Speaker 1: Have you ever looked at the Mona Lisa, you know,
that iconic, really enigmatic smile, and just felt this subtle pull,
like a whisper, that there might be a layer of
meaning hidden right there in plain sight. Hmm, just waiting
for the right key, somehow to unlocket. What if and
this is a big what if one of the most
famous paintings in the world held a secret so profound
it could actually challenge our whole understanding of history, maybe
even reality itself.
Speaker 2: Or maybe you've been looking at an ancient carving, something
thousands of years old, right, Yeah, and wondered is this
just symbolic art or is it maybe a literal picture
of something extraordinary, something you know we're only now starting
to maybe get our heads around.
Speaker 1: It's such a deeply human thing, isn't it, That curiosity
about the untold stories, the hidden truths that might just
be woven into the fabric of our past.
Speaker 2: Absolutely, we see these artifacts, these masterpieces, these ancient records,
and we well, we often assume we understand them within
our current historical frameworks. But what if those frameworks are
like incomplete? What if the stories we've accepted are only
just scratching the surface of something much bigger, much more.
Speaker 1: Complex, exactly. And that's really our mission today on the
deep dive. For this deep dive, we're going to journey
across centuries, across continents, exploring a whole stack of fascinating
insights from articles and research that ask precisely these kinds
of questions. Our dive today will unpack some truly intriguing theories.
We're talking hidden messages in Leonardo da Vinci's masterpieces, ancient
rock carvings depicting mysterious figures way up in Italy, and
even enigmatic hieroglyphs found in well the most unexpected places
like Australia. We're looking for those common threads that link
these seemingly separate historical anomalies and really challenge us to
rethink what we believe about our past.
Speaker 2: And this isn't just about you know, ancient myths or
digging through dusty art history books, you see. It's about
potentially decoding what some people think is a meticulously laid
out historical scavenger hunt, like a series of clues left
by those who came before us. It's about recognizing that maybe,
just maybe the stories our textbooks tell are missing entire chapters,
huge chunks potentially.
Speaker 1: And what's genuinely exciting now is how modern technology and
first perspectives are letting us see these familiar artifacts in
completely new ways.
Speaker 3: Yeah, that's key.
Speaker 1: It's like we're finally getting the right magnifying glass or
maybe even a kind of digital scanner, revealing surprising facts
and well thought provoking connections that were simply invisible before.
Speaker 2: We're moving beyond just assumption, I think, into the realm
of really precise investigation.
Speaker 1: Which I find absolutely thrilling. It feels like we're on
the cusp of some major reinterpretations me too.
Speaker 3: It's a fascinating time to be looking at this stuff.
Speaker 1: Okay, so let's unpack this with one of history's greatest enigmas,
Leonardo da Vinci. I mean, the name itself is basically
synonymous with genius. We all know the Mona Lisa that
captivated portrait y. What's truly fascinating, I think is Leonardo's profound,
almost obsessive relationship with this specific painting.
Speaker 2: It really was an obsession. Think about it began in Florence,
Italy fifteen oh three, just a simple portrait commissions supposedly
from a wealthy silk merchant, Francesco del Jacondo for his
wife Lisa Jardini.
Speaker 1: Okay, standard enough beginning.
Speaker 2: But here's the kicker. As you said, Leonardo never actually
delivered it.
Speaker 1: He kept it, never gave it to the guy who
paid for it.
Speaker 3: Nope.
Speaker 2: He started it in fifteen oh three and he never
parted with it, carried it with him for the rest
of his life, even took it to France when he
moved there as an old man under the patronage of
King Francis thes Sirsto.
Speaker 3: And get this, he dedicated.
Speaker 2: His final sixteen years of his life to this single, smallish,
twenty by thirty inch portrait.
Speaker 1: Sixteen years on one painting.
Speaker 2: Sixteen years for a man who was constantly inventing, sketching,
studying anatomy, designing war machines, dissecting bodies, painting other major works.
Speaker 3: This singular, continuous.
Speaker 2: Focus on one portrait is just well, it's unprecedented.
Speaker 1: It's scream significance, doesn't it.
Speaker 2: It absolutely signals an unparalleled personal significance. It wasn't just
another job.
Speaker 1: Sixteen years. I mean, when you think about how long
artists usually spend on a portrait, even a detailed one.
That kind of commitment is simply mind boggling. It really
makes you wonder what was it about this painting that
consumed him so completely exactly.
