By Steven & Evan Strong
(Special Thanks to Nadia, Nathan, Conor & Others)
The biggest challenge we face when putting together yet another report on sacred Original rocks is the actual content. Writing about a stationary mute non-breathing object time after time has presented an increasing challenge. If formatted in the normal dry scientific approach, the reality is we only have four to five paragraphs before most readers lose attention and interest by degrees and boredom soon sets in. Equally, if pushing boundaries by quantifying the mystical and magical credentials of many of these sacred rocks, as we must, we are immediately open to strident and patronising criticism for being so unscientific in promoting what is dismissively seen as ‘New Age’ propaganda. Moreover, many, but not all, of these rocks share features already discussed in earlier reports on sacred rocks, therefore, some of the following observations are nothing more than more of the same.
Despite these inherent impediments, we have no option but to set off down the same rocky road yet again, simply because every rock discussed exhibited something that contradicts the fable called ‘human history,’ and because of this, deserves further consideration. Make no mistake, it is not just us, close to every day we receive photographs and enquiries from people all over Australia about rocks found or passed on to them that is clearly unnatural in marking, shape or has some other feature that demands nothing less than a hardened metal blade. Whether seen or sent, a recurring inconvenient technological narrative never varies, and because all mainstream experts refuse to look or examine the rock-solid evidence of ancient rock-archaeology, we have no choice but to continue banging on the door through writing more reports on inanimate silent rocks until allowed entry by the officially anointed ‘gate-keepers.’
Going Back on to Country
Outside the important issue of where these rocks came from, which is within the large majority of this ensemble unknown, what is even more culturally and globally significant, is where the rocks are going next. This continually expanding assembly was never meant to be permanently hidden in the rainforest where no-one but myself knows of its stance and position. All that can guarantee is their safety from the wrong hands and personal agendas. The seminal element in the rock’s reunion and resurrection is that they are demanding a public audience on sacred ground under Original custodianship. Nothing else makes sense or appeases protocol.
In satisfying that fundamental need to be on, in and surrounded by country, it was agreed some time ago that this must happen on Ramindjeri Land. The reasons stay secret and is totally at the behest of both the rocks and Elders. They will be permanently stationed at a location where the ground is blessed and the safety and security of the rocks is assured, and the rocks have to be open for supervised public access. That will be their final destination, where they are waiting now is merely a transition point, and after some major setbacks we can see this occurring before 2020 is complete (in our next rock article we will be more specific about this venture and some economic imperatives). Once all the rocks are properly set up in a sacred infinity formation, arranged in the appropriate sequence and balance, this place will become an even more powerful spiritual cauldron, and an essential mystical conduit in the immediate days that follow.
Coming Back to the Collective
Amongst this deluge of people with rocks of undoubted Original origin and high significance, some kind people go past just showing in actually giving, without cost or conditions, a rock, or in Conor’s case, hundreds. This dual report is a tribute and way of thanking both the partnership of Nadia and Nathan, and individual collection of Conor. But our gratitude extends much further than these three blessed souls. There are so many other individuals who have given us rocks of considerable interest and undeniable Original ancestry, and almost invariably they have been women. Until recently approached by Nathan and Conor, the male gender tally was two, while the number of women had to be close to twenty. At an earlier stage of proceedings, I was beginning to think that no male would ever be drawn to, or called by, the sacred rocks. That assumption no longer holds fast, while our current score of around 20% male connection to rock-divinity is probably a fair statistical reflection of the males in Australia involved or interested in the deeper esoteric side of the daily life equation.
The first candidate is undeniably striking in appearance, and if it wasn’t for the fact that the rock to be examined and ‘dissected’ next, is five times more unexpected and sensational, we wouldn’t be quite so restrained. Nevertheless, it is still a very big star rock. Weighing a touch over one kilogram, it measures at its widest margins 17.5 centimetres in length, 9.5 centimetres wide and stands up to 10.5 centimetres in height. Although apparently not resembling a geometric shape and lacking any straight alignment, what does seem to run against any random geological trend is what is the base side. It is close to perfectly flat and is the most intensively cut side. There are seven sides in total, and six have surfaces that bend, wind and kink, while the seventh side is nigh on laser-level flat.
