WEBVTT

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<v Speaker 1>Welcome. This is Marsha for Radio I, and today I

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<v Speaker 1>will be reading National Geographic Magazine dated January twenty twenty six,

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<v Speaker 1>which is donated by the publisher as a reminder. RADIOI

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<v Speaker 1>is a reading service intended for people who are blind

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<v Speaker 1>or have other disabilities that make it difficult to read

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<v Speaker 1>printed material. Please join me now for the continuation of

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<v Speaker 1>the article I began last time, entitled how to Build

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<v Speaker 1>the Perfect Hike by Gloria Lieu. Long straightaways with infrequent

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<v Speaker 1>turns can be problematic, he says, because people get anxious

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<v Speaker 1>when they're aware that they're moving in the opposite direction

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<v Speaker 1>of their objective. The trick is to keep hikers engaged

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<v Speaker 1>enough that they're convinced they're on the best route possible.

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<v Speaker 1>If you're fully imbursed in your environment, Talbot says, you're

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<v Speaker 1>not looking for another way. Talbot grew up in Maine

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<v Speaker 1>and started building trails in college in Minnesota. When he

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<v Speaker 1>joined his school's conservation crew. He found his people there.

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<v Speaker 1>He recalled they were down to earth, happy and dirty.

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<v Speaker 1>He regularly slept outdoors in the campus arboretum, showing up

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<v Speaker 1>to class smelling like camp fire smoke. When Talbot graduated

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<v Speaker 1>in nineteen ninety eight, trail building wasn't an established career path.

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<v Speaker 1>Virtually no one was willing to pay a living wage

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<v Speaker 1>to build trails, he says. Talbot enrolled in a programme

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<v Speaker 1>run by AmeriCorps and the Student Conservation Association, which leads

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<v Speaker 1>youth trail building crews, and learned skills like rock work,

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<v Speaker 1>rigging and chainsaw operation. He fell in love with the challenge,

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<v Speaker 1>physicality and satisfaction of creating something that served people and

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<v Speaker 1>protected the environment. For several years after that, he lived

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<v Speaker 1>out of his truck and traveled around the country, training

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<v Speaker 1>crews for the SCA and working on projects four other

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<v Speaker 1>trail builders, in particular veteran New England trail builder Peter Jensen.

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<v Speaker 1>He learned the same hand building techniques used by the

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<v Speaker 1>Civilian Conservation Corps and Works Progress Administration during the trail

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<v Speaker 1>building boom of the nineteen thirties and forties, and was

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<v Speaker 1>inspired to likewise build trails and structures like stone staircases

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<v Speaker 1>and bridges that could last centuries. In two thousand four,

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<v Speaker 1>he launched his own business, which to day employs several

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<v Speaker 1>full time staff and a handful of subcontractors, and is

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<v Speaker 1>usually engaged in multiple projects throughout New England and Patagonia

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<v Speaker 1>to day's young trail builders enter a very different industry.

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<v Speaker 1>Global hiking tourism is projected to grow over seven percent

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<v Speaker 1>a year through twenty thirty three, according to the market

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<v Speaker 1>research firm Data Intello, driven by the increasing popularity of

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<v Speaker 1>adventure and wellness based travel. The worldwide demand for professionally

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<v Speaker 1>built sustainable trails has just skyrocketed, says Dawn Packard, former

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<v Speaker 1>president of the Professional Trail Builders Association, whose one hundred

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<v Speaker 1>forty plus member companies represent twenty to thirty percent of

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<v Speaker 1>the global trail building industry by its estimate. Talbot is

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<v Speaker 1>a former PTBA president. People seeking more ways to get

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<v Speaker 1>outside during the pandemic may have played a factor. The

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<v Speaker 1>number of companies in the PTBA has grown by more

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<v Speaker 1>than forty percent in the past six years, while revenue

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<v Speaker 1>has grown three hundred and fifty percent to just over

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<v Speaker 1>two hundred million dollars according to a recent member survey.

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<v Speaker 1>Communities have come to see trails as cost effective infrastructure

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<v Speaker 1>in the past decade, says Colorado trail builder Scott Linnenberger.

