Here a video of our time in Adelaide Museum, including an examination of the Panaramittee Crocodile Engraving. Special Thanks to Mark D Funda
Published on May 18, 2015
Filmed & Produced by Mark D Funda
At University South Australia 21st March 2015
“The accepted human history of Australia and humanity we are assured is true, is wrong. We have gathered a huge amount of archaeology and Elders accounts which creates a narrative that opens up a completely different past and brand new future. Within Australia Original truths speak of earlier civilisations, technologies and wisdom that is still beyond our understanding.”
“Our directive from the Original Elders and Custodians of Lore is simple: to provide science and historical accounts of the highest calibre in support of the Original historical narrative.
Through our analysis of the latest discoveries in Mitochondrial DNA, Y Chromosomes, Genome patterns and skull morphology, we will prove that the Australian Original people, never the Africans, were not only the first Homo sapien sapiens, but they alone can make the claim “that all other people of the world come from us.”
Part 1: https://youtu.be/w7365h1blbg
http://www.migration-diffusion.info/article.php?id=460 For Download of “Re-writing Australia’s history: The Egyptian connection”
By Steve and Evan Strong
The Kariong Glyphs site is the most argued over and controversial archaeological site in Australia. Decried as utterly bogus by authorities and sceptics, it is an archaeological ‘poison chalice.’ My colleagues and I have been denounced as “dumb and dumber,” “liars,” motivated by “money” while working in an “unscientific” manner driven by an unstated “agenda,” simply because we find fault in every explanation of a hoax and merit in the notion that some of hieroglyphs were carved by ancient Egyptians……
http://www.migration-diffusion.info/article.php?id=461 “Reading between the walls and lines: The ancient Australian-Egyptian connection – Part II”
By Steven and Evan Strong
In my previous article “Re-Writing Australia’s History: The Egyptian Connection” on this topic, my primary focus was to evaluate the credentials of some of the most popular hoax theories used to discredit the authenticity of ancient hieroglyphic engravings found on two sandstone walls near Kariong NSW, and establish the truth of an ancient Egyptian involvement with the Original people of the area.
But there is still one hurdle to overcome; when read in combination, the hieroglyphs don’t seem to make sense to today’s experts. Some of the glyphs aren’t recognizable, and others are not depicted exact1y as they should be. Undeniably many characters are Proto-Egyptian, while quite a few are not. But the real problem here is not on the wall but within its observers. The critics are limited by their ethno-centric blinkers, and could never reverse their perceptual parameters to consider the possibility that some of these engravings were actually carved by Original hands…..
http://www.migration-diffusion.info/article.php?id=462 “Yesterday’s mistakes, tomorrow’s salvation – Ancient Egyptians in Australia Part III”
By Steven & Evan Strong
Earlier this month, Ied a group of colleagues to the hieroglyph site at Kariong NSW. I knew roughly how many people I had invited and what each person could contribute to the day’s expedition. But even so, it was a big group -and a final count made it obvious the logistics of fitting the entire group in and around the two ‘glyph walls was going to be challenge.
Before setting off, we let the Spirits of the land know our intention; to seek the truth.
We filmed known sites, and continued searching for astronomical markers and whatever else was engraved onto the myriad of rock platforms in the area. The section of hieroglyphs we estimate to be 92% Proto-Egyptian script was already examined” so my main focus for this trip was the remaining panels of’ glyphs; in particular, the opening section which depicts what my colleagues and I suspect to be the creation of modern humans through genetic manipulation…..
http://www.migration-diffusion.info/article.php?id=463 “The Bambara hieroglyphs, the language of the Na-Khi & the Dogon connection”
By Steven Strong, Laird Scranton & Evan Strong
The first time Evan and I ‘met’ Laird Scranton was on a Skype Radio Show called “USOKS Freedom Radio” hosted by Bob Newton. We were caught somewhat unawares by Laird ‘s praise of our work and quality of research, and we were soon called on to join the conversation. We quickly scanned through Lairds’ book “Sacred Symbols cf the Dogon“, and I was more than a touch annoyed that neither of us bad found the time to do so earlier -the similarities between the Dogon and Original people were so consistent.
As the links between Original and Dogon culture became increasingly apparent, we agreed to keep in contact -and in particular, focus upon the controversial 300 hieroglyphs at Bambara NSW (near Kariong). As a researcher of ancient cosmology and language, it was a valuable opportunity to leverage Laird’s expertise in this area. To that end, we sent across a series of photographs and diagrams of the ‘glyphs for Laird to study….”
http://www.migration-diffusion.info/article.php?id=464 “The Bambara glyphs: a biased (but arguably more accurate) interpretation”
By Steven & Evan Strong
Since first making contact with Laird Scranton, research er of ancient cosmology and language and former Colgate University lecturer, it has become obvious that my team’s previous interpretations of the Bambara ‘glyphs is now up for further discussion. Given the extensive consultation we have undergone over the past few years, we still hold fast to our overall take on the narrative these ancient symbols represent: an off-world intervention in the creation of humanity. However there are indications and interpretations within Laird ‘s linguistic research that are actually far more radical and far-reaching than even we dared to suggest interpretations we believe are deserving of further consideration.
In considering these factors, I am immediately reminded of what Ramindjeri Elder Karno Walker told us about the intricacies and alignments found within and upon the 185 standing stones at the rock arrangement chronicling the First Sacred Language: each symbol or shaping can have up to four meanings. And the same rules apply when examining the relationships between ancient Dogon and Egyptian hieroglyphs…..”
By Steven & Evan Strong
That was our initial response, the whole event seemed so outrageous. But as we have often found first impressions are often misleading. Was this the flagrant insult to Original Lore as we immediately assumed, or upon further reflection, could it be what lay on the floor was a clever compromise inspired by a long-term plan?
What lay under a large wooden table with a glass top containing quite a few ancient Original artefacts was a resin cast of a magnificent engraving on rock of a crocodile which was originally found near Panaramitee in the 1920’s. So unexpected and sophisticated was the detail and manner of presentation when sighted, the entire engraving was removed as one piece without permission and then stored somewhere within the confines of the South Australian Museum.
That such an incredibly detailed and artistic rendition of a salt-water crocodile was found so far from the coast, in what many would see as an unforgiving arid country with long periods of drought, presents an immediate problem. The area where the engraving was stolen has been for some considerable time one of the drier parts of Australia and least conducive the existence of any type of crocodile. That engraving just should not be here and this truth led eminent Australian archaeologist Josephine Flood to openly concede that the presence of any crocodile in this particular place was nothing less than an “enigma.” To Flood’s credit this riddle was perplexing to many authorities, but not impossible for her to solve. In fact it really wasn’t that difficult and always came down to one possible choice, but it does require a brave leap into unknown territories, which Flood was prepared to take.
“In view of the thick desert varnish on the petroglyph, I am going to be so bold as to suggest that it may derive from a time when terrestrial crocodiles and humans actually co-existed in South Australia, although the youngest crocodiles so far date to more than 75,000 at Cuddie Springs.” 1.
Or, and this is the only plausible alternative as the date of 75,000 years remains unchallenged if restricted to this general area, an Original person from way up north came down and carved this image with the motivation of sharing knowledge, or perhaps one of their tribe went up north and came back down and provided this as part of the narrative of his journey off-country. Flood could have mentioned such far-fetched alternatives, but knew enough about the culture to not even bother to canvas such insults to culture. To permanently carve, paint or depict anything on tribal country that directly belongs to that same country, well that just does not happen. And if by some infinitesimally remote chance an Original person did transgress so many taboos, as soon as it was found the carving would have been completely destroyed and culprit speared to death for insulting the spirits and protocol.