In what only adds depth to this seeming solitary beacon of precision, is that the flat side measures 13 centimetres by 7 centimetres, and what is surely beyond the embrace of any definition of coincidence, is that the other two main sides (which in combination total about 85% of the cuts) measure exactly the same at their longest and widest points.
The rock is heavily cut/marked in quite a few styles and has examples of the typical tight straight lines that intersect which make up star rocks language, a few large incised circles, smaller pecks and a solid serving of thin jagged spidery lines, which we know to be what Amerindian tribes refer to as spirit language. That tally alone strongly suggests that there are multiple narratives on board this stone tabernacle.
The straight lines are the most prominent, which has to mean that the main narrative relates to star people. Of these lines, two sets of lines circumnavigate the rock, albeit one set takes a circuitous route. That deviation is interrupted by a gap through excavation to create a thumb rest, the residual ochre still attached is indicative of ceremony and mystical business. There are no lines on this flat thumb plateau, as it is with every rock we have that has a position set aside for the thumb, everything is a blank face lacking in any incision or peck, but on both edges the positioning of the two continuous lines coming in and going out are in absolute alignment. In total, if including the flat thumb shelf (4cms), these two larger parallel lines span 28 centimetres. The second pair of smaller, slightly thinner lines take a more angular route measuring 22 centimetres.
Any interpretation of Original line and dot language is tenuous and has to be hedged in disclaimers and maybes, despite these realities exacerbated by passing of years and a lessening global intellect, there are a few crude observations and generalisations that we feel are somewhat close to the mark. Of the three main engraved sides, the flat base is almost entirely covered in straight continuous lines that carry on to the other sides. Of the fourteen still visible lines, one is crooked, the other thirteen are straight or close to it, and because of this linear dominance this panel is recording star business, possibly paths and orbits taken while in interstellar transit.
Turn the base over to either of the two principle panels and outside the main two continuous lines passing through, ninety per cent of what is chronicled takes on a distinctive web like visage. Throw in some pecks and two large incised circles, and any comparison of the three chapters makes it clear there are at least two different subjects being addressed. In the simplest terms, which is all we have, we suspect the precision of panel one is primarily the star content of ‘as on top,’ while the melange of dots, circles and spirit language is more to do with ‘so below.’
Changing Grip and Perspective
The large chunk of very hard rock cut away left behind a long shelf (9cms x 5cms), which is more than enough room to accommodate the largest thumb fully stretched to the webbing. In facilitating a full interaction between silica and skin, the mason laid out a thin veneer of a different bluish grey coat of another rock on top of the darker rock. Because of the way it was laid the surface is rough and bumpy, then it was coated with sacred red ochre. That residual trace is the most treasured earthly pigment and automatically means that this rock has it magical/spiritual component.
Reinforcing that esoteric role, there are also small traces and specks of white and brown ochre still trapped inside the lines and some of the engraved round circles. Too much time was given in creating this complex multi-faceted arrangement that is obviously not a weapon or tool, it can only be a spiritual monument. That being the case, the first step taken down this heavenly path is to determine how the rock should be held. Without the introductory protocol of shaking hands ticked off the list, nothing can be said, heard or understood. The flat level side sits in the palm and rests against the back ridge of flesh, as all such rocks do. With the thumb rested on the shelf all four fingers have slight depressions on the opposite side to rest into, thus increasing the interaction. And there, just above the thumb at the point is the area where a piece of rock was crudely chipped exposing the base rock giving the inner workings of this rock an exit passage.
This rock generates and transmits energy when held and sung correctly, just holding it properly will not spark up this machine. If the song was given an energy of a type we cannot begin to comprehend is generated while in symbiosis with the human host, it then bursts outwards through the chipped peak. In what we feel adds to range of options and realms, it would seem this rock can function in unison with humans or independently.
