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<v Speaker 1>Welcome. This is Marcia for RADIOI, and today I will

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<v Speaker 1>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 Decoding the Lost

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<v Speaker 1>Scripts of the Ancient World by Joshua Hammer. Based on

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<v Speaker 1>what they knew of other ancient forms of writing, they

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<v Speaker 1>also theorized that the script could have been built upon

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<v Speaker 1>an underlying language that in some form might still be spoken.

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<v Speaker 1>This is one of the great tools used in the

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<v Speaker 1>detective work of ancient philology. Figure out the sounds that

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<v Speaker 1>the characters make, string them together, and you might conjure

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<v Speaker 1>up the meanings as well. By comparing scraps and pieces.

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<v Speaker 1>By triangulating what is known with what his mysterious, researchers

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<v Speaker 1>can inch their way toward clarity. After some hunting, Mahadevan

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<v Speaker 1>and Parpola agreed that the Indus Script was likely built

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<v Speaker 1>on Proto Davidian, a nascent form of language that many

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<v Speaker 1>philologists believe dominated the Indian sub continent. During the early

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<v Speaker 1>Bronze Age, the ancient language was lost, but vestiges remain

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<v Speaker 1>in modern Tamil and other Southern Indian tongues. Parpola then

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<v Speaker 1>zeroed in on the most prevalent sign in the script,

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<v Speaker 1>a fish like character that the professor believed was a

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<v Speaker 1>logogram in Tamil. Parpola knew the word for fish is min,

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<v Speaker 1>but min has a second meaning star. All early scripts

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<v Speaker 1>had the reebis principle. Parpola, now retired and living in Helsinki,

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<v Speaker 1>told me using a pictogram or symbol for its sound,

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<v Speaker 1>not its meaning. For example, in the world's first writing system,

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<v Speaker 1>Sumerian cuneiform scribes combined the pictogram for barley, which has

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<v Speaker 1>the phonetic value she, with the symbol for milk, which

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<v Speaker 1>connotes she the sound ga to make shiga, which has

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<v Speaker 1>nothing to do with barley or milk, but meant pleasing.

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<v Speaker 1>Following these principles, Parpola, over several years in the late

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<v Speaker 1>nineteen sixties and early seventies, searched for other clues. He

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<v Speaker 1>found in the indiscript another symbol that showed a fish

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<v Speaker 1>divided down the middle by a vertical line. The line

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<v Speaker 1>he proposed stood for passu, the ancient Tamil word for half,

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<v Speaker 1>but Passu also means green. If the fish connoted min,

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<v Speaker 1>he now had Aribis Pasu min or green star, which

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<v Speaker 1>he took to mean the planet Mercury. Pushing further, Parpola

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<v Speaker 1>found what he thinks are ribuses for Saturn, Venus and

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<v Speaker 1>other stars. He also located what he believes were a

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<v Speaker 1>few purely phonetic signs. What did it all signify? Because

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<v Speaker 1>the inscriptions are so short, Parpola believes that they contained

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<v Speaker 1>no grammar, no full sentences, no elements of real writing.

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<v Speaker 1>He posits that they never were intended to communicate messages,

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<v Speaker 1>but rather were used as the markers of citizens who

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<v Speaker 1>were named after celestial objects, like many rulers of the age,

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<v Speaker 1>including those in Assyria and Babylonia. Of course, decoding works

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<v Speaker 1>like this that rely on interpretation and speculation prompts disagreement.