Speaker 2: It clearly wasn't just a commission anymore, or even just
a beautiful painting of a woman, As many scholars have noted,
it seemed to evolve into this philosophical meditation on all
his intellectual concerns.
Speaker 1: So like a personal notebook, but in paint.
Speaker 2: In a way, yeah, it became a canvas for his
entire worldview, a place to put his thoughts on science, art,
the human body, optics, maybe even the nature of reality itself.
Speaker 1: And that's maybe what gives her smile, that enduring mystery,
that famous fumato effect where the corners of her mouth
or blurred, making her smile seem to shift and change.
Speaker 2: Right, she seems to know something that we don't, as
the saying goes, And perhaps that reflects Leonardo himself imbuing
it with some kind of knowledge, something deeper that goes
beyond just the visual representation.
Speaker 1: It's almost like he was encoding his thoughts into the
paint itself.
Speaker 2: It definitely raises that question, what profound secrets or personal beliefs.
Would you embed in your life's greatest work if you
knew it would last for centuries be scrutinized by millions.
Leonardo's unique approach seems perfect for hiding things in plain sight,
and this intense personal obsession has definitely fueled these pervasive
theories that Leonardo deliberately puts secret symbols and messages into
his works, not just.
Speaker 1: The Mona Lisa, So it wasn't just a one off.
Speaker 3: Arguably not.
Speaker 2: Some believe he was rethinking traditional subjects in new and
creative ways from the very start of his career, always
pushing boundaries, always trying to encode deeper meaning. It really
makes you think about how an artist's personal intensity, their
inner world can transform a simple commission into a life's world,
layering it with unspoken meaning that still intrigues us hundreds
of years later.
Speaker 1: It's not just pain on wood, it's yeah, yeah, a
piece of his soul, maybe even a coded message left
for us.
Speaker 2: And speaking of hidden messages, we absolutely have to talk
about one of Leonardo's most defining, most idiosyncratic characteristics, his
consistent use of mirror writing.
Speaker 1: Ah Yes, the backward script exactly.
Speaker 2: Almost all his personal notes, from scientific observations down to
like shopping lists were penned from right to left, a
reverse script that you actually need a mirror to read easily.
It's a technique that truly defines him as an individual,
a private code really for a profoundly private man.
Speaker 1: So strange, but so typically Leonardo.
Speaker 3: It's a crucial piece of the puzzle.
Speaker 2: Though. If mirror writing was so central to how he wrote,
the possibility that he also used this mirror technique within his.
Speaker 1: Artwork to create hidden images.
Speaker 3: Exactly, creating unknown dimensions.
Speaker 2: That only a reflection or perhaps digital manipulation now could reveal.
It's certainly worth exploring. Remember, Leonardo wasn't just an artist.
Speaker 3: He was a meticulous.
Speaker 2: Scientist obsessed with optics, totally obsessed. He was insatiably curious
about reflections and refractions and optics and the human anatomy
of the eye, even things like mirrored reflections of conical
shaped mirrors. This wasn't just some stylistic quirk. It was
deeply tied into his scientific and artistic curiosity. He understood
light shadow perspective like almost no one else.
Speaker 1: Okay, so inter graphic designer Terrence Masson at Northeastern University.
He's been using a cutting edge computer tech to explore
this very hypothesis, driven, like you said, by Leonardo's known
fascination with optics and reflections.
Speaker 2: Right and Masson parstially, is something really interesting that Leonardo's deliberate,
often anatomically unusual hand placements in his portraits.
Speaker 1: The way hands are posed.
Speaker 2: Yeah, those sometimes slightly odd looking poses might actually be
a clue to the axis points of rotation of these
mirrored angles, like wi cues almost markers telling you where
to place the reflective plane or where to digitally fold.
Speaker 1: The image, like he left instructions embedded in the art
itself for a future generation with the right tools.
Speaker 3: That's the idea.
Speaker 2: And what's fascinating here is how modern tech lets us
test these suspicions things that would have been impossible just
a few decades ago.
Speaker 1: So what did Mason do well?
Speaker 2: His work involved digitally replicating and manipulating the classic Mona Lisa,
taking the image, duplicating it, and then mirroring one half
along a specific axis, often suggested by those hand positions
you mentioned. And when the two mirrored halves were brought together,
what did it.
Speaker 1: Reveal don't keep me in suspense, A.
Speaker 2: Helmet shaped creature, clearly identifiable with quite distinct features, not
just a random pattern.
Speaker 1: A helmet shaped creature. Wow? Okay, but is that just
a coincidence? Perry Dolia? Maybe seeing faces in clouds?
