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Speaker 1: I want you to close your eyes for a second. Seriously,

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unless you're driving or operating heavy machinery, just show them.

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I want to take you somewhere.

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Speaker 2: It really helps to set the scene, doesn't it.

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Speaker 1: It does. Okay, imagine you are walking into a tomb

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in ancient Egypt. But I don't want you to picture

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the big, airy spaces you see in the movies, or

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the well lit corridors packed with tourists.

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Speaker 2: No, this is something different.

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Speaker 1: I'm talking about deep underground. You've walked down this long

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sloping limestone corridor right into the Valley of the Kings.

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You were in a tomb that was sealed shut three

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thousand years ago.

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Speaker 2: And the atmosphere down there is well, it's not like

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a museum.

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Speaker 1: It's heavy, it's oppressive. Yeah, the air is stale. I

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mean it's been sitting there for millennia. It is incredibly hot.

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That's stifling, dried desert heat that just seems to radiate

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from the stone itself. The hallway is narrow, and the

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ceiling feels like it's pressing down on you. It's really claustrophobic.

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But then you shine a light on the walls and

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the moment and you see it. Every single square inch

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is covered in art, just intricate, colorful, unbelievably detailed carvings, hieroglyphics,

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figures of gods, stars. It is an absolute masterpiece.

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Speaker 2: And that is exactly where the logic problem begins.

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Speaker 1: Right Okay, now open your eyes. Have a question for you.

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How did the artists see what they were painting?

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Speaker 2: It's I mean, that's the question that really stops you

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in your tracks, isn't it. Because the immediate answer, that

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sort of knee jerk response we all learned in history

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class is torches.

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Speaker 1: They use fire, right, fire torches, maybe some oil lamps

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burning animal fat. That's the standard answer. But here's the problem,

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and it's a massive one. It's what people call the

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soot paradox exactly.

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Speaker 2: Let's just you know, think about the physics of combustion

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from it. If you are burning torches of these crude

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oil lamps deep underground in a totally confined space for

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hours and hours, yeah, days.

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Speaker 1: And these tombs took years to finish.

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Speaker 2: Years, so there is going to be a byproduct, massive

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amount of it. Thick, black, oily smoke and soot rises.

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It's sticky, it coats the ceiling, you can get into

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the wet paint they're applying. It chokes the air.

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Speaker 1: But when we actually look at these tombs, when the

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archaeologists first crack those seals, there's nothing clean as a whistle.

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Speaker 2: I mean, nowhere on those ceilings is there even the slightest,

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faintest evidence of soot or smoke residue. The colors are

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still vibrant, the white backgrounds are stark white.

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Speaker 1: And it gets even more complicated than just you know,

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dirty walls, because we have to think about the environment itself,

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deep deep underground oxygen. Precisely, there isn't even enough oxygen

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inside those deep tombs to support a torch flame for

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the kind of time they would need to do this art.

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Speaker 2: You light a torch, it just eats up all the available.

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Speaker 1: Air, and if it eats the air, the artists can't breathe.

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Speaker 2: It becomes a suffocation hazard almost immediately. I mean you're

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literally replacing oxygen with carbon monoxide and smoke. So you

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light a torch and either the flame dies or you die.

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Speaker 1: We have this locked room mystery. There's no soot, there's

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not enough air for fire, but the carvings are there

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and they're perfect, which means they had light, and if

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they didn't.

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Speaker 2: Use fire, then you're left with what feels like the impossible.

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The only remaining solution has to be some sort of

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artificial light source.

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Speaker 1: Welcome to thrilling threads. Today, we are just looking at history.

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We are pulling on a loose thread that might just

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unravel the entire timeline of human innovation. We're asking a

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question that sounds a little crazy until you look at

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the everance. Did our ancestors have electricity?

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Speaker 2: It's a thread that takes us from these secret crips

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beneath Egyptian temples, to dusty museum archives in a rock,

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and then all the way up into the thin air

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of the Peruvian Andes.

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Speaker 1: Our mission today is simple, but it's kind of mind bending.

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We're looking at evidence that challenges the whole idea that

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technology is a straight line from stone tools to the iPhone.

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We're talking about batteries in the desert, light bulbs carved

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right into stone, and power tools before the invention of

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the wheel.

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Speaker 2: And we really have to approach this with an open mind.

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We are going to look at the artifacts, the carvings,

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the physics, because if this thread holds, it means we

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are not the first ones to plug in.

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Speaker 1: Okay, let's unpack this. We have to start where the

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mystery is the most visual. We are going to Egypt,

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specifically to the Temple of Hathora in Dindera, which.

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Speaker 2: Is a fascinating location. Yeah, and we're not just you know,

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walking into the main hall with everyone else. We are

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going into a subterranean crypt.

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Speaker 1: Ah. So this is important. Contact huge.

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Speaker 2: This was not a public gallery. This was a secret place.