Yes, many immediately sigh and cringe whenever the use of copper rods is applied in any circumstances, but honestly, we do not care nor feel inclined to justify beyond making one final observation, they work! Back to our crude first readings when the copper and rock met for the first time. What was unusual is that it doesn’t matter regarding the direction of approach or orientation of the rock, once within about a metre of the rock, the rods will spin quickly. Whether the rock is held or not makes no difference, once breaching that one metre perimeter the rods will react accordingly.
What happens next? At this stage, there is only one intelligent response, we await further guidance or instructions from the rock or Elder.
What can be stated with confidence is that what the rock actually generated and how it operated, is at present, unknown. However, when considering how it was marked and shaped, something is wrong. If consulting all accredited texts and academic theories the only answer on offer is that there can be no response. What we have here is well past anything a stick, stone and bone toolkit could ever create. Present and accounted for on the surface are at least three widths of line, a thin dark chocolate coat laid upon a creamy base rock, there are sharp round very small points still remaining inside some of the circles that had to come about through nothing less than the impact of a hardened metallic point. More thought provoking is the one flat side, how was it so expertly removed and flattened? Yes, the thumb rest platform is not as exact or appealing to the eye, but in both excavations very hard rock was cut away using tools no less advanced than those of today. And that is bare minimum base on show here, it had to be no less than as good as it gets today, with the real potential it was much better.
A big Knife and a Little knife
The black marked rock is very big, and when compared to nearly everything else in our rock ensemble, it could be rightly claimed to be an imposing artefact. But when placed beside or in the vicinity of Nathan and Nadia’s Original rock and companion of nigh on a year, it reminded me of a line from the film Crocodile Dundee. The scene involved a group of young prospective robbers who confronted Mick and his American companion brandishing a knife of some size. But once countering this menace with “that’s not a knife, this is knife,” such was disparity in size of knives, the potential offenders fled in embarrassment. To an extent, the same line and comparison applies here.
This rock, in its present damaged condition is more than five kilograms heavier than the first rock discussed, and that is much less than what it weighed before two sizable chunks of this rock tabernacle broke away. You can get a reasonable idea of the original shape in pre-collision mint condition, and when added on a combined weight of over eight kilograms seems the bare minimum. It is now, at its widest points, 21 centimetres long, 18 centimetres wide and 9.5 centimetres high.
The slab was cut from a massive piece of granite, and what is incredibly significant is that the entire extracted slab, plus the sections that broke away, measure a consistent width of 9.5 centimetres. There is no kink or deviation, beyond two small detours worked into the upper and lower sides of this granite block. This rock is very old, but the machinery and tools needed to cut and extract is very modern. Before even considering what has been engraved, cut, varnished and shaped on both sides and edges, the mere fact that the technology needed to get an eight kilogram slab of granite laser level, ready for sculpting and engraving is not part of any pre-Cook Australian narrative. But it is!
A Second Incarnation
This rock has already been mentioned when compared to the amazingly precise and intricate pyramid rock, but that analysis was flawed, as we were at that stage distracted by the exact linear precision and proliferation of geometry on the other rock and because of my blinkers, did not devote enough time or look closer at the curved serpentine rock. That oversight will now be addressed with clearer vision and through the assistance of a more continuous contact.
Nathan found this massive rock embedded in the ground at a building site. The area had never been developed before, it is more than likely that because it is within a very large coastal swamp, no-one even ventured near the place until quite recently. When Nathan found the rock, the top panel was exposed, while most of the rock was buried in the sandy soil. Nathan spoke to a local who was adamant that the area nearby was an ancient Original burial site, and led him, and us, to suspect that its purpose was to guard and protect the departed souls and guardian spirits of the burial ground.
Whatever its anointed task, there is plenty engraved into the surface including series of curved lines and serpent-like motifs that are without precedent, anywhere. This arrangement is totally unique. The style, shape, weight, spacing, interconnectedness and traces of a thin brown lacquer are all on new ground.