No, Flood is right, the engraving has to be no less than 75,000 years old and most likely much older. What also needs to be appreciated is that figure is merely a bare minimum base from which to scale backwards from, the desert varnish leaves no other starting point in this journey so far down the white-fella time-line.
Taken without permission or respect in the 1920’s and then stored out of the public gaze somewhere within the South Australian Museum, an epoxy-resin cast has acted as a deputy and rests on some old carpet shielded by a huge wooden table displaying all manner of Original artefacts that immediately attracts the eye. As they should, in each museum every exhibit is designed and assembled in a way that stirs interest or curiosity. Consideration is given to eye-level, positioning, framing, signposts, background and electronic supplements, all of these ‘tricks of the trade’ are intended to ramp up the interest.
It was patently obvious the crocodile toy has been set on a far more unobtrusive path masked in anonymity. Camouflaged by a colour not that too dissimilar to carpet, I had to crawl under the table carefully levering and readjusting before sliding the plastic reptile out between two table legs. I still remember while under the table the voice of the nearby sales assistant encouraging me to keep pushing it out into the light of the neon, clear air and four walls.
Once quelling the initial surge of indignation laced with a healthy serving of dismay, what was so apparent and quite spectacular was the high degree of artistic skill accentuated by the delicate cut and clean interconnection of lines. In what adds to the complexity, this engraved package was complimented by what maybe a set of First Language symbols adjacent to the crocodile. Above and around this reptile and complex array of symbols was the input of some very advanced technology. The tools needed and level of technology required to create this ancient master-piece is dramatically at odds with the popular notion of an Original stick, stone and bone tool-kit.
If the original engraving was cut into this compound of chemicals (with no colour photograph available, the only black and white single photo over 90 years old and not one word supplied as a commentary, for the sake of balance and dearth of other choices this is an alternative), or perhaps a softer rock like sandstone, there is no problem. A hard rock sharpened for some time, an obsidian blade or even a kangaroo thigh bone will be sufficient to complete the task at hand. However, if the rock is granite, igneous, basalt, or a harder rock, sticks and stones may break bones but will not cut any of these stones, nothing less than a metal blade could be considered.
This vexed question of the unexpected sophistication of technology used in engraving all comes down to the hardness of rock, and in that endeavour this cheap replica cannot assist. It is only through a public viewing of the authentic item will this issue be resolved.
The problem is that this is only one question that deserves to be answered by the South Australian Museum, there are a eleven other areas of concern that come to mind and the presence of refined technology is but one. And in what complicates proceedings the other eleven questions all end up with the same number as an answer. Therein sits a real mathematical and logical contradiction, because these eleven numbers just don’t add up, no matter which way the answers are rearranged it all comes out to nought.
Irrespective of the order these answers are assembled, it always amounts to nothing.
So in combination the sum total to every question is nothing, there has been no action or attempt to bring this magnificent piece of archaeology to the notice of the public or anyone else. Stolen without any Original agreement to remove this wonderful national treasure from where it should have never been taken, it has been deliberately hidden and kept away from any prying eyes or further speculation. The ploy was as simple as it is effective, out of sight out of mind. The plan was perfect, but somewhere during the execution somebody thankfully slipped up.
Stolen over 90 years ago then hidden somewhere within the Museum, presumably the hope was the crocodile would be forgotten. And there this inconvenient archaeological truth should have remained hidden and we have no doubt that was the intention as relayed from above. Then with everything stowed away some broke ranks and threw this ‘bread crumb’ under the table? We have no doubt that close to 100,000 people have read Josephine Flood’s excellent reference book, Archaeology of the Dreamtime, and in this book she devotes some time and comments on this site, and was unequivocal with the date she proposed. This date of no less than 75,000 years is not a state secret and certainly is an unwelcome inconvenience, but no living soul today (excluding a few employees of the Museum) has actually seen or touched the artefact. Until present and accounted for today, this precious engraving floats in an academic ether without a home or advocate.
We believe that the reality is that the officials of this museum are bound by directives from up high and that which was thrown under the table is a very clever compromise. The genuine object must never be publically displayed and no information about this pesky reptile will be disseminated through any official channel. And that is exactly what happened, the instructions have been carried out in the most literal sense and between the cracks an untitled mysterious resin copy was tossed on the floor under the table without prior warning, word or title. Although not prominently displayed, it can be seen and no doubt has been noticed and examined by others. We are of the opinion that the academics of this institution were hamstrung by the denials and attempts to conceal from above and this was overcome through the actions of some dedicated academics who felt aggrieved at being forced to fabricate and hide, and found a loop-hole.
This artefact is so much more than an engraved crocodile, it single-handedly rewrites so much of not only Australian but global world history. According to all the accepted experts and syllabus, Australia was unpopulated until some adventurous African adventurers sailed to this continent at sometime between 50-60,000 years ago. Not only supplying a date, the same authorities assure us landfall first took place up north, possibly Arnhem Land or the Kimberleys. From this initial ‘discovery’ these mariners from afar slowly inched around the shore-line of this continent and once established some made their way inland via the larger inland river systems.
When it comes to South Australia a date of 40,000 years is begrudgingly attributed to the coast of South Australia, and another 10,000 years passes by before the inland sections of this state are walked upon. Great story, you can read about it everywhere, the problem is that there is no room for an occupation date of 75,000 years in this fictional account. This number is no less than 35,000 years before any human is supposed to have set foot within one hundred kilometres of where the Panaramitee engraving was found, which is well away from the coast. Once again the numbers don’t add up and one equation has to be wrong.
It is not just that the numbers that don’t gel, this incredibly elaborate labour intensive creation demands skills and equipment that theoretically do not exist at that time. If the rock is hard then then contradictions multiply, and of course, that does include the strong possibility that the accompanying engraved script may well be part of the First Language. It is no wonder this engraving was whisked away and cloaked in secrecy, nothing about this ancient human product fits into any accepted historical narrative.
The caves in Lascaux bear witness to an artistic tradition of high refinement beginning nearly fourty thousand years ago. This location is lauded as the stepping stone in humanities’ ascension, if so, what can be said about the engraved crocodile at Panaramitee which is no less than twice as old.
Apparently, nothing. No information is to be shared in any public domain, no recent photograph shall be supplied and nor shall serious academic analysis of any type is to be undertaken. The crocodile is the ‘elephant in the room,’ but if no-one talks about it, sees the original or acknowledges its existence this inconvenient truth might just go away.
There are so many associated avenues of potential research that have been prohibited entry. Is this the oldest evidence of a formal religious activity in the world? What Dreaming stories, close or nearby make mention of crocodiles? What tools were used if the rock is soft like sandstone? Past 50,000 years, is there a more intricate or time consuming piece of engraved art of superior quality to this crocodile? What is the standard of rock engravings at a similar time period in other locations outside Australia? What do the local Original people know about their lost treasure?
And so the questions grow, but tragically in combination they fade into the background, and will remain so until an elemental insult to Original everything is righted. When will the authorities right this appalling wrong and return this large slab of rock with an amazing engraving to its rightful place in country? That is the only right approach and until that happens, everything is wrong.