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According to the records, only the high priests ever had

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access to this crypt.

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Speaker 1: So whatever is down there, it wasn't for the average

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person to see. This was knowledge kept in the dark. Literally.

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Speaker 2: And in this hot, narrow, low ceiling room we find

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a relief carved into the wall that has caused more

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arguments in archaeology than well, maybe anything else. It's known

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as the dundera light bulb.

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Speaker 1: And when you look at it, I mean you have

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to look this up later, but I'll describe it. It

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doesn't look like a symbol. It really doesn't look like

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a metaphor. It looks like a blueprint.

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Speaker 2: It's strikingly technical. It's almost jarring to see.

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Speaker 1: It's huge, and it depicts what looks exactly like a

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modern day large clear light bulb. You have this transparent,

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oblong shape archaeologist, you know, they call it a lotus flower,

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but it looks like a glass bulb and.

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Speaker 2: Inside it, inside there's a snake. But the snake isn't

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coiled up or anything. It's stretched out in this long,

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wavy line, just floating right in the middle of the

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bulb like a filament. It looks exactly like the filament

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in an old discharge tube or a Crooks tube. But

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here is where it gets really really interesting. It's not

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just a flower and a snake. There is a cable

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coming out of the bottom of the flower, or the

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socket if you want to call it that.

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Speaker 1: A physical cable. You can see it carved right there, a.

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Speaker 2: Thick cable, and it runs underneath the bulb and connects

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directly to a box.

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Speaker 1: A box. So let me get this straight. You have

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a bulb, a filament, a socket, a cable, and a

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power source box. I mean, come on, if I drew

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that on a neck and for you today'd say that's

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a lamp.

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Speaker 2: The visual resemblance is just undeniable. And the ancient astronaut

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theorists people like Georgio Suculos. They argue that we need

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to stop looking at this as religious symbolism and start

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looking at it as a technical schematic.

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Speaker 1: But the skeptics, the mainstream archaeologist, they have an explanation

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for this, right they must. They say it's symbolic. The

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lotus flower represents creation. The snake is some kind of god.

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Speaker 2: Right. The standard interpretation is that the snake is a deity,

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maybe harsomptis emerging from the primordial lotus flower. It's a

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creation myth carved in stone. Okay, But that interpretation kind

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of ignores all the technical details surrounding it, the cable,

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the box, and more importantly, the text.

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Speaker 1: The hieroglyphics, because they actually wrote down what this thing is.

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Speaker 2: They did, and the translation offers a major clue. The

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hieroglyphics found right near the carving describe the object, and

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they say it is dangerous, dangerous, But and this is

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the kicker. In the same breath, they call it the

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bringer of light.

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Speaker 1: Okay, hold on, dangerous and bringer of light.

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Speaker 2: Uh.

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Speaker 1: That sounds an awful lot like high voltage to me.

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Speaker 2: That's the duality that the experts point out. If this

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was just a flower. Why is it dangerous If it's

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just a snake, God, why the warning. But if it's electricity,

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I mean, electricity is the very definition of dangerous light.

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It warns you to stay away because of the shock,

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but it invites you because of the illumination.

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Speaker 1: It's like a high voltage sign on a transformer box exactly.

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Speaker 2: It's a warning label from three thousand years ago.

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Speaker 1: So if we circle back to the soot paradox, the

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fact that there's no smoke in the tombs, the mainstream

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explanation is mirrors, right, that they use these polished bronze

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mirrors to reflect sunlight from the entrance all the way

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down into the crips.

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Speaker 2: That is the standard theory. Yes, yeah, but I mean

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have you ever tried to reflect light around say five

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or six corners with a hand mirror.

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Speaker 1: I can barely aim a flashlight correctly in a straight line.

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Speaker 2: The physics creates a huge problem. Every time light bounces

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off a metal mirror, and remember these were ancient copper

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or bronze, not our modern glass mirrors, you lose a

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significant percentage to the brightness. It's called light attenuation.

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Speaker 1: So by the time you get to the end of

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the tunnel.

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Speaker 2: By the time you reflect sunlight down a long corridor,

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around a few corners, and into a deep dark crypt,

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you're left with a faint, useless glow, not the bright,

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steady light you would need for microscopic detail work. The

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complexity of the mirror system required.

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Speaker 1: Is just immense, so the mirror theory is weak. The

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torch theory is basically impossible because of the oxygen and soot,

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which leads.

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Speaker 2: The ancient astronaut theorists to a pretty stark conclusion. The

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only remaining solution is artificial light. And then what do

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you know, Right there on the wall, in the very

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room that needs the light, they carved a picture of

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a light bulb.

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Speaker 1: It feels like they left the instruction manual on the wall,

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like here, here's how we.

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Speaker 2: Did it, or perhaps more chillingly, here is the gift

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we were given.

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Speaker 1: Ah Right, because the mentioned Hathor this is the temple

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of Hathor, the goddess.