Speaker 3: That's always the question, right. But here's where it gets
truly remarkable.
Speaker 2: This apparently isn't an isolated incident, a very similar creature,
an almost identical visual anomaly is seen when this exact
technique is applied to another famous Da Vinci painting, Virgin
and Child with Saint Anne.
Speaker 1: The same creature shows up again.
Speaker 3: Very similar.
Speaker 2: Yes, And then you look at Virgin of the Rocks
with its famously dramatic and anatomically complex hand poses, which
again prompts the question is this also hinting at where
to place a reflective plane to reveal yet another hidden image?
The consistency starts to challenge the idea of pure coincidence.
Speaker 1: It really does if it's in multiple major works.
Speaker 2: And when these manipulated images are brought into a three
D environment, duplicated and further analyzed using this mirror technique,
the results are quite striking. The composite images reveal something
described as spooky and bearing an interesting similarity to what
was found in the Mona Lisa, consistently resembling something close
to a modern understanding of alien heads.
Speaker 1: Okay, alien heads is a big leap, but the repetition
across masterpieces it does suggest a deliberate, meticulous intention, doesn't it.
Speaker 3: It strongly suggests it.
Speaker 2: It really makes you wonder why would he so precisely
embed and hide these images? What does it imply about
his worldview or perhaps even his experiences. The precision and
frankly foresight required to embed such complex visual codes within
works meant to be viewed normally for centuries, It's truly
mind boggling. It speaks to a genius far beyond just
artistic skills.
Speaker 1: Seriously, imagine the sheer brain power required to not just
pain a masterpiece, but to embed a whole second, hidden
layer of meaning that only technological advances centuries later could
fully reveal. It's like he was leaving digital breadcrumbs almost
for a future generation, knowing they would eventually have the
tools to follow them. It just makes you pause and
consider the vast intellectual leap needed to even conceive such
a complex time delayed message system.
Speaker 2: It really does, and it raises that crucial question. Was
he documenting something witnessed, perhaps something controversial or dangerous to
reveal openly.
Speaker 1: Back then, or was it something else?
Speaker 2: Or was he expressing a deeply held, maybe esoteric, belief
about humanity's place in the cosmos, a vision of non
human entities that he felt compelled to capture, even if.
Speaker 3: He had to hide it.
Speaker 1: Now, let's pivot slightly from his masterpieces to something even
more personal and incredibly rare. The British Library holds Leonardo
da Vinci's Codex Arundel. This is essentially Leonardo's personal collection
of scientific observations, engineering designs, philosophical thoughts, all penned in
that distinctive mirrorscript.
Speaker 2: A real treasure trove, two hundred and eighty three papers,
and we have thousands of pages of his writing. Overall,
they tell us a lot about what he was thinking,
what he was creating.
Speaker 1: But what's striking, as you mentioned earlier, is the almost
complete absence of personal details. Leonardo was famously private, fiercely.
Speaker 2: Guarded, extremely which makes any autobiographical notes we do find
incredibly significant, like finding a single personal diary entry in
massive technical library.
Speaker 1: A needle, and a genius haystack.
Speaker 2: Exactly so, when a figure so famously private chooses to
record something personal, it immediately flags it as profound, maybe
even traumatic.
Speaker 1: And there is something like that in the Codex Artle.
Speaker 2: There is among these papers a few rare personal anecdotes
were found written just after his mysterious two year disappearance
between fourteen seventy six and fourteen seventy eight.
Speaker 1: He disappeared for two years, yes.
Speaker 2: A period where his whereabouts are largely unaccounted for, and
one particular account details a youthful adventure where he encountered.
Speaker 3: A vast, mysterious cave.
Speaker 2: Okay, he describes standing on its edge, feeling both terrified
by the darkness and simultaneously having a certain desire to
try to understand what was in there, drawn in by
curiosity despite his fear.
Speaker 1: Terrified by the darkness, but a desire to understand. Wow,
that's a powerful and very human mix of emotions, isn't it.
Speaker 2: Absolutely And remember this was one of the very few
personal anecdotes he ever recorded that alone suggest it's profound,
indelible impact on him.
Speaker 1: Something must have happened.
Speaker 2: Some have even speculated this incident occurred round the same
time in his childhood when he supposedly fashioned his famous
rather terrifying shield with the head of the monstrous medusa
on it.
Speaker 1: A creature of terrifying power. Interesting connection.
Speaker 2: It raises the question what exactly did Leonardo find or
think he found in that cave that left such a
lasting impression. Was it just a weird geological formation or
did he genuinely believe he glimpsed something other.
