Apr 20

Marked Rocks: Douglas Adams was half Right, the Answer is not 42 but 21 (Part 1)

Marked Rocks: Douglas Adams was half Right, the Answer is not 42 but 21 (Part 1)

By Steven & Evan Strong

2015-03-08 11.57.11This 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?

1+2+3+4+5+6+7+8+…. =42/2=21

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.

Reach for the Stars

Photo by Samarah Wood

Photo by Samarah Wood

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.

Photo by Samarah Wood

Photo by Samarah Wood

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.

21As 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.

An Oven in the Outback Going way Back

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Photo by Samarah Wood

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.

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Photo by Samarah Wood

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?

Second in Time and Second in Line

 

markedstones_12

Photo By Samarah Wood

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.

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Photo By Samarah Wood

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.

Photo By Samarah Wood

Photo By Samarah Wood

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.

Silence is Golden

2015-02-12 14.50.23Much 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.

Another Rock in the Oven

2015-03-08 12.03.41Until 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.

2015-03-08 12.04.51

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.

2015-03-08 12.05.36All 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.

It Gets More Bent and Crooked

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.

Four Down, Four to go

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.

Apr 16

“The Greatest Story Never Told: Mankind’s Hidden History” (Event)

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SEE MORE INFO AT: http://nevertoldstory.wix.com/ktefo

First time to see Michael Tellinger, Brien Foerster and Steven & Evan Strong together

    “…Experience these three comprehensive presentations weaving together new discoveries from three continents…”

Tellinger, Foerster & Strongs @ Sydney & Melbourne

Tellinger, Foerster & Strongs @ Sydney & Melbourne

Apr 16

Ros’ Rocks 7 & 8 (Two more Marked Rocks that Break all the Rules)

Ros’ Rocks 7 & 8 (Two more Marked Rocks that Break all the Rules)

By Steven & Evan Strong

2015-03-08 12.14.40What a ‘dog’s breakfast’ the seventh and eighth rocks have thrown together. At first, second and many more glances there is too much confusion, overlapping, crooked lines, frayed edges and chaos to absorb, yet alone understand. We found it much easier to throw both rocks into the reject bin and concentrate on the more familiar patterns and precise geometry on display elsewhere.

Rediscovering What was Always There

And there both rocks sat out of sight for a considerable time, and with all the amazing revelations and unsuspected developments associated with the far more dramatic assemblage of half a dozen, there was no need to ‘reinvent the wheel’ and look further afield. There was in our eyes already enough evidence engraved, and with the earlier six rocks so obviously the better candidates, the remaining 15 rocks do appear to be the ‘lesser lights.’ To this day I’m still not sure why another look in the sunlight with the assistance of the magnifying glass was deemed necessary. I had already glanced more than once at the smaller partner of this genre of frayed rock arrangement, but the larger one was basically ignored as it was even less appealing and touch uglier in its disarray.

Whether an idle pursuit or due to purpose forgotten, I did look once more, and this time that which had been waiting for so long was clearly identified for what it was: the greatest mathematical anomaly yet found in this country. There at the top edge of Ros’ Rock 7 is a perfectly formed four-sided rectangular pyramid engraved in the finest of lines, and in what only adds to the incredible precision all four lines converge at the same capstone point. Carved with a delicate line into a very hard substance is a geometric shape that is supposedly never part on the ancient Australian landscape, but it was and still is! And it has been here for some considerable time and exists to this very day inscribed into Ros’ Rock 7.

2015-03-08 12.14.20 - CopyIt is assumed that whenever the concept of ancient pyramids is mentioned Egypt, South America, even Bosnia or talk of other locations is the focal point of every discussion, but never is any reference to Australia made. The assumption has been made that nothing of historical importance took place in Australia until the British boats dropped anchor and raised their flag in conquest. But time after time, marked rock after marked rock, this fundamental historical error has been contradicted on so many occasions. And if somehow still unconvinced, surely the geometry, precision and intersection engraved into Ros’ Rock 7 is the final nail in this fictional coffin?

Ros Rock Pyramid DesignWhat needs to be appreciated is that of all the shaped rocks we have seen, the pyramid is the most common form and can be found in a variety of Australian locations. As to whether any type of ancient pyramid was constructed in Australia in ancient times, all that is needed is a cursory inspection of the Gympie Healing Table/Pyramid to realise this country is firmly part of that ancient tradition. We could add to that list, but whether any pyramid-like formation in Australia is actually authentic is a secondary issue, the geometry exists on this rock and can only serve one purpose-to record a known fact. To go to the trouble to record such a shape means that the pyramid is at the very least known of, and was more than likely part of the ancient Australian landscape.

Thin Lines in the Rock

It would appear that the thinner and straighter lines that make up the pyramid and quite a few other precise shapes are part of a second application which was engraved above an older set of markings that are less exact, the widest and quite worn. The most recent coat of engravings/cuts are very difficult to describe and the best analogy is that of spider-web lines. What is also apparent is that a lot of the younger frayed marks remain close to or on top of the finer lines, and there is quite a bit of this most recent reworking just below the pyramid. It is tempting to suggest that the most recent lines/webs are meant to extend upon the guidance and wisdom originally raised by the thinner straighter narrative.

For the time being, the first and third markings need further reflection and consideration at a later date, but in this article the thinner middle script is our first focus. What really stands out is the extreme contradiction between the middle and top layer of script. In particular we find it puzzling that a perfect pyramid, sets of parallel lines, rectangles, squares, a rhombus and other examples of geometry are all part of the inscribed testimonial, yet directly above these markings are the younger yet most untidy scrawls and scratchings found on any of the 21 marked rocks. It seems as if we have plummeted from the sublime to the ridiculous, one directly on top of the other. We have heard talk of hard crystals being used to mark some Original rocks, and it is feasible these marks were made by a crystal, but knowing that each rock has increased the tally of marks and expanded the tool-kit beyond every expectation, everything is possible.

As with quite a few earlier rocks there are four widths of line cut into the chert surface, less common and a feature of prominence on Ros’ Rock 1, there are quite a few lines that stop then resume further on maintaining a perfect alignment with each other. Mentioned previously is a set of two lines than run parallel, but in what is also a first are two lines that begin at the same point, gradually separate and widen like an ellipse then reunite into one line.
In combination it is fascinating contrast, the oldest and youngest application seems so random, unconnected and show no respect to any geometric principle, while the mid-level treatment exhibits the most refined symmetry and precise mathematics yet seen in this country.

It is not only the four-sided pyramid, but all the delicate lines and clear shapes marked onto ancient Original rocks that present an immediate problem. Most academics and texts maintain that the Original number line finishes at four, and for all intents and purposes that is as far as the maths of any branch in Australia reaches. Concepts and constructs like angles, shapes, intersections, precise patterns, multiplication and sundry mathematical branches are foreign to the Original people and cultures of this country until the British Invasion, so we are told and taught. The recurring problem is that what they see written in their books is not what we see engraved into Original rocks.

All that can be proclaimed with absolute certainty is that the pyramid was not unknown to ancient Original people. Such was their familiarity with the precise geometry, exact lines and a shared convergence point, it can still be seen to this very day engraved into the surface of Ros’ Rock 7. No-one, not even those from the stable of our most ardent critics, can deny the angles, mathematics and Australian place of origin of this marked rock.

Given that agreed starting point all that is left to debate is why the pyramid so important to Original people, and what purposes did it serve? Now this is where the entire exercise unravels at the seams, because we are far from convinced the so called experts have satisfactorily explained how the larger well known pyramids of ancient Egypt were constructed, or the reason these constructions were built. To claim that the only purpose these pyramids serve is to accommodate the dead falls short on far too many levels to be taken seriously. Our concern is if the authorities are mistaken as to how and why when dealing with the Egyptian off-shoot, what chance do they have in deciphering the source and the Original legacy?

The Less Ugly ‘Duckling’

Until blundering upon the rectangular pyramid, we always felt that of the two rocks we had consigned to the same lesser category, the smaller of these two rocks, Ros’ Rock 8, seemed to be the marginally more impressive specimen. What immediately attracted the eye is that half the markings, whether lines, pecks or imprints are present and accounted for but do not break the surface. The shallow depressions of dozens of lines and marks are easy to see but still retain the chert veneer with the surface unbroken. This certainly adds weight to our belief that the underlying rock was marked before the upper application of molten chert, a manufacturing process we feel is evident on many other rocks. The marks that do break the surface may have been deeper to begin with, or were cut again once the chert overlay set hard.

2015-03-08 12.14.20 - Copy (2)Once again we have been very deliberate in our chose of cut in preference to chiseled, simply because of the thousands of markings of all manner of styles found on these 21 rocks, not once did we see clear evidence of one mark that was caused by a chisel. Same rules apply with Ros’ Rock 8, there is cutting, imprinting, pecks and sundry marks but the mark of any form of chisel, whether made from metal, stone or bone, was not part of the tool-kit.

For lack of a better description, we referred to these two rocks as sharing ‘spider-web’ marks. They are certainly neither as straight nor geometric, by comparison to the previous six rocks this is the most ragged display. But as stated earlier upon further inspection it became apparent it wasn’t all chaos, there amongst the fraying and crooked avenues are quite a few straight lines. Found on Ros’ Rock 8 is one line of particular interest and relevance in that for three sides it follows a perfect straight trajectory, then on the fourth side it breaks into an irregular jagged path, deliberately so. Knowing that on Ros’ Rock 3 there is one straight line that spans three sides then strays and frays on the fourth side, it is tempting to presume that the exact same message may have been chronicled into both rocks.

The Smallest of Residue

There is a large variety of markings, pecks and imprints, in fact this the most intensive accumulation of individual marks we have seen on any rock, but that of itself is of little consequence. What does extend horizons and reinforce our belief that the top layer of chert was melted then coated the base rock in acting as an overlay, is the residual traces of chert. There amongst the widest cut are the last vestiges of chert surrounded by the lighter and coarser grain of the base rock. It so obvious there was originally much more of the darker top veneer, but the passage of time has seen all but a few remaining grains of the harder rock wear away. What is left over is so fine, sparse and undeniably exotic when contrasted to all that lays beside and beneath.

That tiny island of chert surrounded by the thicker lighter grain of the host rock, cannot be the end-result of any natural process. As seen in many other rocks, a thin layer of molten chert was glazed on top of a different rock of a lighter coarser grain.

7 Plus 8 Equals 42

There are shades of Hitchhiker’s Guide to Galaxy in the official reaction to these rocks. When the President of the Australian Archaeological Society declared that one Original rock arrangement of 184 Standing Stones contains all knowledge “that was, is and will be,” he was stating nothing but the Original truth. The 21 sacred marked stones are another part of that same package, but within mainstream circles there is nothing special here, it’s just a pile of rocks with some rather odd marks.

In the eyes of those who supposed to know better the rocks are just rocks, no more, no less, and that is all they can see. Their denial of science and the Original truth when it stands before them is so reminiscent of a wonderful scene in a science fiction film called “Hitchhiker’s Guide to the Galaxy.” The scene that resonates to a shared impasse deals with two wise men approaching the most sophisticated computer ever constructed in the entire cosmos. Its brief was to grapple with and resolve the greatest question ever asked: the meaning of life. It took millions of years of constant computation before the answer was available for the universe at large to consider and ruminate upon. The answer was 42, and neither those who set the computer to task so long ago, nor those now seeking the answer expected such a number, or for that matter, any number. They were dumbfounded, unable to fathom what this meant and why this number could leads towards the illumination of any spiritual truth.

The fault never lay within the program, software or machine. The numbers added up, the answer was correct, but regrettably those who set the parameters and questions are blinded by the lights and their bias. The error lay within the limitations of those seeking salvation through numbers, they are tainted by their conditioning and addiction to the five senses. Chasing the divine can only be done with the eyes shut, mouth still and soul at the helm. Until that is understood the computer has all the answers, but for those still a slave to more of the same it all comes out sounding like six times seven.

This time around we are half-way there, with half of 42 being 21 rocks, we bear witness to half the load accompanied by the same insights, and at this juncture it makes no difference. The anointed experts know of these rocks yet refuse to ask, look, consider or discuss. It is so much easier to feather a nest already constructed than start anew and rebuild from scratch. If only … but the reality is that the likelihood of the changing of the guards taking place is as fictional as the script of Hitchhikers Guide to the Galaxy. What is evident is that both the science fiction writers and approved scientists are relying on fiction for their lines and replies. Nonetheless, despite the prevailing apathy and denial of Original heritage, there is a remote chance that the addition of the pyramid and traces of chert to this stocktake may make a difference and lead to a defection or two within the ranks.

Irrespective of the potential reactions or indifference there are still 13 marked sacred rocks with a story yet to tell, and we have every intention to complete this narrative knowing full well that there are two interconnected but adversarial agendas at play. All rocks bear testimony to an Original history and perspective that is as inconvenient as it is directly in opposition to fundamental tenets that underpin our understanding of how humanity evolved.

With two paths ahead and behind we choose rock-solid archaeology and the Original truths and allow others to make their own mistakes.

Apr 02

“Ros’ Rock 6: Another New Chapter of Australia Prehistory” (Article)

Ros’ Rock 6: Another New Chapter of Australia Prehistory

By Steven & Evan Strong

 

2015-04-02 13.55.51There was a time, barely two weeks ago, when an earlier rock was to be accorded entry into the upper level, but fell just short of the qualifying line. We are absolutely convinced that the first five rocks have been marked and altered by an unknown means which is extremely advanced, and leave no residual doubts that whatever was marked is not due to natural processes. With the bar set so high, any future rock candidate must exhibit unchallengeable evidence of sophisticated technology that is no less than the equal of today. In the simplest terms, if the prospective rock cannot rewrite at least one chapter of world pre-history, it must be immediately relegated to the B Team.