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<v Speaker 1>A new municipal sewer line might cost thirty million dollars,

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<v Speaker 1>for example, compared to a five million dollar estimate to

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<v Speaker 1>build Bailey's, an eighty eight mile mountain bike trail network

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<v Speaker 1>outside of Athens, Ohio that's projected to generate over twenty

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<v Speaker 1>seven million dollars in taxes and tourist spending in a decade.

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<v Speaker 1>Most new routes being designed today are mountain bike or

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<v Speaker 1>multi use trails, often built with excavators and dozers. But

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<v Speaker 1>when a project is in a designated wilderness area in

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<v Speaker 1>the US, which is which in most instances prohibits not

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<v Speaker 1>only motorized access but also motorized tools, or in a

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<v Speaker 1>remote back country location like Alaska and Patagonia, it requires

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<v Speaker 1>someone like Talbot, who specializes in hand built backcountry trails.

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<v Speaker 1>It's difficult for the average highat hiker to grasp how

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<v Speaker 1>much work goes into any trail, but hand building in

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<v Speaker 1>a wilderness area demands a level of effort that can

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<v Speaker 1>seem practically paleolithic. Consider the task of drilling a hole

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<v Speaker 1>through rock without a power tool. Tailbot must line up

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<v Speaker 1>a drill bit on a rock, hit it with a hammer,

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<v Speaker 1>rotated a quarter turn, and hit it again, over and over.

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<v Speaker 1>It takes an hour to drill through an inch of

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<v Speaker 1>Sierra granite, and a crew once spent two full weeks

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<v Speaker 1>in California's john Mere Wilderness using starbits to drill dozens

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<v Speaker 1>of three inch deep holes so they could insert feather wedges,

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<v Speaker 1>two L shaped shims with a wedge driven between them

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<v Speaker 1>to split the rock. For all this work, a trail

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<v Speaker 1>builder usually remains anonymous. You go out in the woods

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<v Speaker 1>to gather material and you build something you hope people

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<v Speaker 1>don't even notice. Talbot says, it's in service to the environment.

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<v Speaker 1>You don't sign your name. It's one of the most

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<v Speaker 1>beautiful things I could imagine doing. On the best trails,

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<v Speaker 1>hikers enter an almost imperceptible flow state as they are

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<v Speaker 1>pulled deeper into the natural world. After a few days

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<v Speaker 1>shooting grades in El Chatin, Talbot and Bittner took me

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<v Speaker 1>backpacking on the trails they designed in Perito Moreno to

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<v Speaker 1>experience that feeling firsthand. On the Big Loop, a ten

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<v Speaker 1>point five mile circumnavigation of the Bel Grano Peninsula, Talbot

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<v Speaker 1>pointed to how the trail contoured the mountain side, swooping

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<v Speaker 1>in and out of micro ungulations in the terrain to

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<v Speaker 1>turn users and thus shift their perspective between the snowy tigers,

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<v Speaker 1>striped mountains in the distance and glowing grasses in the foreground.

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<v Speaker 1>If there isn't continuous variation in what we're doing, we

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<v Speaker 1>tend to lose gratitude for it. Talbot explained, changing a

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<v Speaker 1>user's picture like this leads to a continuous renewal of

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<v Speaker 1>the senses, even in places where massive views abound. He'll

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<v Speaker 1>shift a hiker's attention between small, up close details and

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<v Speaker 1>grander pistas. Whimsy or play is another element of a

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<v Speaker 1>well designed track. When out, Talbot helps fellow New England

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<v Speaker 1>trail builder Erin Amadon Reroot, a popular and badly eroded

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<v Speaker 1>trail in New Hampshire. The pair wove the trail to

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<v Speaker 1>every beautiful glacial erratic that we could possibly tie into,

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<v Speaker 1>Talbot says, referring to the boulders strewed about the landscape

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<v Speaker 1>the prehistoric movement of glaciers. They also anchored turns with

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<v Speaker 1>rocks so that hikers couldn't see what was coming around

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<v Speaker 1>the bend, and in one spot, Talbot used boulders to

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<v Speaker 1>construct what trail builders call a gateway when a trail

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<v Speaker 1>threads between two obstacles like a pair of trees. Gateways

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<v Speaker 1>make hikers feel as if they're walking through a portal

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<v Speaker 1>passing from one experience to another, says Talbot. Exciting and

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<v Speaker 1>engaging hikers like this makes them forget they're even walking

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<v Speaker 1>a trail. They think they're just meandering through the woods.