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Speaker 2: Hathor, the sky goddess. She is addicted sailing in a

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ship of eternity along the Milky Way. So the theory

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suggests that this wasn't a human invention, but technology that

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was gifted by extraterrestrials, the sky gods, and the Egyptians

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carved it in stone to preserve the knowledge.

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Speaker 1: So they see these beings land they use these glowing

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sticks to light up the night, and they think that's magic,

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so they carve it.

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Speaker 2: It's classic cargo cult behavior. You see something you don't understand,

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technology that's far beyond you, so you replicate the form

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of the technology you witnessed, and you treat it with

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religious reverence because you don't fully understand the science, but

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you know it has incredible power.

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Speaker 1: Okay, okay, I know there are people listening right now,

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rolling their eyes. They're saying, fine, a drawing on a

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wall is one thing. You can interpret art however you want.

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It's a snake, it's a filment, who knows. But you

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can't hold a drawing, show me the hardware.

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Speaker 2: And that is a perfectly fair demand. I mean, extraordinary

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claims require extraordinary evidence.

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Speaker 1: And that is exactly why we are leaving Egypt. We're

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hopping on a plane and we're heading to Iraq because

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in nineteen thirty eight something was found that you can

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actually hold in your hand.

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Speaker 2: We are going to the National Museum of Iraq. It's

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nineteen thirty eight, the director of the museum is digging

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through the archives, basically the basement storage, and he finds

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a box of artifacts that just don't make any sense.

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Speaker 1: I love these stories of things found in basements. It's

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never out in the field. It's always in some dusty

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box that's been ignored for fifty years.

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Speaker 2: He finds these terra cotta pots. They're small, you know,

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maybe the size of your hand. But inside the pot,

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it's not just empty space or filled with grain. What's

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inside inside the clay pot is a copper cylinder, and

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inside that copper cylinder is an iron rod, and holding

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it all in place ceiling the very top is a

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stopper made of asphalt.

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Speaker 1: But two men so clay, copper, iron and asphalt.

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Speaker 2: And these artifacts they date back to the Parthian period,

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which is roughly two thousand years.

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Speaker 1: Ago, which is, let me do the math. That's more

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than a thousand years before the official invention of the

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battery by Alison ro Volta in the eighteen hundreds.

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Speaker 2: Correct, we're talking about a device that predates our modern

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understanding of electricity by well over a millennium.

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Speaker 1: Okay, so you have this pot. It looks like a

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high school science experiment. How does it work? I mean,

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is it actually a battery?

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Speaker 2: Well, this is the best part. According to the source

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material proponents like Jason Martel and Georgia Suklos, they didn't

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just look at it. They built one. They created a

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modern mockup using the exact same materials found in the

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Iraqi desert.

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Speaker 1: They went full mcgiver on it.

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Speaker 2: Essentially. Yeah, they took a clay pot, the kind common

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to southern Iraq. They put in the copper sleeve. They

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inserted the iron rod, making sure the two different metals

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didn't touch each other. That's crucial for the chemical reaction.

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And then they used an asphalt stopper to insulate it

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and seal it.

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Speaker 1: But a battery needs juice. Literally, you need an electrolyte

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an acid, and that's the.

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Speaker 2: Beauty of it. You don't need industrial grade sulfuric acid.

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Need a weak acid, something like vinegar wine, grape juice,

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or in this case, orange juice, orange juice. In the demonstration,

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they poured orange juice into the pot. What happened They

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hooked up a vault meter to the copper and iron rods.

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Speaker 1: Did the needle move?

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Speaker 2: It jumped it generated a charge. The vultmeter showed about

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four volts of electricity.

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Speaker 1: Four volts. I mean a standard AA battery is what

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one point five volts? A nine volt battery is nine volts.

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So this ancient clay pot is pushing out more power

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than two ALA batteries put together.

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Speaker 2: Yes, enough to power a small light or to run

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a small device. And the quote from the source on

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this is pretty definitive. It is a battery. Everybody agrees

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with that.

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Speaker 1: Wait, even the mainstream scientists, the skeptic Yes, that.

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Speaker 2: Is the fascinating part. The physics isn't in question here.

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If you put two dissimilar metals like copper and iron

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into an acidic solution, you get electron flow. That's just

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basic chemistry. So the debate isn't if it works. The

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debate is what were they doing with it?

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Speaker 1: Okay, So if the mainstream admits it's a battery, what's

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their safe explanation? They clearly don't think they were powering

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ancient iphons with it.

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Speaker 2: The accepted theory, the mainstream one, is that they were

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used for electroplating. They believe these small, steady currents were

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used to bond a thin layer of gold onto silver,

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probably for making jewelry.

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Speaker 1: So making cheap jewelry look expensive.

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Speaker 2: Basically, yeah, a chemical process, not an electrical one in

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the sense of powering a city or lighting a room.

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It's seen as a kind of niche craft application.