This mob have had their chance for the last 90 years and failed miserably. To the best of our knowledge the genuine artefact has never been shown, analysed, publically discussed or photographed in colour. No-one knows of what type the rock is, and there is no official document to consult. Obviously the crocodile rock is of more use to Elton John than it is to this institution, and we can only assume that since they will not release the original creation in preference to the cover version, there seems no point in keeping something that is obviously regarded to be merely clutter. Let them continue in their cryptic display of an anonymous chemical copy hidden under the table for as long as they wish, and simply because is utterly right, they must return the original engraving to the proper Original keepers.
We strongly suspect that it was for these reasons a detour was manufactured through the cast of a plastic crocodile head which was tossed under the table in the hope that this seed would germinate when the timing was right. To whoever was responsible they should be commended for their integrity and ingenuity in obeying their conscience and deserve a special vote of thanks.
With so much deemed unsuitable for public consumption, there is much about this engraving that is unknown. And it will remain hidden in the shadows, with so much undone and so many mistakes made until this precious piece of our global heritage is returned on site to the exact location from which it was stolen, there is nothing more to be said, we can only be silent. Once it is secured in its rightful place then the conversation can resume and finally begin a meaningful dialogue. However, this time around new conditions apply, let the local Original Elders and Custodians of the Old Ways lead the discussion in consultation with the Spirits. The rest of us should learn to hold our restless tongue and listen to the land and those who speak for the mother.
Or leave it where it is, wherever that is, and continue showing no authentic crocodile head or ounce of respect and suffer the consequences. It is that stark, this is very much a right or wrong situation, to not return this sacred piece of rock to its resting place is so, so shamefully wrong. It was very wrong to take it, it is even more wrong to keep it in these supposedly enlightened days, and it is for that reason two wrongs can never make a right. The next step is to clean up this mess, beginning with officials from the South Australia Museum doing the right …
1. Josephine Flood, 2004, “Archaeology of the Dreamtime: the story of prehistoric Australia and its people”, (J.B. Publishing, Marleston, South Australia), 180.
“The 2015 NEXUS Conference will again take place at Novotel Twin Waters Resort on Queensland’s Sunshine Coast, Australia and will run from Saturday morning 25 July until Monday evening 27 July.
Earlybird special available only until the end of May, available via: https://
Confirmed speakers so far:
Erich von Däniken (Switzerland)
Chariots of the Gods? bestselling author and popular ancient mysteries researcher Erich von Däniken will join us at this year’s NEXUS Conference.
David Hatcher Childress (USA)
Prolific author and adventurer David Hatcher Childress will join us and share his knowledge on ancient mysteries. David has written more than 20 books on our mysterious past, has appeared on numerous television specials and co-stars on The History Channel’s Ancient Aliens.
Donna Fisher (Australia)
EMF researcher and Light That Heals author Donna Fisher will present her latest findings.
Steven & Evan Strong (Australia)
Father and son team Steven and Evan have rediscovered a hidden history of Australia. In their five books they have worked with Indigenous Elders to prove through scientific fact that which the Elders insist is true.
Dr Kathy J. Forti (USA)
Since experiencing a near-death experience in 2003, it became a magnificent obsession for Dr Forti to research and compile information on quantum physics, cellular regeneration, and many other related fields. All the while, she felt guided and directed every step of the way and will share her journey at this year’s conference.
Dr Andrew Katelaris (Australia)
When asked in a recent interview if he worried about what the wider medical establishment would think of what he is supporting, medical marijuana advocate Andrew Katelaris replied “Well, they should worry more about what I think of them. I mean, it’s been a very sad journey having very valid and very exciting scientific work being either ignored or denigrated or obfuscated by the medical profession”. Andrew will present the latest on medicinal marijuana, industrial hemp uses and the current politics in Australia.
Mary Rodwell (Australia)
Mary last spoke at our Conference in 2013. Her new group has recently circulated a questionnaire/survey of ET contact experiencers and she will present their findings. Currently we are investigating the logistical possibilities of having astronaut Edgar Mitchell join us for a 15-20 minute Skype appearance during Mary’s presentation.
Peter Smith (Australia)
Following a decade of work with the Michael Newton Institute for Life Between Lives, Peter founded the Institute for Quantum Consciousness to commence research into the blending of some core principles of quantum physics with expanded states of awareness. Peter will be sharing his latest research into the Expanding Realms of Consciousness model, including alternate realities and parallel lives, as well as some of the collective research from Dr Newton’s original work with the superconscious soul state.
Wolfgang Flatow (Australia)
Solar and Alternative Energy Researcher and Inventor since the mid 70s, Wolfgang Flatlow explores our potential solar future which he sees only a stone’s throw away. He is an independent solar energy consultant with Hybrid Sunshine and has launched his own solar robotic barge solution to oceanic plastic pollution. Solar and alternative energy does more than just replace crude fossil and nuclear energy sources—it is an enabling technology (in the same way it enables satellite communications). He also shows how we can benefit from greater engagement with and understanding of solar power using his online Solar Energy Simulator.
Karen Mutton (Australia)
Karen will update us on bail-ins and pension confiscation, the Global Currency Reset, derivatives threat and cyber threats to our banks Karen will enlighten us on how safe our deposits are in our private accounts and present new developments in relation to negative interest on savings.
Robert Lawlor (Australia)
Author Robert Lawlor’s presentation will cover sacred geometry and the future. His latest work “The Geometry of the End of Time” explores the geometric and prophetic patterns which emerge from integrating the three major ancient cycles of time. ”
By Steven & Evan Strong
As the beginning of this second article we are at this present stage half way through an analysis of eight rocks selected from what we regard as the premier division, and so far the check list has been as expansive as it is controversial. Already included in this ancient Original stock-take are star maps, lines cut into chert, infilling, peckings, imprints, finger depressions, the letter A, angles that span the continents, gouge marks, crooked lines and then, on top of that, throw in the real chance that the entire product has two identities and was melted then baked in an oven.
Of all our observations and deductions we are fully aware that the most radical, verging on outrageous, is this constant talk of incredible heat. The mere idea of a rock as hard as chert being melted then literally stuck onto another host rock forming a thin coat is something we still have trouble dealing with. At no stage during early proceedings was such a notion canvassed, it just wasn’t on the horizon. Our conversion from no inkling or opinion through to an absolute conviction has been a gradual journey, and throughout we have maintained a healthy scepticism always sensitive to how far outside any norm such a proposal is deposited. We have never lost sight of the fact that if heat of this magnitude was generated by some sort of device tens of thousands of years ago and whatever this machine/object is, it does not belong to any accepted historical narrative. There is no place for such talk or devices, it changes everything.
However, whatever vestiges of doubt were understandably lingering in the background vanished the moment we set eyes upon Ros’ Rock 5.
To this day we still question whether Ros’ Rock 5 has the credentials and a significance that exceeds that of Ros’ Rock 2, which has been accorded second ranking. Irrespective of possible pecking orders there is no denying that Ros’ Rock 5 is unique, and more importantly its contribution has concluded the debate about whether an inordinate amount of concentrated heat was used in melting and artificially layering rocks. The final answer is a most emphatic yes.
From the first time became aware of the existence of this particular rock, nobody made any mention of a huge amount of incredible heat or melted anything, all attention was devoted to the claim that a variety of constellations were depicted through peckings on this obviously shaped rock of Original origin. Ros’ Rock 5, as with 2 through to 21, is part of the interaction that took place when Elkin, Basedow and other sympathetic archaeologists and collectors made contact with barely seen inland Original tribes in the 1930’s. All of these marked rocks belonged to Original people steeped in the Old Ways, and were made by Original craftsmen of exceptional skill.