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<v Speaker 1>Amadon says, conversely, hikers rebel against a poorly designed trail.

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<v Speaker 1>On my third day in ill Chatin, i hiked the

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<v Speaker 1>fourteen mile round trip from town to the Laguna Delos

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<v Speaker 1>Terrace on my own. For the first time, I noticed

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<v Speaker 1>ways that the trail influenced my experience. How for example,

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<v Speaker 1>the wood in case steps had an awkward rhythm, as

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<v Speaker 1>Talbot had pointed out, they were astride and a half

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<v Speaker 1>long instead of once dried, and how hikers had thus

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<v Speaker 1>flowed like water around them, widening the trail on either

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<v Speaker 1>side and providing feedback without realizing it. Talbot was also

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<v Speaker 1>right about the energy shift in the final one point

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<v Speaker 1>two miles, when my scenic hike became a slog. There

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<v Speaker 1>were beautiful views of the valley below, but my eyes

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<v Speaker 1>were trained on my feet. Yet the summit was spectacular,

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<v Speaker 1>and the hikers nestled among the rocks like concertgoers seemed

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<v Speaker 1>as satisfied as I felt. The murmur of different languages

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<v Speaker 1>filled the air as people took selfies, poured mate from Thermoses,

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<v Speaker 1>or just stared at the cracked face of Mount Fitzroy

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<v Speaker 1>in quiet contemplation. One young woman was crying. Talbot, like

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<v Speaker 1>most trail builders, is motivated by a deep love for

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<v Speaker 1>the outdoors and the belief that it can heal and

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<v Speaker 1>transform us. He hopes that bringing more of us to

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<v Speaker 1>wild places will persuade us to save them. Connecting people

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<v Speaker 1>with nature could solve a lot of humanity's problems, he says.

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<v Speaker 1>But a good trail does more and bring people into nature.

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<v Speaker 1>It protects nature from us. The same hikers who were

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<v Speaker 1>overcome by the sublime beauty of the lake also told

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<v Speaker 1>me that theoretically they would prefer to walk the steeper, eroded,

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<v Speaker 1>and more direct trail than a longer, but more moderately

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<v Speaker 1>graded reroute. Someone seemed some seem to have mis interpreted

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<v Speaker 1>what they were experiencing, saying they preferred the raw and

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<v Speaker 1>natural character of the existing trail over what they envisioned

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<v Speaker 1>as a more manicured redesign. This is a misconception that

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<v Speaker 1>many hikers have about sustainable trails, and it makes Talbot

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<v Speaker 1>uncharacteristically irritated. Anyone who thinks that that eroded gully is natural,

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<v Speaker 1>that's a human made travesty, he tells me as we

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<v Speaker 1>drive back to El Chatin from Perito Moreno, most people

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<v Speaker 1>don't think about trails. They don't know what's natural. That

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<v Speaker 1>may be because unsustainable trails still vastly outnumber sustainable ones.

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<v Speaker 1>While scouting for the Laguna del Trice redesigned one day,

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<v Speaker 1>we descended a slope adjacent and identical in aspect to

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<v Speaker 1>the damaged mountain side. This is probably what the mountain

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<v Speaker 1>originally looked like, Talbot told me. Instead of being brown

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<v Speaker 1>and rock strewn like its beleaguered twin, the slope was

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<v Speaker 1>verdant and fuzzy, liketed in vegetation. The contrast was startling.