Speaker 1: The fact that he wrote it down when he wrote
almost nothing else personal is just so significant. It points
to maybe a singular transformative experience.
Speaker 3: It could.
Speaker 2: And if we connect this to the broader picture of
his artistic output, particularly around that time, we see another
strange anomaly, his series of grotesque heads eh Tho drawings.
Speaker 1: They're really unsettling, they are.
Speaker 2: These are not typical human depictions at all. They are
misshapen faces, elongated skulls, flattened faces, often described as eerie, troubling,
monstrous images with a really strange presence. They just don't
look human.
Speaker 1: And what stands out to me is the striking contrast.
This is the artist renowned for careful realistic depiction, right,
someone who meticulously studied human anatomy, obsessed over the nuances
of the human form exactly, and yet here are these bizarre,
frankly non human like visages. It's not just a stylistic choice,
like a caricature seems to be. It feels like a
radical departure from his usual dedication to realism.
Speaker 3: It really does.
Speaker 1: It forces us to ask that powerful question, what in
the world was he looking at? Did he actually encounter
creatures that look like this, maybe in that cave or
somewhere else during those missing years.
Speaker 2: It's the million dollar question. It makes you wonder, how
do our own most profound, maybe terrifying, or inspiring personal
experiences shape our creative output, perhaps in ways we don't
even consciously realize, or maybe in ways we deliberately obscure
for reasons of personal safety or just societal acceptance at
the time.
Speaker 1: Could these grotesques heads be a kind of artistic reportage,
an attempt to record a non human form that defied
conventional description.
Speaker 2: They are indeed very very strange, as you say, and
their presence in his body of work really challenges the
comfortable narrative of Leonardo as solely a master of human realism.
It implies a hidden narrative, maybe a secret world that
he felt compelled to capture, even if he had.
Speaker 1: To code it. So if Leonardo, this solitary genius, might
have embedded hidden truths in his art, perhaps influenced by
enigmatic personal encounters, it really begs the question where earlier
entire civilizations also attempting to record extraordinary encounters.
Speaker 2: That's the next logical step, isn't it.
Speaker 1: Let's journey from Renaissance Italy go back centuries and just
a few hundred miles north to val Camonica. Here thousands
of ancient rock carvings might offer an even more direct
pictorial record of well celestial visitors.
Speaker 2: Thal Camonica is incredible. It's a UNESCO World Heritage Site
in northern Italy, about a hunt undred and sixty five
miles from that other enigmatic spot, Mount Misene. It's a
genuine treasure trove of images from the ancient world. We're
talking over three hundred thousand petroglyphs carved by the Communion
people over an eight thousand year period.
Speaker 1: Three hundred thousand carvings. That's immense.
Speaker 3: It is, and.
Speaker 2: While scholars people like William Henry and Luca Girelli have
meticulously documented and studied these carvings for years. The reality
is they don't agree on the meaning of the.
Speaker 1: Images ah the classic archaeological debate exactly.
Speaker 2: But this ambiguity, this lack of consensus, leaves a fascinating opening.
Some scholars are actually very open minded to the ancient
astronaut theory when they try to interpret certain recurring motifs
found there.
Speaker 1: And when you look at some of these carvings, you
can absolutely see why they might think that. There's one
really distinct figure that's been famously dubbed the spaceman.
Speaker 2: Right, the camulean astronaut figure.
Speaker 1: It's not just an abstract human form. It clearly has
this large, rounded helmet that looks markably like modern astronaut headgear,
and his body seems to have lines coming off it,
making it appear like he's glowing.
Speaker 2: It's an incredibly detailed depiction, and it really doesn't fit
neatly into the usual interpretations of say, tribal warriors or
nature spirits or deities.
Speaker 1: No, it looks like something else entirely. Then there's the
communion rose, right, this recurring symbol.
Speaker 2: Yes, the communion rose appears thousands of times across the site.
It has a very distinctive flower like shape, often with symmetrical,
spiraling or concentric patterns radiating outwards. Now, its exact meaning
is lost to history obviously.
Speaker 1: So what are the standard theories.
Speaker 2: Traditional theories suggest it's maybe a religious symbol, perhaps representing
the sun, or maybe it's a complex representation of the
movement of the stars in the night sky logical possibilities.
But from an ancient astronaut perspective it takes on a
very different interpretation. It's seen as possibly representing the vessel
that brought these helmeted figures, a twirling spin ship in
the sky, suggesting beings coming from other worlds. The radial
symmetry and the dynamic appearance, you have to admit, lend
themselves quite compellingly to that interpretation.
