It’s time to revisit the ancient Egyptian Vase Scan Project – a lot has happened in 2024, and even more is planned for 2025. These tiny, ancient, amazing artifacts are changing history.
Scans and analysis has shown some of them to be incredibly precise, meticulously, elegantly and mathematically designed, with that design being immaculately executed in ridiculously hard types of igneous rock.
My initial vase scan videos and the project has generated considerable response, and this video is meant to be a comprehensive overview of the project and topic so far, a response to some of the main criticisms of the work, and an update on what happened in 2024 – which included getting into museums to scan artifacts with impeccable provenance (spoiler, they’re precise too!).
Many thanks to my patrons and supporters, as well as to the dedicated people working as part of the Vase Scan Team. Particular thanks to Adam Young and his newly created nonprofit Artifact Foundation (https://artifactfoundation.org/) that is driving a lot of this work going forward.
Check out the links to all the articles and videos mentioned, as well as the chapters, timestamps, below.
Please consider supporting UnchartedX via the value for value model at https://unchartedx.com/support !
Heavy blocks can be moved across a smooth surface by maintaining a thin film of water between the block and surface. While there is a more obvious causeway from the Valley Temple to the Kahfre Pyramid, there appears from Google Maps to be partial and maybe buried causeways from what may have been a Nile tributary that flowed along in front of the Sphinx Temple and Valley Temple to each of the other Pyramids. The hypothesis is that the builders carried water out in front of the blocks being moved from the tributary to the plateau on these causeways and kept the causeways wet to help drag the blocks. I have seen pictures where the workers are dragging the blocks on sleds, but this may have been done on the causeways with a thin layer of sand and water and not out in the barren sand. I am not sure if this hypothesis has been considered.
This same principle could be applied to lifting the blocks up to the top as the layers were placed using a smooth stone ramp with water and a thin layer of sand. Workers at the layer being built would pull the blocks or blocks on sleds from their level with ropes and other workers would replenish water and sand on the ramps as needed. Depending on how smooth the casing stones were, they could have been used as the ramp all the way around the pyramid as the casing stones were added.
None of that scales or is remotely plausible for anything beyond a couple tons.
I’m old, don’t know if this is will be read, or any other way of putting this out there.
To Ben.
Don’t know if I’ve seen this right, but the holes through the lug handles appear (at least from the videos) to follow the contour of the vase body. I don’t know of any technique that allows ‘a drill’ hole to curve through any medium let alone granite.
Just a thought.
The holes are generally drilled straight from both sides from what I can see. Many, perhaps most, vases don’t have the holes. THey’re not precise. I suspect they were added later, in a primitive fashion.
I have a 99% probability answer for how and why the pyramids were built and when that doesn’t involve crazy shit but I have no way to put the info out there. if you’d like it have me on and/or collaborate with me, id love to discuss it. I’m a huge fan and love your perspective by the way. 702-802-8287 John Thacker
Can’t help you sorry, you will need to publish and put your own ideas out there. I get requests like this all the time. If you think you can ‘tell’ me, then you can write it down or tell a camera.
Glad to see you respond to these! I have an Idea, but honestly dont desire to be in the spotlight in any way, shape, or form. Here is the gist of it. If cutting tools and the material that they are cutting were to be harmonically tuned seperately the efficiency of the cutting, thus the speed (Bore holes that you examined) would be greatly increased. I’ve run it through chat GPT and Grok just to check the validity of the idea as well as the practicality and to search for existing applications of this type of technology as well as to puruse experemental data. Here is what I found.
When cutting or shaping hard, igneous rocks like **diorite** or **granite** by physical means (e.g., sawing, grinding, drilling, or milling) while subjecting them to different wavelengths of sound, the effects depend on the sound’s frequency, intensity, and the rocks’ properties. Both diorite and granite are dense, brittle, and composed of crystalline minerals (e.g., quartz, feldspar, mica), making them challenging to machine. Here’s how sound wavelengths might influence the process:
1. **Ultrasonic Frequencies (>20 kHz)**:
– **Ultrasonic-Assisted Cutting**: Applying ultrasonic vibrations to the cutting tool (e.g., diamond-tipped saw or drill) can significantly enhance the process. The high-frequency sound induces micro-vibrations, reducing cutting forces by up to 30–50% and minimizing tool wear.