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<v Speaker 1>Mahadavan parted ways with his colleague on many of Parpola's readings,

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<v Speaker 1>beginning with the fish sign, which Mahadivan believed had nothing

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<v Speaker 1>to do with astronomy. It was he contended the sign

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<v Speaker 1>for a sea nymph, a creature prevalent in Indian mythology,

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<v Speaker 1>but the brevity of the inscriptions and the uncertainty about

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<v Speaker 1>the language meant that neither scholar could say he solved

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<v Speaker 1>the riddle. Raja Gopal, for one, thought that Parpolo was

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<v Speaker 1>on the right track. A few years ago, he began

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<v Speaker 1>to fixate on one seal that consisted of a row

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<v Speaker 1>of five rotating swastikas, a sacred symbol in many ancient religions,

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<v Speaker 1>followed by two parallel vertical lines. Parpola had claimed that

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<v Speaker 1>the double line formed part of a rebus for the

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<v Speaker 1>planet Venus. When combined with the fish, he said it

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<v Speaker 1>made vinin min or bright star, but the swastikas remained

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<v Speaker 1>an enigma. Raja Gopal told me he was consumed by

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<v Speaker 1>the mystery of the sequence and thought about it constantly.

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<v Speaker 1>I was going down a rabbit hole. One morning in

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<v Speaker 1>November twenty twenty, while sitting in his home office in Chennai,

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<v Speaker 1>he chanced upon a Nassau website that traced the trajectory

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<v Speaker 1>of Venus as it moved across the morning and evening skies.

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<v Speaker 1>He stopped and stared at his computer screen. The double

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<v Speaker 1>snakelike pattern formed by the planet's path looked just like

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<v Speaker 1>the swastika he had been studying. I got the goosebumps,

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<v Speaker 1>he says, with that he was often running The inscription

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<v Speaker 1>he theorized had to be a celestial omen signifying the

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<v Speaker 1>completion of Venus's eight year cycle as it orbited the

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<v Speaker 1>Sun and returned to the same position in the sky.

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<v Speaker 1>He looked for similar astronomical depictions. Another seal he proposed

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<v Speaker 1>showed the alignment of three planets. Half of the seals

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<v Speaker 1>he now believes identify celestial events. Raja Gopal theorizes that

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<v Speaker 1>they were written so that Indus valley priests could dispatch

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<v Speaker 1>these seals to villages to provide guidance for the timing

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<v Speaker 1>of crop plantings and harvest festivals. Raja Gopal now claims

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<v Speaker 1>to have deciphered with confidence seventy seals out of forty

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<v Speaker 1>two hundred. He finds it difficult to pull himself away.

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<v Speaker 1>I will take some seal and keep obsessing, and somehow

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<v Speaker 1>I get an idea and push it forward. He told

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<v Speaker 1>me many times, I hit a dead end and then

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<v Speaker 1>I got to spin the next hypothesis and try again.

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<v Speaker 1>Not everybody accepts his interpretations and The public attention around

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<v Speaker 1>raj Rajagopal's progress has only highlighted how tricky this work

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<v Speaker 1>can be. At a twenty twenty three Indescript conference in Chennai,

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<v Speaker 1>a fellow decipherer stood up during his lecture and ridiculed him.

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<v Speaker 1>Another amateur scholar in Chennai, Sumangali Kidambi ven Katisan, says

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<v Speaker 1>that Raja Kobal's celestial theory is misguided and that most

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<v Speaker 1>seals were simply shipping instructions bronze age versions of d

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<v Speaker 1>h L waybills. Van Katissan says he has found his

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<v Speaker 1>own Dravidian based rebuses, which are nothing like Rajagopal's. One

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<v Speaker 1>inscription Van Keitasan told me consists of a combination of

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<v Speaker 1>logograms and phonetic signs and refers to the highlands of Afghanistan.