Speaker 1: A twirling spinning ship. That's a powerful image. And I
think there's also a star symbol.
Speaker 3: Yeah.
Speaker 2: Further reinforcing this idea is the frequent appearance of a
five pointed star, not just as a simple dot, but
sometimes depicted radiating lines like energy, which in this specific
context is often interpreted as representing energy from the stars
or maybe even star beings. Themselves coming to this place.
Speaker 1: Okay, So if you put these elements together, the helmeted spaceman,
the possible spinning ship, the star energy, the ancient astronaut
theory basically proposes that these carvings aren't just art or
symbols exactly.
Speaker 2: They see it as a kind of newspaper documenting a
historical event, a literal pictorial record saying what saying. Essentially,
this object was in the sky above us at some point,
and the spaceman figure came down and maybe met.
Speaker 3: The Communion people.
Speaker 2: This perspective rat shifts our understanding of ancient art. It
moves it from purely symbolic or religious to.
Speaker 1: A potentially historical documentation of something extraordinary.
Speaker 2: Precisely, it makes you ask, what if the art of
ancient peoples was not just symbolic but a literal attempt
to record encounters that defy.
Speaker 3: Our modern understanding? And how do we.
Speaker 2: Differentiate between myth, religion and potential eyewitness accounts in the
distant past, Especially when our modern interpretations can be so
easily influenced by our own scientific knowledge and cultural biases.
Speaker 1: It's a profound challenge, isn't it? To our preconceived notions
of what constitutes ancient history. How do we read these
messages without imposing our own worldview.
Speaker 3: It's a huge challenge.
Speaker 2: And to connect this even further, let's look at the
ancient stories from the nearby Sussau Valley, specifically the legend
that the city of Turin, a major regional capital even today,
h was supposedly founded by faith On, a character we
know from Greek mythology, who, according to local legend, came
to Earth from the stars.
Speaker 1: faithOn, son of the sun god Helios Rite, the one
who drove the sun chariot.
Speaker 3: That's the one.
Speaker 2: The myth is incredibly rich in detail, a tragic but
also transformative tale. In the standard Greek version, faithOn, trying
to prove he's Helios's son, demands to drive his father's
fiery chariot across the sky. He loses control, scorches the earth,
and Zeus strikes.
Speaker 1: Him down right, a cautionary tale.
Speaker 2: But in the Susa Valley legends, there's this unique local twist.
Fathson descended to Earth in a fiery chariot, perhaps crashing
into Mount Muzina, that same enigmatic mountain near Valcmonica.
Speaker 1: Crashing near the carvings interesting.
Speaker 2: And crucially, this isn't just a destructive event in the
local lore. It also led to something fortuitous because faithOn
in this version brought gifts to this place, gifts like
what he possessed, great skills as a metallurgist, and supposedly
taught these advanced techniques like metalworking to the local people,
effectively kickstarting their technological deve.
Speaker 1: So not just a visitor from the sky, but a
benefactor who brought advanced knowledge and technology. Metallurgy would have
been absolutely revolutionary back then.
Speaker 2: Game changing.
Speaker 1: This sounds remarkably like what ancient astronaut theorists propose when
they interpret these kinds of myths, doesn't.
Speaker 2: It really does, As researcher David Childress puts it quite directly,
when we look at myths such as the myth of Fathon,
here is really the story of a UFO landing on
a mountain and interacting.
Speaker 3: With the locals.
Speaker 2: It's drawing a direct line between ancient narrative and a
modern interpretation of non terrestrial contact.
Speaker 1: And William Henry, who studies.
Speaker 2: These connections, Yes, Henry explicitly links this myth directly back
to Valclmonica. He suggests that what the ancient artists etching
those spacemen were trying to portray is something that he
actually saw in the sky, something coming out of the heavens.
Speaker 1: Wow.
Speaker 2: The correlation between these two sites relatively close geographically, and
their shared narrative elements celestial visitors bringing knowledge, it's highly suggestive,
you have to admit.
Speaker 1: It forces us again to reconsider how we interpret ancient myths.
Are they pure fantasy, spiritual allegory, or perhaps distorted memories
of real events, maybe cloaked in the language of gods
and heroes to make them understandable back then.
Speaker 2: Could advanced visitors explain sudden leaps and technological knowledge like
metallurgy in early civilizations? The patterns seem to demand we
at least consider a broader interpretation than just myth.