Since recently consigning one very complex marked rock to the ‘reserves bench,’ another rock has been kindly donated to us by a person with a genuine interest in Original Lore, and in this particular case leaves no lingering doubts in relation to the presence of ancient technology of the highest order. Not only is there rock solid evidence of ancient tools and devices of considerable sophistication all over this rock, this new contender takes the concept of infilling to an entirely different level and meaning. Until now we had assumed that the artificial infilling seen on two other rocks was cosmetic and merely a functional device to keep the surface level and plug a gap. That may have been the case elsewhere, but not with this rock. An extension to this newly uncovered chapter has been intentionally attached to this rock, and once again our concern is that the message is too cryptic and elegant to be understood by one dominant hominid species that has been on a downward intellectual slide for some time.

Accepting that all of today’s human residents cannot escape the collateral damage of a global climate that cultivates meek compliance, despite our inherent intellectual limitations we are still able to scratch around the chert surface and at least provide a superficial overview of Ros’ Rock 6.

Filling in the Spaces, and a Little bit More

Without doubt the primary reason this rock gained entry into the upper echelon of Ros’ Rocks, is due to the infilling. The two infills on Ros’ Rock 1 sit snugly into the depression, as does the infill in the rock we spoke of earlier that nearly qualified. In all three cases it is obvious that whoever was responsible was trying to blend these exotic materials unobtrusively into the parent rock.

2015-03-20 12.34.15There is no such subtleness on display here. The smooth reddish-brown infill is meant to dominate proceedings. It not only spills over one side, the raised ridge measures 4 by 3 centimetres and is the main feature of the rock and meant to take centre-stage. The infilling took place before the lines, imprints and sundry marks were made, as there are six lines running up the spillage that stop on the lip on the top edge. Even though there is not one unnatural mark, line or peck in the top section of this artificial inset, two of the lower lines that cut into the residual spill are very wide and plain to see. It would seem that the uneven yet pronounced ridge sitting above the chert surface was intentionally meant to be so untidy, and was cemented into the base rock before any marks were made. The stark difference in the colour of the infill only highlights this separateness and leaves no room to manoeuvre.

The question of not only the type of exotic material, but more importantly the elements used in permanently attaching two different substances/silicates for hundreds, perhaps thousands of years, yet shows no signs of separation, warrants further consideration. Using cornflour and water to stick paper together does not require a laboratory, creating a substance that binds different types of minerals/rocks/clay for thousands of years, now that is a different proposition. Being the third rock exhibiting such a process dismisses the notion of a serendipitous discovery of natural glues stumbled upon once and then forgotten soon after. No, this has a history, precedent and continuity and was yet another part of a forgotten Original heritage. It is intentional and demands the presence of technology claimed never to be in Australia until after the British Invasion. We believe that the fundamental issue to be addressed relates to why such advanced technology was used on these rocks, and it all happened so long ago. What were the ancient ones trying to remind us of, and what power does the red clay/silicate/mineral infilling have?

Fingertip Precision

We will, in our concluding remarks, try and grapple with the unfathomable and present a novice’s tentative starting point as to the infillings’ purpose, but for now our summary is far from complete. As with the earlier candidate for the mantle of Ros Rock 6, both are very old and quite worn and of the 21 rocks appear to be on the very ancient side of the time-line.

Even though many marks are almost lost to time it was our initial impression that this rock, as with four others in our collection, belonged to the right index-finger genre. A depression for the fingertip and slight wear marks down the right hand-side position the index-finger in a very comfortable one-fingered grip, suggested to us it belonged to a category that bears testimony to a shared message/revelation/instruction. We have since found out that assumption was mistaken and have been assured by an Original Custodian of the Old Ways that it belongs to another category (spider-web rocks), which will be discussed in our next article. This concession of an error made yet corrected is included simply because so much of these rocks is unknown and often we have no reference or guidance beyond our own interpretations. When no advice is offered we will gladly present our own opinions, yet retain the right to be just as willing and comfortable in bowing to Original wisdom when conceding our error.

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Because of the antiquity of this rock there is less clarity as the time to wear and abrade is far greater. The tally of imprints sits at a definite ten with a possible dozen more maybes. What we did find was, as expected, the same types of shapes imprinted into this rock (circle, semi-circle, oval and line) were seen on other rocks, but not the triangle, that hadn’t been marked in anywhere before.

The range of width of lines is the greatest yet seen on any marked rock, two earlier rocks discussed have four distinct widths and both have lines much thicker than any line on this rock. Despite not exhibiting the widest cut, on Ros’ Rock 6 there are still five different widths which taper down to something as extremely fine as a piece of human hair. As with many rocks, there are lines (3) that wrap around all four sides. There is also a new addition to the types of lines created, a unique short line that has a series of four evenly spaced pecks that touch the bottom edge.

2015-03-20 12.33.18On the opposite side there is a much larger and far more dramatic example of a sequence of 16 pecks that go towards forming not so much a long line, but the points from which to begin removing more of the top layer of chert, which ends up resembling the shape of a thin dragon. One centimetre to the left is a V-shaped clean incision into the rock that seems very likely to have been cut and carefully removed. The upper edge of the V points directly up the face to another excavation that began as five deep pecks. The fourth missing piece of rock is a ledge that was formed by cutting away a two by one centimetre section of rock. Each resulting face is smooth and we chose ‘cutting’ in preference to chiseled, simply because there is no evidence of a chisel elsewhere and copious proof of semi-liquid rock, heat and sharp blades.

What is less contentious is that this piece of rock was cut away before the marking process had begun. There are four lines, one quite wide, that were cut into the recently exposed surface and of which one continues down the slope and past the newly formed floor and back into the adjoining older chert overlay.

All up, we can positively identify four different types of imprints/cuttings and as each is found on or near the top edge and are positioned within 5 centimetres from each other, this strongly suggests they are a ‘package.’

This rock has the greatest number of small straight lines that begin and finish in isolation and seem disconnected from all other surrounding marks. In what only adds to the cryptic refinement, nuances and delicate hands, some longer lines span three different widths with the widening or narrowing between joins seamless.

As mentioned earlier after dealing exclusively with the straight lines and exact geometry in Ros Rocks 1 and 2, for quite some time whenever one single line strayed off the straight and narrow we were inclined to assume it could be a natural event. That expectation began to fray at the edges when examining Ros Rock 3. Again straight lines dominate, but one jagged multi directional line, the only one present, runs off a perfectly straight line and was obviously created with that intentional effect. Ros’ Rock 4 also has one featured line of the thickest width that is both curved and jagged, and Ros’ Rock 6 certainly falls into that mixed category.

As with nearly every other rock there is a thin top layer of chert, which was most likely melted at extremely high temperatures then laid on top of a second rock of a different make which does vary. On this occasion the base rock has a slightly pinker tinge to its grain than the yellow ochre pigmentation with a greyish tinge of Ros’ Rock 4 and 5. The underlying colour is more like what is found beneath Ros’ Rock 1 and 2. Despite the differences in this base rock, all rocks except Ros’ Rock 5 have been polished, and it maybe this has happened many times with Ros’ Rock 6. The newest candidate shows all the external indications that it is very old, yet certainly has the shiniest coat. The rock literally shines in the reflected glory of sunlight, and even in the much weaker artificial light it carries the glow of the bulb on the surface.

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The Present State of Affairs

Of the 21 rocks this is the only one where pecks and lines have merged into one entity, it would seem these pecks were not used as a means of communication as they were elsewhere, but to initiate the removal of sections of chert.

As on all rocks some lines are interconnected, but on this rock more than any other, there are so many lines and isolated markings that are out on their own. Ros’ Rock 6 also has the greatest variation in width of line and a sizeable collection of curves and small marks that cannot be found on any other rock.

There is some form of major reconstruction taking place in and around the top edge, all four imprints/cuttings seem to be related and intentionally aligned. In each case one line or angle is directed towards another cutting, and in combination all four have a story to tell, it’s just at the present stage of proceedings we are unable to recognise the script.

There is also a strong possibility that Ros’ Rock 6 was subjected to more than one polishing and more than one occasion when the lines and sundry marks were made.

What continues to stagger us, and a milder descriptor was considered like amazed or perplexed, but they fall well short, as does stagger. Nevertheless, what never ceases to confound is the continuing variety in the ways in which a piece of rock can be marked by these ancient philosophers. Already seen in the first six rocks are so many repeated patterns and symbols, but on each occasion (and more to come) something new appears on the horizon. Knowing what lays ahead in our analysis of the ‘spider-web’ rocks, and what was recently shown to us by an Original Custodian at the South Australian Museum, we are beginning to realise this script is far more elegant and complicated than any recent and much cruder form of communication/language.

What is also far less open to question or comfortable alternatives is the huge infill, it is undeniably artificial and must serve an important role. Although unable to make any confident guess as to what function this infill performs, we do have suspicions. Merely an opinion without Original guidance or precedent to draw upon, we sense that maybe, just maybe, the infilling is baked clay with something added to assist in adhering and hardening. Coming from the soil, this material may have been used in important ceremonies and scared rituals. It could be that when fused into the silica, which is the same basic material used in computer chips to store data, the clay combines in unlocking stored reservoirs of information or opening up channels of contact with the Earth and Guardian Spirits.

Was it used solely in sacred secret ceremonies? We have no definitive answer past it seems to make sense and sincerely hope that in the near future Original Elders and Custodians of the Old Ways will have the rock in hand, and will be able add to or subtract from this tentative theoretical first base.

What Ros’ Rock 6 is not

When comparing Ros’ Rock 6 to the earlier five rocks, it is more frayed at the edges and on the rock-face, nowhere near as neat or appealing and certainly more untidy, fainter and erratic. It is the least impressive of the first half dozen, and undoubtedly the ‘ugly duckling’ of the batch. Often the lines and assorted marks stand alone and unconnected, while the infilling is over-sized and spills all over the place and was left raised and rough. Consistent to a less than fastidious obsession with geometry and order seen elsewhere, all sides are not level and irregular in surface. There is no discernible pattern or prominent set of markings beyond a large range of lines with differing widths scattered across all six sides.

Despite all the differences in style and arrangement the overall script remains consistent and when placed in the company and context of the first five and preceding fifteen, there is an extremely ancient narrative resonating throughout each rock which is waiting to be rekindled. We strongly suspect that the content and gravitas varies according to each style of rock which abide by a set of rules we do not begin to understand. It is because of this ever expanding vacuum, bolstered by a recent influx of scared rocks, we are most assuredly in need of guidance from those versed in the Original Old Ways and First Language.

When it comes to deciding what Ros’ Rock 6 is not, there is only one answer, what is marked into that rock is not due to natural forces. There are no realistic options beyond human hands, sophisticated tools and extremely high temperatures, and there are no other alternatives left on the table. Who and how is plain to see, whereas when, why and what are more nots and is still very much a work in progress.

It actually doesn’t matter whether we ever manage to decipher one solitary line, imprint or peck, the overriding issue relates to how this engraved ensemble got there in the first place. Whatever meaning is ascribed only becomes a tangible part of the equation once the technology is applied and all processes are completed. All that can be declared with absolute certainty is that Ros’ Rock 6 is merely one of twenty one rocks which exhibit technology claimed to be exclusively part of the 20th century tool-kit.

The popular assumption as to what the Original tool-kit consisted of has been proven to be manifestly false. With such a fundamental tenet of the accepted version of human evolution shown to be mistaken, Australian horizons and technological parameters have to be recalibrated. And the first popular assumption that is seriously under threat is the idea that today’s modern society is as good as it gets and the final outcome of a gradual ascent beginning in the caves and slowly inching towards the pinnacle of human endeavour.

These rocks tell a different story, they state that way way back, in Australia of all places, there is undeniable evidence of ancient tools and devices that are no less than the equal of the best technology on offer today. Logically that can only mean there were earlier very advanced civilisations on this globe way way back, and that all this crazy talk of Atlantis, Lemuria, Mu, etc. is actually true. And the second part of this inconvenient truth has Australia front and centre in the middle of all this. Who would have thought this could be so? To begin with we certainly didn’t even entertain such a notion, nor propose it, but the rocks have had their say and leave us no other option and since no-one else is brave enough to look or bother to venture an opinion, then our proposal of an Original origin and input stands front and centre.

Heard it all before? Not this time, others were talking of fables, myths and vague inferences of advanced ancient civilisations mysteriously vanishing, but had no hard evidence in their hands. We have plenty of rock-solid evidence in our hands, 21 times over, and have been open to investigation by others for some time now. In fact we have been begging and beseeching officials and appointed experts to personally inspect the rocks, read our papers our respond through any channel they chose. And will continue to make such invitations again. We expect the response will be yet another tired dose of………………

Mar 08

“Ros’ Rocks: The Next Generation [Ros’ Rocks 4 and 5, Equals one Rock Without Equal (Part 1) & The B Team (Part 2)]” (Article)

Ros’ Rocks: The Next Generation

Ros’ Rocks 4 and 5, Equals one Rock Without Equal (Part 1)

By Steven & Evan Strong

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In some circles, and one of the better records by Rod Stewart, every picture tells a story. In one ancient circle and two very special rocks, every rock tells not one, but many stories. The problem is that these stories are as old as the hills and resonate to a script that is so sophisticated and too intelligent for any mere mortal of today. Despite our shared deficiencies and ingrained conditioning, we intend to begin in kindergarten and try to make some partial sense of two rocks that break so many rules.

Where to start? Wherever we begin and conclude guarantees a task less than half done. Having conceded the reality of many omissions and even more incomplete understandings, it would seem logical to be consistent in how Ros’ Rocks 1, 2 and 3 were presented and continue in the same sequence in first examining Ros’ Rock 4 then moving on to Ros’ Rock 5. Not this time!

The Rock That Changes …

The rock we have called Ros’ Rock 5 is too intriguing and unlike anything ever seen in this continent and has to initiate proceedings, the second rock, as impressive as its credentials are will have to take second billing. Ros’ Rock 5 is a six-sided rhombus, every side is rounded off and five of the sides are incredibly smooth.