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<v Speaker 1>He translates it to read very clever trapper velapon of

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<v Speaker 1>the Triple Mountain sends by boat along the Big River

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<v Speaker 1>by care to the tiller of land. The range of

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<v Speaker 1>disagreement in the volume of theories underscore the intensity of

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<v Speaker 1>the enduring debate, as well as the idea that would

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<v Speaker 1>be code breakers may never reach a consensus. Even the

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<v Speaker 1>Dravidian hypothesis itself is challenged. Some scholars argue that the

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<v Speaker 1>underlying language of the Indus script is Sanskrit, the basis

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<v Speaker 1>of Hindi. One decipher claimed to have identified ribuses for

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<v Speaker 1>the gods Shiva and Indra mentioned in the ancient Sans

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<v Speaker 1>religious texts known as the rig Veda. Like nearly everything

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<v Speaker 1>in India, ethnocentrism is fueling the debate. Many Tamils want

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<v Speaker 1>to bolster claims that their ancestors, not northern Hindi speakers,

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<v Speaker 1>created India's first urban civilization a few hundred miles southwest

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<v Speaker 1>of Chennai. Archaeologists recently found glyphs scratched into clay tablets

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<v Speaker 1>at Ki Ladi, a twenty six hundred year old site,

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<v Speaker 1>that match signs from Mohenjo Daro. This, the insist, is

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<v Speaker 1>evidence of a connection between the Dravidian culture of southern

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<v Speaker 1>India and the original settlers of the Indus Valley. Of

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<v Speaker 1>the fifty different signs, we have twenty nine perfect matches.

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<v Speaker 1>Ramesh Masthong, Kikhilandi's chief archaeological officer, told me as he

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<v Speaker 1>escorted me around a football size field excavation pit in

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<v Speaker 1>a grove of coconut homes in rural Tamil Nadu. But

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<v Speaker 1>if Sanskrit is in fact the underlying language beneath the

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<v Speaker 1>Indus script, Rajocobal and many others will be sent back

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<v Speaker 1>to the drawing board, and that million dollar reward will

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<v Speaker 1>seem further away than ever. The great hope among philologists

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<v Speaker 1>today is that the breakthroughs lurking right around on the

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<v Speaker 1>corner will be ushered in thanks to tools and technologies

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<v Speaker 1>that their predecessors never dreamed of. Francesco Parono Katiafoko, a

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<v Speaker 1>forty five year old professor of linguistics at chan Jiaotong

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<v Speaker 1>Liverpool University in China, has devoted more than half his

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<v Speaker 1>life to trying to decipher another Bronze Age script called

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<v Speaker 1>linear A. The writing system was used by the Minoan

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<v Speaker 1>civilization of Crete, the predecessor of the Mycenaean Greeks, from

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<v Speaker 1>about eighteen hundred to fourteen fifty BC. The problem has

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<v Speaker 1>been that the Minoans seemingly employed a language unrelated to

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<v Speaker 1>any dialect of ancient Greek or apparently any other known

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<v Speaker 1>language from that time period. When he began studying the

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<v Speaker 1>writing in nineteen ninety nine, Parono Kaciafoko noticed that the

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<v Speaker 1>system used many of the same characters as a Cretan

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<v Speaker 1>syllabari called linear B deciphered by English scholar Michael Ventris

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<v Speaker 1>half a century earlier. But the characters of linear A

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<v Speaker 1>formed words that bore no resemblance to those of linear B.

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<v Speaker 1>If you try to read the corresponding symbols, it's not Greek,

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<v Speaker 1>parono Qutciufoko told me, it's Gibberish. Where parpoulus quest to

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<v Speaker 1>understand the Indus script had led him to philological research

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<v Speaker 1>into ancient Dravidian perono Kochiufoko took a different path. In

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<v Speaker 1>twenty seventeen, he assembled a team of sixteen mathematicians, engineers,

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<v Speaker 1>and linguists and designed what they called the linear A

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<v Speaker 1>Decipherment Program. The team fed into the computer the vocabularies

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<v Speaker 1>and grammatical structures of deciphered ancient languages across the Mediterranean

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<v Speaker 1>area Ancient Egyptian, Luian, Assyro, Babylonian, Aramaic, Amharic, and Hittite,

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<v Speaker 1>to name just a few, and asked the program to

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<v Speaker 1>compare the words with possible transliterations of linear A. They

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<v Speaker 1>hoped that the comparison would find similar etymological roots. But