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Speaker 1: But here's where we have to pull the thread harder.

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Because four volts is nice. It's a great proof of concept.

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But you can't light up a pyramid.

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Speaker 2: With four volts. Oh you can't. But this is where

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the theory of scaling up comes in. Jason Martel poses

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this really fascinating hypothesis in the source material. He asks,

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if a small pot the size of a vase makes

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four volts, what happens if you build one that is

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six feet tall?

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Speaker 1: Whoa?

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Speaker 2: I mean? We find these massive clayats all over Egypt

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in the Middle East. We usually assumed they were for

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storing grain or olive oil or water. But what if

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they weren't for storage? What if there were massive battery cells.

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Speaker 1: So if you scale up the volume of the pot,

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the metals, the acid, do you scale up the power?

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Speaker 2: You increase the capacity and the potential current significantly. And

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then what if you connect them in series, you know,

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daisy chaining them together positive to negative, you could easily

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generate twenty thirty maybe fifty holes.

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Speaker 1: Now we are talking fifty volts is dangerous. Fifty volts

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is real usable power.

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Speaker 2: That is sufficient power for modern utility, that can absolutely

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run a bright arc light, that can power a motor.

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Speaker 1: So the bag Dad battery proves they have the fundamental technology.

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The only question is how big they built it exactly.

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Speaker 2: It's the difference between making a potato clock in science

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class and building a modern power plant. The principle is

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exactly the same. The scale is the only variable.

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Speaker 1: Okay, so let's connect these dots. This is getting exciting.

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We have the light bulb drawn on the wall and dindera.

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We have the power source physically found in a rock,

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the Bagdad battery. But there's a missing piece in the middle.

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Speaker 2: The infrastructure, the components.

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Speaker 1: Right, You can't just tape a battery to a bulb

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and hope for the best. You need wires, you need insulators,

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you need something to handle that power safely and efficiently.

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Speaker 2: And this brings us to a part three of our journey,

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the DJed pillar.

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Speaker 1: The DJed pillar. Now I've seen this symbol. It's absolutely

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everywhere in Egyptian art. It looks like a column, right,

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kind of like a tree trunk with these four horizontal

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bars across the top.

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Speaker 2: Correct. It's very distinctive and it's often seen being held

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by the god Osiris. Mainstream Egyptology will tell you it

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represents stability. It's the symbolic backbone of the god Osiris.

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So you know, kings would carry it to show they

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were stable rulers protecting the land from chaos.

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Speaker 1: Stability. That feels like a very abstract, kind of vague

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concept for such a specific, technical looking shape it is.

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Speaker 2: And when you look at that shape, not as an

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art historian, but through the lens of a modern electrical engineer,

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it stops looking like a backbone and starts looking a

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lot like hardware.

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Speaker 1: OK, so what does it look like to an engineer?

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Speaker 2: It looks exactly like high voltage electrical insulator. You know,

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the ceramic things you see on top of power line towers.

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Speaker 1: Oh yeah, the stack discs, I see it now.

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Speaker 2: The stack discs are designed to increase the surface path

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for electricity, preventing it from arntling to the ground. Or

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even more provocatively, some say it looks.

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Speaker 1: Like a Tesla coil a tesla coil, like the things

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that shoot lightning bolts in old sci fi movies.

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Speaker 2: The geometry is strikingly similar a central column with stack

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discs or toroids at the top used to manage frequency

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and voltage.

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Speaker 1: Okay, that's a cool visual match. But is there any

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actual connection back to the light bulb or are we

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just you know, pointing at random Egyptian things and saying

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that looks like tech.

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Speaker 2: No, the connection is literal and it's undeniable. Go back

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to the dindera light bulb carving. Look closely at the

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bulb itself. It isn't just floating in the air. It's

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resting on something. It's being held up by something.

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Speaker 1: What's it resting on?

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Speaker 2: It is plugged directly into a DJed pillar. No way, seriously, seriously,

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The bulb is supported by the DJed. The little arms

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of the DJET pillar reach up and cradle the base

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of the bulb.

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Speaker 1: So in the carving, the complete system is laid out.

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You have the box which is the power source, you

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have the cable, you have the DJET pillar acting as

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some kind of conductor or insulator, and then you.

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Speaker 2: Have the bulb. It completes the circuit. And remember the

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translation from the hieroglyphics. The text says the DJed is

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always associated with significant power power.

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Speaker 1: And we interpret that as political power or magical power.

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Speaker 2: But maybe they meant electrical power.

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Speaker 1: This is starting to feel less and less like a coincidence.

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Speaker 2: That's the whole thrilling thread theory in a nutshell. Maybe

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the djeed wasn't just a magic wand symbolizing stability. Maybe

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it was a functional necessary component, a capacitor or an

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insulator or a step up transformer that was absolutely essential

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to handle the charge from those acidic batteries to the

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discharge bulbs.