– **Mechanism**: The vibrations promote micro-fracturing in the brittle mineral structure of diorite or granite, improving material removal rates. This is especially effective for quartz-rich granite, which is prone to cracking.
– **Benefits**:
– Improved surface finish with fewer micro-cracks.
– Reduced heat generation, preserving the rock’s integrity.
– Extended tool life, critical for abrasive materials like granite (Mohs hardness ~6–7).
– **Applications**: Common in stone processing, such as ultrasonic-assisted diamond wire sawing or drilling for quarrying or sculpting.
– **Example**: Studies show ultrasonic-assisted machining of granite can increase cutting efficiency by 20–40% compared to conventional methods.
2. **Audible Frequencies (20 Hz–20 kHz)**:
– **Limited Direct Impact**: Audible sound waves typically lack the energy to significantly alter the cutting of hard rocks like diorite or granite. They may cause minor vibrations in the cutting setup but are unlikely to enhance material removal.
– **Resonance Risks**: If the sound frequency aligns with the natural frequency of the rock, tool, or machine, it could induce resonance, leading to:
– Uncontrolled vibrations, reducing cutting precision.
– Potential micro-cracking in the rock, which could be detrimental (e.g., for polished surfaces) or beneficial (e.g., for easier material removal in rough cutting).
– **Practical Note**: Audible sound is often a byproduct of cutting these rocks (e.g., sawing noise) but isn’t intentionally used to aid the process.
3. **Infrasonic Frequencies (<20 Hz)**:
– **Negligible Effect**: Low-frequency sound waves have long wavelengths and low energy, making them ineffective for influencing the cutting of diorite or granite. They are unlikely to interact with the rock’s crystalline structure or the cutting tool in a meaningful way.
– **Potential Indirect Effect**: Infrasound could cause low-level vibrations in heavy machinery, potentially affecting stability over time, but this is minimal.
4. **Material-Specific Considerations**:
– **Diorite**: Diorite is slightly less quartz-rich than granite, with more plagioclase feldspar, making it marginally less abrasive but still very hard (Mohs ~6–6.5). Ultrasonic vibrations are effective for reducing tool wear when cutting diorite, as they help fracture feldspar crystals cleanly.
– **Granite**: Granite’s high quartz content makes it more abrasive and prone to inducing tool wear. Ultrasonic assistance is particularly valuable here, as it reduces frictional heat and prevents glazing of diamond tools.
– **Crack Sensitivity**: Both rocks are brittle, so sound-induced vibrations must be controlled to avoid unwanted fracturing, especially for applications requiring smooth surfaces (e.g., countertops or sculptures).
5. **Practical Applications**:
– **Quarrying and Stone Processing**: Ultrasonic-assisted tools are used in industry to cut granite and diorite blocks with precision, reducing waste and energy costs.
– **Sculpting**: For artistic shaping, ultrasonic tools can allow finer control when chiseling or grinding these rocks.
– **Challenges**: The high cost of ultrasonic equipment may limit its use to industrial or specialized applications.
Feel free to contact me. I've also done some research on using independantly modulated sonic vibration of laser conduction media and materials being cut including doping of liquid media with various elements and compounds. The KNOW effects are very interesting and seem applicable as well.
Ben,
I am a big fan of your work. When one looks at the moon, it is covered with thousands of impact craters. The Earth’s surface area is 13 X that of the moon, meaning it has been struck by meteors and comets proportionally more times, but nearly all those craters were obliterated by the Earth’s biosphere, so we tend to forget this fact. This suggests that impacts large enough to cause species extinction were probably the rule rather than the exception for much of the Earth’s history. When dealing with timelines measured in the hundreds of millions of years, this makes the idea of a now-obliterated prior civilization much more plausible.
I think that the maths inset into the design of the vases was a natural consequence of the way reality was being perceived by the people that made them.
The tool they used to make the vases also had an effect over the consciousness of the people making them, enabling them to perceive reality in a similar manner to how a mathematical savant like Jason Padgett might see it, or similarly to how reality is perceived on drugs like mushrooms, acid or ayahuasca.