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<v Speaker 1>after three years the machine, as Perno Kacchavoko called it,

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<v Speaker 1>had found no matches, and twenty twenty funding for the

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<v Speaker 1>project ran dry. The pandemic shuttered the university and the

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<v Speaker 1>project was put on hold. Computer programs he had come

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<v Speaker 1>to believe aren't totally up to the task. Now, Perno

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<v Speaker 1>Kutchafoko's team is using a modified version in the hope

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<v Speaker 1>that it will produce better results. Artificial intelligence. Parono Kuchifoko says,

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<v Speaker 1>we'll probably never be able to decipher an undeciphered language

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<v Speaker 1>because it's not able to produce original thought or intuitive connections.

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<v Speaker 1>What it could do, he explains, is speed up the

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<v Speaker 1>deciphering process by recognizing patterns and making statistical calculations about

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<v Speaker 1>the appearances of certain characters in unknown texts. In twenty

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<v Speaker 1>twenty three, researchers from MIT and Google's Deep Mind tested

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<v Speaker 1>AI tools on previously deciphered linear and were impressed by

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<v Speaker 1>the ease with which the programmes worked. The system guided

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<v Speaker 1>about sixty percent right, says Andreas Fools, an engineer at

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<v Speaker 1>Berlin's Technical University, one of those attempting to decipher both

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<v Speaker 1>the Indus script and the mysterious writing on what's known

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<v Speaker 1>as the Feistos disc, an ancient clay saucer found on

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<v Speaker 1>crete that contains a spiraling inscription in an unknown writing.

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<v Speaker 1>In those experiments, the AI was primed with the knowledge

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<v Speaker 1>that Linear b was an ancestor of ancient Greek. It

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<v Speaker 1>turns out that AI is excellent at comparing a script

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<v Speaker 1>to other members of the same linguistic family, but when

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<v Speaker 1>asked to decode a script written in an unknown language

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<v Speaker 1>that has no relationship to other tongues, AI still struggles. This,

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<v Speaker 1>says Francois des Si, the philologist unraveling Linear Elamite, is

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<v Speaker 1>because the technology, at least currently lacks the ability to

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<v Speaker 1>think creatively to come up with something out of nowhere.

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<v Speaker 1>On a recent morning in Francis Laire Valley, I met

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<v Speaker 1>Dsse at his apartment in the city of Ongar's tussl

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<v Speaker 1>haired and goateed. He was happy to describe for me

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<v Speaker 1>that moment in twenty fifteen when he finally got to

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<v Speaker 1>see the Mabubian families prized Kunanki for years, though his

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<v Speaker 1>efforts to decipher linear Elamite had been stymied by the

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<v Speaker 1>paucity of inscriptions. Unlike hieroglyphs which covered temples and tombs

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<v Speaker 1>along the Nile, or Akkadian Kineiform inscribed on palace walls

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<v Speaker 1>and clay tablets in ancient Mesopotamian cities, linear elamite was rare.

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<v Speaker 1>Writing didn't seem to play the same central role for

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<v Speaker 1>the Elamites. Dass says, after much floundering and frustration, he

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<v Speaker 1>found himself in Roya Mabubian's elegant North London apartment, examining

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<v Speaker 1>an academic gold mine seven hundred and fifty nine linear

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<v Speaker 1>elamite signs engraved on ten cups and fragments, plus inscriptions

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<v Speaker 1>in Cuneiform. I was thinking eureka, he told me. But

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<v Speaker 1>I was also skeptical. Everybody in the academic world was

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<v Speaker 1>sure it was all fake. But to say, nurse to

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<v Speaker 1>conviction that the Kunnki had to be authentic. No forger

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<v Speaker 1>could have strung together so many linear elamite signs that

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<v Speaker 1>actually contained bits of coherent text. Later tests by a

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<v Speaker 1>metallurgists in Italy confirmed that the Kununki were made of