To declare that this ancient rock is in pristine condition is surprisingly enough an understatement, it is actually in mint condition. All six faces are perfectly flat and so smooth with a mirror-like finish, and on every face the fine grain runs vertically at 180 degrees. There is no variation in grain size, depth of top layer, alignment or colouration, it looks as if the whole top coat was painted onto whatever rock lay beneath. There is not a jagged chip or natural indentation on any of the six flat sides, what we have here is a genuine manufactured item.
To even consider using the term ‘manufactured’ in a pre-historical setting, particularly when placed in context within nomadic Australian lifestyles sustained by a stick, stone and bone technology, seems a huge stretch on our behalf, but bear with us a little longer and consider the following. Every corner and side is rounded in the same style, sizing and curvature, everything throughout this rock is level, parallel and totally geometric. And the clincher has to be the top edge. Something different took place here and whatever that was requires another application of intense heat within a very confined area.
Along the left hand side of the top ridge there is a section that disrupts the flat uniformity of the entire product. There is a slight uneven depression along the lower 2/3rds of the ridge which wells up on one side and spills over the edge. There is a noticeable residual dribble, identical to what takes place when the wax of a candle melts. It looks like the rock was pushed by the thumb when molten to form a comfortable depression for the thumb to rest when held in the hand. What seems to have occurred is that the surplus rock was displaced in this resculpting and some of it dripped over the left ledge and down the front. Of course all of this only works if the chert is liquefied and able to be moulded through the force of thumb pressure alone.
If this did happen as we propose, then it has to follow that however the heat was applied to one part of the top section, this must have taken place after the coat of hard chert had cooled and set rock-hard. Now this creates a real problem in this case, because if the hot liquid chert was applied on top of all of the base rock at the same time, whatever readjustments and spills that took place between sides would resettle and be absorbed into the molten layer of chert. The force of gravity acting on any liquid irrespective of what it is, would compensate for the residual spill by levelling any overflow seamlessly into wherever it dripped.
The ‘candle-wax’ overflow so apparent of the lip on this shaped rock can only work once the liquid wax melted by the flame drips onto unheated firm flat wax. If all the wax was melting at the same time, when drying any extra additions or subtractions would set as gravity demands, level, never creased and ridged. Therefore, the molten spill of rock dripping over the left ledge actually set on top of an already hardened dry rock of exactly the same make. There is no other logical explanation available.
By what means and tools this later very localised heating took place is still a mystery. At the moment the best analogy we can offer is something akin to a powerful blowtorch or laser of high intensity was selectively aimed at the lower half of the top ridge, until it began to melt. Once transformed into a molten pliant form the chert was refashioned by the person in the control of the flame/laser.
Of course during this examination of the flat and uniformly smooth upper-surface, we put aside mentioning that the pecking that took place once the two rocks had successfully fully merged and hardened. Until now we have primarily focused on the state of play of the chert and core rock up to the second last stage of production. There is no doubt that unlike many base rocks that are pre-marked throughout this series, this rock is smooth, hard and unmarked and was pecked at some time after. At the epicentre of twelve pecks, mainly of the wider selection, there at the exact centre-point is a virtual ‘pin-prick.’ So tiny yet so sharp, I still marvel at the hardness of punch yet finesse of point used in piercing the recently hardened protective chert shell, revealing its softer underbelly.
So what we have at the beginning of this production-line is a rhombus-like shaped rock of a much lighter colour and coarser grain with each edge rounded off the same way. However, this time around no markings, pecks, imprints or depressions were made in advance, the rock was left ‘clean-skinned.’ Then a thin coat of chert of uniform consistency and thickness was applied and remained evenly spread and firmly attached to all six sides. With the base rock shaped, rounded off and sealed in chert, a position for the thumb still had to be forged through an intense burst of heat and the repositioning of some excess molten rock. The third of these distinctly separate processes using all sorts of tools and making so much heat, is a much more complex procedure and involves a second localised blast of intense heat aimed solely at the top ledge. Once this section of chert was melted a depression for the thumb was moulded and the excess rock pushed to one side.
The pecking can only begin when everything cools off and the final product of two rocks is merged and sealed in chert. The narrative from ‘as on top’ can only be pecked once the rock is hardened, and for this to happen nothing less than a metallic punch with such a sharp, very hard yet so fine a point could have been held against the veneer of hard rock in readiness. Once the hammer struck from above the chert was pierced and the metal point continued through into the softer grain beneath. And if that explanation isn’t unsettling and inconvenient enough, all that is left as a possible explanation is a repeated burst of laser of the same intensity. As much as that sounds even more outlandish, any who are inclined to dismiss this notion without inspection need to rein in their indignation, as we alone have had the privilege to hold and personally inspect these rocks at our leisure. Let us assure the readers we only raised that possibility because all of those tiny sharp round holes look so exactly identical and ‘machine-like in reproduction of width, depth and shape.
But surely this is crazy talk, the standard reply whenever a rock anomaly turns up that doesn’t fit is that it could be all be due to natural forces or a bogus artefact made by someone with deceitful intentions. The excuses are endless. What if this is not a genuine ancient artefact, but merely something made by non-Original people some time ago and somehow ended up in the hands of these tribal people who were more than happy to unload this worthless trinket on to the gullible white-fellas. Or perhaps, as undeniably bizarre as it may seem, this rock was subject to variety of unusual natural agents and the so called pecked stars are no more than a random collection of naturally formed holes.
The answer to every negative response case is an unequivocal no. It doesn’t matter whether the preferred option is random weathering, a pre-1930 prank or idle pursuit, there is no way anything other than an intimate knowledge of a star system no-one knew of or paid any attention to over 80 years ago can be denied, this rock leaves no alternative. If this is, as the Original custodians insist, a series of star maps pecked into five sides, then it is obviously is not random and had to be made by humans with considerable astronomical knowledge.
As commented earlier when we first made acquaintance with this rock it made no difference whether the claims of stars being charted was true, the amazing technology held our interest, anything beyond that was a welcome addition.
Very soon after the Ros’ Rock 5 reached us Ros rang with news of a Navaho link, directing us to the untouched section above the thumb depression where there is a circle of dots with a few accompanying stars outside the ring. These pecks meant nothing to us at all, but Ros assured us that to the Navaho it has great significance and is called the “Squatting Man.” That certainly held our attention, but again there was so much to look at with the influx of new rocks and the unbelievable technology evident on this rock still held centre-stage, so we put this on the back-burner.
And there it remained in suspension for nearly a week until Dr. Derek Cunningham sent us a diagram of Corona Borealis, it looked exactly, point for point, position for position, the same as the engraving on the rock. This automatically meant that the rock was indeed an ancient astronomical chart, which explains why it seems fairly certain that the constellations of Orion and the Southern Cross occupy two other sides. More importantly, when this rock was ‘recovered’ in the 1930’s way out in the bush in the middle of nowhere, who knew of or had an intimate interest in the Corona Borealis star system? And if any did take a specific notice in this constellation, what are the chances they recorded their discovery on this rock? White-fella astronomers record the observations on paper, disc or computer, but never rock or word of mouth, Black-fella astronomers only record their findings on rock and through oral narratives.
So ‘1930’s’ is the incorrect entry in our sub-heading, common knowledge of that star system amongst non-Original astronomers was not part of that time. The rock is authentic, it does chart the important star systems which obviously includes Squatting Man (Corona Borealis). Why these constellations are such an integral part of Original history and mythology is not of direct relevance to this research and is addressed in other articles, but it is the most important thread of this ancient narrative.