What really grabs the attention is not the paper smooth faces, but the one side that is rougher and has a distinct depression that we believe was fashioned to accommodate the right-hand thumb. For three quarters of the upward ascent on this slope, it is easy to see how the top surface was pushed away from right to left thus creating a thumb rest. But what to do with the excess rock? Thankfully in this case the residue was not disposed of, but allowed to take its natural course. The resulting crust of unwanted rock runs along seventh eighths of the left-hand edge is obvious to see and measures 6 ½ cms in length and has dripped up to one centimetre down the adjoining side.

At the top of this ridge, is a small area that was not pushed away and left untouched, as its role is to pay homage to the stars. It is early days yet, but we have been informed that the ten dots/pecks/circles represent the Navaho Squatting Man star system. Further on we intend to pursue the potential that the four sides that contain clusters of these marks are constellations, but for now our focus is not in what these cream dots and ovals mean. As to whether this rock, which not only belonged to Original Elders but was called the Constellation Rock, was actually indented in a way to replicate the star formations above is a moot point and secondary to a feature that stands above all other rocks. What intrigues is the colour and uniform depth. It seems that past 5 millimetres in depth the dark brown layer of rock gives way to a colour that is directly opposite, and that uniformity in depth of the top darker crust remains consistent on each side.

2015-03-08 11.59.49How can this be? Undoubtedly this trait has been identified in earlier Ros Rocks, but on this occasion there are more clues to assist. First and foremost is the direction of grain, excluding the widest top edge, all other sides have the grain running up the rock-face horizontally 180 degrees. That is nowhere near natural and for want of a better description it seems as if the top layer of rock, which could be chert, was coated or painted onto a different rock of much lighter complexion. As with the lines and imprints, while this semi-liquid upper layer of molten rock began to cool the pecks would set. What seems to be on show is a technological process that requires an intense accumulation of heat contained within one object/device to bake rocks, very much like a kiln.

Yes this is an incredibly radical suggestion, but it is the culmination of many rocks exhibiting a variety of features that require intense and centralised heat, and a concept we had proposed well before first sighting this rock. What is different this time is that the form of this rock itself is undeniably artificial, it was shaped into a rhombus then each edge was smoothed off and rounded. There is a much lighter, thicker grained rock lurking beneath the surface of a finer, harder coating of what could be chert. What does become increasingly obvious is that this rock has no parallel or cruder version. It is totally unique, and patently serves no utilitarian function, but does chart the stars, must be held in the right hand and has without doubt other roles.

Walking Down a new Path

Now it gets difficult, because outside the certainty of shaping, heating, marking and fusing two rocks, there is nothing else we can add beyond possibilities and random observations that at the moment, lead nowhere.

2015-03-08 12.02.49 2015-03-08 12.01.09Of the four sides that surround the two larger faces, the upper edge with the thumb-print resting place measures a little over four centimetres across and is the widest of the four edges. What is fascinating is that when rotating the edges to see whether it can also take the weight of the rock and maintain balance, the two adjoining edges to the thicker thumb-rest can also take the weight and create three very different shapes and arrangement of angles. Of the six sides, five can maintain a steady balance and every alignment creates a different setting, angles and geometry. Knowing Frederic Slater went to great lengths in explaining how shaped rocks convey meanings sourced in the First Language, it would seem logical to propose that such a relationship applies with this rock. Alas, knowing all of this doesn’t transform into content, but it does supply some context.

However, the simple acknowledgment that the shaped stones have meaning is only a rudimentary starting point in this case. We have seen hundreds of shaped rocks, very close to the Standing Stones site and still untouched, but there is not one rock that comes close to this level of refinement.

As stated earlier, we cannot be sure whether the rock was already pocked before coating, or that the application of molten rock was not consistent in depth and because of this the thinner areas eroded away and began the localised weathering that grew into these small holes. It is also feasible to suggest the markings were made on the softer rock before the top layer of molten chert was poured. Or perhaps, and this is the most inconvenient option, an extremely sharp and very hard metal point was punched through the fully hardened top chert coat to the softer and lighter coloured rock beneath. We can never be definite, but do have a very strong preference towards the idea that the star points were punched into the amalgam of two fused rocks after cooling.

The only side incapable of balance is less than two centimetres wide and has six pecks/holes, of which three have tiny sharp points at the centre of three circles. At least twice as deep as the rest of the base of these circles, it gives the impression that at some stage a sharp metal punch was held on the top surface then a hammer hitting the punch created this hole. The deepest point will be the tip of punch, and that impact seems to be what took place here. This process is not restricted to one side, the opposite top edge/thumb print has 12 star markers of which six retain the initial sharper and deeper centre point. In what only adds to the intrigue and diversity apparent, it would seem that on the two larger faces there is not one sharp point to be seen.

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Digging Deeper

2015-03-08 12.05.36Of course, in each hole whether containing a deeper mid-point or flat and even, the colour revealed beneath is a constant creamy yellow. However, there is still one issue still to be resolved, yes there is a layer of creamy rock beneath, but how deep does it run? Could it be just a thin layer of softer rock, which somehow through an unheard of combination of natural forces, created this geological potpourri? This is where Ros Rock 4, the second of the two new rocks we are still trying to understand, comes to the forefront.

There is one peck measuring 80 mms x 30 mms which was obviously very deep to begin with and has eroded considerably over the years. So much so that the hole is now over one centimetre deep, and all the way down this hole the rock remains a constant cream yellow and the inner grains are much larger. There are four other small pecks spread across three other sides, but it is the bottom edge that catches the eye and reconfirms dual geological occupancy. There are close to 30 pecks clustered into a very small area measuring 5 cms x 2 cms of which twelve are deeper and have broken the top veneer of chert exposing the second rock. Close to a third of the surface has lost the dark chocolate top layer and is now a lighter colour. All of this only confirms that the processes, technology and high temperatures evident in Ros’ Rock 5 was also needed to create this ancient rock artefact. 2015-03-08 12.04.51

2015-03-08 12.03.41Ros’ Rock 4 resembles a rough rectangular pyramid and has five sides with three widths of lines. The thickest lines are found on the largest and most intricate side. Up until now all the imprints have been either quite dramatic or less so, but either way each is at least 50mms or larger, this is much different. There is one cluster at the top and another at the bottom and together there are about 50 small to extremely small imprints. Neither very deep nor easy to see, there is intent and communication taking place, but again it is outside our limited understandings.

Another regular feature discussed earlier and first identified by our resident anonymous geological advisor when examining Ros Rock 1, is the presence of two times when lines were marked. With these two rock’s beginning to surrender a few ancient secrets, we are now less inclined to presume that is the case and more comfortable with the possibility the lines were fainter and thinner when first cut into the molten surface. What alerted us to this far more logical explanation is one thick line on the main side begins to taper slightly as it reaches the edge then continues around the next side with the line’s width narrowing even more until barely visible. Knowing the line is unbroken throughout three sides with no disconnect, it is likely the blades were varied as was the pressure applied, much like an artist with brushes in hands.

So with that correction made, our tally of lines will ignore the width or vibrancy of mark and treat all as equal, which adds up to a total of around 35. The count of pecks include the majority positioned on the bottom side and another group of eleven just above the main cluster, which number just over fourty in total. What is fascinating is the low percentage of straight lines on this rock. Early on in the piece we tended to dismiss any line that wasn’t straight, conceding that the more jagged and erratic the path taken the greater the chance it was natural. We had been spoilt by Ros’ Rock 1 which does not have one line that is not straight and is the template from which all marked rocks must be compared. That assumption was called into question once a serious examination of Ros’ Rock 3 was undertaken. With the input of this rock, which we claim is in the same category and of equal standing to that of Ros’ Rock 4, it has become obvious that the non-straight lines are often, if not nearly always, the result of human hands and tools/devices. All that differs is that each type of line has a different intent and context.

Again in synchronicity with Ros’ Rock 3, this rock also has lines that wrap around each side of the rock and nearly all that do not, join a line that does and all serve one purpose, to communicate information and knowledge. These interconnecting grids distinguish this genre from six others which were discussed in greater detail in our last article.

In concluding the questions yet to be resolved, it seems prudent to balance the scales by focusing on one certainty, there are two rocks artificially co-joined. The inner base is coarse grained, lighter in colour and nowhere near as hard as the thin crust of chert that coats the foundation stone. The dates of these rocks will obviously vary between hundreds to thousands of years, but is inconsequential as all we need is for one of the hybrids to be over 200 years old. One tick out of nineteen rocks is sufficient, as the reality is that according to all accepted accounts of pre-Cook Australia, Original people were restricted to a bone, stone, stick and open flame technology. And that will not be enough, nowhere near it, there is no possible way that tool-kit will have any impact, or even a mark, on these rocks. The maths just do not add up.

4 + 5 = a new Algorism and Different Equations

We have a total of 19 marked or shaped rocks we are investigating and none are part of any accepted historical narrative, that is the founding truth upon which every other possibility, opinion and postulation must flow. We have said this before and will continue to do so, it doesn’t matter in the least whether our explanations are correct simply because every conventional historical setting is the first casualty of this about-face. Every text, syllabus and lecturer will assure the student that before the British boats dropped anchor in Sydney Harbour the Original people had a stone, bone and stick tool-kit. They are patently wrong and will remain in error unless they re-engage with old perspectives and Original wisdom.

That is why no person or group representing any official agency affiliated with any government, science or academic organisation has made an attempt to look or contact us for details about these marked and shaped rocks. Some are undoubtedly more spectacular than others, but each has a part to play and it would seem those in control are not in the least bit interested in the script, language or rocks on display. The reason for this refusal to engage with reality and science is simple, from every mainstream perspective the angles, geometry and mathematics just doesn’t add up and there is no text to consult. We know for a fact there are many academics who have been alerted to the existence of these rocks and that their reactions can be categorised into two reactions, open hostility or a dogged refusal to look, discuss or do anything more than immediately change the subject. Under no conditions will they rely on science. Our rigour, methodology, quality of research or sheer mass of archaeology is not in the issue of concern here, it’s just the utter inconvenience and the grief it will cause.

What makes it ten times worse is that we are playing by their rules, writing papers fashioned to their setting and sensibilities and offering conclusions that call into question fundamental historical assumptions they cherish. Their response when under attack is to adopt the defensive pose of the ostrich by ramming their heads in the dirt and hoping the nasty people and their disturbing narrative will go away. Relying solely on poor science, theories penned by a quill and ink and a steadfast refusal to look while championing gross historical inaccuracies of monumental proportions is not only an insult to the Original truths, but a stain on their character and an offense to Original Culture and Lore.

Personal damage and bad karma aside, the greatest tragedy of the institutionalised refusal to engage is that by doing so they are robbing the nation and all Australian people of our collective heritage, history and ancestry. These lies cannot be allowed to continue, the earth is not flat, it is not the centre of the universe and humanities’ history is not as we are told. We have one piece of advice for those who refuse to budge and get in the way, stand aside and bow your heads in shame because like it or not, the Original truths are coming through and nothing they can do or not do will make any difference.

The B Team (Part 2)

2015-03-08 11.57.11We are being rather harsh, but what choice did we have? It is solely because Ros’ Rocks 1, 2 and 3 were already on the scene before this new batch of ancient marked rocks was sent to us and left us no alternative but to relegate this recently sent large collection of rocks to the second level. So utterly outstanding are the first three rocks, and two more to follow in a later installment, the bar has been set so high and although half a dozen of these new candidates came ever so close, all fell short. Even though none were granted access to the top echelon, together they did open up a new avenue of research that if each marked rock was studied individually, would never have become apparent.

Every sacred rock we have or has been recently sent, with the exception of Ros’ Rock 1, has a verifiable Original heritage and spiritual connection. All were collected in 1930’s and often when in company with eminent anthropologists and archaeologists of the calibre of Elkin and Basedow. This was the first time serious Original research was conducted by people who had some genuine interest in and admiration of Original men and women faithful to the Old Ways. The artefacts and rocks collected came from people and places that often had little contact with non-Original people and culture, and in each case any involvement whether in the making or caring for these marked rocks is solely sourced in Australia and comes from very ancient times.

Selected then Dropped

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Of the twelve Original marked rocks that were sent to us, for quite some time one rock had been tentatively accorded access to the elite level and officially given the title of Ros’ Rock 6. It was considered a top shelf competitor and was only recently delegated to the reserve’s bench. It ticks off at least four boxes, and does so with subtlety, delicate lines and considerable antiquity. The top 5 immediately grab attention, there is no need to peer deeply or grab the magnifying glass, the markings, pecks, imprints, artificial depressions and angles created need no guide or interlocutor. This rock requires more patience, a closer examination and leaves open the remotest of possibilities this could be an amazing concurrence of natural factors at play.

It is because of the incredibly small chance that there are some markings that could be natural, and another reason that will be discussed further on, this rock is suspended just beneath the top five and above the second eleven. Its general shape is that of a triangle, but the form of this rock is not unusual and shows no evidence of any major ‘rock surgery.’ Straight lines we have in abundance, there are close to 40 and most are very fine and normally consistently straight. There are two widths of line, the five thicker lines are clustered around a corner that seems to have been overworked and weakened, so much so that some of the top section is missing. All other lines are fainter and about 1/3 the width of these bolder lines.

2015-03-08 12.06.28The largest of the four sides, which we suspect is the opening passage, has no less than 20 lines with 14 running horizontally across the face. There are 4 vertical straight lines that conform to that same geometric regime, but the other lines that cut across the horizontal are either diagonal or ragged and this could be due to small fracturing along the top layer. The adjoining side that we suspect to be the second section of this ancient narrative, is entirely consistent in precision and geometry. All nine lines maintain a constant angle and line, and in each case continue from a line found on the edge of Side 1. Six lines extend no more than 2 centimetres from the edge then stop, the other three continue on a path that circumnavigates the three main faces of the rock. The stock-take of lines concludes with nine straight fine lines on the third side and another three on the smallest top side.