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<v Speaker 1>a ninety percent silver ten percent copper alloy, consistent with

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<v Speaker 1>other vessels from the period. Even though philologists had long

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<v Speaker 1>ago determined that the language spoken in ancient Elam had

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<v Speaker 1>no known relatives. To say, did have one tool at

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<v Speaker 1>his disposal, something that for centuries had aided those who

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<v Speaker 1>study antiquity. Sometimes, when a message was committed to writing

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<v Speaker 1>on a templet or a piece of art, the same

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<v Speaker 1>or similar information was in described in several languages and

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<v Speaker 1>scripts at once. This practice helped the scribes reach the

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<v Speaker 1>largest audience possible. Thousands of years later, that habit has

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<v Speaker 1>helped philologists who can compare deciphered writing with the adjacent

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<v Speaker 1>undeciphered script to say had just such a bilingual inscription

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<v Speaker 1>that he hoped could provide clues to some of linear

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<v Speaker 1>Elamite's phonetic values. Archaeologists at SUSA in nineteen o three

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<v Speaker 1>had turned up a limestone artifact called the tabreu aulon

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<v Speaker 1>now on display at the Louver. The kings of Elam

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<v Speaker 1>had often inscribed linear Elamite side by side with inscriptions

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<v Speaker 1>in Akkadian Cuneiform, the writing of nearby Mesopotamia, which had

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<v Speaker 1>been deciphered in the eighteen fifties. In nineteen o five,

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<v Speaker 1>the German linguist ber Dinand Bork noticed a sequence of

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<v Speaker 1>four linear Elamite characters on the tabre au leon that

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<v Speaker 1>appeared twice. The adjacent Acadian text also had four characters

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<v Speaker 1>that showed up with the same frequency. These kittiidformed signs

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<v Speaker 1>formed part of two names, Puzzuer Sushniak, the last king

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<v Speaker 1>of Elam's Awand dynasty, and the Elamite god in Sushnak.

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<v Speaker 1>From these parallel sign patterns, Bork deduced that the Elamite

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<v Speaker 1>characters must be su Chi, Nah, and K. That gave

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<v Speaker 1>him pooh, Zu and R as well, for a total

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<v Speaker 1>of seven characters. From there, the decipherment stalled. The trouble

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<v Speaker 1>was for decades, there just wasn't that much linear Elamite

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<v Speaker 1>in existence. Could de Say's new trove change everything. Early

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<v Speaker 1>one morning in spring twenty seventeen, he sat before his

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<v Speaker 1>laptop in his apartment near the University of Tehran where

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<v Speaker 1>he was teaching. The screen glowed with linear Elamite characters,

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<v Speaker 1>which to Say had copied by hand and digitized from

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<v Speaker 1>the photos he had taken. His eyes settled on a

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<v Speaker 1>four sign pattern from one of the Kunanki. It showed

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<v Speaker 1>up repeatedly. He recognized the first sign in the sequence

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<v Speaker 1>immediately it was she as Bork had first seen in

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<v Speaker 1>Pasur Sushnak. Then came three unknown signs, the last two

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<v Speaker 1>of which were identical. In a flash, to Say could

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<v Speaker 1>see it. The duplicated sign was ha, which formed the

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<v Speaker 1>last syllables of sie ha Ha, an early second millennium

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<v Speaker 1>b c elamite king. Minutes later, the Say spotted another

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<v Speaker 1>repeated sequence with one recognizable sign R in Kineiform texts.

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<v Speaker 1>He knew Silkha was often mentioned with who is most

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<v Speaker 1>likely his father? E PARTI. In fifteen minutes, to Say

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<v Speaker 1>had acquired the values of five signs. Thrilled, he plugged

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<v Speaker 1>the sounds into the texts and spotted other names, leading

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<v Speaker 1>to as identification of more signs. For the next few years,

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<v Speaker 1>to Say continued making progress. He had assumed from the

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<v Speaker 1>start of his studies that linear elamite, like all other

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<v Speaker 1>writing systems from the early Bronze Age, was mixed. I

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<v Speaker 1>was looking for logograms, saying where the hell are they?