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Speaker 1: It completely changes how you see their entire civilization. We

383
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think of them as chanting spells and performing rituals. What

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00:18:00,160 --> 00:18:02,880
if casting a spell was just the ritualized way of

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turning on a switch.

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Speaker 2: That is the core of the idea. What happens if

387
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you lose the science but you keep the object. Technology

388
00:18:10,200 --> 00:18:13,920
becomes magic. You mimic the movements the gods made. You

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replicate the shape in stone because the original metal one

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rusted away centuries ago. You pray to the Bringer of

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Light because you forgot it was just a lamp.

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Speaker 1: It's the planet of the ape scenario. You find a rifle,

393
00:18:23,680 --> 00:18:25,480
you have no idea how it works, so you start

394
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to worship it as a holy relic. Okay, so we

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have light. We have a plausible power source. But electricity

396
00:18:32,680 --> 00:18:35,200
isn't just for reading in the dark. If you have

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00:18:35,279 --> 00:18:37,480
that kind of juice, you can do heavy lifting.

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00:18:37,759 --> 00:18:41,160
Speaker 2: And that is a perfect segue. Because light is soft.

399
00:18:41,720 --> 00:18:44,400
Stone is hard, and if we want to see the

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00:18:44,440 --> 00:18:48,200
real muscle of this theoretical ancient technology, we need to

401
00:18:48,319 --> 00:18:50,960
leave the sandy desert of Egypt and go to the

402
00:18:51,000 --> 00:18:52,319
high mountains of South America.

403
00:18:52,440 --> 00:18:55,079
Speaker 1: We're going to Peru, specifically.

404
00:18:54,319 --> 00:18:57,480
Speaker 2: To a place called Olante Tombo all Antai Tombo.

405
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Speaker 1: Just saying the name sounds massive an ancient.

406
00:19:00,759 --> 00:19:03,799
Speaker 2: It is. It's an incredible ancient mountain stronghold. And the

407
00:19:03,799 --> 00:19:07,200
construction here is it's just baffling. We're not talking about

408
00:19:07,279 --> 00:19:10,279
sandstone or limestone anymore, which are relatively soft and easy

409
00:19:10,319 --> 00:19:12,519
to carve. We are talking about andesite.

410
00:19:12,559 --> 00:19:14,480
Speaker 1: How hard is and asite for comparison, and it.

411
00:19:14,480 --> 00:19:17,119
Speaker 2: Is incredibly hard. It's a type of volcanic rock on

412
00:19:17,160 --> 00:19:19,680
the most scale of hardness. It's right up there with granite.

413
00:19:19,759 --> 00:19:22,559
You need diamond tip tools to cut it effectively today.

414
00:19:22,640 --> 00:19:26,440
Speaker 1: And what did the Incas or whoever built this place supposedly.

415
00:19:25,880 --> 00:19:29,599
Speaker 2: Have According to the history books, they had stone tools,

416
00:19:30,319 --> 00:19:34,680
copper chisels, maybe some bronze, if we're being generous, none

417
00:19:34,680 --> 00:19:36,400
of which should be able to even make it dent

418
00:19:36,480 --> 00:19:39,440
and andesite without being completely destroyed in the process.

419
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Speaker 1: But they didn't just dent it.

420
00:19:40,920 --> 00:19:44,880
Speaker 2: No, they machined it. We find these huge cube like

421
00:19:44,960 --> 00:19:49,200
sections of stone, weighing many many tons, and the precision

422
00:19:49,240 --> 00:19:51,039
of the work is the real anomaly here.

423
00:19:51,240 --> 00:19:53,480
Speaker 1: Describe the precision. What are we talking about.

424
00:19:53,720 --> 00:19:56,319
Speaker 2: The stones are cut so perfectly that you cannot fit

425
00:19:56,400 --> 00:19:58,079
a single human hair between them.

426
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Speaker 1: A human hair, not a piece of paper, a hare, not.

427
00:20:00,799 --> 00:20:04,720
Speaker 2: A credit card, a hare. The joinery is airtight, and

428
00:20:04,759 --> 00:20:07,960
the surface there are no tool marks. You don't see

429
00:20:08,000 --> 00:20:11,799
any scratches from chisels or pounding. It is smooth, it's polished.

430
00:20:12,200 --> 00:20:14,119
Speaker 1: And the corners, what about the corners.

431
00:20:13,799 --> 00:20:16,759
Speaker 2: They're perfectly rounded. They're not sharp and jagged. If you

432
00:20:16,759 --> 00:20:18,559
were just pounding this out with rock hammer, you'd have

433
00:20:18,599 --> 00:20:21,400
all these jagged edges and fracture lines. These look like

434
00:20:21,440 --> 00:20:23,599
they were molded or routed with a power tool.

435
00:20:23,720 --> 00:20:26,200
Speaker 1: Okay, So Brian Forrester, one of the experts mentioned in

436
00:20:26,200 --> 00:20:28,720
the source material, he has a pretty strong opinion on this.