Speaker 1: It's a compelling argument, especially when you start seeing these
kinds of patterns repeat across different cultures and continents, seemingly
transcending geographical boundaries.
Speaker 2: Which brings us to our next and perhaps most extraordinary leap.
Speaker 1: Yeah, let's take that leap now literally across oceans, to
a truly mind bending enigma that challenges everything we thought
we knew about ancient travel the Gosford Glyffs. Okay, we're
transporting everyone listening all the way to the Brisbane Water
National Park in New South Wales, Australia, and hidden there
you'll find two massive eight foot high walls covered with
over three hundred ancient carvings. It's an impressive site, tucked
away in a pretty remote area.
Speaker 2: And what's truly astonishing about these carvings, the absolute core
of the enigma is that they do not resemble indigenous artwork,
but Egyptian hieroglyphs.
Speaker 1: Gyptian hieroglyphs in Australia exactly.
Speaker 2: This immediately presents a profound, almost unbelievable historical anomaly. How
could Egyptian hieroglyphs dating back thousands of years appear on
the Australian continent, thousands upon thousands of miles from the
Nile Valley, long before any recorded European discovery of Australia.
Speaker 1: It just completely defies conventional historical timelines, right and what
we thought were the limits of ancient seafaring.
Speaker 3: Absolutely, it's a massive question mark.
Speaker 1: That's the million dollar question, isn't it. And the mystery
only got deeper when in the twenty first century. An
Egyptologist named Ray Johnson undertook the incredibly painstaking work of
deciphering these.
Speaker 2: Texts, and what he revealed was nothing short of astonishing.
According to his translation, the carvings detailed the burial site
of a figure named Lord Neffertreu, identified as a member
of the Egyptian royal family, who, according to the glyphs themselves,
died in that area sometime between twenty six thirty seven
and twenty six fourteen BC.
Speaker 1: Wait gives a name and dates a specific.
Speaker 2: Person, a name, a title, a time frame, and a
cause of death. This isn't just a few random symbols
scattered around. It's presented as a coherent, detailed narrative, a
historical record, seemingly of an Egyptian prince's journey and tragic
demise in Australia. It's like finding a secret diary written
by someone who, according to our history books, simply couldn't
have been there.
Speaker 1: Unbelievable. Has anyone else looked at this? Yes?
Speaker 2: In twenty sixteen, Georgia Tucalos, who many listeners will know
from ancient astronaut theory discussions, visited the site with another
theorist Evan Strong. They got a first hand look and
discussed the implications.
Speaker 1: And what did the glyphs say happen?
Speaker 2: According to Johnson's translation, that they discussed. One panel specifically
describes two brothers, two princes, coming here from Egypt. They
embarked on the perilous journey, were shipwrecked, and tragically one
died from a snake bite. He was then interred here,
buried in Australia.
Speaker 1: Wow. And the other panels other.
Speaker 2: Walls apparently contain a mixture of symbols, which Johnson described
as having a philosophical astrophysic style, suggesting they weren't just
recording history, but maybe also ancient inquiries into cosmology, existence,
Humanity's placed in the stars. Sort of esoteric stuff.
Speaker 1: Okay, but how reliable is the translation?
Speaker 2: That's key crucially for verification. Johnson's translations were apparently sent
to the Cairo library. There, doctor Abu Diagazi, a respected authority,
reportedly confirmed they were indeed proto.
Speaker 1: Egyptian, proto Egyptian meaning.
Speaker 2: An earlier, more pictorial form of the language, predating the
highly formalized hieroglyphs we usually see from later dynasties. This
actually aligns perfectly with the extremely ancient dating suggested.
Speaker 1: Proto Egyptian and the estimated age of these cliphs based
on that form is about forty six hundred years old.
Speaker 3: Four thousand, six hundred years.
Speaker 1: This just blows my mind. It isn't a modern hoax.
It doesn't seem to be a colonial era prank. It
appears to be ancient, verified history written in stone halfway
around the world from Egypt. It forces you to ask,
how how could ancient Egyptians millennia go have traveled halfway
across the globe to Australia. What does this imply about
ancient maritime capabilities, about the interconnectedness of early human civilizations
that our current history books just haven't accounted for. It
completely upends our understanding of early exploration and cultural exchange.
Speaker 2: It certainly challenges the conventional timeline and the scope of
ancient navigation. I mean, the sheer distance involved over seventy
five hundred miles as the crow flies, probably much more
by sea, and the kind of technology required for such
a voyage are staggering. It leads many to question how
such a feat was even possible without perhaps some form
of advanced knowledge or assistance, maybe even non terrestrial inspiration.