Ros’ Rock 5 charts the stars and cooks the books. The heat generated in this kitchen comes from a time and place that resonates to an Original mantra that is as old as the stars: “as on top so below.” What adds some extra heat in this ancient kitchen is that the cooking was done by appliances of an extremely sophisticated make and technology.
With hints of a celestial presence this Original plot only thickens when factoring in the utterly untouched, unweathered, unchipped, unretouched and sheltered life this rock artefact led. How so? Throughout the continent it is claimed that all Original peoples lived nomadically, without clothes, permanent shelter or abode. Undeniably, all the artefacts we have seen fit nicely into that unprotected setting, more often than not our greatest enemy is extensive weathering and abrasion. Experts assure us that everything was used and nothing was stored in permanent buildings. When constantly on the move always exposed to the elements, no-one, thing or rock got special treatment hiding away in a cave or ledge never moving and always staying put in one spot.
Or so we assumed, but this rock is so far to the other sheltered extreme, there is not one millmetre of area that shows any wear, rubbing, leaching, water damage, there is nothing. At a distance, or cursory glance from someone who forgot their glasses, if told the rock was made yesterday, there would be some who would agree.
The rock’s pedigree is unknown, all we can say is that it has no precedent, parallel nor paperwork to consult. Outside the guarantee it marked out constellations and was originally referred to as the ‘Constellation Stone” and that this marked rock is authentic, the cupboard is bare.
The report on Ros’ Rock 6 will be intentionally brief. Only very recently did we realise that we have grossly underestimated the importance of this rock, even though Ros’ Rock 6 had already been included in the top category, it seems we need to pay more attention and have another chat with a highly esteemed Original teacher. It was only after Original guidance when viewing our break down of the 21 rocks into shared traits and possible categories, were we advised that this marked rock is actually part of the group of ancient rocks we have classified as ‘spider-webs.’
Without doubt of the first half dozen Ros’ Rock 6 is the least striking and most nondescript. It certainly doesn’t reach out and captivate. Most of the lines are faded and thin, and at first glance there is no focal point or stunning symbol. However, this is a much older rock, there is a lot just visible and what still remains is enough of an appetiser to look again and do so in the full sun with the assistance of a magnifying glass. For the time being and with the space at a premium, we will briefly canvas some of the issues and possibilities associated with a series of four interconnected imprints and a piece of exotic in-filling. What really does open up some new horizons is that the in-filling on Ros’ Rock 6 is far and away the largest of the four examples of this ancient unknown technique that can join together different rocks, forever.
The in-filling on and in this rock is the largest by no less than a factor of five, and that comparison includes the 21 rocks and many other Original marked rocks of which we have been made aware. No less unique is that the other three in-fills are meant to blend as unobtrusively as possible. Extremely neat and precise, the joins are clean and sharp and running the finger above only confirms how tight the fit and continuous the lay of the surface. By comparison what has been ‘thrown’ onto Ros’ Rock 6 is a very poor colour match, plastered over three sides, does not have one straight line, the edge of cut is not to be seen and this exotic plug sticks up well above the line of the natural surface. Rough, more than a touch crude and clearly meant to stand out both literally and symbolically, this is the antithesis of everything seen on the other rocks in every way but one, as before, the technology needed is phenomenally advanced yet is engraved into rocks that are extremely ancient.
What is compelling viewing is that although three cut lines run up the side of the largest spill they come to a stop at the lip. There is not one line, peck or imprint on the top edge, which of course is the area that was originally filled. The overfill that runs down both sides and above the natural level has remained as it was untouched, unlevelled and unkempt. This means that the lines were cut into the infill spill once it was securely attached to the host rock through heating, and that the gluing together of two rocks happened before the cutting and marking took place.
The cluster of four imprints, although neither as big nor ornate as those on Ros’ Rock 1, contain some additions and connections that extend the vocabulary of this rock language. But unfortunately once again the degree of difficulty for any present-day linguist is beyond numbers. What we are sure of is that the four imprints are aligned in such a manner that one line or angle points directly to another intersection point.
It seems quite clear to us that the four imprints form a connected passage and there is little hope an actual meaning will be understood, or even a vague idea of what was engraved will slowly be pieced together. Same story with the in-filling, it so big, so standing out and so stuck onto another rock with adhesive qualities that last for millenniums, and no-one from today can yet explain how this was done, why it was done or what it means.
Undeniably up this point it is fair to say that Ros’ Rock 6 has the least charisma and visual appeal. If it wasn’t for the huge clump of clay sticking out well above the surface it would still be consigned to the ‘reserve’s bench.’ However, the next rock, Ros’ Rock 7, is most assuredly a bigger untidier mess and without doubt the ‘ugly duckling’ of the entire batch. At first inspection, and many that followed, there was no reason to linger as there was nothing of worth on show. The most we could put aside was an occasional glance then on to better prospects with less clutter or chaos. Ros’ Rock 7 seems such a patternless directionless melange of three different styles of line markings each engraved at a different time. Put the three types of markings adjacent to each other or separate and let them stand alone, and this could have been a magnificent artefact which would be very appealing to the eye. But alas that did not happen here, there was no central planning authority. What actually was created is a mass of lines running everywhere and anywhere. More often than not at least two, often three markings sit on top of each other. There is no balance or sense of rhythm, it really is a jumbled discordant mess.
And it still is, and will continue to be, but there like a Phoenix rising out of the collateral damage is a clear and concise image of a perfectly constructed four-sided rectangular pyramid. Each delicate line is straight and without kink or deviation and all four lines converge at the same point. Terms like straight, 180 degrees, exact, geometric and proportional are all qualities on display on this rock, but according to every accepted account of pre-Cook Australia such lofty mathematical concepts were never part of the countryside or daily discussion of people who couldn’t count past the number of fingers on one hand.
Nor can this be explained away as a freak concurrence of random lines creating this one in a million accidental pyramid. Elsewhere on the same rock, again part of the middle application, are two lines running parallel to each other, a rectangle and rhombus. At the very least there no less than four pieces of perfectly formed geometry and each maintains an exactness of less than a millimetre. Knowing that the rock is ancient and Original in origin, to find an object that is so strongly enmeshed with ancient Egypt within the country most would least expect to find connections to any form of pyramid, resets quite a few ancient parameters.
We are not sure whether the next rock has maintained its natural shape or has been artificially formed, in particular the bottom flat side is the most likely suspect hinting at human intervention. This small rock does resemble the general shape of a pyramid and the flat side is so smooth and level it would make a perfect skipping stone if thrown on a still body of water. This marked rock (Ros’ Rock 8) is the smallest so far, yet nonetheless is quiet appealing and decidedly intriguing.
Although the smallest, there are over 100 marks that break the surface and just as many that do not. About half the ensemble of lines, pecks, imprints and assorted marks are still covered by the thin protective chert veneer and have not broken through the surface. This is the darkest shade of chert we have seen so far and what is also of note is that this rock, unlike all of its predecessors except number 5, has not been polished.
What the smallest entrant to the top order does confirm is that the sequence in manufacture we presumed was applicable in every case except Ros’ Rock 5, are the standing orders. As to why over half of the markings, which were obviously done before the molten chert coated the base rock, were intentionally created so they would remain partially concealed is a fascinating point of order. It is deliberate and this double message has been seen on other rocks, but not en-masse. Could it be that outside the pecking all other markings were done before the chert was attached. It certainly seems like that is exactly what happened, and irrespective of the academic discomfort this causes there really does not seem to be any other plausible explanation.
