrative on a very weak evidential basis.

0:27:32.920 --> 0:27:36.040
<v Speaker 2>So to be clear here, what apparently is going on

0:27:36.720 --> 0:27:39.440
<v Speaker 2>at this time leading into the nineteen nineties, according to

0:27:39.840 --> 0:27:42.720
<v Speaker 2>the author here of Fritz, is that under the surface

0:27:42.720 --> 0:27:45.640
<v Speaker 2>of all this other talk about ancient aliens and so

0:27:45.680 --> 0:27:49.360
<v Speaker 2>forth and other paranormal ideas, there's this kind of growing

0:27:51.040 --> 0:27:57.000
<v Speaker 2>swell of alternative Egyptology, and then during the nineteen nineties

0:27:57.119 --> 0:28:00.680
<v Speaker 2>it begins to bubble up into the mainstream discourse. And

0:28:00.840 --> 0:28:03.879
<v Speaker 2>Fritz cite's two main reasons for this. One is the

0:28:03.920 --> 0:28:09.160
<v Speaker 2>approaching millennium and various ideas concerning the new millennium that's

0:28:09.200 --> 0:28:12.600
<v Speaker 2>about to be here. The second reason he brings up

0:28:12.680 --> 0:28:14.840
<v Speaker 2>is that there are just a number of new archaeological

0:28:14.840 --> 0:28:17.840
<v Speaker 2>discoveries that were taking place in Egypt that were capturing

0:28:17.880 --> 0:28:22.640
<v Speaker 2>mainstream attention, and we're inadvertently fueling the nonsense that, again

0:28:22.800 --> 0:28:24.199
<v Speaker 2>was festering in the fringe.

0:28:24.960 --> 0:28:29.639
<v Speaker 3>I see so like because for totally legitimate reasons, ancient

0:28:29.680 --> 0:28:32.120
<v Speaker 3>Egypt might be popping up on the news, like you're

0:28:32.119 --> 0:28:35.080
<v Speaker 3>seeing it on TV in ways that you probably didn't

0:28:35.080 --> 0:28:37.880
<v Speaker 3>see it as much before. It's just sort of in

0:28:37.920 --> 0:28:40.360
<v Speaker 3>the air, and it is one more thing you could

0:28:40.440 --> 0:28:42.960
<v Speaker 3>attach highly speculative theories too.

0:28:43.720 --> 0:28:46.240
<v Speaker 2>Yeah, and then you have other individuals that are writing

0:28:46.240 --> 0:28:48.400
<v Speaker 2>more directly about it. It's popping up in the writings

0:28:48.400 --> 0:28:52.239
<v Speaker 2>of Graham Hancock, for example. He also cites the X

0:28:52.240 --> 0:28:55.400
<v Speaker 2>Files as being popular. Though you have more expertise for

0:28:55.400 --> 0:28:56.880
<v Speaker 2>the X Files. I don't know the X Files that

0:28:56.880 --> 0:29:01.920
<v Speaker 2>ever actually had any ancient Egypt themed content. I don't

0:29:01.920 --> 0:29:03.760
<v Speaker 2>know if they ever went up against a mummy or anything.

0:29:04.280 --> 0:29:08.920
<v Speaker 3>I recall very little about that except well, actually, now

0:29:08.960 --> 0:29:10.560
<v Speaker 3>that I think about it, I think there may have

0:29:10.680 --> 0:29:14.120
<v Speaker 3>been a mummy episode that is remembered as one of

0:29:14.160 --> 0:29:18.880
<v Speaker 3>the worst episodes of the X Files ever, unless that's

0:29:19.160 --> 0:29:21.760
<v Speaker 3>hold on, got to look it up now. Oh no,

0:29:21.840 --> 0:29:24.280
<v Speaker 3>I see why my memory was confused here. Yeah, one

0:29:24.280 --> 0:29:27.320
<v Speaker 3>of the worst X Files episodes ever does concern a mummy,

0:29:27.360 --> 0:29:30.080
<v Speaker 3>but it's not an Egyptian mummy. It's a South American mummy.

0:29:30.760 --> 0:29:34.240
<v Speaker 2>Okay. Well, even if the X Files are not directly

0:29:34.320 --> 0:29:40.240
<v Speaker 2>contributing to alternative egyptology discourse, you can, I guess look

0:29:40.240 --> 0:29:43.400
<v Speaker 2>at it as kind of like a sign that fringe

0:29:43.440 --> 0:29:48.280
<v Speaker 2>ideas were entering into the mainstream, at the very least

0:29:48.480 --> 0:29:51.160
<v Speaker 2>as entertainment. But then I guess sometimes entertainment has a

0:29:51.160 --> 0:29:52.720
<v Speaker 2>way of bleeding over into other things.

0:29:53.280 --> 0:29:55.960
<v Speaker 3>Don't drag the X Files into this. The X Files.

0:29:56.040 --> 0:29:58.640
<v Speaker 3>The X Files are pure and holy they didn't do

0:29:58.720 --> 0:30:02.360
<v Speaker 3>anything wrong. That's a fictional show. It's okay.

0:30:03.640 --> 0:30:06.280
<v Speaker 2>But I guess the bigger thing that's going on here

0:30:06.640 --> 0:30:10.440
<v Speaker 2>that Fitz points out is that at the time, academics

0:30:10.440 --> 0:30:15.320
<v Speaker 2>had largely ignored these trends, like academics in egyptology and

0:30:15.360 --> 0:30:20.479
<v Speaker 2>so forth, archaeologists and so forth. Yeah, they weren't venturing

0:30:20.520 --> 0:30:25.760
<v Speaker 2>into arguments against ancient alien discourse folks and so forth.

0:30:25.960 --> 0:30:29.239
<v Speaker 2>And that's sensible by and large because like, that's not

0:30:29.400 --> 0:30:32.480
<v Speaker 2>what their work is, that's not what they have set

0:30:32.480 --> 0:30:34.720
<v Speaker 2>out to do with their work and their careers to

0:30:34.840 --> 0:30:39.720
<v Speaker 2>just respond to various highly speculative ideas about why things

0:30:39.760 --> 0:30:40.680
<v Speaker 2>appear the way they are.

0:30:41.200 --> 0:30:46.560
<v Speaker 3>Well, and it's often difficult to respond to highly speculative

0:30:46.560 --> 0:30:49.360
<v Speaker 3>ideas from an informed point of view, because a lot

0:30:49.360 --> 0:30:52.120
<v Speaker 3>of times all you can just say is like, there's

0:30:52.160 --> 0:30:54.080
<v Speaker 3>no reason to think all that, you know, like, the

0:30:54.560 --> 0:30:58.720
<v Speaker 3>claims of highly speculative theories are often not like the

0:30:58.840 --> 0:31:02.960
<v Speaker 3>kinds of tight, pecific focused claims about specific pieces of

0:31:03.000 --> 0:31:06.440
<v Speaker 3>evidence that you can that you would be used to addressing,

0:31:06.520 --> 0:31:10.160
<v Speaker 3>say in an academic archaeology journal or something like that.

0:31:10.200 --> 0:31:14.960
<v Speaker 3>They're like these elaborations. They spend these wild narratives that

0:31:15.080 --> 0:31:18.840
<v Speaker 3>are kind of too big to even know where to

0:31:18.840 --> 0:31:21.160
<v Speaker 3>get a toe hold in if you're trying to criticize them,

0:31:21.200 --> 0:31:22.959
<v Speaker 3>other than to just kind of say, like, well, that

0:31:23.040 --> 0:31:24.080
<v Speaker 3>just sounds all made.