Being granite, to make even a rudimental scratch of the surface needs a metal blade, the consistency of depth and width of each line requires a very hard fine blade, but this did not come about through the involvement of any form of chisel. The curves are too smooth, there isn’t the slightest trace of any straight line or join between cuts, the lines are free flowing taking on the appearance of something like a potter’s sharp blade cutting through clay. There are two distinct sections to this pattern, and both resemble a curled snake, but the second portion has a triangle interwoven into the curves made from three vertical straight lines and sixteen horizontals lines. Together everything is linked, as the line that begins this journey enters and forms the first curled snake then continues across to the second half of this linear pattern and finishes at the apex of the triangle, which points directly back directly towards the far corner.
There is a thin residual strip of light brown lacquer that still acts as a protective coat on one line, there are small patches elsewhere and leads us to believe that at one stage this thin semi-transparent varnish covered the entire engraving. Returning to the time of manufacture and before sizable chunks broke away, on two sides of this rock there are traces of both red and brown ochre, and as it probable that when the brown lacquer covered the entire top plate, all of the sides were fully coated in brown and red ochre.
The Finer Details
There are two diagrams/engravings here, completely different from each other and patently dealing with two topics. The less ornate and apparently cruder design on the opposite side seems to be directed by the edge of the rock, which provides the margins for the outer perimeter line and placement of internal lines. Undeniably, the meagre tally of six lines, none of which none are either prominent or precise, creates a less than impressive visual impact. But as opposed to the more intriguing and synchronised arrangement above, on the bottom side what is possibly more important is not so much the lines or designs, but the ridge and depression on the surface.
While the lower stone palette is an almost level surface, there is section of rock that has been chiselled away leaving a 0.5 mm drop running across the face. It looks like a mini-plateau and not far below this ridge a spherical piece of rock has been gouged or chiselled out of the lower flat section. That excision creates a perfect fit for the left-hand index finger pad, and with the mini-ridge positioned above this curved trough, it takes on the geographical appearance of landform with a flat lake on an expansive plain. The entire passage and spartan setting is diametrically opposed to everything on the upper flat shelf and takes on a decidedly terrestrial perspective showing none of the traits or style of Star language. No line is straight, nor close to parallel and there are virtually no angles or intersection points to record.
On the more sophisticated engraved passage there is a very slight rise near one edge and to the right of the triangle engraving is a raised spherical patch of an exotic rock securely attached to the surface sometime after it was engraved. There are two lines that enter at one side of this addition and continue exiting out the other side, while still remaining faithful to the same alignment. What this rather crude addition was meant to achieve is unclear, but we do have other rocks that also have pieces of a different rock still firmly attached with no sign of any separation. What ever the material used to secure these foreign grains, it works for thousands of years and exceeds the guarantees of any glue or adhesive used today.
A Task ten Times Harder Than Granite
As with the last rock, and far too many others, the most intriguing mystery, what purpose this massive rock serves and the energy/magic stored within, is a long way off identifying. To this date, definitive answers are rare, and certainly in short supply here. The few comments we have supplied are provisional and open to revision or culling, simply because this particular rock is lacking in precedent in script, shape, coating, opposing narratives and bulk. There is nothing on this planet from any time scale or location to compare against. That the rock is agreed to be a “protection and magic rock,” is for us, a very solid base to set out from, but past that first step into the void we are in unchartered waters.
The way the copper dowsing rods react when nearing this rock is nearly identical to the first rock. No matter which direction is taken in approach, once about a metre out from the rock the rods cross. There is the same force in movement and begins once a metre apart. All other rocks, with the exception of the previous rock, have a defined exit point/release point, which is where the energy travels towards. This rock is the same from every side and angle, and what is unique is that it is not just one level, but both above and below, from floor to ceiling, the entire one metre package is fully charged.