Worth also briefly mentioning is not only the intensive accumulation of marks, but the huge variety. Without doubt this is the most diverse set of markings found on any rock. If this is a snippet from the first language, which it most assuredly is, then the scope and interplay of symbols on display on Ros’ Rock 8 relegates the most profound passages written in Latin and Sanskrit to the back pages of The Cat in the Hat.
Put all eight rocks together, throw in the 13 we have not fully inspected then top that off with talk of many other rocks of the same complexion, and in total we have a brand new equation that is as old as the spoken word and contains within the wisdom of the ages. As to what all these insights add up to we do not know and all we can declare with confidence is that it is not 42.
However, knowing what isn’t the right answer is merely the first step and goes some way towards setting the path forward, and that is all we have. All we know for sure is that the conventional version of pre-history is in terminal free-fall, and surely there is no better example of the folly in relying on the fiction peddled by the conquerors than the case being presented by these eight rocks. The technology that was used in marking these rocks is starkly out of kilter with the popular myth beginning with the sapien ascension through distinct stages from cave man with stone axe and wooden spear in hand, through to the pinnacle of human development via a high-rise tenant with computers and internet connections at their side.
If the rocks contradict the popular version of events, as they do, what is the truth, what do we know of this alternative history that has been the first casualty of the last 5,000 years of constant warfare and conquest? Unfortunately the snippets salvaged from this combined narrative clarifies what is not, but filling in the gaps as to what was really going on in ancient times is a far more protracted process.
Past this point there is no Original advice or reference book to consult. Hints, vague allusions to earlier times in this country we have in abundance, but there is nothing absolute, just a series of maybes we have intentionally kept varying degrees of distance from, until now. Somewhere within each article written on any of these marked rocks we make mention of sophisticated technology and highly advanced yet very ancient civilisations, then immediately go off on a tangent. There has never been a follow up or elaboration upon what next, but this time we will venture forth.
We believe that incredibly advanced technology was part of the Original tool-kit and landscape for hundreds of thousands of years and possibly much longer. That advanced state of affairs is really the foundation from which any further investigations must evolve, the rocks bear testimony to the application of what we would regard as modern tools and science during very ancient days an unchallengeable fact.
Now it gets decidedly obtuse and often obscure, as to when science and technology became part of the human condition, estimating an actual date is nigh on impossible. A much easier task is identifying who was responsible and play around with the numbers later, in fact it is quite a simple task, all that is needed are two ears and a modicum of respect. Time after time and without exception, we have heard Original Elders and Custodians of the Old Ways, not only deny an African heritage but supply a Pleidian ancestry. Yes it is awkward and never discussed with vigour in academic circles, but there is only one Dreaming story that spans the continent and the Seven Sisters, irrespective of where in Australian minor variations did appear, remains constant in attributing a very intimate relationship between the seven sisters from the stars and the Original descendants.
From that point of first contact with the Original Sky-Heroes’ the sudden appearance of technology of a sophisticated nature is compulsory. If, as the Original custodians insist, beings from the Pleiades traveled “from a light far-off” in space ships “made of energy,” once making ‘Earth-fall’ all the equipment and machinery that assisted in transit and their continual survival would be used to ensure their ongoing success. We are assured their genes and technology from that time onwards was shared with the Original people.
Some considerable time elapsed during which the comforts and convenience of the technology we crave today were commonplace in older times. Then, and more than likely this is a repeated process, something of a cataclysmic nature saw the destruction of highly advanced civilisations. Rumours of wholesale destruction caused by massive tsunamis still remain wafting in the ether with talk of Atlantis, Lemuria, Noah’s Ark and many other ancient locations.
At some stage, perhaps the first time this ebb and flow between civilisations and corrupt behaviour incurring the wrath of nature took place, the Original people walked away from the temptations and material path. We suspect that in a literal, symbolic and every other sense applicable they abandoned all of the trappings, conveniences and personal ownership and walked off into the sunset. Naked, without a permanent abode, farm, bank balance or building, the Original nations had sampled all the delights from the stars and chose to discriminate and pass on the lure of personal wealth and instead go walkabout and reach for the heavens above. We suspect a continental decision, at some time long ago, saw every person walk away from the machines and glitter and towards the light. While many civilisations rose and fell well before Egypt, the Original people held fast, as global ascetics, spiritual Custodians of the Old Ways, they withdrew from the bustle and hostility between nations and kept apart retaining their connections with the Dreaming.
The ancient stories found in many religious texts of a mythical Garden of Eden, where man and woman were united and naked, is of course a reference to Australia. This was, until the British Invasion, the only continent were, unlike Cain and Abel, no-one tilled the soil and caged animals. As the rest of the world forsake the nomadic life for farms, armies and money, the Original tribes of Australia kept separate, as they had done so before when earlier civilisations flourished and withered. And here we are today, the next in the line of these global civilisations has risen and now lost its internal balance and is spinning out of control, just like before.
That is our take on the eight rocks, remember it doesn’t matter at all whether we are right, because the mainstream version of pre-history has been found totally inadequate and just doesn’t have any relevance or credentials. So in filling the breach, these eight rocks point in a direction that requires a new compass with an Original introduction, setting and conclusion, and if nothing else our theory is remotely possible. And that is the real crux of the matter, there has been and still is nothing else, no official response from the hundreds of academics/organisations contacted has been forthcoming. So at this stage of proceedings the only science on this subject has been written by us, so until challenged, our findings have to be the primary source.
So with everyone alerted to the presence of these marked rocks and no-one willing to make an official verdict/statement, our theory of a Pleiadian/Original ancestry and technology which was adapted, modified and utterly misused stands unchallenged. At the present stage of proceedings with only one investigation being undertaken, we win by default. Moreover, until someone or an organisation is brave enough to actually do good science and inspect the sacred Original rocks and write a paper agreeing with or contesting our findings, our radical interpretation remains the one and only choice.
By Steven & Evan Strong
This article is all about the angles, numbers and mathematics of 21 Original marked rocks that just never seem to add up and give the ‘right’ answer. The first eight rocks in the Ros’ Rocks series bear witness to the wisdom of the ages, however it would appear that of itself is an insufficient incentive to stir any interest in academic circles. As mentioned in our last article, the mainstream response to these sensational rocks is analogous to the anointed guardians standing dumbstruck in front of Douglas Adam’s fictional super-computer trying to make sense of the final answer to the ultimate question: why are we here, what is the purpose of life and death?
No matter how it was turned around and recalibrated, 42 meant absolutely nothing to the chosen experts. The computer was adamant that the computations were correct and the fault lay not with the machinery, but was due to the inherent imperfections of the flesh and bones who were now attempting to act as arbitrators. The same impasse exists here. As it was with their inability to grasp the wisdom offered by the fictional computer, the same ever-present failings exist when confronted with the reality of 21 pieces of rock-solid archaeology. The evidence is not difficult to see or appreciate, all that is required is to look with clear eyes and good intentions.
Douglas Adam’s choice of the number 42 deliberately made no sense, but when halving that number the end-result of 21 strikes a new chord in crossing all genres in providing an answer to the same elemental questions of life, death and the existence and role of the soul.
Perhaps it is this divine aspect of what this assortment of marks bear testimony to that turns heads in every direction except where the rocks are stationed, or could it be that the incredibly sophisticated technology used to create these markings calls into question fundamental tenets of the accepted version of modern human history and evolution, we can never be sure. No matter what the motivations, it is undeniable that these rocks as a package have been given no mention in official text, syllabus or lecture notes.