437
00:20:29,119 --> 00:20:32,039
Speaker 2: He does. He argues very forcefully that this isn't a

438
00:20:32,119 --> 00:20:35,480
question of sweat and manpower. You can throw a million

439
00:20:35,519 --> 00:20:37,960
people at a block of andesite with stone hammers for

440
00:20:38,000 --> 00:20:40,880
one thousand years and you will never get a polished,

441
00:20:41,079 --> 00:20:44,279
laser perfect surface like this. It's not about man hours.

442
00:20:44,680 --> 00:20:46,319
It is a question of technology.

443
00:20:46,480 --> 00:20:50,599
Speaker 1: He's saying, you need power tools, high speed drills, saws.

444
00:20:50,279 --> 00:20:54,319
Speaker 2: Exactly, something that rotates at high speed, something with incredible hardness,

445
00:20:54,720 --> 00:20:57,799
maybe even sonic technology that could vibrate the stone apart,

446
00:20:58,160 --> 00:21:00,000
something far beyond hammers and chessels.

447
00:21:00,160 --> 00:21:02,359
Speaker 1: But again I have to play the skeptic here. If

448
00:21:02,400 --> 00:21:05,640
they had dwelt drills and diamond tipped saws, where are they.

449
00:21:06,279 --> 00:21:09,319
We find the pottery, we find the mummies, we find

450
00:21:09,319 --> 00:21:12,519
the arrowheads. Why don't we find a single power drill?

451
00:21:12,759 --> 00:21:15,519
Speaker 2: That is the million dollar question, isn't it? And Georgio

452
00:21:15,559 --> 00:21:19,039
Sucolos offers an answer that is actually quite sobering when

453
00:21:19,079 --> 00:21:21,599
you think about it. It's the theory of the survivor,

454
00:21:21,680 --> 00:21:24,880
which is stone withstands the test of time. Metal rusts

455
00:21:24,880 --> 00:21:28,680
into nothing, Plastic decays and turns to dust. Wood rots away.

456
00:21:29,200 --> 00:21:30,960
If you leave a modern car in the jungle for

457
00:21:31,000 --> 00:21:32,799
five thousand years, what's left.

458
00:21:32,640 --> 00:21:36,799
Speaker 1: Of it, Uh, maybe some glass, The rubber tires are gone,

459
00:21:37,000 --> 00:21:40,039
the steel frame is just a pile of orange dust exactly.

460
00:21:40,279 --> 00:21:43,759
Speaker 2: The machinery disintegrates, the only thing left is the stone

461
00:21:43,880 --> 00:21:46,480
that the machinery cut. So the evidence of the tool

462
00:21:46,640 --> 00:21:49,000
is the cut itself, not the tool that is.

463
00:21:49,759 --> 00:21:52,960
Speaker 1: That's a haunting thought. So we're looking at the finished product,

464
00:21:53,000 --> 00:21:55,240
scratching our heads and calling it a mystery because the

465
00:21:55,240 --> 00:21:58,400
factory that built it turned to dust thousands of years ago.

466
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Speaker 2: That is the argument. We are judging their technological level

467
00:22:02,440 --> 00:22:05,960
by what materials happen to survive, not by what technology

468
00:22:06,000 --> 00:22:06,839
actually existed.

469
00:22:06,960 --> 00:22:09,759
Speaker 1: This really forces you to zoom out, I mean way

470
00:22:09,960 --> 00:22:11,960
way out. We usually look at history in these neat,

471
00:22:11,960 --> 00:22:15,960
little chunks, you know, the Romans, the Egyptians, the Mayans.

472
00:22:16,480 --> 00:22:18,119
But we need to look at the whole timeline of

473
00:22:18,119 --> 00:22:18,559
the planet.

474
00:22:18,599 --> 00:22:20,519
Speaker 2: We have to adopt the big picture philosophy.

475
00:22:20,640 --> 00:22:22,640
Speaker 1: The source material mentions the age.

476
00:22:22,359 --> 00:22:24,680
Speaker 2: Of the Earth four and a half billion years.

477
00:22:24,920 --> 00:22:28,319
Speaker 1: That's a number my human brain can't really comprehend. It's

478
00:22:28,440 --> 00:22:29,160
just too big.

479
00:22:29,279 --> 00:22:33,640
Speaker 2: It's immense, and recorded human history where we write down

480
00:22:33,640 --> 00:22:36,799
and know about is a tiny, tiny fraction of that time,

481
00:22:36,960 --> 00:22:38,480
a blink of an eye, really.

482
00:22:38,400 --> 00:22:40,920
Speaker 1: And we just assume that this blink of an eye

483
00:22:40,960 --> 00:22:44,200
has been a straight lineup, you know, cave men, then

484
00:22:44,240 --> 00:22:46,880
they discover fire, then the wheel, then the steam engine,

485
00:22:46,880 --> 00:22:50,240
then the internet, a constant linear progression.