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<v Speaker 1>We are so habituated to the site of our own

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<v Speaker 1>damage to the land that we don't even recognize its

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<v Speaker 1>native state. After more than a week of tramping through

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<v Speaker 1>the woods, Talbot and Bitner unlocked a design for a

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<v Speaker 1>new trail, but it's unclear when their vision will come

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<v Speaker 1>to fruition. The project is now facing an obstacle that

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<v Speaker 1>even the most vestigious designer can't avoid politics. Last March,

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<v Speaker 1>while Tabot was wrapping of his scouting, community members protested

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<v Speaker 1>the APN's construction of a new all terrain vehicle trail

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<v Speaker 1>that led up to the foot of the problematic section

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<v Speaker 1>he had been tasked to solve. A court has since

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<v Speaker 1>halted all projects in the area until the ap N

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<v Speaker 1>completes the necessary environmental analysis and public input process. Even

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<v Speaker 1>once work is greenlit, the trail faces significant hurdles, namely

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<v Speaker 1>funding for construction and labor. Talbot's redesign sounds phenomenal, says

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<v Speaker 1>professional climber Rollo Garibalti, who led volunteers in a two

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<v Speaker 1>thousand eighty nine restoration of parts of the trail. But

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<v Speaker 1>trail work, more than anything, is hard work, he reminds me,

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<v Speaker 1>requiring lots and lots of hands. For now, the fate

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<v Speaker 1>of the embattled upward segment of Laguna Delo's trace remains unclear,

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<v Speaker 1>But having been with Talbot the day he figured out

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<v Speaker 1>the reroute, I can tell you what the trail could be.

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<v Speaker 1>The new track would begin by gently ascending through a

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<v Speaker 1>forest of old, widely spaced langa trees. About half a

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<v Speaker 1>mile in it would turn up hill around a small

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<v Speaker 1>rib in the terrain to reveal a sight that made

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<v Speaker 1>both Talbot and Bidner laugh in wonder when they found it,

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<v Speaker 1>a willowy waterfall framed between a pair of vertical rocks.

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<v Speaker 1>Here the trail would change tack and ascend gradually back

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<v Speaker 1>toward the old route, crossing three more waterfalls, and emerging

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<v Speaker 1>from the forest to sweeping views of the valley, where

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<v Speaker 1>hikers might enjoy that paradoxical comfort of feeling like a

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<v Speaker 1>small creature in a vast landscape. At this junction, hikers

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<v Speaker 1>would probably see the old, eroded trail for years to come,

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<v Speaker 1>But if this path is built, they could one day

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<v Speaker 1>make the pilgrimage up to the Laguna de Lustrace on

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<v Speaker 1>a route that no longer tears apart the land. They'd

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<v Speaker 1>continue to find awe or peace or a sense of

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<v Speaker 1>accomplishment or whatever else they came for along the way,

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<v Speaker 1>and the old wound would begin to close as the

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<v Speaker 1>mountain slowly heals the new rules of trail building. Professional

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<v Speaker 1>trail builders deploy their knowledge of psychology, geography, and geology

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<v Speaker 1>to lead highs on an immersive, ecologically friendly journey. Their

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<v Speaker 1>best routes feel as if they are part of the landscape.

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<v Speaker 1>Preserve the land. A sustainably built trail follows the contours

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<v Speaker 1>of the terrain to prevent erosion. Subtle dips and rises

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<v Speaker 1>on the path on a moderate grade insure water sheds

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<v Speaker 1>easily immerse the user. Using rocks and trees as anchor points,

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<v Speaker 1>helps signal turns and urges up hikers to stay on

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<v Speaker 1>the path. A designer uses those same materials for structures

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<v Speaker 1>like steers and bridges when needed keep hikers on their toes.

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<v Speaker 1>The best trails feed our desire for novelty. They'll alternate

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<v Speaker 1>between close up, intimate views and expansive vistas. It's even

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<v Speaker 1>better if the changes unfold gradually, allowing a user to

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<v Speaker 1>build anticipation for a grand reveal. Manage behavior wide climbing

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<v Speaker 1>urns are easier to navigate than tight and steep switchbacks.