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<v Speaker 1>He said, But as is knowledge of the signs deepened,

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<v Speaker 1>to Say took what he calls a creative leap. Linear Elamite,

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<v Speaker 1>he now perceived was a purely phonetic script with seventy

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<v Speaker 1>seven signs, including five vowels and twelve consonants. Until now,

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<v Speaker 1>is widely accepted among linguists that the oldest purely phonetic

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<v Speaker 1>alphabet was protor proto Siniactic, a Middle Bronze Age script

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<v Speaker 1>from the Sinai Peninsula which appeared five hundred years after

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<v Speaker 1>linear Elamite. Desay's analysis, if verified by other philologists, could

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<v Speaker 1>force a radical reconstruction of the history of writing and

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<v Speaker 1>human progress. It would reorder the chronology of phonetic writing,

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<v Speaker 1>shifting the focus away from the Levant to the Iranian plateau.

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<v Speaker 1>It would also elevate the previously overlooked Elamite kingdom to

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<v Speaker 1>a primary place in human intellectual development. Seven years after

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<v Speaker 1>that encounter in London, in twenty twenty two, to Say

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<v Speaker 1>and for colleagues authored an article in Zeitschrift for a

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<v Speaker 1>Syriologui and for Denayitious Archaeology Journal for a Syriology and

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<v Speaker 1>Near Eastern Archaeology, a respected journal published in Berlin. The

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00:19:27.880 --> 00:19:31.960
<v Speaker 1>phonetic values of every linear Elamite character they declared had

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<v Speaker 1>been deciphered at last. The claim was remarkable. If true,

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<v Speaker 1>it represents the first time that all the sounds of

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<v Speaker 1>an ancient script have been figured out in decades, but

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<v Speaker 1>to say in his team, he admits heavn't accomplished a

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<v Speaker 1>one hundred percent decipherment of the writing system. According to

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<v Speaker 1>most philologists, real decipherment occurs only when a script's sounds

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<v Speaker 1>and its meaning are both understood. Champollion had determined the

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<v Speaker 1>meaning of hieroglyphs after sounding out some wordsords and recognizing

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<v Speaker 1>that the language must be a direct ancestor of Coptic Egyptian.

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<v Speaker 1>Hinks and Rawlinson were able to understand Akkadian Cuneiform after

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<v Speaker 1>perceiving that the underlying language closely resembled Hebrew, but the

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<v Speaker 1>language of linear Elamite, known simply as Elamite, remains largely

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<v Speaker 1>a mystery. Thanks to the inscriptions on the Kunangi, Dissey

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<v Speaker 1>has managed to tease out not just the names of

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<v Speaker 1>places and kings, but also a smattering of titles, epithets,

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<v Speaker 1>common nouns, adjectives, and verbs. One silverbeaker, he suggests, was

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<v Speaker 1>an offering given by a ruler to the Elamite supreme

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<v Speaker 1>god E pala Ishan mighty Lord. The inscription reads, in part,

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<v Speaker 1>I am the servant of napiaetia. Dissey found the words kare,

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<v Speaker 1>which he translates as devotion or worship, and zeeni a

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<v Speaker 1>divine blessing bestowed by a god on his royal subject.