That is quite a sizable ensemble of predominantly straight lines, none of which were chiseled, but it is lessened visually by the narrow width, time elapsed and unless augmented by magnification, on a cloudy day nothing bar the thicker lines would catch the eye. So too the array of imprints, they are there and there are plenty of them, but if viewed without assistance on a dull day there is literally nothing to see. It is quite possible that because this rock was marked so long ago the sharper lines and depth of cut has almost faded.

The imprints on Ros’ Rocks 1, 2 and 3 are very clean and easy to identify, again we have to be honest in noting that the imprints and depressions on this rock are there, numbering close to 20, but in some cases it is difficult to be sure whether it is natural or due to human technology. Despite this general equivocation, Side 2 seems to be the focal point as there are up to 20 imprints spread across the rock-face. There is a mixture of semi-circles, wedge-shapes, small notches and circles on this side, on the other three sides it seems there are either none or the few that are there are barely visible.

There are ticks awarded for lines cut and shapes imprinted, but in both cases all other five rocks in the top category have certainly put on a better display. However, when it comes to being shaped to accommodate the right hand, and in particular the index finger and thumb, this rock surpasses all others. The thumb sits comfortably inside a small depression in the middle of Side 2. Once the thumb is positioned, the index finger naturally spans along the longest side with the fingertip resting inside a small gap that coincidentally (or not) is also the point of convergence for three lines crossed by a line of pecks. With the thumb and first finger locked in, the middle finger curls around the bottom of the rock, and in this case it seems some rock has been removed to accentuate this positioning.

2015-03-08 12.08.45Not only is this rock’s purpose to be held in a formalised manner, it also has what may be the largest infill on any rock yet found. What is revealing is that of the five engraved lines that cut across the infill, four continue onto the ‘normal surface,’ which means the infilling took place before the lines were cut into the surface. Measuring two centimetres by one centimetre, the infilling in this rock is twice the size of the largest infill on Ros’ Rock 1.

2015-03-08 12.09.28Even though this rock comes so close on four occasions and sets the pace twice, there is one ever-present reason why we could not allow its entrance into the upper levels. It is not so much there is an incredibly small chance it could be natural, but simply because this rock is a lesser version of one type rock formation.

Welcome to the Family

And that is the prime focus that evolves out of these new additions, we are of the opinion that no rock from the most recent arrivals warrants inclusion, but in their totality they offer something far more revealing than what any individual rock could add to this equation. It is only through the sheer mass of numbers did the rocks, irrespective of what was marked on the surface, begin to tell their collective story.

Not only did this nearly successful aspirant fall short simply because it was eclipsed by better versions (Ros’ Rock 3 and 4), the same can be said for seven other rocks. All must fall into line behind a superior creation from one of six categories, but before elaborating any further, we feel it is essential to supply a background setting. As we ordered and assessed the respective merits of each rock, for some time our focus was too specific, quite literally we couldn’t see the forest for the individual trees. It was only when the rocks were all placed on the table en-masse, some commonalities first became apparent.

2015-03-08 12.10.13The first and probably most important group are the rectangular dark brown rocks with four smooth sides, of which three are engraved upon, and their purpose is simple: to chart positions on the ocean and in the sky. The angles made by the lines on Ros’ Rock 1 and the compelling synchronicity with the same angles engraved on rocks at Bosnia and Canada has been discussed in earlier articles, but on this occasion we are more interested in the actual arrangement of lines forming patterns that resonate throughout the Pacific Ocean. Researcher, Archaeologist and Paleoanthropologist Gary Dean recognised the patterns made on Ros’ Rock 1, Sides 1 and 3, and how closely they resemble the sea-maps made out of sticks from many Pacific Islands. Gary sent us a diagram compiled in 1904 which is a copy of two Polynesian stick maps. He informed us that there are two types of maps, the first depicts location, islands, direction, sea currents and trade winds and the second is concerned with the stars and how when sailing in boats they can determine direction in the open sea.

2015-03-08 12.10.39We had always believed Ros’ Rock 1 was some form of map, but had, for no rational reason, assumed that this rock is unique. Amongst the latest influx is a quarter sized almost exact replica of this rock in shape and proportion. The duplication of form is very obvious and defies random causal agents. What only adds to our belief this proto-type is a deliberate requisite when chronicling star and sea charts, the make of rock and colours are identical. As with every category of Original rocks we have, bar one, we believe that both rocks have been altered to varying degrees so that they can be held in the right hand in a prescribed way.

He has the Whole Rock in his Index Finger

In earlier articles discussing Ros’ Rock 2, we spent some time explaining how the rock was held in a way that can be balanced on the index finger, which is why the depressions that accommodate the flesh of this finger have worn away so deeply. As with Ros’ Rock 1, we had no reason to assume this rock had colleagues in silica. Of the same type as the first rock, it certainly came as a surprise when discovering there are three other rocks which were also made to be rested and held by the index finger.

2015-03-08 12.13.06Two rocks from the reserve bench have sections of rock that have fallen off and the third is possibly the oldest marked rock from any category, and so much of its testimony is permanently lost. Once allowing the imagination to take hold and visualise how it would have originally looked, it becomes obvious there is a sanctioned form, shape and style present amongst all four rocks.

As it is with Ros’ Rock 2, all three rocks have a finger depression running along the right-hand edge. Undeniably this rock has the most dramatic and deepest depressions, but all three contenders exhibit evidence of wear on the same edge through contact of skin on silica, and in each instance the top of the index finger rests on the upper peak of the rock. Excluding the older and much smaller rock, the other three rocks measure between 8.5-9 centimetres in length and share the same approximate width of 5 centimetres. All have two major sides where most of the engraved information is posted. The two remaining edges, one of which accommodates the index finger, have less surface area and as a result, less engravings.

The three ‘lesser lights’ and Ros’ Rock 2 have many lines, both thick and thin, running across the rock. The imprints on one of the standby rocks are more impressive than those on Ros’ Rock 2, but there are certain markings and arrangements that ensure this rock stands apart. First and foremost none of the other rocks have been pecked, Ros’ Rock 2 has no less than three hundred pecks on one side of at least four different diameters. This seminal rock also has much thicker lines, some over 50mms in width, and of course features an engraving of what looks like the letter A, where each line is of exactly the same width and depth. This particular rock and letter is most likely sourced from the First Language and was probably part of the Standing Stones complex.

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Photo by Samarah Wood

 

Same Hand Different Digit

Of the same type of rock (chert?), placed in the same right hand but moving one digit to the right is both the previously discussed Ros’ Rock 3 ½ and another geological candidate. Originally as with all rocks under our custodianship, we had assumed the shape of the rocks was incidental and of no consequence, and it was no different on this occasion. For quite some time the more recent addition, patently a much more worn and older marked rock, held little attraction. Yes markings and depressions are there, but the lines were blurred and edges so smooth. At least with Ros’ Rock 3 ½ we have clean lines, defined imprints, distinct divisions of upper and lower colours with relatively sharp edges, while this rock is so much older and had lost all definition.

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Nevertheless, both rocks have a position for the right thumb that is identical and in both cases leads to a grip for the fingers that is the same. Both rocks are narrow rectangles and of the same shape, make and proportions. And it does not seem a huge stretch of logic to assume each rock’s primary purpose was to be held in this manner. To achieve what ends may well include a leap of faith, for we suspect it has sacred and mystical powers when sung to and pointed in a certain way.

An Introduction to Ros’ Rocks 4 and 5, Without a Description or Photograph

Both rocks presented such a compelling case there was never any doubt they demanded immediate entry. Each is at least the equal of 1, 2 and 3, and in the case of Ros’ Rock 5 it may end up being the first amongst equals. That rock is as utterly amazing as it is unique.

Undoubtedly Ros’ Rock 4 is far less spectacular or enigmatic and falls neatly into the same category as Ros’ Rock 3, and is just as intricate in features exhibited and technology required, so much so we ended up giving equal billing to 3 and 4. What Ros’ Rock 4 also has is the most concentrated and deepest sets of peckings yet seen. Even when comparing against a collection of hundreds of peckings on Ros’ Rock 2, none come close in either diameter, depth or visual impact with nearly half the top layer of one side of Ros’ Rock 4 stripped away.

As striking as this Ros’ Rock 4 is, in one important respect all other rocks given top level accreditation fall short when compared against Ros’ Rock 5. It opens up new areas of technology that even caught us unawares and will be discussed, once one final issue is resolved, in much greater detail. What does make this rock stand apart is that every part of what is spectacular and technologically sophisticated about this amazing artefact has never been seen on any rock recovered by us, or anyone else. But that, along with Ros’ Rock 4, is another story soon to be told.

Seven categories, Seven Shapes and Seven Messages

The idea that angles and marked lines on rocks convey a meaning/language is well established and the subject of many previous articles detailing Frederic Slater’s research on the Standing Stones site. Slater was insistent the shaped rocks create content and that observation alone is a definite first step forward in unraveling this mystery, but he either underplayed or wasn’t aware that the make of the rock is even more important. The make and classification of all of the rocks cited in this article is a mystery unto itself, but general consensus is form of silica is dominant. What is merely a wild postulation stumbled upon without direct Original guidance, is the fact that silicon is used in creating computer chips and has the ability to store immense amounts of data, and what if the same knowledge was known in ancient times? Is it possible under the right voice, Original song or when the yidaki (didjeridoo) is played by a master that information is unlocked? Perhaps not, but it is one of many coincidences and avenues upon which to ponder.

With the benefit of so many sacred Original marked rocks spread across the table the patterns and connections began to appear. As these nineteen stand at this moment in time and before they are joined by others, we can readily identify seven classifications of roles/shapes.
1) The rectangular rocks that chart the oceans and stars (2).
2) The flatter right sided right index-finger rocks (4).
3) The flatter right sided right thumb-print rocks (2).
4) The smaller darker chert rocks which we are reliably informed should be held in the palm of the hand, but no-one “should speak” (4).

These four types of rocks have been briefly discussed, not so the last three. The two ‘spider web’ rocks, as clumsy as that description may be nothing else comes close, make up a fascinating category that is so cluttered and detailed yet seems to be without a binding feature excepting the web-like final overlay. Both rocks are heavily marked with at least two and possibly three times when lines, pecks and imprints were engraved/cut/ imprinted. Trying to find a pattern, sequence and unifying theme is an excursion into pure guesswork. Some lines are straight, others curved and many ragged, the widths and lengths vary considerably, so intensive and layered is the variety of markings on the two rocks, in combination they would tally over 500.

2015-03-08 12.14.40The sixth group, the two shaped rocks, is a deliberate understatement. Knowing virtually no details or description can be given at this time when referring to Ros’ Rock 5, and that it is so much more than a crudely shaped piece of rock, no description unless accompanied by photographs will suffice. What we can do is to remind the readers of the many shaped rocks found around and near the Standing Stones site and offer one fine example that most definitely falls into shaped stone classification, but pales by comparison. What can be declared with the utmost confidence is that there is no stone like Ros’ Rock 5, not just here, but anywhere in the planet.

The final group is the least striking and somewhat mundane, yes there are a few marks engraved on these quite small rocks. Some do not look natural, but due to the less than impressive depth, erratic paths and paucity of marks, all that can be said is that they are of the same size, display a similar type of markings and didn’t fit in any other group. Outside size they share no unifying feature and have been placed in what could best be called the miscellaneous file.

Of course, in all seven classifications a lot more detail and description will be presented in further articles, for now all we wanted to present was a general overview and an understanding of how certain types of rocks shared a similar shape and quite possibly delivered a specific type of message or content. Whether fully or partially natural then modified is a moot point which is best left alone until Ros’ Rock 5 is introduced. Once this seminal rock is given its rightful pedestal and credentials, we will have a much better idea of the incredible level of sophisticated technology that was available at a time we assumed humans were just emerging from the caves. The real issue that must arise out of any serious research or investigation of this rock is how it will inevitably call into question some elemental assumptions that underpin our understanding of human evolution.

The Returning Question of Heat in the Oven

What Ros’ Rocks 4 and 5 will do in absolute terms is confirm what we are about to propose. There is very compelling evidence of very high temperatures involved in some manner, that has been often commented upon, but until now we have never ventured further in being more specific.

All of our geological advisers have anguished often over the correct label, the consensus leans towards chert, but there has always been a concern voiced in relation to the colouring beneath the surface. The contrast between the dark chocolate top layer and the creamish yellow beneath is quite stark and more than a little puzzling. What only adds to the geological confusion are imprints some of which are ½ centimetre thick yet some lines have barely scratched the surface and the lighter colour is fully revealed. We are of the opinion that the lines were cut into the surface using the same tools and techniques needed when working with wet clay, but the darker top layer is so thin and so unlike the next layer.

We suspect that confusion is caused by the possibility that the rock underneath on some occasions is not chert, it was either chosen because the shape suited the purposes and content intended, or it was shaped by tools to satisfy a pre-set mould. Then, and this is where it does get controversial, a layer of molten chert was applied or lacquered on top of this exotic rock. While in a semi liquid state a variety of marks, pecks and imprints were sliced, pecked and stamped as one would as if it was potter’s clay, then left to dry and harden.

Yes the technology needed is beyond any academic horizon and will not be well received within many lofty circles, but if we are wrong then provide an alternative. It is not enough to refuse to engage and carp from the sidelines, but we must warn any prepared to throw down the gauntlet and dismiss our explanation, the conventional theories just don’t fit. Irrespective of whether we are right, all we can declare with certainty is that these rocks are not part of any accepted pre-historical narrative.

In closing we advise caution for any who decide that such a proposition should be pounced upon and denigrated posthaste, as our case is incomplete. This is merely an aperitif with the main course yet to be served. As we stated at the beginning of our article, our aim is to provide a general setting and thus pave the way for the two rocks that follow.

At the present stage of developments we are dealing with a collection of 19 marked rocks that span the continent in serving one purpose, to communicate truths and observations of the highest importance. Determining how and when this was done is becoming clearer, but is still a work in progress. Whether we succeed in our endeavour makes little difference, simply because what was created so long ago is now present 19 times over, but has yet to be accounted for.