0:31:23.920 --> 0:31:28.280
<v Speaker 2>Up, yeah, Fritz Wright's quote. Academics generally avoid dealing with

0:31:28.320 --> 0:31:31.720
<v Speaker 2>alternative scholars This attitude is justified by the excuse that

0:31:31.760 --> 0:31:35.760
<v Speaker 2>debating alternative or fringe scholarship only gives it a false credibility.

0:31:36.240 --> 0:31:39.640
<v Speaker 2>Some consider debating speculative scholars as a dialogue of the

0:31:39.720 --> 0:31:42.880
<v Speaker 2>death since the speculative ideas tend to be treated by

0:31:42.920 --> 0:31:45.840
<v Speaker 2>their adherents in a manner of religious faith rather than

0:31:45.880 --> 0:31:50.440
<v Speaker 2>scientific inquiry, while some academics just hold speculative ideas in contempt,

0:31:51.120 --> 0:31:55.160
<v Speaker 2>ignoring the alternative Egyptologists did not, however, serve the academic

0:31:55.280 --> 0:31:59.360
<v Speaker 2>Egyptologists well. During the nineteen nineties, they found themselves marginalized

0:31:59.400 --> 0:32:02.520
<v Speaker 2>in the popularne mind and put on the defense. So

0:32:03.240 --> 0:32:06.120
<v Speaker 2>the argument here is yah, perhaps they did wait too

0:32:06.160 --> 0:32:08.640
<v Speaker 2>long to respond to a lot of these ideas that

0:32:08.680 --> 0:32:11.920
<v Speaker 2>were welling up into the mainstream, and he points out

0:32:11.960 --> 0:32:14.280
<v Speaker 2>that it was apparently wasn't until a pair of BBC

0:32:14.440 --> 0:32:19.520
<v Speaker 2>Horizon documentary specials titled Atlantis Uncovered in Atlantis Reborn weighed

0:32:19.560 --> 0:32:22.880
<v Speaker 2>in and offered a scathing rebuke of these ideas in

0:32:22.920 --> 0:32:26.000
<v Speaker 2>the mainstream, And this wasn't until nineteen ninety nine.

0:32:26.560 --> 0:32:28.440
<v Speaker 3>You know, I feel like this mirror is a pattern

0:32:28.480 --> 0:32:33.560
<v Speaker 3>that's still a problem with like highly speculative alternative ideas

0:32:33.600 --> 0:32:39.040
<v Speaker 3>of all sorts today, because usually people who have real

0:32:39.080 --> 0:32:42.000
<v Speaker 3>expertise in the field are busy talking to each other

0:32:42.120 --> 0:32:46.120
<v Speaker 3>and they're kind of in a contained conversation space. Meanwhile,

0:32:46.240 --> 0:32:49.880
<v Speaker 3>people who are offering highly speculative ideas go straight to

0:32:49.920 --> 0:32:51.840
<v Speaker 3>the media into a popular audience.

0:32:52.600 --> 0:32:56.560
<v Speaker 2>Yeah, and you can understand too why I mean, thinking

0:32:56.600 --> 0:33:00.160
<v Speaker 2>that the pyramids were built by aliens? Does that necessarily

0:33:00.200 --> 0:33:04.320
<v Speaker 2>pose like a real threat to you know, at what

0:33:04.400 --> 0:33:07.120
<v Speaker 2>point do you actually make the call? It's like, Okay,

0:33:07.280 --> 0:33:09.600
<v Speaker 2>enough is enough. We need to say something about this,

0:33:09.680 --> 0:33:12.320
<v Speaker 2>We need to put together a documentary to dismiss this nonsense,

0:33:12.600 --> 0:33:14.400
<v Speaker 2>because it seems like for a long stretch of the

0:33:14.400 --> 0:33:16.800
<v Speaker 2>build up you can say like, well, this is dumb,

0:33:17.320 --> 0:33:21.000
<v Speaker 2>or this doesn't really match up with any actual work.

0:33:21.480 --> 0:33:24.440
<v Speaker 2>But it's been conducted, any actual research or evidence. But

0:33:24.880 --> 0:33:26.200
<v Speaker 2>it's not hurting anybody.

0:33:27.280 --> 0:33:29.640
<v Speaker 3>You could say that. A lot of people do say that,

0:33:29.760 --> 0:33:35.320
<v Speaker 3>But I don't know. Sometimes I wonder if these supposedly harmless,

0:33:35.360 --> 0:33:40.440
<v Speaker 3>I mean, probably they are somewhat harmless in themselves. Highly

0:33:40.480 --> 0:33:45.200
<v Speaker 3>speculative theories or conspiracy theories sort of engender a pattern

0:33:45.280 --> 0:33:48.880
<v Speaker 3>of thinking that can easily be used to foster incredibly

0:33:48.880 --> 0:33:51.240
<v Speaker 3>destructive and dangerous ideas that are violent.

0:33:51.760 --> 0:33:55.320
<v Speaker 2>Absolutely, I think I think at this point, certainly this

0:33:55.440 --> 0:33:57.800
<v Speaker 2>day and age, I think most of us realize that

0:33:57.840 --> 0:34:01.000
<v Speaker 2>like the realm of conspiracy thinking is not just a

0:34:01.040 --> 0:34:04.480
<v Speaker 2>domain of like escapist ideas that are not hurting anybody.

0:34:04.560 --> 0:34:08.279
<v Speaker 2>There are plenty of harmful ideologies that are that are

0:34:08.320 --> 0:34:13.200
<v Speaker 2>woven throughout many of these these branches of conspiracy thought.

0:34:13.880 --> 0:34:15.799
<v Speaker 3>Then again, I mean, I want to be realistic and

0:34:15.840 --> 0:34:18.440
<v Speaker 3>say I don't I don't know if you can really

0:34:18.480 --> 0:34:21.200
<v Speaker 3>say that if if we had done a better job

0:34:21.239 --> 0:34:24.400
<v Speaker 3>of convincing people that aliens didn't build the pyramids, that

0:34:24.440 --> 0:34:26.920
<v Speaker 3>they wouldn't end up thinking, you know, some kind of

0:34:27.000 --> 0:34:30.359
<v Speaker 3>violent conspiracy theory. But you do have to wonder if

0:34:30.480 --> 0:34:34.120
<v Speaker 3>just sort of like ignoring and letting it pass when

0:34:34.160 --> 0:34:37.719
<v Speaker 3>people are engaging in conspiracy thinking and these other domains

0:34:37.800 --> 0:34:41.280
<v Speaker 3>just sort of like, let's that style of thought fester.

0:34:41.960 --> 0:34:43.960
<v Speaker 2>All right, Well, let's let's look at the evidence. And

0:34:43.960 --> 0:34:45.880
<v Speaker 2>by look at the evidence, I mean let's look at

0:34:45.920 --> 0:34:49.000
<v Speaker 2>a couple of examples. We are not setting out to

0:34:49.120 --> 0:34:53.160
<v Speaker 2>look like at like all the evidence or alleged evidence

0:34:54.000 --> 0:34:58.080
<v Speaker 2>for ancient Egyptian advanced technology and chariots of the gods

0:34:58.120 --> 0:35:00.600
<v Speaker 2>and so forth. There's just a few a couple examples

0:35:00.600 --> 0:35:02.560
<v Speaker 2>that I think match up with what we've been discussing

0:35:02.960 --> 0:35:09.839
<v Speaker 2>about information, data, images, etc. That can be perplexing and

0:35:09.880 --> 0:35:13.959
<v Speaker 2>that can certainly lead to an interpretation that is again

0:35:14.040 --> 0:35:18.000
<v Speaker 2>not based in expertise and not based in like a

0:35:18.040 --> 0:35:22.040
<v Speaker 2>wider body of evidence, but are based in confirmation bias

0:35:22.400 --> 0:35:26.359
<v Speaker 2>and based in some sort of an alternative understanding of

0:35:26.400 --> 0:35:27.880
<v Speaker 2>science and or history.