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<v Speaker 1>Other words including zempt for king, hurt for people, and

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<v Speaker 1>shock for sun also became clear in context. It shines

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<v Speaker 1>a little light on this long vanished place, he says, today,

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<v Speaker 1>of the eighteen hundred sixty three linear Elamite signs that

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00:21:12.519 --> 00:21:15.599
<v Speaker 1>exist in the Corpus des Asis, he is able to

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<v Speaker 1>sound out eighteen hundred ten of them. The rest have

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<v Speaker 1>eroded into illegibility, but he acknowledges he can make sense

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00:21:23.759 --> 00:21:25.960
<v Speaker 1>of only a few words. I am still facing a

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00:21:26.000 --> 00:21:29.720
<v Speaker 1>lot of problems with the translation, he told me. He

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<v Speaker 1>faces critics too. Jak Abdahl and Oxford professor considered one

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<v Speaker 1>of the world's foremost scholars of Mesopotamia, dispute Desay's assertion

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<v Speaker 1>that linear Elamite is a purely syllabic script, that part

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<v Speaker 1>of the decipherment is certainly not correct. He told me,

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<v Speaker 1>I would suspect there were logograms as well. He also

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00:21:51.200 --> 00:21:53.839
<v Speaker 1>says that so much about the script remains unknown. The

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00:21:53.920 --> 00:21:56.720
<v Speaker 1>meaning of many words, the grammar the values of certain

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00:21:56.799 --> 00:22:01.119
<v Speaker 1>signs that Dessay's claims of victory are wildly premature. I

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<v Speaker 1>have little patience for des say. Dal told me much

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<v Speaker 1>of it is complete rubbish. Dessay has tried to shrug

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<v Speaker 1>off the criticism since the announcement of the linear Elamite decipherment.

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<v Speaker 1>He told me, escorting me to the door of his apartment,

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<v Speaker 1>I have found new friends, and I have found new enemies.

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<v Speaker 1>His next undertaking is an attempt to decipher proto elamite,

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<v Speaker 1>a precursor to linear elamite that first appeared in the

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<v Speaker 1>fourth millennium BC and represents the earliest stage of civilization

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<v Speaker 1>in Iran. The writing consists of four hundred to eight

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<v Speaker 1>hundred characters, the hall mark of a lago graphic syllabic system.

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<v Speaker 1>It is a total mystery, he says, just the kind

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<v Speaker 1>of challenge that code breakers love, bringing dead words to life.

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<v Speaker 1>Archaeologists excavating the ancient city of Susa in nineteen o

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<v Speaker 1>three uncovered the Tabra Leon, which had a four thousand

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<v Speaker 1>year old bilingual inscription in known a Kadian cuneiform and

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<v Speaker 1>undeciphered linear elamite. Though this was a promising first step,

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<v Speaker 1>the dearth of signs stalled decipherment until twenty fifteen, when

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<v Speaker 1>Francois de Say gained rare access to silver beakers with

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<v Speaker 1>hundreds of new L E signs and piece together what

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<v Speaker 1>could be the world's first phonetic writing system. Here's how

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<v Speaker 1>he did it. Identifying proper nouns. Early on, linguists determined

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<v Speaker 1>that the table leon bore the same names in L

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<v Speaker 1>E and a kate Acadian kineiform king Pussur Sashnak and

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<v Speaker 1>the Elamite king Ishnek. The tablet's linguistic patterns were a

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<v Speaker 1>jumping off point for de Say to later identify other

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<v Speaker 1>names and royal titles decoding phrases. When to Say secured

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<v Speaker 1>access to a private collection of beakers with both a

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<v Speaker 1>Kadian kineiform and L E signs that had never been

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<v Speaker 1>seen publicly, had more pieces to the puzzle. This allowed

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00:23:54.039 --> 00:23:57.240
<v Speaker 1>him to string together one of the first sentenced fragments,

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<v Speaker 1>a huge breakthrough in cracking L E. Whence the script

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<v Speaker 1>was deciphered to Say, says, it was possible for him

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<v Speaker 1>to actually read lines of L E like the text

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<v Speaker 1>carved into stone blocks from Suza, offering an ode to

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<v Speaker 1>Pusar Sushnak and a warning to his enemies. Next the

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<v Speaker 1>industrial waste site that glitters like a glacier in northwest India,

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<v Speaker 1>A field full of marble debris has another worldly allure