Despite, in fact because of the official intransigence, we are obliged to keep prosecuting the Original truth and feel at this stage of our research into the features, narratives and widening parameters associated with the 21 rocks, the timing is right to pause, reflect and hopefully reconsider. Some of our many detractors may have focused on one rock, others may have overlooked the interconnection or were too hasty in looking for an excuse to denigrate or deny. Whatever the path of inaction chosen, we can only hope this brief summary could assist in clarifying, inspiring or, most likely, further antagonising.
Before beginning this review the final word, as is always our preference, must be given over to an Original Custodian of the Old Ways. Ramindjeri spokesperson Karno Walker has made it clear that not only are the rock’s credentials authentic, he is adamant that the rocks are not just historical curios but still possess incredibly powerful energy. First amongst equals, one rock has been singled out for special mention. Many reasons were given by Karno for focusing on Ros’ Rock 1, some of which cannot be discussed, but it has become obvious that no matter how imposing the claims of other candidates for the pedestal, this marked rock is certainly the most significant of the collection. This particular rock is extremely sacred and has a massive Original significance that is beyond words.
Found a metre beneath the surface, Ros’ Rock 1 is not only the first marked rock in this sequence, but will always remain the most important. The hard rectangular rock has been tentatively identified by geologists as being chert, but was done so with considerable difficulty and to this day is still a point of uncertainty. We now know why no geologist could be absolute, and as this discussion unfolds it will become clear there could never be one classification, this needs to be done in partnership.
Certain rules, norms and application of specialist tools of incredible hardness are established on this rock which then remain constant throughout the ensemble. To begin with the most enigmatic aspect of the markings, were just that. The many lines engraved into rock are not the result of the input of any type of chisel. Whether metal, bone or stone, nothing remotely close to the blade of a chisel was part of the process. Every line on Ros’ Rock 1, and all that follows, is consistent in depth, width and pressure applied. The closest analogy would be to imagine that this very hard rock was once as wet and malleable as clay and that every line cut was done so with a sharp edge of varying width. But what this means is that we have no need for a tungsten tip or diamond blade, both very recent additions to the global tool-kit, but there is the need to gain access to an oven/kiln capable of producing heat of over 2,000 degrees.
It is not just the unexpected sophistication of technology on display, but equally the intentions and testimonial inscribed into stone that opens new horizons, and brings the curtain down on quite a few popular theories predicated upon the ‘Darwinian’ construct of human genesis and evolution. The grid-like patterning on Side 3 has been mentioned previously, and it bears an uncanny resemblance to a 1904 Polynesian stick-structure which acted as a star chart. What only reinforces that connection to “as on top,” is the striking repetition of one angle on seven occasions on Side 3. Surely, the fact that this rock was recovered from a metre beneath the surface at Kariong, which happens to be located on thirty three degrees, is not merely coincidental? The deliberate repetition of 33 degrees infers knowledge of the earth’s mathematics and curvature, and that familiarity can only come about after circumnavigating the globe.
As radical a proposal as this may first appear, there is ample evidence of supporting archaeology and alignments found both at the Bosnian Pyramid and Clagary (Canada) that provides convincing proof that an ancient international network created through sailing and strengthened with the use of one global means of communication, was functioning throughout the planet. With a role somewhat akin to the ‘Rosetta Stone,’ when using the two sides of Ros’ Rock 1 as a comparative base,’ 14 of the 15 angles identified on the Bosnian Pyramid rock are also marked into Sides 1 and 3. The Calgary rock has 21 angles measured, of which 19 can also be found on the two marked faces of Ros’ Rock 1, and together the extremely high correlation between the angles on three rocks spread across the globe certainly adds substance to this radical theory.
But it would be a mistake to assume that this ancient script is limited to 200 odd lines, shapes and points of intersection, there is so much more on display. The adjacent series of three and gouge marks, for that is the only description that comes close, as it appears as if a tool dug into the surface of Side 1 then flicked out the displaced chert, seem to lead us back to the recurring inconvenient notion of a semi-liquid surface.
Also requiring very high temperatures, of the hundreds of imprinted shapes seemingly stamped into the thin veneer of chert coating the 21 rocks, the seven interconnected imprints on the top of Side 3 of Ros’ Rock 1 are the stand-out candidates for top billing. What demands the utmost attention is the web of connected imprints, of which four are ½ centimetre in depth. If imprinted onto a hard surface, not the semi-molten top layer of chert as we propose, nothing changes and the same imperative, although localised, is still present. To depress the thin surface so deeply yet retain its integrity, the same temperature of 2,000 degrees is a minimal prerequisite. Many other lines on this side are barely 5 millimetres deep yet have broken the top layer revealing a constant light creamy under-surface. But in one location where the cut is ten times deeper, the upper veneer of chert is unbroken.
Momentarily leaving aside the issue of the incredible heat required, there is another genre of this rock language less dependent on heat and solely dependent on the longevity of adhesive. The two examples of in-filling was first noticed by our trusted geological adviser, and once pointed out are plain to see. To be honest, this comment is somewhat tongue-in-cheek as we had never noticed the infilling and doubt we ever would. Ignoring our shortcomings, advice was given and in both cases a mixed selection of foreign, non-chert, material has been placed inside two depressions/holes of unknown depth. The different colouring and advanced rate of weathering is in stark contrast to the surrounding smooth, fine-grained lustrous chocolate brown chert. However this was done, what remains is a combination of exotic minerals bound together by a substance which has adhesive qualities and a longevity that no product of today could make claim. The technology belongs to today, or in some cases tomorrow, but the reality is thousands upon thousands of years old.
What really ‘ups the ante’ and reinforces the existence of earlier ancient civilisations that were no less than our technological equal, is one tiny deposit found nestled within the smaller infilling. It looks suspiciously like a small shard of shiny metal. As much as a surprise this is, in what only adds to the inconvenience, when taken out in full sun with magnifying glass in hand, not only is the piece of metal clearly visible, there appears to be two eyes placed in the correct position on to what looks very much like the shape of a human skull. Irrespective of whether there are metallic eyes in the rock or a figment of my imagination, any type of metal embedded in this mixture demands an entirely different process and more heat, once again!
As brief and incomplete as this summary is there remain three unresolved issues. The classification of this rock is fraught with inconsistencies. What can be stated with confidence is that there is some chert here, as to what lays underneath and what follows because of this association, will become clearer by degrees until Ros’ Rock 5, where we are left with no options and only one answer. Less unclear and more immediate is the repeated presence of technology that is supposed to be too sophisticated and advanced for any time but now. Then what only accelerates the stretching of boundaries to devices capable of generating concentrated intense heat and makes it clear this rock asks many more questions then there are answers.
But wait, this is the country of naked nomads carrying sticks and stones until the British Invasion, where is the oven?
Ros’ Rock 2 is the second marked rock we were given to examine, and in our estimation is still clinging on to second position. While Ros Rock 1 permanently occupies the top rung with a considerable gap to the other 20 contenders, the field is much more cluttered past first place. There are at least three other rocks (5,6 & 7) vying for second position, but we feel that the quality of the engraved A, index-finger depression and star chart of close to 400 stars/pecks found on Ros’ Rock 2 just tips the scales.
With access to the personal notes of Frederic Slater (President Australian Archaeological Society) there is one aspect of his research devoted to the Standing Stones site that has direct relevance to a large engraving on Ros’ Rock 2 that looks remarkably like a capital A. Slater was investigating the many components of the First Language and made note of an Original alphabet consisting of 16 letters. He also observed that the First Language was very much ‘vowel-centric,’ and thus the five most important letters. With the chances high this rock was ‘recovered’ close to the 184 Standing Stones site, and with the depiction of an engraved letter Slater claimed was a fundamental component of the First Language, this rock is more than likely to be no less than a national treasure.