0:35:28.400 --> 0:35:29.320
<v Speaker 3>Okay, what you got?

0:35:30.040 --> 0:35:34.600
<v Speaker 2>So, did the ancient Egyptians have apache helicopters?

0:35:35.520 --> 0:35:36.279
<v Speaker 3>Gotta be yes?

0:35:36.440 --> 0:35:41.360
<v Speaker 2>Surely no, We're going to move forward with the spoiler

0:35:41.440 --> 0:35:43.799
<v Speaker 2>in place that no, they did not. But there is

0:35:44.719 --> 0:35:47.800
<v Speaker 2>an image that you will find, and you've probably seen online.

0:35:48.480 --> 0:35:52.080
<v Speaker 2>You see some hieroglyphics, and there is an image or

0:35:52.120 --> 0:35:55.480
<v Speaker 2>a character towards the top that, if we're being generous,

0:35:55.840 --> 0:35:58.400
<v Speaker 2>kind of looks like a modern helicopter. And next to

0:35:58.480 --> 0:36:00.440
<v Speaker 2>it is something that I guess kind of looks like

0:36:00.480 --> 0:36:01.120
<v Speaker 2>a space tank.

0:36:01.680 --> 0:36:03.560
<v Speaker 3>I mean, while we're doing this, let's not go all

0:36:03.560 --> 0:36:05.640
<v Speaker 3>out under the helicopter. There is an R two D

0:36:05.719 --> 0:36:09.200
<v Speaker 3>two and I don't know what you're saying, is a

0:36:09.239 --> 0:36:11.480
<v Speaker 3>tank that looks to me kind of like a MiG

0:36:11.520 --> 0:36:12.240
<v Speaker 3>fighter jet.

0:36:12.719 --> 0:36:15.520
<v Speaker 2>Okay, all right, we also got.

0:36:15.320 --> 0:36:18.000
<v Speaker 3>A we get we have keeping up with the R

0:36:18.040 --> 0:36:21.440
<v Speaker 3>two D two theme. We have Luke Skywalker's land Speeder.

0:36:21.480 --> 0:36:22.240
<v Speaker 3>You see that one?

0:36:22.840 --> 0:36:25.279
<v Speaker 2>Yeah, yeah, yeah, that's That's what I was kind of

0:36:25.280 --> 0:36:26.799
<v Speaker 2>seeing as a tank. It does look at the look

0:36:26.800 --> 0:36:28.920
<v Speaker 2>at speeder as well. Yeah, and then of course we

0:36:28.960 --> 0:36:30.680
<v Speaker 2>have a we have a bug of some sort as well.

0:36:31.160 --> 0:36:33.560
<v Speaker 2>That's clearly a bug. But is it a giant bug? Right?

0:36:33.840 --> 0:36:36.640
<v Speaker 2>You know, your your theory may vary. Now. One of

0:36:36.640 --> 0:36:37.880
<v Speaker 2>the things about this image is a lot of the

0:36:37.880 --> 0:36:39.400
<v Speaker 2>places where you see it, they're not going to be

0:36:39.440 --> 0:36:44.040
<v Speaker 2>approaching it from a skeptical point of view, uh, and

0:36:44.360 --> 0:36:49.279
<v Speaker 2>actually finding like good sources on this where someone's just

0:36:49.320 --> 0:36:51.960
<v Speaker 2>gonna come in and and tell you exactly what you're

0:36:51.960 --> 0:36:54.040
<v Speaker 2>looking at, are actually a little harder to come across.

0:36:54.080 --> 0:36:55.680
<v Speaker 2>And I think this is where you get into the

0:36:55.680 --> 0:36:59.960
<v Speaker 2>the problem of like, like experts in ancient Egypt and

0:37:00.080 --> 0:37:04.560
<v Speaker 2>hieroglyphics are not necessarily wasting their time weighing in on

0:37:04.680 --> 0:37:09.040
<v Speaker 2>whether ancient hieroglyphics show as a helicopter.

0:37:09.640 --> 0:37:11.960
<v Speaker 3>Right, So, I haven't checked, but I would guess that like,

0:37:12.239 --> 0:37:16.080
<v Speaker 3>is this hieroglyphic a helicopter? Is not like the subject

0:37:16.120 --> 0:37:19.120
<v Speaker 3>of many Egyptology journal articles.

0:37:19.200 --> 0:37:21.840
<v Speaker 2>Right, Right. But I was able to find, you know,

0:37:21.840 --> 0:37:24.600
<v Speaker 2>a few different sources that discuss it in a way

0:37:24.600 --> 0:37:27.480
<v Speaker 2>that I could I could get behind the image in question.

0:37:28.239 --> 0:37:31.560
<v Speaker 2>I've seen in a couple of places it attributed to

0:37:31.680 --> 0:37:36.440
<v Speaker 2>a nineteen eighty seven photo by an American who is

0:37:36.520 --> 0:37:41.480
<v Speaker 2>visiting the Temple of Osiris in Abydos, Egypt. So it's

0:37:41.520 --> 0:37:44.000
<v Speaker 2>a it's a real photo of a real object, of

0:37:44.080 --> 0:37:47.200
<v Speaker 2>real you know, etchings, and it's pretty clear like there's

0:37:47.320 --> 0:37:50.399
<v Speaker 2>it's one of these things where the photo quality and

0:37:50.560 --> 0:37:53.520
<v Speaker 2>the reality of the thing that is photographed, these are

0:37:53.560 --> 0:37:58.279
<v Speaker 2>not in question. But it's this interpretation of what you're

0:37:58.280 --> 0:38:01.800
<v Speaker 2>looking at that's where you see these enormous leaps taken

0:38:02.480 --> 0:38:06.560
<v Speaker 2>where people are seeing bits of advanced technology. But fortunately

0:38:06.600 --> 0:38:09.880
<v Speaker 2>there is a very straightforward explanation for what we see here.

0:38:11.600 --> 0:38:13.719
<v Speaker 2>I found a couple of different discussions of this, but

0:38:13.760 --> 0:38:17.919
<v Speaker 2>the one I'm going to lean on mostly is this

0:38:18.040 --> 0:38:21.720
<v Speaker 2>was from an article that Asian historian Richard C. Carrier

0:38:21.760 --> 0:38:25.080
<v Speaker 2>wrote about back in nineteen ninety nine for The Skeptical

0:38:25.200 --> 0:38:28.759
<v Speaker 2>Inquirer in an article titled flash Fox News reports that

0:38:28.840 --> 0:38:33.319
<v Speaker 2>Aliens may have built the Pyramids of Egypt. As the

0:38:33.320 --> 0:38:36.200
<v Speaker 2>title suggests, this is about coverage at the time on

0:38:36.440 --> 0:38:40.640
<v Speaker 2>Fox News. Again, this is nineteen ninety nine about alternative

0:38:40.640 --> 0:38:44.640
<v Speaker 2>Egyptology and the broadcast included images of the alleged helicopter

0:38:45.360 --> 0:38:50.320
<v Speaker 2>and comparison images to modern Apache attack helicopters. So Carrier

0:38:50.360 --> 0:38:53.320
<v Speaker 2>spoke to some Egyptologists for the article, and it seems

0:38:53.360 --> 0:38:55.720
<v Speaker 2>to have seems to have been sort of new pseudohistory