With fourteen new marked rocks appearing on the scene there is so much more to report. Not only do Ros’ Rocks 4 and 5 deserve extensive coverage, so too are many of the marked rocks that just fell short in gaining admission into the elite five. As we plough forward with these rocks at our side there will be extensive collateral damage ahead. The reason is simple and cannot be denied, marked rocks have a story to tell that is as old as the hills and is solely focused on the whole truth and nothing but the Original truth.

Mar 03

“The Mystery of Two Similar Stones a World Apart: Australian Stone Meets the Bosnian Stone” By Jock Doubleday and Steven & Evan Strong (Paper)

The Mystery of Two Similar Stones a World Apart: Australian Stone Meets the Bosnian Stone

By Jock Doubleday and Steven & Evan Strong

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This paper is a joint enterprise that came about when Jock Doubleday contacted us in regards to a marked rock found near the Bosnian Pyramid. He rightly felt that the Bosnian rock had striking similarities to an Australian marked rock, Ros’ Rock 1.

There are three contributors to this paper, Jock Doubleday and Steven and Evan Strong. Jock provides a description of the Bosnian rock, how it was found along with some relevant features.
We follow on by examining the unusual circumstances involved with Ros Rock 1, with a focus on the angles created and the impact and connections that creates.

The Bosnia Stone

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Jock Doubleday on the Bosnian Pyramid of the Sun, August 11, 2011. Photo by Nenad Djurdjević.

 

Discovery, Origin, Dating, Composition, and Basic Measurements of the Bosnia Stone

by Jock Doubleday

In the late afternoon of Saturday, January 17, 2015, I was walking home from work in Visoko, Bosnia.

“Work” is videography and photography for the Archaeological Park Foundation, an NGO nonprofit organization based in Sarajevo, Bosnia-Herzegovina. This Foundation was created on November 9, 2005 by Dr. Semir Osmanagich, discoverer of the Bosnian Pyramids, for the purpose of overseeing archaeological excavation of ancient structures — pyramids, tumuli, temples, and tunnels — in the Bosnian Pyramid Complex, one of many ancient pyramid complexes in Europe.

I had just finished taking photos and shooting video footage in Ravne Tunnel Labyrinth, one of ten ancient structures in the complex. As I was walking down the road that wound through the hilly terrain near Ravne Tunnel, I noticed, as I always do, the large parking lot off to the right.

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That day, I was amazed by the beauty of melting snow on stones. I walked into the lot and began taking photos of “snow and stone,” and just plain stone — stones when wet are much more colorful — to satisfy my inner photographer.

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5 6 7Of course, this was just a parking lot. The parking lot itself is not an archaeological site but simply a large flat space created in modern times for tourists to park their cars in. I believe it’s one Bosnian mark — half a Euro — to park your car there before you walk up the road about 75 meters to get a guided tour of Ravne Tunnel Labyrinth, an extremely active archaeological site in the Bosnian Valley of the Pyramids.

So, by walking into the parking lot, I wasn’t expecting to find anything “archaeological” — I was simply looking at and reveling in the astonishing beauty of wet rounded river stones.

Then I saw this stone:

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There was no doubt that it was a hand-worked stone. I took 14 photos of the stone in situ and picked it up and took it home.

Origin, Dating, and Composition of the Bosnia Stone

It is not known at this time if the stone was brought to this location in a truck delivering small river stones from the Fojnica River, which winds through the Visoko, Bosnia valley, or from prehistoric Ravne Tunnel Labyrinth, which 4,600 years ago was filled in by an unknown advanced culture with sand and rounded river stones from that same river.

It is known that the parking lot is modern and was created specifically to serve the cars of Ravne Tunnel Labyrinth tourists. (More on the parking lot’s stones’ origins soon.)

Regarding dating, neither the stone’s handiwork — the lines on its “top” side — nor its creation, have been conclusively dated at this time. (More on the stone’s creation and possible dating in Steven and Evan’s section below.)

Regarding the composition of the stone, Richard Hoyle, independent researcher and consultant to the lead archaeologist on the Bosnian Pyramids Project, states of the Bosnian Stone, “It’s quartzite — sub-angular clast sandstone that has been metamorphosed by tectonic forces during phases of mountain building put under heat and pressure. The sandstone would be a a mature sandstone, i.e., close to pure quartz. It is the dominant clast found within the Ravne [Tunnel Labyrinth] conglomerate.”

Basic Measurements of the Bosnia Stone
It looks like the longest measurement is 11.33 centimeters, then 8.7 centimeters. And thickness averages 2.5 centimeters.

A Cross-Cultural, or Simply Transatlantic, Connection

Although the stone has not been (and might not be able to be) conclusively dated, and its local origin is in question, the lines are telling. What are the lines telling us?

Before Steven and Evan go into that, let’s look at a line that goes all the way around the stone.

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What is this line? That is unknown at this time.

And here’s the “bottom” of the stone.

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Now let’s get back to the lines on the “top” of the stone.

Being an avid fan of the work Steven and Evan Strong in Australia, I remembered having seen a photo of a stone with similar lines, or “cut marks,” on their web site.

Therefore, immediately after finding the Bosnia Stone, I contacted the Strongs on Facebook. I did not actually expect a reply. Why would they spend any time on someone else’s project, when all of Australia’s archaeo-anthropological mysteries beckoned them and have become their pet project? And yet I thought I should write them anyway, and in fact the Strongs replied to my query within three hours.

Here is their astounding in-depth recent research into this remarkable artifact.

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The Mystery of Two Similar Stones a World Apart: Australian Stone Meets the Bosnian Stone

By Steven & Evan Strong

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Introduction:
We are fully aware that the idea of ancient pyramids in Bosnia is one of the most hotly contested ideas on the planet, but owing to the reality of being swamped with a never-ending flow of offers to view and inspect so much Original archaeology, there has been no time to take notice of such idle distractions on the other side of the earth. We have made a deliberate attempt to keep fully distanced from all talk and research on this controversial topic, if for no other reason than there is more than enough yet to inspect in Australia. It has never been a matter of taking sides, but simply the fact that we are far too busy. Our take on the Bosnian site is to let others debate and accuse, there is more than enough grief and derision in this country for any walking down the Original path and see nothing to gain looking that far abroad. Moreover, what relevance does any supposed four-sided mound shaped something like a pyramid situated so far away have to do with anything we are investigating in Australia? So ingrained was my ambivalence, I had not seen a photograph of the site or read one word in support or critique. After all Bosnia has no archaeology that has any relationship to anything Australian or Original. Or so we thought, however it soon became apparent our narrowly focused disinterest was the first casualty of Jock Doubleday’s first email contact.

Both he and Dr. Semir Osmanagich (founder and executive director of the Archaeological Park : Bosnian Pyramid of the Sun Foundation), had taken particular interest in some articles we had written about Ros’ Rock 1, and what did galvanise their need to know more was one marked rock they had found and knew from first glance it wasn’t natural. Being found so close to, and possibly first taken from within the Bosnian Pyramid, only accentuated their desire to discuss these shared matters engraved into rocks. Relying just on the photographs of this rock with about twenty individual engraved lines into what appears to be a quite hard material is of course well short of what is needed to pass a final judgment, but more than sufficient incentive to proceed further.

However, for this rock to pass must muster and be deemed worthy of inclusion somewhere near Ros’ Rocks 1 to 5, there are three hurdles to negotiate, and none more daunting than the first and by far the steepest obstacle. A scholar of the highest standing in geological issues who understandably wishes to remain anonymous is always our first port-of-call whenever a new rock, engraving or artefact appears on the horizon. His scepticism is a vital balance, and on nine out of ten occasions the verdict is in the negative and natural. It is only when he is not sure, where no recognisable natural process or parallel is readily at hand do we start to wonder if this geological offering is indeed ancient evidence of an advanced technology. When a second look is needed and nothing immediately comes to mind, we then step in, and that is what happened when this rock was scrutinised. The markings do look very deliberate and very reminiscent to those on Ros’ Rock 1.

Once acknowledging what has been engraved on both the Australian and Bosnian rocks, it is very difficult to dismiss our belief that there is real evidence that due to the hardness of rock and variety of techniques this could only occur through access to tools and devices only recently invented. The authors of the history books are adamant such a level of technology is a product of modern days and will find such talk unsettling. That sophistication in technology, along with many other twists and turns into and around these rocks has to be resolved and will be briefly addressed, but it is a secondary issue already discussed in previous articles and not our primary focus.

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Analysis by Dr Derek Cunningham

 

 

It is the lines engraved and angles deliberately created so long ago that is our major concern. In what was an unexpected turn of events, Dr. Derek Cunningham’s measurement of the angles of the Bosnian rock, although incomplete and subject to additions once a better photograph is taken, managed to identify 15 angles. A comparison of the Bosnian rock to the angles on Ros’ Rock 1 and a Canadian rock Derek had already investigated, resulted in an incredibly high rate of repetition of the same lines and angles. The chances that these engraved lines bearing the same angles spanning three continents were either made by natural forces or are a random series of scratches without design is almost non-existent.

Method:

Our section of this joint-paper is concentrated on the Australian rock, primarily Ros’ Rock 1 and will first summarise both the circumstances surrounding and unique features of this rock, with a brief reference to some other rocks that exhibit the same general characteristics. Once that background setting is established, we will then examine the set of markings, lines, pecks, imprints, incisions and most importantly, angles created on Ros’ Rock1 Sides 1 and 3.

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Photo by Samarah Wood

 

In seeking to validate the real potential that there is no coincidence in the very high number of shared angles between the Australian and Bosnian rocks which are positioned so far apart, our comparison to a very similar type of ancient engraved rock discovered on yet a different continent creates a very strong combined case of this being compelling evidence of an ancient international sophisticated language. In what only adds to intrigue, the odds are extremely high that this very cryptic and complex formalised set of shared symbols and lines was recorded for posterity through the use of advanced technology, some of which is not even part of today’s tool-kit.

We are all very conscious of the radical nature and implications of what is being presented and although some of the presentation, well a hefty part of my contribution, may stray and fleetingly run off into tangents, we do stand united in adhering to the highest possible scientific standards and methodology. But in this exceptional case we put it to the reader that even if there is an occasional flaw in assumption or methods of application, it doesn’t matter a great deal. Above all our observations and deductions of these two rocks breach not only a continental divide, but rewrite global history.

Before passing any final verdict, it must be stressed that Rocs’ Rock 1 is but merely an opening salvo drawn from an Original battery of ancient engraved rocks numbering no less than six, all demanding a technology supposedly absent within this continent for close to two centuries after the British Invasion. And it is that overriding contradiction that dominates our investigation. Everything engraved, cut, imprinted, pecked and infilled on a variety of marked rocks is not part of any conventional account of not only Australian but Global pre-history.

Could it be possible there were earlier civilsations of people who were just as intelligent and technologically ‘savy’ as we are today? Moreover, did earlier civilsations rise and fall once or has humanity been guilty of repeating the sins of the past on many occasions? Or perhaps all of the markings both within and outside Australia are due to natural forces or idle hands without intent who are merely enhancing fractures and marks already present?

Summation of Previous Articles/Methods with Focus on Technological ‘Anomalies’

In any archaeology so much depends upon a reliable account of first discovery while the artefact is in situ. In a perfect world the activities on country should be filmed before and after discovery, if that isn’t done past that point there are merely degrees of uncertainty. On this occasion, although not perfect, what took place when Ros’ Rock 1 finally reached the light of day is not far off and to this date never challenged.

During the early 1990’s when excavating foundations for a house site on the top of the sandstone plateau at Kariong (Central Coast, NSW) a hole measuring a metre in depth was dug and there at the top of the excavated pile, being the last piece dug thus taken from the bottom of the hole, was one very striking rock. Ros knew from the very beginning this marked rock was special, not only for the Original people of ancient times, but for all people of every time.

The rock type, irrespective of what was or wasn’t marked, is still not fully resolved, but of one geological truth there is agreement, this rock is extremely unusual and exotic to the local geography. Experts from across the globe have offered opinions as to its make, it has been suggested the rock could be ironstone, igneous, a piece of meteorite or the most likely candidate, highly compressed river chert. It is very hard and requires at the very least a high tensile blade to even pierce the surface, and it is very obvious there are no stone percussion points near any mark or imprint, nor are the markings natural.
*Metal Chisel or Potter’s Knife

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Photo by Samarah Wood

There are over 30 lines engraved into the surface, most are extremely thin in width and each was made in one continuous slicing motion. There is not one line that shows any evidence of a join between blade marks as the mason chipped along the line. The rock has three distinct subsections in width of line, from very fine, a slightly thicker but more visible line through to the thickest width of 20mms. Within each of three categories determined by increasing width there is no variation in depth and no deviation or kink in the path each line takes. The question that immediately arises relates to what knife, past or present, is capable of penetrating a surface this hard, and moreover, once breaking the outer layer the blade was so easily able to slice through this surface as if it was wet clay. There is no hand-held tool for sale in any hardware store that can cut a rock this hard.

However, what if, and this is merely a suggestion, the rock surface was melted and was in a semi-molten state? If softer, like clay, cutting with this degree of delicacy needs anything that is sharp held in a skilful hand, and from that stage on the rest is easy. It is the only rational way of explaining how these markings were engraved into a rock that was found beneath one metre of sandstone and has to be thousands of years old. There are two truths that emerge from this exchange: if it was created only through tool and hand there is no present-day counterpart, if it was baked in an oven at over 2,000 degrees, whatever the device responsible it cannot be bought in any shop of today.
*The First Stamp of Authority

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Photo by Samarah Wood

It was only when trying to understand how the two clusters of imprints found on this rock came to be, the real issue of what tool could cut into a rock pushing one section down 50mms yet not break the surface, thus exposing the lighter undercoat as is the case all over this side, demands to be resolved. Consisting of nine connected imprints, with four above and the five below much larger in size, we have been reliably informed the only way this could occur needs the assistance of over 2,000 degrees of heat and some incredibly advanced technology.