Finding the proper way to hold a rock is a very difficult task, especially when it is so heavy and cumbersome, while on other occasions it is much easier. Inevitably, when embarking down such a mystical road the first step begins with finding the correct grip, which is compulsory and has been found. With the next rock to be discussed the correct grip was very easy to identify, in fact, it took less than a second to determine how it should be held.
The Smaller, Darker and Lighter Rubbing Rock
Smaller in size, darker in colour and more than five hundred times lighter than the engraved granite slab, the next rock is meant to be held and absorbed and does not have one engraved line, peck or intersection point.
This rock has no exit passage, it is meant to be held when meditating or seeking mystical wisdom. It has four sides and a leading projecting ledge, measuring up to 6.5 centimetres in length, 4 centimetres in width and 2.1 centimetres at its highest point. The rock is clearly shaped and coated in a dark chocolate veneer attached to a creamy white base rock.
Originally, we believe the dark brown coat was complete, with none of the lighter grain from the base rock showing through, as it now does on the lower half of one side. There is no wear whatsoever above a very straight slight ridge, and all the wear below the line of demarcation gives a very clear indication of the thumb rubbing along and below. We suspect that the active application of the thumb is instrumental in activating what lays within. The thumb rest just above the rubbing is the only side or edge left irregular and rough on the surface.
This rock has no adornments, dots, lines, shapes, variation in coat or anything else outside a shaped rock to be held within a closed hand. We have a few rocks with minimal cuts to the finest trace of a line, but in every case ‘cupboard’ was almost bare, however there is always something remaining cut into the surface. Not this time around, ignoring the half side rubbed after manufacture, in mint condition this rock had a coat and was shaped, that is all there is.
It is a silent rock, held by someone on an introspective quest. For now, that’s it! The shaping and coating is undeniably due to advanced technology.
And Then There were Eighteen or Twelve
Of what must be close to two-hundred rocks Conor freely offered, I chose twenty. I was comfortable that all these rocks displayed clear features that sit outside the domain of any stick, bone and stone toolkit. The first two already discussed, stand out somewhat and of the eighteen none are as dramatic as the huge black marked rock slab or sublime as the half-rubbed holding rock. Despite these superficial deficiencies, it was my belief that all of the other rocks were held and shaped by Original hands, and that alone deserves recognition.
However, upon bringing these rocks home, with a lot more time spent in closer examination, I began to question whether a few of the candidates were more the result of some rather unusual natural forces at play, than some form of human intervention. We now have no hesitation in using dowsing rods whenever seeking out a mystical presence or reservoir, and did so when examining these rocks. According to the rods my second thoughts were warranted, as six rocks were deemed to be natural and neither artificially shaped nor marked. So, of the remaining eighteen, six were denied membership by the copper rods. However, that verdict is neither final nor absolute, but even if there is the slightest doubt, we must act with caution and maintain a high bar.
The first of the of remaining twelve of the ‘lesser-brigade’ to be briefly discussed, may well have been far more impressive if not for this artefact being subjected to a substantial collision with a very hard object or rock. So great was the force, the rock has been snapped through in one clean, sharp break. There is nothing rough or jagged along the break, what remained untouched is shaped with rounded edges and on the main side is a depression set aside for the left-hand thumb to rest upon. If held in the left-hand, the thumb sits more comfortably with the projecting ledge pointing outwards, whereas when held in the right-hand, the thumb is slightly askew and unbalanced as the shaped point is reversed facing inwards.
The exit point, as this rock was designed to generate some form of energy, is a rough opening where a piece of rock was crudely chipped away, which was deliberately positioned so that it lined up directly with the left-hand thumb. A solitary thin straight line cut into this rock runs over the top-left hand lip of the thumb print. and what only reinforces our belief that the rock is of a left-thumbed province, there are two traces of red ochre found beside the line on the left fringe of the same thumb rest.
