Black diorite remains one of the hardest natural stones on earth with a hardness of around 7 on the Mohs Hardness Scale. For example, quartz has a similar hardness on the same scale. Steel tools are around 6 and knives are around 5, while copper is around 3.
Modern Egyptologists say that the black diorite Egyptian carvings were made with copper tools and polished to luster with diamond dust which is obviously impossible. The technique we see being employed by tenured debutantes in the Egyptology field relies on the nature of clinical obfuscation, a technique I've written about in the past, in which ridiculous assertions dominate with high levels of funding; such assertions sustained only due to the illegitimacy of institutionalized empirical knowledge.
In many such conspiracy mindsets, bread crumbs are intentionally disseminated, bits of truth in a lie that makes no sense, in order to facilitate the infighting required to maintain plausible deniability. False dichotomies are a regular tool used by pseudo intellectuals as they attempt to formulate the general consensus reality, in which some things are true and some are false, some things are possible and others impossible.
Meanwhile, lay people and other victims of illiteracy simply accept what they are being told by fallacious illusions of intellectual authority, like those simpleton lies being put forth regarding the artifacts of Egypt. Without the personal investigative prowess garnered from years of individual study, people will not have the intellectual means to defend themselves against such historical travesties and so they will go on regurgitating lies to the unread.
Many Egyptian artifacts are regarded as originating from different dynasties, but clearly, some artifacts and their supposed time periods do not make sense. What we refer to generally as Egyptian artifacts are actually various art pieces from several different cultures that could not be considered simply Egyptian like university authorities attempt to tell us.
Certain artifacts have a Hellenistic quality to them and modern Egyptologists attempt to tell us that these artistic qualities are simply due to the popular fashion and art of the time, but when we look closer and closer, we see that there may have been disparate cultures living on top of each other, through different human epochs, in what we call modern day Egypt.
Modern historians and Egyptologists truly in the know cannot allow such allegations to gain momentum, because, far beyond their own scope of knowledge, the narrative must remain within the control of the status quo, by the tenured debutantes atop their highfalutin pedestal of intellectual authority over the masses, no matter how obviously illegitimate.
We see the public narrative begin to fall apart as the tenured white coats put forth assertions that are obviously stretching the truth and hiding a greater mystery, a mystery that has hundreds perhaps thousands of clues, but a mystery that is hardly regarded as such due to the confines of mental slavery, what I call the manipulative nature of empirical knowledge.
Many "Egyptian" carvings and statues have obviously different stylistic and artistic qualities with quite varied techniques. Certain artistic pieces are obviously made by less adept artisans, while others are so perfectly constructed, it nearly defies reason. Some pieces, just like those I've gone over in the past, maintain perfect symmetry throughout the entire art piece, which requires some pretty intense speculation as to just how these pieces were constructed.
In art, perfect symmetry is not something we see too often and when we do see it, the witness begins to wonder just how exactly such a perfect symmetry was accomplished. There are legitimate Egyptologists and historians that claim, for example, that some of the artifacts that remain in the modern time were constructed with some kind of computer or laser printing of some kind to attain such perfect symmetry and such researchers' controversial opinions are rightfully gaining ground.
One thing remains for sure, because we do not know exactly how these historical artifacts were constructed, we cannot say for sure whether they were created by laser or sonal lasers or computerized chisels, but we can say that the oversimplified explanations we are given by high paid intellectual gatekeepers do not qualify as realistic.