Once beginning to seriously entertain the idea of a concentrated blast of intense heat used in forming these imprints, we soon realised how easily the same temperature would see the entire surface transform into something semi-liquid and easy to cut, slice and if need be stamp.
*Filling in the Holes (2)

26

Photo by Samarah Wood

This was noticed by us many times, it is impossible to miss, but we had neither the expertise nor eye to read between the rock. It was only when one of our anonymous geological advisers had the rock in hand, did he point out how these two patches of discoloured rocks did not originally belong but are imports. The larger area of infilling is found beneath Side 1 and 3 and measures at its widest points, 1.5 cms. x 1 cm. Of a lighter brown material, the grains are coarser and nowhere near as compact and because of this it is the roughest and most textured section on the rock.

The second infill is one third the size and of a different material, not as red, smoother and a much closer match. However, what is a point of considerable fascination on the agenda to be followed up, is that amongst this foreign plug of infill is a piece of very small metal. When held to catch the sunlight with a magnifying glass to assist, the piece of metal seems to resemble a human skull and most certainly has not one but two slightly raised points of reflection. It’s the positioning of these eyes, the distance apart and shape of this metallic-like object when put together when under the right light and inclination, what can be seen looks so much like a miniature human skull.

Whatever resemblance or interpretations we bring to the table, again they count for little. Both infills have been successful and come with no less than a 10,000 year guarantee, which is something of which no store-bought adhesive could make claim and once again asks questions that need some Original answers.

Results: These Numbers do add up

27

Analysis by Dr Derek Cunningham

 
The rock measures 9 centimetres at its longest point, 5.8 centimetres in height and is up to 4 centimetres wide. There are just under 40 lines and a little over 200 points of intersection and shapes created, and they mean something. A lot of time, effort and technology was dedicated to this project and in that respect the angles made by each line are the fundamental first step in trying to decode this ancient cryptic masterpiece.

To make this comparison truly international, we have included Dr Derek Cunningham’s measurements of an engraved rock found near Calgary, Canada. As these measurements were done well before Ros’ Rock 1 or the Bosnian rock and are sourced in a different continent, we felt the measurement of the angles of 21 engraved lines is not only an impartial reference point, but will either add to or subtract from our belief that there is a shared global form of communication.

The Bosnian rock is worn and some lines were not measured and need a higher resolution or personal visit to increase the tally, but despite the obstacles 15 lines were measured. Rising from the horizontal the angles recorded are: 1, 1, 3, 3, 5.1, 5.1, 5.1, 6.511, 11, 13.66, 13.66, 18.6, 18.6, 30 and 45 degrees. Some angles are not repeated, others are, despite the chance more will be charted that first batch is sufficient to compare against Ros’ Rock and the Canadian rock.

Our first comparison is against the angles engraved into Ros’ Rock, Sides 1 and 3. It was our hope there would be a sizable match up, but never under any circumstances did we expect a 93% crossover rate. Every angle engraved into the Bosnian rock, except 30 degrees, can also be found on Ros’ Rock 1. In what only accentuates this global pattern the five Bosnian angles that were engraved more than once are also repeated in Ros’ Rock 1. The chances that both the Bosnian rock and Australian rock share the same angle of inclination 13.66 is surely remarkable, but how much more so is this repetition than just unique co-incidence when considering the fact that the Calgary rock also has an engraved line measuring 13.66 degrees.

28

Diagram and Analysis by Dr Derek Cunningham

 
But that is not all that is shared, ten of the fifteen angles (66%) engraved into the Bosnian rock are also present and already accounted for on the Canadian rock. That figure sits well above our most optimistic expectations when comparing any rock that only three angles engraved into the Bosnian rock (3, 30 and 45) were not engraved on the Calgary rock, yet two of these absentees are on the Australian rock. It is almost impossible to put down to mere chance or random actions. Such a high rate of match-up is phenomenal, but our task is in incomplete and the third part of this trilogy bears testimony to another crossover rate exceeding 90%.

The Calgary rock is also incomplete in measurement, but does have 21 lines with angles supplied (0, 1, 5.1, 6.5, 6.5, 6.7, 9.3, 9.3, 9.3, 11, 11, 13.66, 13.66, 13.66, 15, 18.6, 18.6, 24, 27.3, 33 and 42 degrees). Any comparison made to the two sides of Ros’ Rocks 1 will see every angle ticked off except 15 and 30 degrees, all other 19 Canadian entries have an Australian counterpart.

When we put all these calculations together, at the simplest level that means 90.5% of the Canadian angles are also found on the Australian rock. As stunning a result as that number undeniably is, it is eclipsed by not two but one omission of shared degrees of inclination with a 93% match up rate between the Australian and Bosnian rock. In completing this trilogy that spans the planet the Calgary rock has angles identical to ten of those engraved into the Bosnian rock. In total, these three comparisons culminate in a combined tally of a shared script greater than 83%.

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Analysis by Dr Derek Cunningham

 
For any still holding on to the far less likely, but certainly more convenient interpretation that this is all down to random chance, all that is needed is to tally the angles on Side 3 of Ros’ Rock 1 and let the maths plot the position. The angle repeated most often is 33 degrees, there are seven different lines where Derek identified that inclination. Surely it cannot be alleged that this is also coincidental? The rock was found at a position 33 degrees south of the Equator, and we believe that setting and latitude is the only reason this angle is the most numerous and prominent on the rock. Knowing that this location was 33 degrees south of the earth’s mid-point requires intimate knowledge of the movement of the planet and stars, and extends the knowledge-base of these ancient Original astronomers into yet another unexpected realm.

Conclusion:

It is very difficult not to be absolute in declaring that the lines marked onto three rocks spread around the globe are all part of an ancient global script, that the technology on display is no less than the equal of today and that there is every chance earlier advanced human civilisations rose and fell. History is more often than not the winner’s version sanitised version of events, and once spanning back five thousand years everything becomes decidedly murky. Troy was a myth, then it was found, Atlantis is still regarded as a fictional account. Every legend and ancient narrative, including the Old Testament, speaks of giants, but according to the experts of today that too is false and no more than the product of an imaginative mind as evidenced in the quaint tale, Jack and Beanstalk.

We have no doubt there are many who would happily consign these rocks and the angles that bear testimony to a human narrative so unlike the history told today, into the same academic ‘black hole.’ Many have already taken this path and refuse to look, engage in conversation or take any action that may lead to further research or acknowledgment into not only Ros’ Rock 1 but the six marked sacred rocks that are no less impressive. Despite our open invitation to all scholars to inspect or discuss, not one representative from any university, official agency or any government department has made any attempt to look or write an opposing or supportive paper.

Irrespective of what takes place elsewhere, there are three rocks spread across the planet that resonate to the same inspiration and script. We see Ros’ Rock as the ‘Rosetta Stone’ from which all other ancient marked rocks should be compared before declared authentic stone records of the First Language. The other two rocks exclusively carry a message encoded into angles, which is more than valid and bears witness to one style of communication, but there is so much more than inclinations and lengths involved. Also found on Ros’ Rock 1 are up to 28 peckings, of course this pales by comparison to the hundreds of peckings found on Ros’ Rock 2, but it still makes a sizable contribution to a cryptic narrative no-one yet can decipher.

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Photo by Samarah Wood

The angles, lines, shapes and pecks seem to form the bulk of the messages engraved on Ros’ Rock 1, but room must be left aside for the two clusters of imprints, of which Ros’ Rock 3 has no less than 25. Of all the imprints yet seen on any of the six marked rocks we have placed in the ‘elite category’ none are more striking and intricate than the set of nine positioned above the map on Side 3, which we believe to be a star chart.

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Photo by Samarah Wood

Even when including all of these types of markings, there are still more elements on display on this very special rock that once again draws parallels to the stars above and the renowned Original passion in observing the “dark spaces” between the stars. The same rules apply on Side 2, which we believe connects the narrative on Side 1 to the map on Side 3, there are five horizontal lines evenly spaced and none are directly connected to either lines or intersection points on Sides 1 or 3. However, although all are separated on both sides by clean silica, if the lines were to continue in both directions all ten end points would connect exactly to the millimetre to another line. There is not only deliberate intent in this subtle yet cryptic script, the scribe is a person of exceptional intelligence having access to tools and technology that may well surpass the best efforts of today.

Using Ros’ Rock as the comparative base load, both the Bosnian and Canadian rocks scored a better than 90% match. Not once but twice, the chances that this is all due to random and natural forces are infinitesimally low, while the odds that all of these rocks stand united in chronicling an ancient language that spread across the entire globe are ridiculously high. It may have been embellished and revised, but is it possible that the famed ‘Tower of Babel’ myth speaks of a time when the First Language was spoken by every person, and of the events that led up to the abandonment of the universal mother tongue and the confusion that followed?

Again whether we are right is inconsequential, as the numbers stand apart three times over. There is too much that is shared and so little that is unaccompanied.

Connecting the Dots and Lines

The opening part of this paper is a report from the Bosnian half of this equation compiled by Jock Doubleday. The entire paper is solely due to the efforts and approach made by Jock, and we must thank him for his initiative and encouragement. His account will establish that the markings on the Bosnian rock are not natural, a probable connection to the pyramid and tunnels beneath, the rock is very hard and engraved script is exceptionally ancient.

Once both reports are read it will become obvious that there can only be two logical explanations, that the three rocks were marked by a human hand or nature’s agents. The less convincing alternative is random and takes place without any plan or intelligent input, the other much stronger possibility is predicated upon the complete revision of the history books and an acceptance that our fundamental understanding of how human’s evolved is seriously under question.

As with all historical debates, the older the setting the less certainty can be claimed. When claiming human activity on rocks of great antiquity it becomes even more difficult to be absolute. Having conceded that inherent degree of doubt, we would object in this unique case in declaring that on this occasion there is literally no sensible alternative. The exceptionally high rate of convergence of angles defies coincidence, the technology employed contradicts every conventional historical narrative and the content engraved could be rightly regarded as the wisdom of the ages, or all of this is just another example of rocks rubbing against rocks. The idea that this just happened three times over at different places without design or control just doesn’t make sense, and, as one of the greatest 21st century social commentators (Judge Judy) often opines, “If it doesn’t make sense, it must be a lie.”

So it comes down to two choices, one that makes sense and the other a lie. We choose the sensible Original truth in proposing that the three marked rocks are examples of different styles of expressing an ancient global language.

Feb 25

Ros’ Rock No.1: Series of Articles 1-4

1) An Original Engraving Made by Ancient Advanced Technology?

By Steven & Evan Strong

Ros Rock 1: By Samarah Wood

Ros Rock 1: By Samarah Wood

Recently, a woman named Ros contacted local bushman extraordinaire Jake Cassar seeking some guidance on a stone artefact in her possession. Jake realised immediately how important Ros’ archaeology was and suggested she contact us as soon as possible. Ros’ account of how this amazing relic was found, and her experience with mainstream academics who literally ran away shielding their eyes from one amazing marked stone, was compelling, but until we could examine the rock ourselves, we were not prepared to pass any judgment as to whether it was genuine.

Michael Tellinger and Louise Clarke were spending a day with us viewing a variety of sites we are researching, and we decided it would be in the spirit of sharing and of great assistance if we asked Michael and Louise if they would also like to examine the rock. We arranged for Ros to meet us later, at the end of our research day, at an agreed point and approximate time.

First Impressions

During our day working on country, we showed Michael and Louise photographs of this enigmatic rock and they were certainly very keen to inspect it. What struck Michael was the delicacy of cut and the similarities to the Blombos Rocks of South Africa. This was a touch difficult for us to come to grips with as we had no idea what these rocks were, or that they even existed. Michael spoke of the Blombos stones in such a casual manner, as if such news was well known, and it may well be the case elsewhere but certainly not by us. A shared glance, shrug and raised eyebrow left us none the wiser.

Steven: I momentarily entertained the idea of bluffing my way through and feigning familiarity, but such was Michael’s enthusiasm and talk of the incredible antiquity of these South African stones, I swallowed my pride and pleaded complete ignorance.

Among his many qualities, Michael is obviously a very patient man. He took us through a ’101 introduction’ of the African stones he has personally seen and, in a fascinating extension of timing, explained that the stones are generally agreed in mainstream circles to be somewhere between 75-100,000 years old — perfectly synchronized with our estimates of comparable Original artefacts. It is claimed that the Blombos engravings are the very earliest evidence of Homo sapien art/communication yet found in the world, and promisingly, looking at these photographs, Michael’s first impression was that the lines and patterns evident on Ros’ stone could be of a higher standard.

We met Ros at the end of the day and what we saw, filmed and touched – and in one case kept – far exceeded our expectations.

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This following discussion is admittedly a work in motion, and will be followed up after further consultation. For now but we believe the stone is so unusual it can virtually ‘speak for itself’ and needs little description, interpretation or commentary on our part.

Ros’ Rocks

According to Ros, the rock was found in 1990 during excavations while building a new brick home on a piece of land located within two kilometres of the Bambara Hieroglyphs. Found approximately one metre beneath the surface, it is clear this rock is not part of the local assemblage. Above and below and in every direction, all rocks near and far are sandstone, and yet this rock is neither sedimentary nor sandstone.

Ros Rock Location

From the very first sighting Ros was aware that the rock didn’t belong to the Kariong/Bambara geology, but the markings on three sides was understandably the main focus of her interest. Not only was there evidence that tools of the highest refinement were in application, there was also on display a delicate touch and considerable artistic talent. This lead Ros to wonder: how was is made?