What remains is the front portion of a stone object of considerable significance, and because of its leading position, probably retains some or most of its power source/capacity. As much as this rock is deserving of further study, right now, with so many other rocks in need of attention or activation, there is a long line in waiting, but its time will come. At present, this rock is positioned well towards the back of the queue. The same lesser priority applies to the next rock to be briefly examined, and equally, for the eight that follow.
The Sixth in a Rock Sequence
If for no other reason than the indisputable fact that this very small unremarkable semi-rectangular rock has to be part of a classification of star rocks which is headed by Ros Rock 1, I was very keen to accept this rock as I knew it had colleagues-in-waiting. There are four other rocks that belong to this same group and all obey a strict set of rules relating to content, geometry and setting. To that select group that was numbering four, this decidedly modest creation adds the fifth element to this expanding collection.
As is the custom with all of these rocks that take on a rectangular form, this rock is primarily marked and pecked on two sides, the other sides are very lightly marked, and the few lines visible connect directly back to lines on the two main sides.
In what is a continental Original stamp of sacred intentions, the larger pecked circular hole has traces of red ochre still present. Being the same in setting and style, all four sides are completely level stone palettes with rounded edges upon which to cut and peck. The lines on this rock are thin and perfectly straight taking a continuous route around all four sides, and in doing so, is well beyond the abilities of any but an incredibly talented stonemason.
As with all rocks of this classification, the message of these star rocks is exclusively about ‘as on top.’ The inter-stellar content will be Pleiadean in complexion and terrestrial in destination, but beyond that the specifics are a long way off.
As an article is written we do constant edits, same approach here. Except that during the last edit it became obvious that this article is overloaded with rocks. If the writer is labouring during the edit and finding the content dry and clinical, then it is time to draw stumps and declare the innings closed. But in concluding proceedings, we felt a ‘highlights package’ would suffice and still honour Conor’s contribution.
Each rock will be accorded a restrained acknowledgement. All are, in our estimation, genuinely Original artefacts and one group photograph, accompanied by one sentence, is sufficient as an introduction, and far easier to read without ‘nodding off.’
- Another holding rock with a lighter chocolate coat that is much darker around the area where the thumb rests.
- The corner of something much larger that broke away, there are straight continuous lines, one residual spot of white ochre and three widths of cut.
- It is very small, has one large cut that almost bisects the rock, the top and bottom is level and smooth with the sides rough, pitted and the entire package is coated in a dark lustrous veneer.
- Another unassuming rock that has one line that meanders around all four sides, a feature panel of pecked images and circles, and a light grey quite worn coat.
- An appealing and tactile exceptionally smooth creation with a mottled brown coat, a series of continuous fine lines and a 1.5 cm spherical infill. (8.4 cms x 4.5 cms x 4.5 cms)
- This rock is covered in a thin black coat attached to a reddish-brown base rock and has been extensively pecked.
- At first glance, a totally unremarkable small light grey thumb-rock with two very sharp thin lines and an intriguing three-sided diagram.
- Very heavily polished, this petite dark brown rock shines under any light source, it has one main sharp thin line and a cluster of pecks, and is in no way a natural product.
The Final Destination
Right now, as this year begins, the huge collection of rocks we are preparing are focused upon one overriding imperative, establishing their final resting place. The Ramindjeri location is secure, but the logistics and economics of getting the site public access ready has some way to go, and until the rocks are under 24-hour security, they must remain hidden-in-waiting. When the rocks do finally take up residence in sacred formation, there will be consequences and blessings.
That sacred rock formation is but one integral part of a grid of ley lines and mystical reservoirs that are ready and willing, but it all hinges on one unpredictable agent that can either turn the switch on or deny it is there. Irrespective of the powers and paths these rocks are bound to, each human will have the final say as to whether they will finally listen to the rocks, rings, skulls, and sacred sites resurrecting at a higher resonance. If they hear or sense nothing, that is their karma, and this will be their final Earthly testimony for some considerable time. For those where everything and everywhere is now a central part of daily life, their reconnection is secured, and the rocks will be pleased as their task is done.