0:38:56.200 --> 0:38:59.160
<v Speaker 2>to some of them at the time. Again, this was

0:38:59.239 --> 0:39:02.040
<v Speaker 2>daring that than the very end of the nineteen nineties,

0:39:02.080 --> 0:39:04.000
<v Speaker 2>so it seems like, you know, the subculture was bubbling

0:39:04.080 --> 0:39:07.080
<v Speaker 2>up into the mainstream quite a bit. He writes the

0:39:07.120 --> 0:39:09.560
<v Speaker 2>following to sum it all up, But what do the

0:39:09.600 --> 0:39:12.799
<v Speaker 2>experts say about this helicopter glyph? This will serve as

0:39:12.840 --> 0:39:16.280
<v Speaker 2>an example for all the rest. The helicopter, in fact,

0:39:16.400 --> 0:39:20.160
<v Speaker 2>is the abodos palimpsest. A palimpsest is what is created

0:39:20.200 --> 0:39:22.799
<v Speaker 2>when new writing is inscribed over old. In the case

0:39:22.800 --> 0:39:25.680
<v Speaker 2>of papyri, old ink is scraped off, but in the

0:39:25.680 --> 0:39:28.880
<v Speaker 2>case of inscriptions, plaster is added over the old inscription

0:39:29.239 --> 0:39:32.919
<v Speaker 2>and a new inscription is made. The image described as

0:39:32.920 --> 0:39:36.319
<v Speaker 2>a helicopter is well known to be the names of

0:39:36.600 --> 0:39:40.840
<v Speaker 2>Rameses inscribed over the names of his father, something Rameses

0:39:40.960 --> 0:39:43.520
<v Speaker 2>was known to do quite frequently. A little bit of

0:39:43.600 --> 0:39:47.319
<v Speaker 2>damage from time and weathering has furthered the illusion of

0:39:47.480 --> 0:39:51.839
<v Speaker 2>a helicopter. It basically comes down to this basic fact though,

0:39:51.920 --> 0:39:55.080
<v Speaker 2>that a previous image, a previous inscription, was plastered over

0:39:55.120 --> 0:39:57.400
<v Speaker 2>and replaced with another one, and then when stuff starts

0:39:57.400 --> 0:40:01.680
<v Speaker 2>wearing away, a sort of hybrid image emerges that doesn't

0:40:01.719 --> 0:40:07.440
<v Speaker 2>mean anything, but that looks like something from our modern age.

0:40:07.680 --> 0:40:10.200
<v Speaker 2>You know, I guess it would be like it'd be

0:40:10.239 --> 0:40:12.799
<v Speaker 2>like if one billboard were plastered over another one and

0:40:12.840 --> 0:40:14.840
<v Speaker 2>then there's a fierce storm and it tears part of

0:40:14.880 --> 0:40:17.040
<v Speaker 2>the billboard away, and then so you have a mix

0:40:17.080 --> 0:40:20.960
<v Speaker 2>of the old billboard and the new billboard, and what

0:40:21.239 --> 0:40:23.960
<v Speaker 2>you're left with is just kind of confusing. But maybe

0:40:23.960 --> 0:40:26.120
<v Speaker 2>it looks like a monster. Maybe it looks like you know,

0:40:26.200 --> 0:40:28.600
<v Speaker 2>what have you. And by the way that the topic

0:40:28.640 --> 0:40:32.480
<v Speaker 2>of palms is fascinating, there's a much older episode of

0:40:32.480 --> 0:40:34.759
<v Speaker 2>stuff to blow your mind that goes into it. But yeah,

0:40:34.800 --> 0:40:37.400
<v Speaker 2>you get into this whole realm of you know, erased

0:40:37.440 --> 0:40:41.520
<v Speaker 2>books just under the surface of ancient tomes, and you know,

0:40:41.560 --> 0:40:43.920
<v Speaker 2>sometimes they've been on earthed. Sometimes you have to use

0:40:43.960 --> 0:40:47.759
<v Speaker 2>you know, modern technology to sort of see through the

0:40:47.800 --> 0:40:50.440
<v Speaker 2>printed page and see what was originally there. And you

0:40:50.480 --> 0:40:53.080
<v Speaker 2>see it in paintings and much more, and it can

0:40:53.120 --> 0:40:56.759
<v Speaker 2>seem a bit foreign to us, given how just disposable

0:40:56.800 --> 0:41:00.399
<v Speaker 2>paper is. And you know, you can rewrite files, you know,

0:41:00.960 --> 0:41:03.239
<v Speaker 2>as many times as you want. You can just set

0:41:03.280 --> 0:41:06.880
<v Speaker 2>around creating new documents and deleting them all day. But

0:41:06.960 --> 0:41:09.600
<v Speaker 2>there was a time when in order to erase document

0:41:09.760 --> 0:41:12.640
<v Speaker 2>and create new document while that meant grabbing the plaster.

0:41:14.120 --> 0:41:16.600
<v Speaker 3>Okay, So this strikes me as a case that is

0:41:16.760 --> 0:41:19.880
<v Speaker 3>in the low information category we've been talking about in

0:41:19.960 --> 0:41:24.120
<v Speaker 3>multiple ways. So the original image is somewhat altered or

0:41:24.200 --> 0:41:28.840
<v Speaker 3>degraded in the way that it's been photographed like it

0:41:28.920 --> 0:41:32.400
<v Speaker 3>might be hard, especially if you're not familiar with ancient

0:41:32.480 --> 0:41:35.680
<v Speaker 3>Egyptian inscriptions, to understand that what you're looking at is

0:41:35.760 --> 0:41:41.840
<v Speaker 3>not even one single continuous drawing or piece of imagery,

0:41:41.880 --> 0:41:44.040
<v Speaker 3>but is instead a couple of things sort of bleeding

0:41:44.040 --> 0:41:46.200
<v Speaker 3>into each other. And then on top of that, there's

0:41:46.239 --> 0:41:49.560
<v Speaker 3>the low information condition of us looking at it without

0:41:49.600 --> 0:41:52.800
<v Speaker 3>being familiar with, say, the way the name Rameses is

0:41:53.360 --> 0:41:54.720
<v Speaker 3>depicted in hieroglyphics.

0:41:55.239 --> 0:41:58.879
<v Speaker 2>Yes, Now, the second example we're going to look at

0:41:58.920 --> 0:42:02.239
<v Speaker 2>here is also really fascinating, and this one is a

0:42:02.239 --> 0:42:04.400
<v Speaker 2>lot in a way. In a way, this one is

0:42:04.440 --> 0:42:07.920
<v Speaker 2>a lot more clear, but is also even more cryptic

0:42:07.960 --> 0:42:10.239
<v Speaker 2>and even harder to really understand. And you'll see what

0:42:10.239 --> 0:42:13.000
<v Speaker 2>I'm talking about as we roll into the discussion here.

0:42:13.360 --> 0:42:16.759
<v Speaker 2>But this concerns the so called Dindara Lights or the

0:42:16.800 --> 0:42:20.240
<v Speaker 2>Dindara Light. So these are a series of stone release

0:42:20.640 --> 0:42:25.279
<v Speaker 2>in the hawt Or temple in Dindera, Egypt. Now you

0:42:25.320 --> 0:42:28.120
<v Speaker 2>can look up images of this, and I've included one

0:42:28.120 --> 0:42:30.440
<v Speaker 2>of the images here for you to look at, Joe,

0:42:31.040 --> 0:42:36.600
<v Speaker 2>and they are quite captivating. And I mean it's almost

0:42:36.680 --> 0:42:41.799
<v Speaker 2>unfair to throw people at this with sort of alternative

0:42:41.840 --> 0:42:44.279
<v Speaker 2>Egyptology in the back of their mind, because it's going

0:42:44.360 --> 0:42:48.120
<v Speaker 2>to make you lean in too, perhaps seeing things again

0:42:48.200 --> 0:42:51.000
<v Speaker 2>from not only a modern standboy point, which we can't

0:42:51.000 --> 0:42:54.600
<v Speaker 2>help but do, but also from a standpoint of looking

0:42:54.719 --> 0:42:57.480
<v Speaker 2>for some sort of crazy advanced technology in the past.