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<v Speaker 1>by Puja Chianghwai Waila. The first time Atul Kharasya saw

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<v Speaker 1>a YouTube video of the dumping grounds in Kishargach, he

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<v Speaker 1>knew he had to visit the place, a pearly white

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<v Speaker 1>landscape shining like a snow field atop a hot dry

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<v Speaker 1>plain in northwest India. It was a six hour train

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<v Speaker 1>ride from his home in Delhi, But for Charisiya, a

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<v Speaker 1>travel influencer who makes scenic the social media media villages

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<v Speaker 1>videos for a living, the trip paid off with an

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<v Speaker 1>Instagram reel that racked up a quarter million likes. Kishagar's

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<v Speaker 1>peculiar attraction is built on a byproduct from its marble

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<v Speaker 1>processing industry, marble slurry, a mix of water and fine

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<v Speaker 1>particles of calcium, carbonate and other minerals. Tanker trucks deliver

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<v Speaker 1>loads of it each day to the city's outskirts hauled

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<v Speaker 1>in from more than twelve hundred facilities that cut, grind

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<v Speaker 1>and polished stone from the quarries that proliferate in the

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<v Speaker 1>surrounding state of Rajasthan. As water evaporates from the slurry

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<v Speaker 1>in the semi arid climate, the mineral particles recrystallized to

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<v Speaker 1>form bone white mounds and terraces. Tourists started showing up

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<v Speaker 1>to admire them about a decade ago after a popular

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<v Speaker 1>comedian shot a movie scene at the site, says Sampat

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<v Speaker 1>Rai Sharma, CEO of the Kishkar Marble Association KMA, which

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<v Speaker 1>manages the yard. Then came Instagrammers and YouTubers, engaged couples

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<v Speaker 1>with hired photographers, even Bollywood crews. As the crowds grew,

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<v Speaker 1>the KMA rebranded the spot the Kishnagarch Snowyard. Soon vendors

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<v Speaker 1>were offering everything from snacks to horse rides to a

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<v Speaker 1>dinghy for plying the electric blue waters of the artificial lake.

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<v Speaker 1>But even as hashtag dumping yard Kishangar has trended among

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<v Speaker 1>the travelers, some researchers have raised questions over the site's

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<v Speaker 1>health and ecological impacts. Environmental scientist Lakshmi Kant Sharma of

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<v Speaker 1>the Central University of Rajasthan says a study he led

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<v Speaker 1>in twenty twenty three and twenty four, currently under peer review,

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<v Speaker 1>revealed worrying effects in areas surrounding the dump site. Air

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<v Speaker 1>quality tests, he says, registered levels of particulate matter beyond

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<v Speaker 1>the World Health organizations recommended limits, while soil samples showed

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<v Speaker 1>high salinity and heavy metal contamination and groundwater samples exceeded

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<v Speaker 1>limits for chemicals like chlor ride and iron. A different

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<v Speaker 1>study published in February twenty twenty five found naturally occurring

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<v Speaker 1>asbestos fibers in marble dust from another rasash San slurry yard.

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<v Speaker 1>For his part, the K m as Sharma disputes such

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<v Speaker 1>studies validity and says his organization has received no health

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<v Speaker 1>related complaints and while several Indian newspapers have reported the

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<v Speaker 1>Kuraje study preliminary findings, at least one vendor suggests it

397
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<v Speaker 1>has an affected visitation. Gurad Yain manages snow Moments, which

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<v Speaker 1>opened to kiosk at the yard two years ago, to

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00:27:37.440 --> 00:27:41.319
<v Speaker 1>rent photo back drops and props. We do thirty to

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<v Speaker 1>thirty five shoots a month. Jane says the demand is

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<v Speaker 1>creasing increasing day by day. This concludes readings from National

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<v Speaker 1>Geographic magazine for to Day Your reader has been Marsha.

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<v Speaker 1>Thank you for listening, keep on listening and have a

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<v Speaker 1>great day.