486
00:22:50,559 --> 00:22:53,519
Speaker 2: But the sources we're looking at today are suggesting a

487
00:22:53,599 --> 00:22:58,480
completely different shape, not a line, but a wave, a cycle,

488
00:22:58,559 --> 00:22:59,759
the cycle of rise and fall.

489
00:23:00,000 --> 00:23:02,960
Speaker 1: We know from the fossil record that mass extinctions happen,

490
00:23:03,279 --> 00:23:07,160
global cataclysms happen. What if civilizations rise to a very

491
00:23:07,240 --> 00:23:11,160
high point, they achieve electricity, maybe even flight, and then

492
00:23:11,240 --> 00:23:15,279
something happens. A comet hits, a super volcano, erupts, a

493
00:23:15,319 --> 00:23:17,839
sudden ice age, a global flood, and.

494
00:23:17,799 --> 00:23:21,000
Speaker 2: They get wiped out. The civilization collapses and the few

495
00:23:21,039 --> 00:23:23,640
survivors are knocked right back to the Stone Age. They

496
00:23:23,680 --> 00:23:27,119
lose the knowledge, they lose the machines, they lose the infrastructure,

497
00:23:27,559 --> 00:23:29,599
and they have to spend the next five thousand years

498
00:23:29,599 --> 00:23:31,200
trying to get back to where they once were.

499
00:23:31,559 --> 00:23:34,240
Speaker 1: There's a phrase the source used. That just gave me chills.

500
00:23:34,400 --> 00:23:36,839
We are a civilization with amnesia.

501
00:23:37,119 --> 00:23:40,759
Speaker 2: It's such a powerful concept. We think we're discovering electricity

502
00:23:40,759 --> 00:23:43,680
for the first time, but what if we're just remembering it.

503
00:23:43,839 --> 00:23:46,519
Speaker 1: There's that great quote about Benjamin Franklin.

504
00:23:46,359 --> 00:23:49,599
Speaker 2: Right, It's something like, you know, about two hundred years ago,

505
00:23:49,880 --> 00:23:52,920
Franklin starts playing with kites and keys and lightning, and

506
00:23:52,960 --> 00:23:56,000
we think that's the start of our electrical age. But

507
00:23:56,119 --> 00:24:00,119
this evidence suggests that three thousand years ago, priests in

508
00:24:00,160 --> 00:24:03,119
a Rock and Egypt were already experimenting with it.

509
00:24:03,400 --> 00:24:06,400
Speaker 1: So we aren't the inventors, we're the reinventors.

510
00:24:06,559 --> 00:24:09,759
Speaker 2: It really challenges our modern arrogance, doesn't it. We think

511
00:24:09,759 --> 00:24:13,160
we're the absolute pinnacle of creation, but maybe we're just

512
00:24:13,200 --> 00:24:15,160
the latest attempt to climb the ladder.

513
00:24:15,200 --> 00:24:16,559
Speaker 1: And of course we have to touch on the other

514
00:24:16,599 --> 00:24:20,680
possibility that's mentioned. If it wasn't a previous human cycle.

515
00:24:20,440 --> 00:24:23,599
Speaker 2: Then it was an intervention the extraterrestrial angle.

516
00:24:23,680 --> 00:24:25,880
Speaker 1: Halthors sailing her ship along the Milky Way.

517
00:24:26,119 --> 00:24:29,240
Speaker 2: If you look at the Dendera reliefs again the sheer

518
00:24:29,279 --> 00:24:32,440
strangeness of the imagery, the snakes in the bulbs, the

519
00:24:32,480 --> 00:24:35,559
flying ships. Some people argue that this knowledge didn't evolve

520
00:24:35,640 --> 00:24:38,559
naturally on Earth. It was gifted, it was dropped off

521
00:24:38,680 --> 00:24:39,240
or maybe.

522
00:24:39,039 --> 00:24:40,960
Speaker 1: Just left behind, And that leads right back to the

523
00:24:41,000 --> 00:24:44,960
cargo cult idea. Did the Egyptians truly understand the flow

524
00:24:45,000 --> 00:24:47,960
of the electron or were they just building stone models

525
00:24:47,960 --> 00:24:50,359
of the incredible at tech they saw the sky gods use.

526
00:24:50,839 --> 00:24:54,240
Speaker 2: Is the gjed pillar a functional device or is it

527
00:24:54,279 --> 00:24:57,640
a stone copy of a device? That is the central question.

528
00:24:57,960 --> 00:25:00,839
If it's a copy, it explains why doesn't work today.

529
00:25:01,279 --> 00:25:03,640
It's like carving a smartphone out of a piece of wood.

530
00:25:04,039 --> 00:25:06,480
It looks right, but it's never going to make a call.

531
00:25:06,640 --> 00:25:09,720
Speaker 1: But the Bagdad battery, Yeah, that one wasn't a copy.