Speaker 1: Or it forces us to reevaluate what we thought was
the absolute peak of ancient seafaring technology. Maybe they were
capable of far more than we give them credit.
Speaker 3: For, or maybe they had help.
Speaker 1: And among these gosp for glyphs, there's this one specific,
really striking carving that's been nicknamed the Ufo glyph. You
look at it, and it's an undeniable visual anomaly.
Speaker 3: Yeah, it really stands out.
Speaker 1: It definitely has the classic Ufo shape, you know, disc shaped,
often with a distinct dome on top, and this one
has rays or whatever you want to call it coming
out from the undersides, suggesting maybe light or energy or propulsion.
It just looks dramatically different from the other more conventional
Egyptian symbols around it.
Speaker 3: It really does jump out at you. Now.
Speaker 2: Some might try to explain it away, suggesting maybe it's
just a stylized piece of jewelry like a pectoral, or
perhaps a variant of the sun disk symbol or some
other known element from Egyptian iconography.
Speaker 1: Right, try to fit it into the existing boxes exactly.
Speaker 2: But the observation made by those who've studied it closely
is that it's a completely different symbol that's upside down,
and it really doesn't quite fit in its specific form.
In its context surrounded by proto Egyptian script make it
unique within the known canon of Egyptian higher glyphs. It
seems truly anomalous.
Speaker 1: That strengthens the argument, doesn't it that it represents something unique,
something perhaps witnessed directly by the people who carved it,
rather than just a standard symbol they brought with them.
The distinct departure from known symbolism is what makes it
so compelling.
Speaker 2: So okay, let's assume for a moment the Egyptians did
somehow manage to make it all the way to Australia,
defying incredible odds. The next big question is why what
would possibly motivate them to undertake such a dangerous, likely
multi year journey.
Speaker 1: Yeah, it wouldn't be for tourism, hardly.
Speaker 2: The prevailing theory among those who accept the glyph's authenticity
is that they weren't just exploring randomly. They were specifically
looking for esoteric wisdom, wisdom from whom, specifically from the Aboriginals,
who are of course recognized as one of the world's
oldest continuous cultures holding incredibly deep spiritual knowledge passed down
through generations.
Speaker 1: So the Egyptians, with all their knowledge, were seeking wisdom
from the Aboriginal Australians. That's fascinating.
Speaker 2: It suggests a rich, potentially reciprocal cultural exchange, and this
is where the story becomes even more compelling. Both cultures,
the ancient Egyptians and the Aboriginal peoples of Australia, apparently
share stories about their arrival and about their visits long
before Europeans had arrived here.
Speaker 1: Aboriginal stories mentioned visitors from the sea.
Speaker 2: Yes, Aboriginal oral traditions describe people who came by the
sea and shared knowledge and wisdom and technology. This points
towards a possible reciprocal exchange, perhaps built on the same
similar beliefs and a profound spiritual connection to the sky
world that both cultures seem to have shared.
Speaker 1: The shared fascination with the heavens exactly.
Speaker 2: That shared cosmology that focus on celestial phenomena and beings
could have provided fertile ground for the exchange of esoteric
wisdom and understanding. It might have been the driving force
behind such an incredible journey.
Speaker 1: And this isn't just about oral traditions or interpreting glyphs, though,
Is that there's actual material evidence suggesting this exchange.
Speaker 2: Yes, and this is perhaps the most compelling part. Actual
boomerangs made from ironberg from here, meaning wood native to
Australia have reportedly been discovered in the last Pyramids in Egypt.
Speaker 1: Wait, actual Australian boomerangs in Egyptian tombs.
Speaker 3: Think about that.
Speaker 2: An iconic Aboriginal tool manufactured in Australia from local wood
found thousands of miles away, preserved in an Egyptian pharaoh's
tomb complex from that era.
Speaker 1: That's incredible physical proof.
Speaker 3: It's hard evidence.
Speaker 2: And perhaps even more remarkably, there are Egyptian higherglyphs from
the period depicting blackfellows throwing the boomerangs to take out
the ducks and the geese.
Speaker 1: They drew pictures of Aboriginal people hunting with.
Speaker 2: Boomerangs apparently, So that's incredibly specific and powerful visual proof
of interaction. It shows not just objects being exchanged, but
cultural practices being observed and recorded by the Egyptians. It's
like a cross cultural snapshot frozen in time.