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<v Speaker 1>They also discourage all users hikers, climb Himer's, bikers and

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<v Speaker 1>equestrians from cutting the trail. Next Decoding the Lost Scripts

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<v Speaker 1>of the Ancient World by Joshua Hammer. Across the Globe,

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<v Speaker 1>a race is underway to crack some of the last

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<v Speaker 1>mysterious forms of writing that have never been translated. Here's

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<v Speaker 1>how new technology and fresh breakthroughs might help scholars solve

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<v Speaker 1>the world's most vexing puzzles and rewrite history. The room

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<v Speaker 1>we are in is locked. It is windowless and lit

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<v Speaker 1>from above by a fluorescent bulb in the hallway outside.

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<v Speaker 1>Two stories beneath, the City of London attendance in dark

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<v Speaker 1>suits patrol silently, giving the scene an air of cinematic drama.

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<v Speaker 1>Where in the downtime Safety Deposits Center where the Iranian

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<v Speaker 1>British art collector Pombi's mahbub Bayan, direct keeper of one

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<v Speaker 1>of the world's great trobes of Near Eastern ancient art,

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<v Speaker 1>houses some of his more precious pieces under lock and key.

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<v Speaker 1>Sitting across from me at a small table, mah bu

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<v Speaker 1>Bayan reaches gingerly into a green plastic shopping bag from

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<v Speaker 1>Wytrous and Partners, the British supermarket chain. From it, he

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<v Speaker 1>produces a silver beaker covered with friezes long ago hammered

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<v Speaker 1>out in high relief. As he places the tea kettle

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<v Speaker 1>sized vessel on the table, I can see on it

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<v Speaker 1>the image of a helmeted, barrel chested man with a

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<v Speaker 1>long braided beard, his arms held outward in a gesture

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<v Speaker 1>of devotion. Mah bub Bayan emotions for me to take

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<v Speaker 1>a closer look. Can I pick it up? I ask him?

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<v Speaker 1>Of course, he replies. Neat Rows of engraved symbols wrap

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<v Speaker 1>around the object. Asterisks, triangles with antenna like appendages, hatch diamonds,

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<v Speaker 1>lightning bolts. As I hold the beaker to the light,

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<v Speaker 1>I catch a slight tremble in my hands. The metal

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<v Speaker 1>is so soft and pliable that I fear it will

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<v Speaker 1>break apart in my fingers. The beaker dates to the

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<v Speaker 1>early Bronze Age, meaning the craftsmen whoulously scratched these symbols

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<v Speaker 1>into silver did so roughly forty three hundred years ago.

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<v Speaker 1>What they all mean has been a riddle that's baffled

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<v Speaker 1>archaeologists and historians. The characters belonged to a system of

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<v Speaker 1>writing called linear Elamite, which took root between twenty seven

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<v Speaker 1>hundred and twenty three hundred BC in a peaceful kingdom

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<v Speaker 1>called Elam in what is now southwestern Iran. The Elamite

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<v Speaker 1>writing system endured for several hundred years before it was

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<v Speaker 1>swept aside by another script and lost to history. Then,

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<v Speaker 1>just over a century ago, French archaeologists excavating the Elamite

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<v Speaker 1>capital of Susa discovered nineteen inscriptions written in stone and clay.

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<v Speaker 1>The long sequences of signs clearly meant something, but what.

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<v Speaker 1>For decades, the philologists studying the symbols in a quest

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<v Speaker 1>to understand linear Elamite made little progress. For one big reason,

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<v Speaker 1>the corpus of written material consisted of only about forty inscriptions.

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<v Speaker 1>The code cracking researchers who piece together ancient languages generally

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<v Speaker 1>rely on an abundance of symbols to spot repetitions, patterns,

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<v Speaker 1>and signed clusters, the raw dead data that provide clues

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<v Speaker 1>to grammar, syntax, names, and places. One such scholar who

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<v Speaker 1>fell into the seemingly impossible mission of making sense of

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<v Speaker 1>linear Elamite was Francois des Sat, a French archaeologist whose

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<v Speaker 1>curiosity turned into a twenty year journey to decipher the

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<v Speaker 1>writing system. His recent headline making claims of success have

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<v Speaker 1>both galvanized public attention and incited skeptics. They've also underscored

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<v Speaker 1>the idea that we might be at a pivotal moment

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<v Speaker 1>in the study of these ancient scripts today, roughly a

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<v Speaker 1>dozen forms of writing remain undeciphered, and a new generation

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<v Speaker 1>of scholars as set forth, often with the aid of

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<v Speaker 1>new technology, to reveal the last secrets of the ancients.