0:42:57.800 --> 0:43:00.000
<v Speaker 2>So if you were looking at these just kind of

0:43:00.080 --> 0:43:02.799
<v Speaker 2>out of context, but not with any specific expectations of

0:43:02.800 --> 0:43:06.439
<v Speaker 2>the advanced technology, I think you might guess that we're

0:43:06.440 --> 0:43:11.400
<v Speaker 2>looking at a couple of ancient Egyptian individuals who have

0:43:11.520 --> 0:43:16.319
<v Speaker 2>giant eggplants, and those giant eggplants have giant snakes on them.

0:43:16.760 --> 0:43:19.319
<v Speaker 2>This would this would of course be be incorrect. This

0:43:19.360 --> 0:43:20.960
<v Speaker 2>is not exactly what we're looking at, but that's what

0:43:21.000 --> 0:43:21.960
<v Speaker 2>it kind of looks like to me.

0:43:22.400 --> 0:43:26.480
<v Speaker 3>I might have said, giant shields. I mean, they're holding

0:43:26.560 --> 0:43:30.600
<v Speaker 3>some what looks like a really large flat object on

0:43:30.680 --> 0:43:34.880
<v Speaker 3>which a sort of slithering snake is depicted. But of

0:43:34.920 --> 0:43:37.200
<v Speaker 3>course the strange thing is that out of the bottoms

0:43:37.239 --> 0:43:41.760
<v Speaker 3>of the shields there is coming some sort of line, which, again,

0:43:41.800 --> 0:43:44.600
<v Speaker 3>if you're playing into ancient technology thinking, you could say,

0:43:44.640 --> 0:43:47.760
<v Speaker 3>is that a power cord? Is that some kind of cable?

0:43:48.960 --> 0:43:52.120
<v Speaker 2>Yeah? Yeah, so there's this sense of plant to it. Yeah,

0:43:52.160 --> 0:43:54.720
<v Speaker 2>there's definitely a snake, there's no doubt about this snake.

0:43:56.320 --> 0:43:58.360
<v Speaker 2>But then there's this this large sort of bulb or

0:43:58.880 --> 0:44:05.160
<v Speaker 2>eggplant like shape to the thing. And so the the alternative,

0:44:05.440 --> 0:44:09.880
<v Speaker 2>the highly speculative hypothesis here that once he's reflected and

0:44:10.280 --> 0:44:14.359
<v Speaker 2>some of this you know, ancient alien discourse and and

0:44:14.480 --> 0:44:19.800
<v Speaker 2>you know pseudohistories and pseudo scientific ideas concerning ancient Egypt,

0:44:20.040 --> 0:44:24.000
<v Speaker 2>are that well, what they are holding here are filament

0:44:24.080 --> 0:44:26.920
<v Speaker 2>light bulbs or representations of filament light bulbs.

0:44:27.600 --> 0:44:30.840
<v Speaker 3>Okay, well, if you are familiar with incandescent light bulbs.

0:44:30.840 --> 0:44:33.879
<v Speaker 3>You can absolutely see how somebody would make that comparison.

0:44:33.960 --> 0:44:37.440
<v Speaker 3>There is the shield or the eggplant shape, looks like

0:44:37.520 --> 0:44:40.800
<v Speaker 3>it could be a you know, a transparent glass tube.

0:44:41.400 --> 0:44:45.359
<v Speaker 3>The snake depicted on it looks like it could be

0:44:46.200 --> 0:44:49.880
<v Speaker 3>maybe looks like it could be the filament inside the bulb.

0:44:50.239 --> 0:44:53.239
<v Speaker 3>And then the sort of line. There's like a sort

0:44:53.239 --> 0:44:55.840
<v Speaker 3>of flower looking thing at the base of the bulb,

0:44:55.920 --> 0:44:58.759
<v Speaker 3>and you could imagine that is the socket or not

0:44:58.800 --> 0:45:00.719
<v Speaker 3>the socket, what would you call it, the uh, you know,

0:45:00.760 --> 0:45:03.080
<v Speaker 3>the metal part at the base of an incandescent light bulb.

0:45:03.360 --> 0:45:05.640
<v Speaker 3>And then the line extending away from the bottom. You

0:45:05.640 --> 0:45:08.160
<v Speaker 3>could say, okay, that looks like a power line. It

0:45:08.200 --> 0:45:11.040
<v Speaker 3>looks like, you know, whatever the electricity is going in through.

0:45:11.400 --> 0:45:13.640
<v Speaker 2>Yeah. So the radical idea here would be that the

0:45:13.680 --> 0:45:17.840
<v Speaker 2>ancient Egyptians had mastery over electricity. They made light bulbs

0:45:18.160 --> 0:45:20.399
<v Speaker 2>or I guess received light bulbs from someone. They got

0:45:20.400 --> 0:45:23.600
<v Speaker 2>a you know, a monthly delivery from the aliens or something,

0:45:24.120 --> 0:45:27.280
<v Speaker 2>and they wired up their various buildings with electric lights

0:45:27.320 --> 0:45:28.560
<v Speaker 2>of one sort or the other.

0:45:29.520 --> 0:45:33.040
<v Speaker 3>The aliens gave them highly inefficient incandescent light bulbs.

0:45:33.640 --> 0:45:36.360
<v Speaker 2>Yeah, yeah, or I mean, when you get into the

0:45:36.719 --> 0:45:39.880
<v Speaker 2>various arguments, they also they draw comparisons to you know,

0:45:40.080 --> 0:45:44.799
<v Speaker 2>sort of like early different variations of artificial lighting. So

0:45:44.840 --> 0:45:48.680
<v Speaker 2>I don't know, the exact model may vary, but the idea, yeah,

0:45:48.800 --> 0:45:52.880
<v Speaker 2>is that the ancient Egyptians had light bulbs. Now, actual

0:45:52.960 --> 0:45:56.319
<v Speaker 2>experts who weigh in on this will we'll say, well,

0:45:56.560 --> 0:45:59.359
<v Speaker 2>these are these are not light bulbs. Obviously, what we're

0:45:59.400 --> 0:46:03.480
<v Speaker 2>looking at is a symbolic motif. And another huge important

0:46:03.560 --> 0:46:06.920
<v Speaker 2>fact here is that these are not illustrations or engravings

0:46:06.960 --> 0:46:10.759
<v Speaker 2>that are occurring in isolation and out of context. Like,

0:46:10.800 --> 0:46:14.480
<v Speaker 2>there's plenty of context, the most important being that this

0:46:14.640 --> 0:46:18.640
<v Speaker 2>is a temple of Hatlar. This is a god of

0:46:18.680 --> 0:46:23.000
<v Speaker 2>ancient Egypt who Geraldine Pinch in the book Egyptian Mythology

0:46:23.040 --> 0:46:26.640
<v Speaker 2>describes as a golden goddess that aided in childbirth, the

0:46:26.680 --> 0:46:29.719
<v Speaker 2>rebirth of the dead, and the renewal of the cosmos.