Speaker 1: Wow, it absolutely is. These aren't abstract concepts or vague
interpretations anymore. These are tangible artifacts and visual records that
seem to provide really strong evidence of ancient contact between
these incredibly distant cultures.
Speaker 2: As one researcher involved in this points out, with pretty
undeniable logic, why would they paint us and carve us
on their walls if they didn't come here, good point,
and if that meeting and relationship was not significant, they
wouldn't have carved it. It must have been profoundly important
to them to warrant such meticulous documentation, both in Australia
and back in Egypt.
Speaker 1: It really makes you consider what invaluable knowledge, with spiritual insights,
maybe even what technological advancements might have been exchanged between
these distant peoples, long long before our official recorded history
even begins.
Speaker 2: Could that shared fast nation with the sky world with
mysteries beyond the earth have been the real catalyst for
these incredible journeys and this unexpected cultural fusion, leaving these
tantalizing clues for us to rediscover thousands of years later.
Speaker 1: It's a powerful thought. It suggests a much richer, far
more interconnected ancient world than we typically imagine a world
where the boundaries of continents and maybe even the boundaries
of known human capabilities were far more fluid than our
current history books described.
Speaker 2: So as we kind of bring this deep dive towards
a close, let's just take a moment to pull together
these incredible threads we've explored today.
Speaker 1: Yeah, let's recap. We started with Leonardo da Vinci, right,
his hidden messages, possibly embedded in Renaissance masterpieces, may be
influenced by his own enigmatic personal encounters with what seemed
like non human entities.
Speaker 2: Then we jump back centuries to the ancient rock carvings
of val Camonica in Italy, depicting those spacemen and potential
celestial vessels, challenging our view of ancient art as purely
somembolic and suggesting maybe a pictorial record of actual encounters.
Speaker 1: And finally we landed on the truly astonishing Egyptian hieroglyphs
found in Australia, the Gosford Glyphs, pointing towards an almost
unbelievable intercontinental exchange of wisdom, technology, and perhaps even more
profound connections that just smash conventional historical timelines.
Speaker 2: And what really links all these seemingly disparate points in
time and geography. I think is that persistent human drive
to record the extraordinary. Yeah, Whether it's through the refined
brushstrokes of a master artist subtly embedding a secret or
the rugged etchings on a mountain wall depicting a visitor
from the sky, or meticulous carvings on a sacred cliff
face chronicling a transcontinental journey.
Speaker 1: Humanity has always sought to capture what it perceived as significant,
as outside the norm.
Speaker 2: And in every single instance we looked at these ancient
artistic anomalies, they invite us, no, they compel us to
look closer, to question our assumptions, to consider possibilities far
beyond the conventional narratives we're usually taught.
Speaker 1: It makes you think about the true scope of human history,
doesn't it, and maybe history beyond just the human It.
Speaker 2: Really does make you think about our own lives too,
the stories we tell, the things we choose to document,
the layers of meaning we might consciously or unconsciously embed
for future generations. These aren't just obscure historical curiosities tucked
away in books or museums.
Speaker 1: Oh, they feel alive. They feel like echoes of a
past that might be far more complex, far more thrilling,
and yes, maybe even more otherworldly than we've ever dared
to imagine. Yeah, it forces us to confront the potential
limitations of our current understanding and just embrace the possibility
of a much grander narrative.
Speaker 2: It's a really compelling reminder that the story of our
past is never truly finished. It's constantly being revised, constantly
being expanded as new tools, new perspectives, new discoveries come
to light. We have to stay open to the idea
that what we currently believe to be solid fact is
simply the current understanding, just a snapshot in time. The
very act of questioning and re examining these ancient mysteries
is in itself a testament to our ongoing evolution as
observers and interpreters of history, and.
Speaker 1: That leads us, i think, to a final provocative thought
for all of you listening tom all over as you
go about your week. As we continue to develop these
incredible new technologies, refine our perspectives, get better at seeing
what other hidden dimensions or completely untold histories are just
waiting to be revealed, lurking in the artifacts and stories
we think we already know so well. What if the
most profound secrets of our past aren't actually lost to
the sands of time at all, but are merely awaiting
our ability to truly see them. Perhaps they've been hiding
in plain sight all along, just waiting for the right
pair of eyes, or maybe the right algorithm, the right scanner,
to finally unlock them.
Speaker 2: It certainly feels like we've only just begun to scratch
the surface of these ancient enigmas. There's likely so much
more waiting to be found.
Speaker 1: Definitely feels that way, Well more to explore