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<v Speaker 1>Decipherers have used AI in recent years to locate arclical sites,

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<v Speaker 1>restore illegible texts, and analyze linguistic patterns to make inferences

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<v Speaker 1>about grammar and vocabulary. But while AI has sped up

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<v Speaker 1>the translations of languages and writings already known to a

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<v Speaker 1>handful of scholars, the technology has yet to demonstrate the

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<v Speaker 1>creativity needed to decode hitherto unknown scripts. Indeed, creativity is

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<v Speaker 1>what Dessett summoned when he set out to understand linear elamite.

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<v Speaker 1>His first conclusion was that he needed to find more

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<v Speaker 1>examples of the script. Around two thousand and four, he

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<v Speaker 1>heard about the mah Bu Bayan Collection, the stockpile of

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<v Speaker 1>Near Eastern treasures. The family claims had initially been acquired

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<v Speaker 1>by mah Bubayan's grandfather, a physician turned archaeologist named Benjamin Machbubayan.

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<v Speaker 1>The collection included ten silver vessels and fragments known as kunanki,

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<v Speaker 1>decorated with images and covered by linear elamite inscriptions. The

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<v Speaker 1>family has long maintained that Benjamin Mubabian uncovered the art

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<v Speaker 1>himself in a tomb in Campfurus in southwestern Iran. He

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<v Speaker 1>found them all in one place, cambiz Maubumbian told me,

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<v Speaker 1>and then he sent them all to Paris, where they

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<v Speaker 1>remained with relatives before making their way to London. But

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<v Speaker 1>experts have challenged the authenticity of the Kunanki. The family

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<v Speaker 1>has no documents proving their provenance. The mab Bubayans fled

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<v Speaker 1>Tehran just before the toppling of the Shah in nineteen

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<v Speaker 1>seventy nine and arrived in London, where they became prominent

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<v Speaker 1>art dealers. To say, eager to get his eyes on

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<v Speaker 1>what he imagined to be linear, Elamite reached out to

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<v Speaker 1>the mabu Bayans, who ignored his approaches for years. Then

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<v Speaker 1>a British museum curator they trusted made an introduction. In

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<v Speaker 1>twenty fifteen, the Kunanki, which had been stored in the

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<v Speaker 1>London vault, were delivered by a secure team to the

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<v Speaker 1>home of mom Bu Bayan's sister Roya, where to say,

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<v Speaker 1>it was at least permitted to inspect them. What to say,

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<v Speaker 1>found amazed him. Laid out before him, he could see

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<v Speaker 1>rows of symbols wrapping around beakers, cups, and fragments of

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<v Speaker 1>broken vessels. He was elated as he snapped hundreds of

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<v Speaker 1>photographs documenting everything, while suspecting he might never see the

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<v Speaker 1>artifacts again. He told me that he thought, maybe this

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<v Speaker 1>will be the last time I should get all the

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<v Speaker 1>information possible to say. Says that the visit to Roya

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<v Speaker 1>Mabubian's home has vastly increased the number of symbols available

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<v Speaker 1>to him, and he hoped that among the symbols he

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<v Speaker 1>might find the missing link he had yearned for, the

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<v Speaker 1>break that would allow him to solve one of archaeology's

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<v Speaker 1>most vexing puzzles. Every now and again, there are moments

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<v Speaker 1>when history seems to lift its veil and the secrets

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<v Speaker 1>of long lost scripts are freshly revealed. In the early

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<v Speaker 1>eighteen hundreds, the discovery of the famed Rosetta Stone ignited

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<v Speaker 1>a competition between england wishman Thomas Young and Frenchman Jean

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<v Speaker 1>Frecois Champollion to decrypt Egyptian hieroglyphs the sacred writing of

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<v Speaker 1>the Pharaohs. Three decades later, the excavation of twenty five

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<v Speaker 1>hundred year old riverside palaces in northern Iraq set off