0:46:30.360 --> 0:46:33.400
<v Speaker 2>She was seemingly a complex deity with both destructive and

0:46:33.480 --> 0:46:36.800
<v Speaker 2>beneficial attributes, and she was commonly depicted as a beautiful

0:46:36.840 --> 0:46:39.840
<v Speaker 2>woman with a red solar disc between a pair of

0:46:39.960 --> 0:46:42.080
<v Speaker 2>cow horns. Now, she could be worshiped in a few

0:46:42.080 --> 0:46:46.160
<v Speaker 2>different forms, but one of the main roles she has.

0:46:46.200 --> 0:46:50.600
<v Speaker 2>Here is a mother, and she is the mother of Horace,

0:46:51.200 --> 0:46:53.719
<v Speaker 2>Uniter of the Two Lands. Horace, of course, is a

0:46:53.920 --> 0:46:58.359
<v Speaker 2>very important god in Egyptian mythology, the celestial falcon and

0:46:58.400 --> 0:47:05.160
<v Speaker 2>the god of kings. So here Horace is Haarsmatus uniter

0:47:05.239 --> 0:47:09.319
<v Speaker 2>of the two Lands, and apparently in these images we're

0:47:09.320 --> 0:47:13.360
<v Speaker 2>seeing representation of him in the primeval form of a serpent.

0:47:13.520 --> 0:47:17.279
<v Speaker 2>In rebirth. He is depicted emerging in the form of

0:47:17.320 --> 0:47:20.600
<v Speaker 2>this serpent from the lotus flower, which is in turn

0:47:20.800 --> 0:47:24.040
<v Speaker 2>inside a boat, lining up with the concept of the

0:47:24.080 --> 0:47:27.200
<v Speaker 2>solar god rays solar barge.

0:47:27.760 --> 0:47:30.439
<v Speaker 3>Ah, okay, this is starting to make sense.

0:47:30.840 --> 0:47:34.000
<v Speaker 2>Yes, yeah, So like emerging from the lotus flower is

0:47:34.040 --> 0:47:36.799
<v Speaker 2>the serpent, that is horse. Now you're probably wondering, what

0:47:36.840 --> 0:47:39.520
<v Speaker 2>about that light bulb, what about that eggplant? Well, this

0:47:39.640 --> 0:47:42.640
<v Speaker 2>is thought to be and I hope I'm pronouncing this

0:47:42.719 --> 0:47:46.160
<v Speaker 2>right a hen that's h n And it may represent

0:47:46.360 --> 0:47:51.319
<v Speaker 2>the womb of the sky goddess nut or note. And

0:47:52.080 --> 0:47:54.919
<v Speaker 2>this is a goddess that was associated with the fig

0:47:54.960 --> 0:47:58.520
<v Speaker 2>tree and also with cosmic motherhood. The image in question

0:47:58.640 --> 0:48:02.719
<v Speaker 2>also entails the symbol as of the jed pillar with

0:48:02.880 --> 0:48:05.719
<v Speaker 2>added arms coming out. So this this is I mean,

0:48:06.360 --> 0:48:08.520
<v Speaker 2>to my eyes like, this is way weirder. This is

0:48:08.560 --> 0:48:12.399
<v Speaker 2>the far weirder helmet. Is this strange pillar looking thing

0:48:12.480 --> 0:48:15.880
<v Speaker 2>that's sort of holding up one of the eggplant shapes

0:48:16.719 --> 0:48:19.360
<v Speaker 2>and has arms coming out like some sort of like

0:48:19.440 --> 0:48:25.720
<v Speaker 2>bizarre psychedelic muppet. But this is also grounded in ancient

0:48:25.760 --> 0:48:30.279
<v Speaker 2>Egyptian symbolism. You know, it's about stability and you know,

0:48:30.440 --> 0:48:32.640
<v Speaker 2>and holding up the cosmos and so forth.

0:48:32.960 --> 0:48:35.560
<v Speaker 3>You could argue that this looks like a baseball bat

0:48:35.600 --> 0:48:38.799
<v Speaker 3>with several rings around it, and it has arms, it

0:48:38.800 --> 0:48:41.319
<v Speaker 3>has two arms, and it's pushing on the so called

0:48:41.360 --> 0:48:41.799
<v Speaker 3>light bulb.

0:48:42.400 --> 0:48:44.239
<v Speaker 2>Yeah. So in the same way that if we look

0:48:44.239 --> 0:48:48.239
<v Speaker 2>at hieroglyphics, we're looking at at language that we have

0:48:48.400 --> 0:48:52.440
<v Speaker 2>no frame of reference for. It's similar with with the

0:48:52.680 --> 0:48:55.880
<v Speaker 2>icons that we're seeing represented here. We have no unless

0:48:55.880 --> 0:48:58.799
<v Speaker 2>we are trained in it. We have no frame of

0:48:58.840 --> 0:49:02.080
<v Speaker 2>context for what these symbols are and what they represent.

0:49:02.520 --> 0:49:04.719
<v Speaker 2>And all you can ultimately do is sort of like

0:49:05.200 --> 0:49:08.080
<v Speaker 2>try and take them at I guess sort of base level,

0:49:09.200 --> 0:49:13.080
<v Speaker 2>and then you can potentially lean into these elaborate explanations

0:49:13.080 --> 0:49:15.760
<v Speaker 2>for what you're seeing and you know, you can imagine

0:49:15.760 --> 0:49:17.959
<v Speaker 2>the what would occur if you were to take any

0:49:18.000 --> 0:49:21.759
<v Speaker 2>form of highly symbolic art from the modern world and

0:49:21.840 --> 0:49:25.160
<v Speaker 2>try and understand what you're looking at. So anyway, yeah,

0:49:25.200 --> 0:49:30.680
<v Speaker 2>it's it's speaking of visual language that we probably are

0:49:30.719 --> 0:49:32.719
<v Speaker 2>not going to pick up on in the modern age

0:49:32.719 --> 0:49:35.239
<v Speaker 2>again unless we have the expertise and we've you know,

0:49:35.480 --> 0:49:38.640
<v Speaker 2>we are an Egyptologist, et cetera, or it's been explained

0:49:38.640 --> 0:49:40.040
<v Speaker 2>to us because at the end of the day, what

0:49:40.080 --> 0:49:45.000
<v Speaker 2>we're likely looking at here is some representation of the

0:49:45.120 --> 0:49:47.200
<v Speaker 2>rise of the sun and its journey through the night,

0:49:47.600 --> 0:49:50.720
<v Speaker 2>though delivered through religious ideas and symbolism of the time

0:49:50.840 --> 0:49:55.040
<v Speaker 2>and also the specific theology of this particular deity.

0:49:55.440 --> 0:49:57.799
<v Speaker 3>Right, And it looks like a light bulb to us

0:49:57.920 --> 0:50:02.520
<v Speaker 3>rather than this ancient Egypti artistic motif because we're used

0:50:02.560 --> 0:50:04.680
<v Speaker 3>to seeing light bulbs, who were not used to seeing

0:50:04.680 --> 0:50:07.120
<v Speaker 3>this artistic motif. And if you happen to be familiar

0:50:07.200 --> 0:50:10.520
<v Speaker 3>with the right ancient Egyptian art, you recognize it as Oh,

0:50:10.560 --> 0:50:11.520
<v Speaker 3>it's one of those.