In the 20 years since she first discovered this stone, Ros has made numerous unsuccessful attempts to answer that question. ‘Experts’ Ros consulted with acknowledged the markings were clearly the work of human hands and sophisticated technology, but as any theory that could account for this artefact sat well outside the realm of all accepted accounts of Original pre-history, typically no further opinion was offered. It seems it was easier to walk away than to seriously consider evidence that might prove mainstream beliefs and assertions incorrect.
Although unwilling to venture far outside the ‘academic box’, one of the ‘experts’ Ros met did state that he believed the rock to be ironstone. Our resident geological advisor and ex-professor in geology, although limited by only having access to photographs, believes it is not ironstone but something even harder.

Having held and viewed it close up, all we can add is that this stone is extremely hard with small compact grains, and would undoubtedly require a chisel of considerable refinement and strength to cut into such a hard surface. So where did this stone come from?

Although not prevalent in the region, Original Custodian David Fitzgerald has informed us that there are two small deposits of ironstone relatively nearby, protruding out of the sandstone at Umina Beach and Dalley’s Point NSW. During our next trip down to that area, comparisons will be made between the engraved rock and both deposits.

markedstones

Photo By Samarah Wood

Until then, what can be stated with certainty is the hard rock, intricate designs and time given in reverence in creating this sacred object necessitates the existence of an Original technology of sophistication, evidence of which is now so much the norm, in this area and many other locations across the country. Being either ironstone or something harder, with dozens of fine deep incisions, and found a metre beneath the surface automatically rules out the use of post-Cook technology in its creation, and equally, of any Original rock-stick-and-bone tool kit.

The Blombos Rocks… an Inferior Imitation?

In addition to the first three rock artefacts she showed us, Ros also presented us with two documents detailing similar finds in other parts of the globe. First up, and there were no surprises here, Ros presented photographs and some commentary on the Blombos Rocks. We could now see why Michael made the comparison, and who were the novices in this exchange. The markings on the Kariong/Bambara rock were indeed much finer and more pleasing to the eye.

Artistic merit aside, what was also evident was the softer grain of the Blombos Rocks. From a simple photographic comparison it is obvious that the Kariong/Bambara rock is a much harder type of stone; so hard that its deep incisions demand the use of a hardened tool – no less than an iron blade. This fact was no doubt the stumbling block for those ‘experts’ Ros consulted; according to universities and school text books, until the British Invasion of the late 1700′s no such tool was manufactured inside this continent. And yet there sat the end product, a metre below the established ground surface. Although we have more work to do, our first assessment is that this artefact alone may rewrite large sections of Original pre-history.

Leaving aside its questionable origin and sophisticated creation, and the reluctance of experts to venture into such unexplored territory, there is something that further accentuates the importance of this rock; another article Ros had found while researching. According to this article, discovered in China was a “stunning 30,000-year-old engraved stone artefact” which was half the size of this one, of a less precise line, and had one-tenth the amount of engraving. In fact it barely scratched into the surface when compared to what was in my hand. It may have been regarded as “stunning” in China, but in Australia, with Ros’ rock acting as the yard stick, it is underwhelming in comparison and barely rates a mention.

One of the other rocks had a particular appeal for Michael, which is his story alone. It too was extremely important for quite different energetic reasons and, until Ros’ intervention, was bound to be sold on the open market and stored in a private overseas collection.

Ros Rock 1: By Samarah Wood

Ros Rock 1: By Samarah Wood

What did resonate for us was learning from Michael and Ros that the Blombos rocks are claimed to mark humanity’s first venture into recording art and communication for posterity, and could be up to 100,000 years old. If so, where does that place the Kariong/Bambara rock in the great scheme of things? Is it older? And was it the inspiration behind the Blombos Rocks, which could be merely cruder copies of the original? Or is it younger, the result of a more refined, developing technology? What tools were used to engrave this rock? (we use the plural in this case as there seem to be indications that more than one type of blade was in use) Who created it? And why?

Once More into the Breach

Not only does this artefact potentially sit outside the embrace of accepted versions of Australian and global pre-history, but it’s presence within the earth, one metre beneath the surface, may also introduce ancient paradigms, participants and purposes to this unravelling historical equation. And although our investigation is in its preliminary stages, the question must already be asked – where to next?

First and foremost, we hope to examine the site at which this rock was found in more detail, and will continue seeking out the counsel of the Original Custodians of the Old Ways. Likewise, we will also continue seeking the advice of those academics (if any remain) who possess the open mind and inquiring disposition required to properly assess this intriguing artefact.

As always, we are also obliged to try and nudge and cajole mainstream media and academia into action. We approach this difficult task with trepidation – it is one we have tried before, with very mixed results. And until now, every time Ros has gone through ‘official channels’, a wall of inertia and denial was all she received.

But amongst all the official deflection and procrastination, there was one ray of clarity that Ros never forgot; when the sensibilities of the Old Way prevailed. Ros told us of an Original Elder who told her that, not only was the rock the genuine article, but that she was chosen by the Original spiritual guardians of the site and stone to recover, then act as the custodian of, this precious and extremely ancient artefact.

Despite our justifiable skepticism of involving instruments of the mainstream, we owe it to Ros for her determination to try – once again – to speak her truth.
Ros has also made a Statutory Declaration outlining the details of her find, and her subsequent attempts to understand it.

Ros-Mulder-Statutory-Declaration-Original-Stone-Carving

 

 

2) The Rock That May Rewrite Chapters of World History

By Dr Derek Cunningham with Steven & Evan Strong

Dr. Derek Cunningham made contact with us after reading our first article on the engraved rock: “An Original Engraving Made by Ancient Advanced Technology” (see above). It soon became apparent his extensive work and research was a perfect fit and an essential element in making sense of this unique artefact. We now work in partnership and this article is one part of this process.

Recently we presented what is intended to be the first in a series of articles discussing some of the implications associated with an amazing engraved rock recently discovered in Australia that has rightly drawn comparison with the Blombos Rocks of South Africa; an engraved stone that is one of a select group of artefacts dating from circa 400,000 years ago to 70,000 years ago that shows the earliest evidence of conscious, non-survival related thought in early human history.

For most research scientists studying the ancient world, it is in that pursuit – the search for data that can draw definitive conclusions about early pre-history – where the greatest difficulties occur; simply because after so long a time there is now virtually nothing left on this planet with which to now make a comparison.
Though it is our intent to show these two samples are identical in design, archaeologists it must be said are not good at measuring “similarity”. Their training is the direct opposite, and that is to identify, wherever possible, the differences between two samples. This is done so that a sample can be “properly” catalogued and entered into their database. They are now so good at this process they have become unquestioned robots in their zeal to classify and separate everything by the smallest and most obscure differences. The problem now, to be blunt, is that unless two artefacts are absolutely identical in every single respect the archaeologists are by their training totally unable to state two otherwise identical objects are related. They will argue intensely about the perceived differences and then finish their argument with the completely untestable assertion that it is simply a coincidence. I am sorry but a coincidence argument is simply an opinion, and it is normally employed as a last ditch attempt by the person that has already lost the argument.
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For most neutral observers watching from the sidelines there is one other important fact that is really difficult to accept, but it is actually a very true reflection of the current position of “science”. The fact is…there is absolutely no archaeologist who is an expert in ancient writing, that is also an expert in astronomy and also an expert in stellar navigation, that specialises in Australian ancient rock carvings that can comment on an ancient carvings found in South Africa that are both potentially 70,000 years old, and who could comment on their similarities to the Lascaux cave paintings, and the Atacama Giant in South America. Thus if anyone is waiting for an “expert” to come forward, to give a green light and to say out loud and clear that they were constructed by the same civilization…you will be waiting until cobwebs have formed over your dust-filled decomposing computer.

And this is where the long-standing disconnect is. Others have looked at the exact same evidence that the archaeologists work daily with and see the hands of an ancient Stone Age Civilization that must have travelled the entire breadth of the world. Archaeologists by their strong need to categorize everything for museums create a science where it has slowly become impossible to compare any similar object. They need objects to be classified by region, by date and by material type. Once that has been done any attempt to link any two similar objects then automatically becomes controversial…for absolutely no obvious reason. Being really blunt once more. Is it really impossible that there were no tourist in the Stone Age? Did not one single ancestor think of the shape of the world until finally the Europeans sailed the oceans? Do not humans have legs and are capable of walking from one end of the world to the other? In recent years people have walked from one end of the Americas to the other. Here any honest archaeologist would have to say that such long distance travel must be possible, the only remaining problem then is agreement over common features present on ancient artefacts.

The problem in comparing an engraved Australian stone with a 70,000 year old stone uncovered at Blombos Cave in South Africa is that academics state that there is still insufficient evidence to argue that hominid set foot on the soil of Australia until 60,000 years ago. With this one single “fact” which produces a 10,000 year gap in dates, there is thus no academic expert, even at this most basic level, to consult as no “established” expert that studies Stone Age carved stones can argue an earlier date for Australian occupation than that give by experts that study Australian pre-history. Thus the Australian stone is now in our hands, left unstudied, and entirely ignored by academia. It is thus very embarrassing to established science that mere amateurs can now show through a series of very careful comparative tests that the Australian stone and the Blombos stone do in fact match each other in design, and not only can we show this, but we also can now show that the exact same logic used to create the Blombos Cave pattern and the Australian engraved stone in Australia is found worldwide, from the Lascaux caves in France, to engraved stones found in North America.

If it can be proven that the Australian stone was not fabricated within the last 2 years (in other words it was discovered before the first papers deciphering the linear patterns on these stones was published) it can also be argued that the discovery of the Australian stone is amongst the strongest evidence yet for a Stone Age global civilization. And for the first time, it is now no longer possible for the established archaeological community to ignore the results that we, a group of international amateur historians present.

Ros Rock 1: By Samarah Wood

Ros Rock 1: By Samarah Wood

For us we are now entering ‘unchartered waters. Our results are for the first time showing such a large degree of internal consistency that we can now begin to start working in isolation and not care what established archaeologists think or say. As we stated, there is no archaeologist with the experience that we have, and has studied as many samples worldwide. Our hope is that this second article will add a degree of clarity and perhaps narrow down the possibilities that surround this controversial stone. Originally this article was meant to be merely a progress report investigating some of the avenues that seem to have promise, which came about through the contacts made as a result of the first article. As a result of the first article quite a few researchers of high standard from overseas who have sought us out, sharing what they have discovered, and some of this advice and direction now forms the main focus of our present and future analysis of this unique engraved rock.

As encouraging and edifying as their knowledge and suggestions have been, there is still a continental recurring scholarly absence we just cannot escape, none of the offers of recent assistance are from Australian sources. We have made direct contact with one of the most prestigious universities and museums of high repute, and again fully expect absolutely nothing to come out of our approaches.

Lines with “Astronomical Values”

With hopes held low of breaching the divide, it makes no difference, as there is something quite spectacular attached to the narrative that accompanies this rock and in that respect we must thank Dr. Derek Cunningham, who was the first of our overseas advisors to make contact. From the very beginning we sensed he was navigating a similar path, in his first email we learnt that he too selected the date of 400,000 years as a seminal point in the evolution of modern man, and also believed that there was an extremely ancient global civilisation which was far more advanced and sophisticated than we are led/lied to believe.

As much as his take on our ancient past was in synchronicity, it was Derek’s research and a single, confident comment offered in his first email that left us so pre-disposed to continue. When declaring that “I’m betting the latest sample discovered will match the 70,000 year old Blombos Ochres” he certainly sparked our interest, but he then became more specific in supplying the potential key to deciphering this collection of engraved lines, angles and intersections. Derek maintains with now a considerable body of evidence that:
“The angles drawn by the lines are astronomical values. The angles the lines are drawn at simply represent, in an angular form, the astronomical values used to predict eclipses. In total there are only several astronomical values, producing several lines, and agreeing with our prior studies, samples with linear angular text has been found world-wide.” ~ see Derek Cunningham’s work on Lascaux, the Great Pyramids, and the Atacama Giant.

Ros Rock 1: By Samarah Wood

Ros Rock 1: By Samarah Wood

In presenting very much a global picture, Cunningham felt that the Blombos Ochres, which are comprised “of a double row of square and diamond patterns,” was a form of archaic symbolic text, with the angle defining the consonant and the direction of offset of the line defining the attached vowel, producing a written language very similar to Japanese. This early use of angular values was used, Derek contended, in creating a related, equally ancient star map that could be used to navigate around Earth. Of course, as this was our first contact through email it was all quite tentative, but knowing as we do that Original Elders of degree are united in insisting every earth-bound Original site, artefact and location of significance must have a celestial counter-part, we already knew Derek was right. Despite my intuition and Original tutoring there was still the question of evidence, and perhaps a measurement of the angles on this enigmatic rock by Derek would provide clues.

Apart from the obvious similarities to the Blombos Rocks, and those we are now aware of at Lascaux, my first reaction upon seeing this rock was to compare it to Ogham Script-which is thought to be the earliest form of Irish writing, something that Dr Derek Cunningham has also looked at with some success. At the most simplistic level all Ogham Script appears to be is an arrangement of lines, mainly vertical and not much else. After all, as simplistic as this may sound, writing is merely different ways of using formalised lines and angles arranged in a way that can pass on all manner of information, and the lines on the rock Ros found have the angles, lines and patterns needed to tick every box in achieving those ends. Though Ogham has been around for a very long time noone until Dr Derek Cunningham has ever took the effort to measure the angles drawn by the Ogham script. All agree the Blombos Rocks is an example of early thought out art, and we, and those who have seen and touched this Australian rock, agree that it is superior to the Blombos Rocks in quantity, quality and manner of cut, hardness of surface and sophistication of message. There are three panels or faces of engravings and each is distinctly different in design and no doubt, message engraved.

Derek’s email supplying his analysis and measurements of the angles on the first face was doubly reassuring. That so many of these angles were recognised by Derek in other locations in both Europe and Africa was a more than pleasant confirmation, but what was intriguing was the angle of a secondary value that dominated and was represented on six occasions on the reworked photograph of the marked rock: it drew the value thirty three degrees, a value linked to the first reset point of the lunar and solar calendars.

