You are claiming images of something being done are evidence that it was an inferior method, particularly centuries earlier. That is not how things work. The images depict workers engaged in activities that look like stone vessel production and show some tools. They don't include detailed instructions of how to do it or to build the tools.
It is from the depictions that the experiments have been done. So we took those pics and applied the science with trying to replicate the pics. That gave us the methods of tool making and there have been different experiments with different cutters and agents ect. Followed by micro analysis ect. We understand pretty well how the method on the walls works.
Its the hard stone signatures we cannot fully work out exactly how they achieved a destint and different signature.
I've already covered the assumptions you built into the premise above,
lol and I covered the assumption made of my assumption.
but now you add one about softer versus harder material. That is not necessarily true either. Harder materials should take more effort, but softer materials can be unforgiving if "overwork" a section. Especially since this is subtractive work. Unwanted material is removed, but you can't add on anything that you have accidentally removed.
Actually I think its the exact opposite. If its subtraction then would not the fact that you can't add back make hard stone harder as you can at least turn around and make another. Whereas making another hard stone vase is not easy turnaround. Thats not taking away from softer vases.
But when you consider the abundence of softer works compared to hard stones or even specific hard stones, this is pretty rare and strangly most come from the earliest periods, even predynastic. Based on this idea the fact that these vases are so precise is even more amazing if they had to be careful of misaligning the geometry and the risk of ruining the entire work.
And you (and the "precision vase" nuts you read)
Another ad hominem. They are coming thick and fast.
think that smoothness of the surface is the defining signature.
I think a strawman. I never said such.
Anyone who has worked with any material of the sort, from wood to plaster walls to metals to stone knows that you can always get a better polish and smoother surface by working longer with finer grits. What the demonstrated is that the tools available in early Ancient Egypt were suitable to the task of shaping vases of the type depicted out of blocks of hard stone. The only thing missing from them is the fine polish.
Ok so 2 years for a rough vase. The inside was not attempted to bring any shape. So longer was needed to get the basic shape. Then the rest is polished into precision. Is that what you are saying. That all the precision is polished into precision.
How did they manage to get things so precise by freehand. Do you think they had some sort of guide to ensure they freehand was taking the right amount off and not going a micron over.
No one is saying that simple hard-stone vases of high quality didn't peak early in Egyptian history. As various posts on this and previously mentioned threads have noted, Egyptians moved on in the style preferences and the luxury they dedicated their resources to producing.
I don't think the uniqueness of these vases is about changing styles. That deminishes them. Makes it a fashion change rather than a knowledge and tech change.
An interesting looking document. I look forward to finding some time to read through it. I did notice some sections on stonework and I did not see anything like the claims you were making here in it.
https://isac.uchicago.edu/sites/default/files/uploads/shared/docs/oimp33.pdf
If your talking about that particular article thats because I was not using that for the specific claims I was making. Rather to show that even before all this conspiracy came up others were alluding to that precision in the language they used ie page 69,
the Naqada II period is often considered the zenith of Egyptian stone vessel manufactoring and page 95 A difference has to be made between mass produced of objects and the great value of objects due to their material, exceptional craftmanship and intellectual implication.
Petrie specifically singles these works out as hard to explain and implied some advanced tech over 100 years ago. Theres several references which I can't be bothered finding that say similar well before all this conspiracy now about pointing out the same thing in more detail.
Steve, you know how this board works in quoting, etc. At this point I've lost contact with what you were orginally talking about. I do not get the gist (or remember it). As to the rest, I've seen no "science" presented here.
Lol what is the rest you speak of. If its the out of place signatures I have posted plenty of evidence. If its how this happened yest I have not posted any evidence.
But as I have mentioned several times This debate over specific examples can go on forever and we have not even begun on other works around the world that are out of place and point to advanced knowledge and tech in ancient times. But this is not the point of the thread.
Its about the overall idea about knowledge and how the orthodoxy makes it a gradual evolution from simple to complex according to material sciences ie archeology, evolution, anthropology ect. The title of the video mentions a "giant flaw in human history". That is is that the story told may not represent what has actually happened.
That knowledge can come and go and may have peaked a number of times and then was lost ie (the knowledge of precision vases) and other amazing works.
That we see our present advanced time as the most advanced when therte may have been a world that was very advanced in other ways and even more advanced and we have actually become less knowledgable as a result. Thus turning the orthodox narrative on its head.
I'll have all the moral outrage I want. (The other things I want to expess moral outrage about are forbidden on this site, so the pseudoscience pushers get the brunt of it.)
But your accusing me of pushing pseudoscience when I am not and I clearly stated to you I am not. So your moral outrage is misplaced on me. Now its going to become proving your moral outrage is justified. Seems rediculous when its simple about alternative knowledge and now your claiming a moral truth.
This seems to be supporting my point that when it comes to peoples subjective worldviews its more about epistemics and metaphysical truths than the actual material evidence. Your claiming a superior knowledge and truth wheich includes how we should see knowledge and truth.
At its heart, this whole "vases made by machines" denies the actual skilled work of talented artisans working with methods that developed over centuries. Instead they substitute machines that did not exist and invent motives for production.
I think this is a misrepresentation and based on false assumptions. The assumption that the lost knowledge and tech must be like todays knowledge and tech. I have not said this. Only that the signatures look like they have been made by todays tech.
Thats part of the problem. That people cannot get outside todays knowledge an dtech in how we understand alternative knowledge and tech.
The other part at least for those who see this modern looking signatures and out of place works is that the idea of artistry as in creating an art piece is completely inadequate to explain the signatures and its frustrating that skeptics keep coming back to this to explain everything. Like its some magic solution.
Its a coverall. No matter how impossible it is somehow human artistic flair found a way. Even if that was rubbing an object into perfection. When art really does not need to be perfection in a tech sense. Why bother if its art. Make it a little crooked, its art afterall.
But this is about tech and knowledge. Artistic knowledge is different to technical knowledge that is restricted to cordinates and needs tech to guide it to achieve the specific object. Yet skeptics are quite happy to conflate them as art and sheer human effort as a coverall to fob off the reality that these works are beyond art and into science.
Really its not too different to belief in God and gods. HUmans having a kind of magic well beyond their capabilities and reality itself. We happily admit that the precision parts for say NASA could never be made by artistic flair or any human freehand. Yet are quite willing to allow these ancients to have such ability.
NASA is irrelevant. The Egyptians didn't have flying machines.
You did not see the point. Why are you focused on NASA and not the point. Or was this a diversion. Could you see the paralelle I was making between precision vases and precision NASA parts that need modern tech to achieve and could never be made by artistic freehand.
Maybe you didn't.