0:50:12.280 --> 0:50:17.080
<v Speaker 2>Yeah. Now, I've looked at a particular book by archaeologist

0:50:17.160 --> 0:50:21.200
<v Speaker 2>and author Kenneth L. Fetter on this matter. The book

0:50:21.239 --> 0:50:24.719
<v Speaker 2>is frauds, myths and mystery science and pseudoscience, and archaeology,

0:50:25.280 --> 0:50:28.520
<v Speaker 2>and he points out that these quote unquote lights a

0:50:28.560 --> 0:50:32.759
<v Speaker 2>factor into Eric von Doniican's nineteen ninety six book The

0:50:32.840 --> 0:50:36.920
<v Speaker 2>Eyes of the Sphinx, in which von Donican argues that

0:50:37.000 --> 0:50:40.640
<v Speaker 2>the only rational way that the Egyptians, the ancient Egyptians

0:50:40.680 --> 0:50:42.960
<v Speaker 2>could have worked in the dark confines of the Pyramids

0:50:42.960 --> 0:50:48.080
<v Speaker 2>and other locations other structures without leaving telltale lampblack from

0:50:49.160 --> 0:50:52.080
<v Speaker 2>burning lamps. The only possible way this could be the

0:50:52.120 --> 0:50:55.400
<v Speaker 2>case is if they were using electric lights.

0:50:56.520 --> 0:50:57.280
<v Speaker 3>Air Tight.

0:50:59.360 --> 0:51:03.319
<v Speaker 2>Now points out that Egyptologists have a far less imaginative

0:51:03.360 --> 0:51:06.960
<v Speaker 2>explanation backed up by actual evidence, and that is that

0:51:07.000 --> 0:51:10.800
<v Speaker 2>the ancient Egyptians used linen soaked in oil or animal

0:51:10.840 --> 0:51:14.760
<v Speaker 2>fat and twisted into wicks. These wicks would have burned

0:51:14.880 --> 0:51:19.360
<v Speaker 2>quite brightly, and then with salt applied, this would produce

0:51:19.520 --> 0:51:23.880
<v Speaker 2>less smoke, which would produce less lamp black and they

0:51:23.880 --> 0:51:25.799
<v Speaker 2>would have, yeah, they would have burned pretty brightly, bright

0:51:25.880 --> 0:51:28.919
<v Speaker 2>enough to conduct their work. And they would also burn

0:51:28.960 --> 0:51:31.399
<v Speaker 2>for a set amount of time that would apparently mark

0:51:31.440 --> 0:51:35.920
<v Speaker 2>the length of an artisan where a worker's shift. And

0:51:36.040 --> 0:51:38.359
<v Speaker 2>again this is something we have context, for we have

0:51:38.440 --> 0:51:42.320
<v Speaker 2>physical evidence for it factors into our overall understanding of

0:51:42.960 --> 0:51:45.480
<v Speaker 2>who the ancient Egyptians were and what their world was like.

0:51:46.560 --> 0:51:49.439
<v Speaker 2>But if you go with a light bulb hypothesis, well

0:51:50.000 --> 0:51:55.480
<v Speaker 2>you have no evidence because where are examples of the

0:51:55.520 --> 0:51:58.799
<v Speaker 2>other light bulbs, the spent bulbs, Where's evidence of the

0:51:58.880 --> 0:52:03.120
<v Speaker 2>bulb production facility, the power sources, the wiring, et cetera.

0:52:03.400 --> 0:52:08.040
<v Speaker 2>I mean, it all just falls quickly apart. Instead, Von

0:52:08.080 --> 0:52:12.319
<v Speaker 2>Donikin apparently leaned on the thoroughly discredited hypothesis of the

0:52:12.320 --> 0:52:13.880
<v Speaker 2>Baghdad battery as proof.

0:52:14.640 --> 0:52:18.399
<v Speaker 3>This is yet another artifact that has been interpreted by

0:52:18.520 --> 0:52:22.759
<v Speaker 3>some as electrical technology in the ancient world, but probably

0:52:22.960 --> 0:52:23.239
<v Speaker 3>was not.

0:52:23.960 --> 0:52:29.680
<v Speaker 2>Right, and so the author here not Von Donican sums

0:52:29.760 --> 0:52:34.520
<v Speaker 2>up quote because prehistoric pictorial depictions and even early written

0:52:34.560 --> 0:52:39.840
<v Speaker 2>descriptions are sometimes indistinct or vague, and perhaps more important,

0:52:39.920 --> 0:52:42.279
<v Speaker 2>because they are part of a different culture and have

0:52:42.360 --> 0:52:45.480
<v Speaker 2>a context not immediately apparent to those who do not

0:52:45.600 --> 0:52:48.919
<v Speaker 2>explore further. You can see or read anything you want

0:52:48.960 --> 0:52:53.160
<v Speaker 2>into them, just as you can with ink blots. And

0:52:53.200 --> 0:52:55.000
<v Speaker 2>so he refers to this elsewhere in the book as

0:52:55.040 --> 0:52:57.879
<v Speaker 2>the ink block principle, which I think is a good

0:52:57.880 --> 0:53:01.120
<v Speaker 2>way of thinking about avidence of this nature.

0:53:01.840 --> 0:53:05.239
<v Speaker 3>Now, one way in which I would distinguish this example

0:53:05.320 --> 0:53:08.719
<v Speaker 3>from many of the others is that this example does

0:53:08.760 --> 0:53:13.200
<v Speaker 3>not seem as within the image itself as degraded in

0:53:13.320 --> 0:53:16.640
<v Speaker 3>quality or vague to me, at least in the like

0:53:16.680 --> 0:53:19.440
<v Speaker 3>the illustrations I see from books. It looks like, you know,

0:53:19.480 --> 0:53:22.120
<v Speaker 3>we get a pretty clear picture of what the artwork,

0:53:22.320 --> 0:53:24.880
<v Speaker 3>whether at least the outlines and the artwork we're supposed

0:53:24.920 --> 0:53:27.719
<v Speaker 3>to be. But you're still, even though the picture is

0:53:27.760 --> 0:53:31.799
<v Speaker 3>fairly sharp, in the low information zone, because you don't

0:53:31.800 --> 0:53:35.560
<v Speaker 3>have the context, the background knowledge to place what you're

0:53:35.600 --> 0:53:37.920
<v Speaker 3>looking at within its cultural milieu.

0:53:38.320 --> 0:53:40.600
<v Speaker 2>Yeah, I mean, we just don't have the symbolic language

0:53:41.719 --> 0:53:44.960
<v Speaker 2>at our disposal to necessarily look at this and understand

0:53:45.040 --> 0:53:48.319
<v Speaker 2>what's taking place. And again, I think this is not

0:53:48.400 --> 0:53:53.360
<v Speaker 2>something that is unique to ancient Egyptian religious imagery. I

0:53:53.400 --> 0:53:56.680
<v Speaker 2>think you could apply this to various other examples of

0:53:56.680 --> 0:53:59.560
<v Speaker 2>even contemporary religious imagery, where if you if you don't

0:53:59.560 --> 0:54:01.279
<v Speaker 2>know what you're looking at, yeah, you're not going to

0:54:01.400 --> 0:54:05.400
<v Speaker 2>understand the message of it, like what is being theologically

0:54:05.480 --> 0:54:08.640
<v Speaker 2>relayed in this image, and you have to fall back

0:54:08.680 --> 0:54:11.239
<v Speaker 2>on either just like again, a very literal interpretation of

0:54:11.280 --> 0:54:14.799
<v Speaker 2>what you're looking at, or dragging in some sort of

0:54:14.840 --> 0:54:18.600
<v Speaker 2>other belief system or some sort of other mode of

0:54:18.680 --> 0:54:21.440
<v Speaker 2>understanding which may or may not involve aliens.