532
00:25:09,799 --> 00:25:10,759
That was the real deal.

533
00:25:10,799 --> 00:25:14,200
Speaker 2: It worked, That was functional, which suggests that at least

534
00:25:14,240 --> 00:25:17,920
some of the fundamental knowledge was understood and applied by

535
00:25:17,920 --> 00:25:19,440
someone at some point.

536
00:25:19,599 --> 00:25:21,799
Speaker 1: Man, this really messes with your head. The more you

537
00:25:21,839 --> 00:25:23,960
pull on this thread, the more the whole sweater of

538
00:25:24,039 --> 00:25:25,319
history starts to unravel.

539
00:25:25,359 --> 00:25:27,519
Speaker 2: It's supposed to. That's the whole point of pulling the thread.

540
00:25:27,759 --> 00:25:30,559
Speaker 1: So let's wrap this up for today. We have journeyed

541
00:25:30,599 --> 00:25:34,240
from the breathless pitch black tombs of Dindera, where we

542
00:25:34,279 --> 00:25:37,599
saw what looks for all the world like a schematic

543
00:25:37,599 --> 00:25:39,519
for a light bulb plugged into a generator.

544
00:25:39,759 --> 00:25:42,480
Speaker 2: We held the Bagdad battery, or at least the idea

545
00:25:42,519 --> 00:25:44,920
of it, a simple clay pot filled with acid and

546
00:25:44,960 --> 00:25:49,160
copper that proves physically proves that they could generate voltage

547
00:25:49,440 --> 00:25:50,480
two thousand years ago.

548
00:25:50,839 --> 00:25:53,960
Speaker 1: And we stood in the shadow of the massive, impossible

549
00:25:54,000 --> 00:25:57,599
walls of Peru, looking at stonecuts so precise they seem

550
00:25:57,640 --> 00:26:00,799
to defy our entire understanding of chisel and hammers.

551
00:26:01,160 --> 00:26:04,160
Speaker 2: It all points to one conclusion. Yeah, the official timeline

552
00:26:04,200 --> 00:26:06,400
of technology is missing some huge chapters.

553
00:26:06,519 --> 00:26:08,640
Speaker 1: We tend to be so arrogant, don't we. We look

554
00:26:08,680 --> 00:26:10,480
back at ancient people and think, oh, look at them

555
00:26:10,519 --> 00:26:12,559
stacking their little rocks with ropes and logs.

556
00:26:12,680 --> 00:26:16,400
Speaker 2: We do. We underestimate them completely. But the Bagdad battery

557
00:26:16,440 --> 00:26:19,440
isn't a theory. It's a physical object. It sits on

558
00:26:19,480 --> 00:26:22,880
a museum shelf. It generates power. So the question isn't

559
00:26:22,920 --> 00:26:25,240
if they had electricity, The question is how much did

560
00:26:25,279 --> 00:26:25,759
they use it?

561
00:26:26,119 --> 00:26:27,880
Speaker 1: And here is the final thought I really want to

562
00:26:27,920 --> 00:26:30,480
leave you with. It's something to really chew on tonight.

563
00:26:30,960 --> 00:26:33,880
The Bagdad battery survived all this time because it was

564
00:26:33,880 --> 00:26:38,240
made of clay, asshole common cheap disposable materials.

565
00:26:38,359 --> 00:26:39,920
Speaker 2: It was the throwaway tech of its time.

566
00:26:40,079 --> 00:26:43,920
Speaker 1: Exactly. So, if the only piece of tech that survived

567
00:26:44,000 --> 00:26:47,759
is the cheap clay pot, what incredible machines made of

568
00:26:47,799 --> 00:26:51,599
refined metal, gold, glass, and delicate filaments? Have we completely

569
00:26:51,640 --> 00:26:52,839
lost to the sands of time.

570
00:26:53,160 --> 00:26:56,359
Speaker 2: If the battery is the trash that survived, just imagine

571
00:26:56,400 --> 00:26:57,680
what the treasure must have looked like.

572
00:26:58,119 --> 00:27:01,680
Speaker 1: That is a terrifying and a thrilling thought. So we

573
00:27:01,759 --> 00:27:03,880
want to know where you stand. Is the DJ pillar

574
00:27:04,000 --> 00:27:06,720
just a symbol of stability or is it a Tesla

575
00:27:06,799 --> 00:27:10,599
coil in disguise? Are we a species with amnesia? Or

576
00:27:10,640 --> 00:27:12,359
are we just being over imaginative.

577
00:27:12,640 --> 00:27:15,680
Speaker 2: Look at the evidence for yourself and question the timeline.

578
00:27:15,799 --> 00:27:17,839
Speaker 1: Leave a comment and let us know your theory. Thanks

579
00:27:17,880 --> 00:27:19,799
for pulling on these thrilling threads with us.

580
00:27:19,920 --> 00:27:20,680
Speaker 2: Keep exploring