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<v Speaker 1>a race between the Victorian scholars Henry Wallinson and Edward

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<v Speaker 1>Hinks too understand a Cyrio a Sirio Babylonian. Their break

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<v Speaker 1>through these captivated millions, stirred patriotic fervor, and made accessible

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<v Speaker 1>the science, medicine, history, mythology, and quotidian life of some

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<v Speaker 1>of the ancient ancient world's greatest civilizations. Deciphering ancient writing

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<v Speaker 1>reveals how people understood the world, organized their soco acieties,

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<v Speaker 1>and thought about love and death. The work reanimates the

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<v Speaker 1>voices of kings and ordinary citizens alike, exposing dreams, insecurities, obsessions,

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<v Speaker 1>and even humor. It makes the ancients human, and the

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<v Speaker 1>scholarship underway now to recover and decipher some of the

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<v Speaker 1>oldest and most mysterious writing is reshaping our view of

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<v Speaker 1>how languages spread, and, in the case of linear Elamite,

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<v Speaker 1>how early writing itself might have begun. Of course, the

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<v Speaker 1>scripts that remain undeciphered occupy that category for a reason.

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<v Speaker 1>They present extraordinary challenges. For instance, linguists have been working

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<v Speaker 1>for a century to decipher Rongorongo, a collection of glyphs

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<v Speaker 1>carved mostly into wood by the Rapa Nui people of

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<v Speaker 1>Easter Island. Success has eluded the experts. Similarly, the ancient

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<v Speaker 1>writing known as Etruscan, used from the seventh to the

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<v Speaker 1>first century VC and found inscribed on clay tablets in Italy,

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<v Speaker 1>has defied attempts to crack it for generations. But the

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<v Speaker 1>progress that is seemingly being made on several ancient systems,

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<v Speaker 1>among them a form of writing referred to as the

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<v Speaker 1>Indus script, a system of writing called linear a, and

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<v Speaker 1>certainly the advancements that Francois de Say captained on linear

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<v Speaker 1>elamite provide instructive insight on how new tools and fresh

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<v Speaker 1>ideas might soon reveal some of history's longest held secrets.

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<v Speaker 1>When Drisley morning in Chennai, India, the bustling capital of

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<v Speaker 1>the state of Tamil Nadu, I rode in an auto

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<v Speaker 1>rickshaw out along the Bay of Bengal, traveling past a

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<v Speaker 1>beach covered with wooden fishing boats and tin roofed shacks,

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<v Speaker 1>returned onto a side street and stopped before a yellow

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<v Speaker 1>concrete building marked the Indus Research Center. Inside I found

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<v Speaker 1>Sukamar Raja Gopal, a software engineer and amateur decipherer who

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<v Speaker 1>has been working for more than eighteen years on the

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<v Speaker 1>Indus Script. He was hunched over a pile of academic

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<v Speaker 1>papers immersed in what he calls my obsession. Raja Gopal

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<v Speaker 1>describes himself as an irrepressible problem solver. He was twenty

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<v Speaker 1>years into a software engineering career when he first grew

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<v Speaker 1>intrigued by the ancient script, joining a long line of

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<v Speaker 1>whitby decoders, professionals and amateurs alike who've tackled the Bronze

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<v Speaker 1>age script, perpetually optimistic that the critical break through is

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<v Speaker 1>right around the corner. Just last year, interest in the

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<v Speaker 1>long running project was given a major boost after the

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<v Speaker 1>Chief Minister of Tamil Nadu offered a one million dollar

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<v Speaker 1>prize to anyone who solved the mystery and could prove it.

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<v Speaker 1>Not surprisingly, the bounty has ratcheted up the stakes in

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<v Speaker 1>the hunt for solutions. Back in the nineteen twenties, when

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<v Speaker 1>archaeologists found the script, they recognized its importance right away.

