Is the “Lost Knowledge” of Ancient Egypt lost?

Chris Dunn is an engineer who has written several books which have made him one of the centerfold researchers among alternative theorists of Egypt’s past history. 

Dunn’s first book was The Giza Power Plant: Technologies of Ancient Egypt. His work suggests a highly advanced civilization existed in prehistory, and the Giza Pyramid is a remnant of their technology. The technology that fueled this ancient power source was harmonic resonance.   Dunn uses brilliant reverse engineering to suggest that the Great Pyramid of Giza was actually a large acoustical device! By its size and dimensions, this crystal edifice created a harmonic resonance with the Earth and converted Earth’s vibrational energies to microwave radiation.

Dunn shows how the pyramid’s numerous chambers and passageways were positioned with deliberate precision to maximize its acoustical qualities. Dunn’s hypothesis sounds like the work of Nikola Tesla. 

Dunn’s conception of the Great Pyramid’s parts in its role as power plant.

Dunn’s second book, Lost Technologies of Ancient Egypt: Advanced Engineering in the Temples of the Pharaohs, looks at the sophistication of Egyptian art and structures with the eye, skill and training of a career engineer. He concludes that technology beyond what Egyptologists tell us the ancient Egyptians had was necessary to manufacture the artifacts we find. The complicated processes and equipment that would have been necessary to create, for instance, the perfection found in the faces and crowns of Rameses statues in upper and lower Egypt is not anywhere the part of the archaeological record. So of course the Egyptologists conclude it was not there. But Dunn insists it must have been.

Both groups in their own way, are operating on scientific principles. The difference is what assumptions, what inferences each group works with.  The mainstream Egyptologists, who follow conservative principles of forensic archaeology, do not find evidences of advanced technology in the ruins of ancient Egypt.  No colliders, not atom-smashers. No laser saws, no electric dynamos.  Therefore they INFER that these things do not exist.

Chris Dunn, a forensic engineer, looks at the curves on granite at Abu Roash, he looks at the intricacy of the crown of Rameses’ statutes, and he sees evidence of advance tooling, advanced technology.  Therefore he INFERS that these things must have existed.

Welcome to another of the mysteries of Egypt!  What would be necessary for these groups to be able to come together, since they both claim to be operating on scientific principles?  Obviously, if the tools were found!  If a gigantic saw was uncovered by an Egyptologists spade, such as Dunn insists must have been used to smooth and shape granite into a curve, we would see a coming together.  Especially if several more high tech artifacts were unearthed. 

One possibility to help explain the mystery of the missing technology, is that it might have been some form of sonar, a mobilization of sound and vibration that took little to no technology to produce.  There is evidence that the Grand Gallery and the King’s Chamber of the Great Pyramid were crafted with resonance as one of the prime architectural objectives.  While it is said over and over that the relieving chambers, as they are called, above the King’s Chamber, were put there to lessen the effect of the crushing weight of stone above, the same would be even more true of the Queen’s Chamber, which has even more weight above it, but it has no relieving chambers. 

When I spent some time with Chris in 2018 he told me that the King’s Chamber is not braced into the stone structure all around itself, but is actually free-standing!  I have never noticed this before.  In a way that a placenta is segregated physiologically from the mother’s body housing it, the King’s Chamber is from the rest of the Pyramid!  So the relieving chambers above the King’s Chamber must indeed have another purpose than strength provision.  One of the chief purposes of the design of the King’s Chamber and the chambers above it could be for maximum resonance, to enhance tonal features and the power of sound!

Drawing: The gold lines are used to represent the idea that the connection between the granite blocks that make up the King’s Chamber and the relieving chambers above it, may not be tied by masonry connection to the surrounding stones, making the whole King’s structure free standing!

 

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