Not only the letter, but manner of presentation is beyond books and syllabus. This is without doubt the most exact and precise carving/engraving on any rock. In combination the four lines are just under 20 centimetres in length. The width remains constant to the millimetre, as is the depth identical, even the slope within each cut is of the same angle. There is no deviation or kink, this is absolutely perfect in creation and looks as if only a machine could be that unerring in pressure, line and width.
Deposited on the opposite side of this precision are close to 400 pecks spread across two thirds of Side 3. The slightly raised section is clean, but the rest of the surface is given over to dots and dashes. In keeping with a celestial theme raised on the first rock, this looks like a star map. What only adds to the intrigue are five horizontal lines of dots and dashes, which are somewhat reminiscent of Morse Code, that run across the clusters of pecks.
The pecks are yet another component of this very complex arrangement, but with four different diameters, this demands yet another addition to the scribes’ tool-kit. Whatever the ancient device, it is to be something very hard and possess four very sharp points to be able to puncture the hard chert surface.
As to how long ago this rock was first worked, this is a much harder assignment than Ros’ Rock 1 and all that remains are hints and circumstantial evidence. Nevertheless the deep depression which runs along one side and the top, is heavily worn and accommodates so comfortably the right index-finger we just cannot envisage any other purpose. The groove is so deep and wide it basically takes up 90% of the side, and knowing how hard chert is, it must have taken thousands upon thousands of years of skin rubbing against rock for it to get to its present state.
Of course our estimate is entirely subjective and could be out by a considerable degree and if so, it doesn’t matter at all. All we have to prove is an age greater than when the British dropped anchor and refused to leave. A little over 200 years is sufficient, as anything past that fateful day is mistakenly thought to be subject to sticks, stones and bones, and there is no doubt this rock is easily much, much older.
Much smaller than the previous two rocks, at first glance this eight sided rock seems a little overwhelmed by the magnificence of the earlier entrants. However, the only certainty we can attest to is to go back and look again, and again. So much is there, but the eyes are not always up to the task when seeking something lacking in reference or precedence and tend to report in the bare essentials.
Upon further inspection of Ros’ Rock 3 a lot more comes to the surface. It seems highly likely that this small eight-sided rock is artificial and was worked. On the first two rocks every line is gun-barrel straight and never deviates, that is mostly the case here, but not always. As with Ros’ Rock 1 there are four widths of line but we have a new addition to the stable, crooked lines. To begin with we looked the other way, assuming that not straight equates to natural, it seemed easier to look elsewhere and focus on the geometry and straight lines on other sides.
It was a mistake on our part due to a narrow focus and faulty assumptions. Unlike the the two rocks discussed, quite a few lines on this rock complete the rock’s circuit and on one occasion after spanning four sides maintaining a perfect line the line disintegrates into a scrawl that bends and kinks all over the place. But although sacrificing exactitude the width and depth of line did not waiver, and this crooked line is seamlessly part of the total journey. There is no separation or indication of a join, it is one line that begins as all others have then takes on a new path and narrative.
Of all the 21 rocks Ros’ Rock 3 has the darkest colouration of chert, and as it is with Ros’ Rock 1, just beneath the surface is a much lighter, coarser grained undercoat. Once again our initial impression is that the chert sits atop of another rock, there seems to be thin veneer of chert attached to another rock, but outside cutting up an extremely sacred rock this can only be hypothetical. The imprints here are as numerous, but nowhere near as deep or clear as those on Ros’ Rock 1, and all of them run along the edges.
Where this does depart from the path of the other two rocks discussed is its purpose. With the first two rocks, maps, letters, finger positions, pecks and shapes dominate and it would seem there are many facts to discuss and chart. Not so Ros’ Rock 3, Original Custodian of the Old Ways, Brendan Murray, has held this rock in his hand and once his palm was closed he could add no more. When it was handed back to us Brendan revealed a little of its heritage in that this sacred rock, once held in the hand, was meant to be absorbed and understood in silence. Not a word should be said if the hand is closed and artefact is covered by flesh and bone.
Until now this radical notion of baking and melting very hard rocks at very high degrees has been based on our limited perspectives and solely what we believe can be seen at the surface. It would sacrilegious in the extreme to slice, dissect or drill inside to validate or refute our belief that a base rock was often marked first then a semi-molten veneer of chert was coated on top and soon after set rock-hard. The theory has merit, but until burrowing beneath the surface at least a centimetre everything is open to possibilities.
Ros’ Rock 4 adds clarity to this dual carriage and allows us to look deep within without creating any damage or touching a blade or drill. The pecks of Ros’ Rock 2 pale by comparison, some of the pecks here are five times larger, and on one occasion ten times deeper. What is immediately apparent is the damage evident on the bottom edge and the massive width and depth of pecking. As with many other marked rocks, underneath the thin upper layer is a much lighter colour, larger grain and softer consistency. But again the deepest of these indentations is still relatively close to the surface and restricts what can be declared further within.
All of the pecks on Ros’ Rock 4 seem heavily worn, but one peck extends the depth and dual occupancy to a level never expected when first beginning our examination of these rocks. This peck was quite wide to begin with, but once piercing the top chert what lay underneath is clearly a softer lighter material. It must have been exposed some time ago as the hole is now at least one centimetre deep and all the way down there is not a trace of chert. What is present and accounted for all over is a constant creamy yellow grain of rock that is neither as compact nor able to withstand the elements anything like the chert above.
We are fully aware what we are proposing breaks so many pre-historical rules and assumptions, but what other logical alternative is there but a massive injection of heat? Even so, we still expect the doubters and critics will cobble together a convoluted solution, but to save their future embarrassment can we suggest they withhold their objections until assessing the credentials of Ros’ Rock 5. All we can say in advance is that if the reader still doesn’t believe that most of these rocks were baked and cooked before hardening, then we have failed in our brief as this is exactly what happened. Fortunately, even if we have poorly presented the Original truth due to our shortcomings in expression and constructing a plausible scenario, we have a back-up plan: Ros’ Rock 5. It speaks for itself and leaves no other option on the table and will form the major focus of Part 2.
We made mention of the appearance of a few renegade crooked lines on Ros’ Rock 3, but this pales by comparison to melange of lines spread all over Ros’ Rock 4. There are more lines that aren’t straight than are, and if it wasn’t for the undeniable proof of tools piercing the surface to create this array of pecks, it would seem reasonable to presume this could all be down to natural agencies. But the pecks are there in abundance and incredibly deep as well, moreover, there are still quite a few straight lines of varying widths. What we are witnessing is a very complex and multi-layered language that uses angles, pecks, imprints and lines, both straight and crooked, in preference to words and paper.
So ends our very brief summary of half of the top eight marked rocks. The first four certainly set out new parameters and technology which are as unsuspected as they are inconvenient within mainstream academic circles and official channels. Ros’ Rocks 5-8 both continue in the same vein and also open up new vistas and present even more examples of technologies and information that the experts and texts neither understand, nor have the inclination or ability to do so.
Above, beyond and behind all research into these rocks is a constant Original undercurrent. These rocks have been examined by Original men and women versed in the Old Ways and all are adamant they are far more important than any could even begin to imagine. Therefore, these rocks are their truth, their ancestry and our global past, and from our point of view neglecting or ignoring the Original truth is an insult to country and should not continue.
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First time to see Michael Tellinger, Brien Foerster and Steven & Evan Strong together