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<v Speaker 1>Researchers have been working at two sites, Mohenjo Daro and

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<v Speaker 1>Harappa along the Indus River in what is now Pakistan,

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<v Speaker 1>when they located twenty four hundred small pieces of soapstone,

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<v Speaker 1>as well as a few bits of ivory and clay,

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<v Speaker 1>all engraved with what looked like both abstract characters and

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<v Speaker 1>recognizable objects, such as fil fish, water, buffalo, plants, and

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<v Speaker 1>human like stick figures. The British archaeologists leading the excavation,

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<v Speaker 1>Sir John Marshall, theorized that they were looking at evidence

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<v Speaker 1>of one of the world's first literate societies, the achievements

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<v Speaker 1>of which were, he wrote, far in advance of anything

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<v Speaker 1>to be found at that time in Babylon or on

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<v Speaker 1>the banks of the Nile. If Marshall suspected that he

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<v Speaker 1>was on the brink of unlocking something extraordinary, those hopes

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<v Speaker 1>eventually fizzled. The inscriptions on the soapstone seals are frustratingly

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<v Speaker 1>maddeningly short. Ninety percent of them consist of fewer than

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<v Speaker 1>four characters. The longest has only fourteen. What could you

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<v Speaker 1>possibly communicate with that? Asks Raja Gopal. In two thousand

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<v Speaker 1>and four, three noted scholars in the field published a

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<v Speaker 1>paper titled the Collapse of the indiscript Thesis The Myth

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<v Speaker 1>of a literate hareupon civilization. In it, they posited that

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<v Speaker 1>the signs say nothing at all. Most recently, the Indus

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<v Speaker 1>Research Center has become a gathering point for linguists and

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<v Speaker 1>a locusts of modern investigation into the script. Raja Gopal

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<v Speaker 1>began volunteering there in two thousand and nine. He had

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<v Speaker 1>always nurtured a deep admiration for the great philologists of

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<v Speaker 1>the past. If there were a shrine for Champollion, I

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<v Speaker 1>would be seen worshiping there, he told me, referring to

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<v Speaker 1>the decipher of hieroglyphics. Now he was working among Chapoleon's

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<v Speaker 1>intellectual descendants, including Iravatham Maha Divan, an Indian epigraphist who

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<v Speaker 1>helped establish the organization. Raja Gopal told me that Mahadevan,

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<v Speaker 1>who died in two thousand and eight, took him under

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<v Speaker 1>his wing. He converted what was a hobby in my

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<v Speaker 1>head into a formal discipline. In the nineteen seventies, Mahadevan,

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<v Speaker 1>along with a colleague named Osco Parpola, a professor of

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<v Speaker 1>indology at the University of Helsinki, compiled separate lists of

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<v Speaker 1>about four hundred unique signs from the end descript the

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<v Speaker 1>characters had been glimpsed on thousands of objects found across

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<v Speaker 1>half a dozen archaeological sites. Next, they tried to determine

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<v Speaker 1>what they were looking at. Philologists know that all systems

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<v Speaker 1>of writing fall into one of four categories. Some types

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<v Speaker 1>use alphabets, composed generally of twenty five to thirty five

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<v Speaker 1>signs denoting consonants and vowels that form words. Other writing

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<v Speaker 1>depends on what's called a syllabary, which is a symbol

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<v Speaker 1>used to represent a combination consonant vowel vowel consonant or

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<v Speaker 1>consonant vowel continent that comes together to form words. A

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<v Speaker 1>third form of writing is known as logo graphic Chinese,

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<v Speaker 1>for example, and is composed of a galaxy of unique signs,

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<v Speaker 1>often numbering in the high thousands, each standing for an

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<v Speaker 1>object and action or an idea. The final category includes

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<v Speaker 1>hybrid systems like hieroglyphics or Japanese that mix logograms and

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<v Speaker 1>a phonetic alphabet. If the Indus script was indeed real

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<v Speaker 1>writing and not random combination of characters, Mahadevan and Parpola

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<v Speaker 1>figured it likely belonged in the hybrid category, as a

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<v Speaker 1>mix of distinct word components. For phenomes, and logograms. This

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<v Speaker 1>concludes readings from National Geographic Magazine for today. Your reader

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<v Speaker 1>husband Marcia, thank you for listening, Keep on listening, and

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<v Speaker 1>have a great day.