0:54:21.920 --> 0:54:26.160
<v Speaker 3>Another thing that I'm struck is sort of the general

0:54:26.200 --> 0:54:31.399
<v Speaker 3>principle of thinking behind the Eric Vondanakan argument that Okay,

0:54:31.480 --> 0:54:34.759
<v Speaker 3>they're working in the dark inside the pyramid chambers, and

0:54:34.840 --> 0:54:36.680
<v Speaker 3>they wouldn't have been able to see what they were

0:54:36.680 --> 0:54:40.719
<v Speaker 3>working on without leaving lampblack unless they had light bulbs.

0:54:40.840 --> 0:54:43.520
<v Speaker 3>That seems to be a general style of argument used

0:54:43.560 --> 0:54:45.440
<v Speaker 3>by like ancient aliens people. I mean, the same thing

0:54:45.520 --> 0:54:47.880
<v Speaker 3>is said about the construction of the pyramids. More generally,

0:54:47.920 --> 0:54:50.520
<v Speaker 3>it's like, I can't see how they could have done this,

0:54:50.680 --> 0:54:54.319
<v Speaker 3>therefore it must have been aliens with advanced technology. That

0:54:54.440 --> 0:54:57.759
<v Speaker 3>is a really poor way to reason. Instead, you could

0:54:57.760 --> 0:55:00.879
<v Speaker 3>start by saying, like, well, what if instead of invoking

0:55:01.960 --> 0:55:05.640
<v Speaker 3>entities that would radically reshape our way of thinking about

0:55:05.640 --> 0:55:08.239
<v Speaker 3>the world and there is no independent evidence of what if?

0:55:08.280 --> 0:55:12.440
<v Speaker 3>Instead of that, we think that maybe they figured out

0:55:12.440 --> 0:55:15.160
<v Speaker 3>a solution that you haven't thought of or you don't

0:55:15.200 --> 0:55:16.080
<v Speaker 3>have awareness of.

0:55:17.120 --> 0:55:19.759
<v Speaker 2>Yeah, Like I mean, you would it would be understandable

0:55:19.760 --> 0:55:22.440
<v Speaker 2>if you didn't know about this whole adding salt to

0:55:22.920 --> 0:55:27.319
<v Speaker 2>tortures or lights as a way to decrease lampblack There's

0:55:27.360 --> 0:55:30.200
<v Speaker 2>so many things like that in life that would have

0:55:30.400 --> 0:55:34.720
<v Speaker 2>been apparent or known to individuals who depended on lamp

0:55:34.760 --> 0:55:39.480
<v Speaker 2>technology or fire based illumination technology as opposed to the

0:55:39.520 --> 0:55:42.200
<v Speaker 2>mode we're familiar with and the mode that we then

0:55:42.360 --> 0:55:45.120
<v Speaker 2>potentially read into these ancient images.

0:55:45.600 --> 0:55:47.799
<v Speaker 3>Yeah, I would just say be careful about making the

0:55:47.840 --> 0:55:50.759
<v Speaker 3>move of I can't understand how someone could have done

0:55:51.120 --> 0:55:55.080
<v Speaker 3>X two. Therefore they must have relied upon powers that

0:55:55.160 --> 0:55:58.279
<v Speaker 3>are extraordinary and we have no other independent evidence of.

0:55:58.560 --> 0:56:03.320
<v Speaker 2>I'm reminded of various time travel movies that we've discussed

0:56:03.400 --> 0:56:06.600
<v Speaker 2>or looked at on weird House cinema where you have

0:56:06.680 --> 0:56:09.000
<v Speaker 2>some sort of time traveler from the past going into

0:56:09.160 --> 0:56:12.120
<v Speaker 2>the future and they are and they may not be

0:56:12.160 --> 0:56:15.040
<v Speaker 2>time traveling, perhaps they're frozen, etc. You know. Well, a

0:56:15.120 --> 0:56:17.759
<v Speaker 2>man out of time wakes up and they're trying to

0:56:17.840 --> 0:56:21.400
<v Speaker 2>understand our advanced contemporary technology. They might look at a

0:56:21.440 --> 0:56:23.880
<v Speaker 2>TV and they're like they shrunk a person down and

0:56:23.920 --> 0:56:26.000
<v Speaker 2>put him in a tiny box, you know, And this

0:56:26.080 --> 0:56:28.480
<v Speaker 2>is often played up for comedy. But it's not that

0:56:28.640 --> 0:56:33.200
<v Speaker 2>different from the sort of you know, you know what

0:56:33.280 --> 0:56:38.720
<v Speaker 2>you can consider ridiculous analysis of past technology, where instead

0:56:38.760 --> 0:56:43.320
<v Speaker 2>of you know, leaning on you know, the actual context

0:56:43.320 --> 0:56:45.839
<v Speaker 2>of the thing and what they're capable of, you're going

0:56:45.840 --> 0:56:50.000
<v Speaker 2>to this extreme model that you can't possibly explain with

0:56:50.360 --> 0:56:51.799
<v Speaker 2>any degree of accuracy.

0:56:52.160 --> 0:56:55.520
<v Speaker 3>That's an amazing analogy. Actually, we are the unfrozen caveman

0:56:55.680 --> 0:56:58.879
<v Speaker 3>lawyer in reverse when we look at the ancient world.

0:56:58.960 --> 0:57:01.000
<v Speaker 3>You know, so he up and says, I am but

0:57:01.040 --> 0:57:03.560
<v Speaker 3>a simple cave man. When I get into an airplane,

0:57:03.600 --> 0:57:06.919
<v Speaker 3>I think is this some giant bird? But we are

0:57:06.920 --> 0:57:09.240
<v Speaker 3>doing the same thing. We look at an ancient inscription

0:57:09.360 --> 0:57:12.040
<v Speaker 3>and say, when I look at an inscription of a bird,

0:57:12.120 --> 0:57:14.120
<v Speaker 3>I think is this an attack helicopter?

0:57:14.880 --> 0:57:17.120
<v Speaker 2>Exactly? All right, well, that's perfect. I think we have

0:57:17.160 --> 0:57:19.200
<v Speaker 2>to leave it at that. I think that that puts

0:57:19.200 --> 0:57:22.000
<v Speaker 2>a nice cap on it. But you know, were perfectly

0:57:22.000 --> 0:57:25.920
<v Speaker 2>happy to continue talking about this particular topic or this

0:57:25.960 --> 0:57:29.040
<v Speaker 2>sort of thing in general, if nothing else in future

0:57:29.160 --> 0:57:31.360
<v Speaker 2>listener Mail episodes. So write in let us know what

0:57:31.480 --> 0:57:36.200
<v Speaker 2>your thoughts are on egyptology, alternative egyptology and so forth,

0:57:36.600 --> 0:57:38.800
<v Speaker 2>or just in general, if there are other examples of

0:57:38.840 --> 0:57:43.200
<v Speaker 2>this sort of data, this sort of imagery, etc. That

0:57:43.880 --> 0:57:48.320
<v Speaker 2>you know is difficult for the average modern viewer to

0:57:48.480 --> 0:57:52.000
<v Speaker 2>understand and then lends itself well to some sort of

0:57:52.600 --> 0:57:58.240
<v Speaker 2>paranormal or alternative or conspiracy explanation. Just a reminder that

0:57:58.600 --> 0:58:01.880
<v Speaker 2>Stuff to Will Your Mind's episodes published on Tuesdays and Thursdays,

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0:58:07.480 --> 0:58:09.680
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0:58:09.680 --> 0:58:12.040
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0:58:12.920 --> 0:58:16.320
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0:58:16.320 --> 0:58:17.880
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0:58:17.960 --> 0:58:20.400
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