Giving them a lens to work the material to a precision level, aiding them in shaping the stone physically, and imbuing their conscience with an enhanced perception of natures fundamental and innate laws that they naturally superimposed upon the vases.
The tool in question sounds magical or fanciful. But I think its presence in reality is closer than we might believe.
Dear Ben,
100% fan of our work and this latest episode blew my mind. The way you connect modern engineering with enthusiasts and collectors around the world is simply great.
As I am also fan of Hancock, Carlson a.s.o. I would like to share some brainstorming and ideas.
Don‘t know if you had tackled the below assumptions in one of your many broadcasts but let´s give it a go anyway:
Let´s assume…
– these vases and the advanced technology of design and manufacturing are the heritage of a lost
civilization that according to Hancock and many others was spread around the world
– this civilization was advanced in spiritual rituals as well as the use of substances such as DMT,
Ayuvaska, the water Lilly and mushrooms and others
– this civilization was able to travel the seven seas and after the cataclysm settled in the Middle
East/Egypt
– was living also around the Nile and therefor frequently traveling up and down the Nile on boats
– there is a similar symbol of a „Handbag“ in Olmec, Egyptian, Sumerian and Göbekli Tepe shown in
2D- Carvings
So could these Vases in different proportions but with one key design element of the handles…
– have been a 3D version or homage of the above named ancient 2D- „Handbags“ ?
– have been a container of spiritually holy substances, seeds, Gold etc.
– have been designed to be transported on ships hanging on a rope and therefor be safe in rough waters?
– have been designed to be hanging on ropes altogether (In trees, on ceilings, out of harms way of
children and animals) ?
– have been designed to carrying them in holy/Spiritual ceremonies such as priests carry incent
containers through the church nowadays and spread the smoke of the incent burnt in it?
I mean the fact that these vases been laid into graves with the dead corpses may be a strong indicator of searching for the purpose and function considering this ancient civilization was very much in touch with spirituality and life after death that undoubtedly belong together. The geometrical analysis of the vase you proposed already gives a strong hint to „The Flower of Life“ …..
Let me know what you think….
All the best from Munich
Daniel
PS: Screw „Flintstone Dibble“ and don`t even mention him in your broadcasts. He just downplays your work for the sake of his own inferiority complex and lack of own achievements other than criticizing others.
I’m very impressed by the exceptionally well made hieroglyphics on the obelisks and statues and was wondering if one of your professionals on the subject could demonstrate how they are made with any hand tools available today.
The vases were made using ratios and circles as basic design elements. If the vasemakers wanted to send a message to the future, could these be chambers designed to create a harmonic under certain conditions? Ben said if you took the (first examined) vase opening inner diameter to mean “1” that made the ratios work. It would be interesting to use a fluid dynamics model to ask a supercomputer “find the harmonics of this vessel and the conditions which create the harmonic”.
Perhaps the conditions creating the harmonic convey numbers they use as standards. If the vase opening distance is taken as “1” and is the same as the wavelength of 16Ghz, the various harmonic properties may combine to reveal a lot of additional data from each vase. Just like the circles used in their design are all related, this is our first clue as the observers that the vases hold a collection of data and not just “high accuracy”. The ratios are their way of telling us “the vases hold a lot more information which is interrelated, keep looking”. They are the vase maker’s version of the Voyager interstellar record, and they found a way to do it that lasts thousands of years.
But rather than “aliens”, it makes me wonder what was happening on “the other side of the world” during a supercontinent cycle when everything on “our side” of Pangaea was bunched up in one land mass. Remember that it was only about two million years between Australopithecus and Neil Armstrong. With that perspective, which is more probable? A species and civilization arising and disappearing during a supercontinent cycle, leaving trade artifacts but not their machines due to subduction, or aliens picking our quiet spot light years away to give pottery to the natives?
50 to 56M years ago Antarctica was iceless and Europe was connected at the North to Acia. There was high CO2 in the atmosphere that could be from Anthropomorphic origin. But, at this time the Pyramids could not have been built due to Tethys Sea that was on top the Giza Plateau. Which means that the Egyptian Pyramids were built 5 to 6M years ago where earth suffered another high CO2 that could be from Anthropomorphic origin. So it could be that we have evidences that we are the 3rd human evolution phase on planet earth. Yours, prof. Ariel Fuchs. Gaia College.