Australian-Stone-Alignments

 

 

 

 

 

 

Six Times Thirty Three Equals One

Derek immediately realised that “here the vast majority fit with prior studies.” To assist us in identifying angles seen elsewhere, “those marked in yellow are the offset values drawn. The lines marked in white are offset either above or below the horizontal”.

After examining Derek’s fine work I passed his photograph onto a select few that accompany us on site and are involved in every aspect of this research. Within minutes Sean Vandenberg emailed back pointing out something that much to my disappointment I really should have picked up within a millisecond after sighting, the place where the artefact was recovered is not only situated within two kilometres of the Bambara glyphs, but sits on the thirty-third latitude. This fact may just be yet another coincidence, but it certainly wasn’t through prior knowledge as Derek pointed out when responding to Sean’s observation.
“Oh I love that … That makes it an independent test, because I did not know the latitude.”

No Less Than a Metal Blade

A separate, but obviously connected feature of this rock, relates to the fact that the rock is incredibly hard and at the very least quite rare in the region, while the incisions are clean, deep and precise. There is the possibility that two blades of differing width were used, but at the very least iron blades of considerable hardness are the bare minimum requirement. Another possibility is obsidian, which can produce incredibly sharp edges. Irrespective of whatever translation is deemed acceptable, the question that needs to be asked is what tools were used in chiseling these engravings? The answer to that question is in many respects, more important than any translation.

What only adds to the intrigue, and narrowing of options, is that this rock is not the only rock bearing evidence of technology supposedly foreign to this country before the British Invasion. We know of four examples of cuts into rock in the immediate area that appear highly refined.
The 300 odd glyphs engraved into the sandstone walls at Bambara, along with two long narrow cuts into vertical walls of the same material were in our opinion chiseled by some type of blade.

Reading Between the Lines

In trying to find any meanings to what is engraved, we feel there could be much more to this narrative than is apparent to the eye. The lines, angles and intersections are plain to see, but what if one was to look more closely and magnify proceedings? Richard Gabriel and Judith Ann had already been liaising with us through his analysis of the walls of the ten metre underground shaft positioned behind the Bambara walls and other sites. Through the innovative application of a spectrum of coloured lenses and magnification, he detected the remains of an ancient gallery spread along the two walls of the tunnel exhibiting exquisite artistry in the depiction of animals and objects found both in Australia and other continents.

His work thus far on this single rock has left him excited and astounded, and utterly convinced that this artefact is of global significance and pivotal in opening up new horizons and reacquainting humanity with histories long forgotten by many. As it is with Derek’s research, Richard’s investigation is nowhere near complete, and until he has completed his first set of investigations we will hold back on further commentary. Even so there was a comment Richard made when discussing the impact of this discovery in setting the scene, spreading the palette and opening up options rarely considered.

“The whole point of the discovery is that here we have phenomenal artistry at a minute scale, on a rock surface which is dated back to infinity-and done by means at the hands of a highly advanced craftsman in a way we can only speculate over. It is irrefutable proof of advanced people back then.”
As we have conceded this is a work in transition and at its early stages, and of course we are waiting on the response of all Original Elders and Custodians consulted before venturing a collective comment. The little that has been revealed we are not at liberty to publish, but what can be stated is that an Elder has declared the rock to be “very, very ancient” and extremely sacred, and definitely an Original artefact.

Fact or Fiction

Nowhere near complete, this preliminary report is meant to set parameters and narrow down the candidature. The rock exists, and to be honest its credentials rest on the shoulders of Ros’ integrity and commitment in seeking out the truth. And it Ros who is both the lynch-pin of this sacred stone’s renaissance and weakest link in the narrative attached to this discovery.

No doubt, cynic and official minion alike will suggest and infer that this, just like the hotly-debated Bambara hieroglyphs, is merely a hoax. Worse still, what if it was Ros who found the rock days before the excavator came to dig foundations and scratched into it with a chisel, then cleverly dug down and placed it in a position sure to be disturbed soon after. Waiting a good twenty years since the bogus act of chicanery, Ros now presents her mischief as real and claims the limelight and her 15 minutes of notoriety. As utterly ridiculous as this scenario is, as we have personally met Ros and will vouch for her sincerity, every denial must be laced with degrees of this being bogus through her deceit. Because if all of what we claim to be true is actually that, then throw out the ancient history books and start again, because there is nothing inside those pages that can do anything other than get in the way.

2013-12-30 10.03.10

The alternative is that the rock is “very, very ancient,” Ros is telling the truth and there isn’t another option on any table. Truth or fiction, which label is to be given, it is that simple? Knowing the real truth of the rock and Ros, we now need to offer a tentative take on what these ancient engravings could actually mean.
At this stage we will limit our interpretations and conjecture to Side 1, simply because it is the only set of engravings Derek has measured and the repetition six times of thirty three degrees has held centre-stage. Knowing the Original mantra of ‘as on top so below’ holds fast for every sacred site and object, the idea that this is some sort of map bearing the latitude of the place where the rock was found, is so in keeping with Original Lore and difficult to dismiss.

That recurrence of angles/latitudes also negates another criticism, incredibly superficial and quite surprising as it was, that this rock bore the brunt of natural processes and the scratchings are merely the outcome of uncontrolled abrasion against sharp objects. But that would be random in nature and haphazard by design, one look at Derek’s reading show some lines slowly segmenting in an arch, others perfectly straight and often parallel with some at opposing angles, all inter-locking and formed at the same time. In what also runs counter to any erratic interplay with a combination of natural agencies, all the engraved lines are of the same depth and width.

If indeed the first side is what we suspect, a block of text relating to potentially an archaic map, what of the other two sides? At first glance we feel neither serves that function, each engraved side is different in setting, number of marks and pattern. As such, to assume that each section relates to something different seems logical.

Whatever it means and whenever it was engraved is still under consideration, what is not debatable is the large amount of time and skill required. Many, many hours were spent in engraving, which of itself is quite remarkable. Being part of a hunter-gatherer society where staying alive is a daily issue and the tribe’s dietary intake is limited to what is found or hunted on any given day, this could seem to be a total waste of time as it serves no utilitarian purpose. There must have been a very good reason, and an even more important message to pass on, if willing to sacrifice many hours that could have been spent adding to the chances of the tribe eating more.

We can offer no conclusion at this stage beyond some incremental steps. We know that Ros is telling the truth, the rock is genuine and being found one metre beneath the surface, must have been engraved at a time well before Cook sailed up the east coast of Australia. Whatever tools were used are not supposed to be in existence anywhere within this continent until 1788, but it is obvious they were being used on this rock. Derek, Richard and Judith are hard at it with more to come. We are chasing up Elders and others with skills that may assist, and Derek made reference to other grid engravings in Australia, and in America, which may provide additional data to aid our work.

Where to Next?

Apart from continuing to consult with our world-wide network of talented advisors, in the meantime we are compelled to once again trudge down a weary road. Pardon our jaded enthusiasm and justifiable cynicism, but this Original artefact is of such immense significance we are duty-bound to vainly try and convince mainstream media and educational institutions how important this artefact is and the ramifications that emerge out of that acknowledgement. To that most probably frustrating end, we are continuing in our attempt to contact both academics and media outlets, by extending them an invitation to be present when this artefact will be first presented to the public. At present it is locked away in a safe and will remain secured and hidden until October 1.

 

 

3) Astronomical Stone Carving Defies Ancient History

By Dr. Derek Cunningham with Steven & Evan Strong

(The Rock That May Rewrite Chapters of World History – Part 2)

Capture 5

 

 

 

 

 

 

 

“There will be messengers that will precede the coming of the Purifier,
They will leave messages to those on Earth who remember the Old Ways,
The messages will be found written on the living stone …” ~ Hopi Prophecy

Following on from our previous article “The Rock That May Rewrite Chapters of World History” (see above), this article continues our ever-expanding research into a very special engraved rock that was discovered by a local woman, Ros, on the NSW Central Coast – a rock which throws into question many chapters of our accepted world history.

In our previous article we made a deliberately vague mention that there may exist an engraved rock, found somewhere in the Americas, that exhibits many similar features. On this front, there have been further developments. Dr. Derek Cunningham sent us a link to an article he had written in 2013 that was entirely unknown to us, and much to our surprise, it was an analysis of an engraved stone found in Canada which was similar in style and design to the second face on the Australian rock.
See: Analysis of a Carved Rock Discovered at Holt’s Point in Canada: Evidence of Proto-Writing and Astronomical Awareness

Recurring Astronomical Values

What immediately struck us in the diagram of the Canadian rock Derek supplied was the reappearance of an angle that recurs throughout the Australian carving: thirty three degrees. Without doubt, on the Australian rock it is the most numerous and prominent angle engraved and equally, what we feel is the most conspicuous engraving on the rock at Calgary is also aligned at thirty three degrees. With the angle on the Australian rock already confirmed to represent latitude, it seems more than a touch coincidental that, being one of many potential measurements, the same angle was found on the Canadian rock – especially given that a position of 33 degrees latitude is thousands of kilometres to the south of any location in Canada.

Another-Chapter-of-Ancient-History-to-be-Re-written-Astronomical-Values-Converted-to-AnglesOf course, opine critics and sceptics alike will dismiss this as a random occurrence, however, this is a gross underestimation of proceedings at two levels. Dr. Derek Cunningham is meticulous and precise in his compilation. His tests on each of 100+ artefacts and archaeological sites employs in each case a comparison between the artefact or archaeological site to a fixed list of astronomical values converted to angles.

Though many of the lines are found in a tight band ranging from 1 to 13.66 degrees, there is within this list only a small number of lines at higher angles. The potential for over 100 artefacts archaeological sites to randomly align to both the lower angle values, and also the higher angular values, is close to impossible especially when in some specific cases the sample being studied is aligned to the cardinal directions and cannot be rotated – see for example the Atacama Giant which shows alignments not only offset to due east but also a 90 degree rotational symmetry that produces the exact same values are aligned to true north. In comparison, the causeways in front of the Great Pyramids are much simpler.

atcama

The Atacama Giant of Chile observed “as is” with lines offset to due East. A detailed study shows that all lines are astronomical in nature with the image showing clear evidence of a 90 degree rotational symmetry.

The values chosen by Dr. Cunningham are restricted, as just stated, to a very specific range of astronomical values; those values are those that astronomers use most routinely to (1) measure time (2) align the lunar and solar years, and (3) to predict lunar and solar eclipse events.

To begin the most important values used by astronomers is arguably the sidereal month. This lunar value marks the time taken by the moon to cross the same star twice, which takes 27.32 days. This is thus drawn on archaic artefacts as a line at either 13.66 degrees (the half-value), or at 27.32 degrees (the full sidereal month), the half value perhaps represents the waxing and waning of a moon. The next value astronomers use to predict eclipses is the 6.511 draconic month period that equals the time between the two successive alignment of the moon, earth and sun at their nodal points at the time the moon is either a full or new moon (6.511 Draconic months equals 6 synodic months).

Obviously an astronomer will also need to take note of the 5.1 degree angle of inclination of the moons orbital plane, and with sufficient studies the astronomer would equally note the 9.3/18.6 lunar cycle which plots not only the movement of the moon through the night sky, but also the lunar nutation cycle that defines when an eclipse will occur. The 11 and 33 degree values often seen in ancient artefacts mark the 11 day difference between the lunar and solar years, and the 3 year reset point (3 times 11 days) that marks the first point where the lunar and solar years can be reset.

*Together these values mark the standard values used to analyse multiple sites such as the Causeways located in front of the Great Pyramids, the Lascaux Cave paintings in France, the Atacama Giant in Chile, and the Australian stone currently under detailed scrutiny here.

Another-Chapter-of-Ancient-History-to-be-Re-written-Figure-2

An image of a geometric pattern found in Lascaux Cave France. Here the image was recorded by an independent research team that took images of all the Lascaux cave paintings using an advanced camera. The pattern was analysed “as is” with no rotation of the image.

 

Side 2 – Tracks All Over the Place

Dr. Cunningham’s first reading of the angles carved into the second side of the Australian stone has been completed, and even at these preliminary stages there are observations that can be made that really fall under the ‘more of the same’ banner.

The first number that caught my eye when sighting the second set of figures was again this number thirty three, being equal to the angle of latitude where this specific stone was found. However there are in this stone a number of other angles and lines that appear equally noteworthy, including a set of lines that align to circa 23.4 degrees. The 23.4-degree value equals the current latitude of the tropics, and the angle of the Earth’s tilt.

Apart from these values appearing in artefacts found all round the world, the strongest argument against these lines being random is the fact that the same angular offsets are seen either to the right or left of vertical or above/below the horizontal. These exact same values are then seen in the archaeological records in the first Mesopotamian text, the Shang Dynasty Bones of China, and even the Petroglyphs found in Hawaii.

41ANHjb9A1L._BO2,204,203,200_PIsitb-sticker-v3-big,TopRight,0,-55_SX278_SY278_PIkin4,BottomRight,1,22_AA300_SH20_OU01_

As described in Dr. Cunningham’s recent Book The Long Journey: 400,000 Years of Stone Age Science, the reason why these sites are connected is simple. The sites are linked to a long-forgotten world map that was created using the stars to position to map not only the shape of the earth’s continents, but also the most important religious sites of the world. This is a map that not only explains the location where the Australian stone was uncovered, it also explains the Mayan reset and, perhaps most impressive of all, explains the enigmatic nature of the ancient Greek Myths.

Before venturing any further down a path long forgotten by most, we need to completely brush aside a rather trivial objection and then move on to more serious business. More than once, those of a narrower inclination have dismissed these markings as being made by a human hand, and of no significance with no inherent structure on display. They see this as the result of someone idly scratching patterns into rock without intent or purpose, but seem to have no grasp as to how written language began and evolved.

To be honest, we are only now starting to get our head around the dynamics of this extremely ancient and linear script. The inclines, angles, length of line and shape created are elemental components of a formalised yet subtle language. A variety of recorded languages are quite similar to the ancient founding language engraved into this rock. The ancient past Ogham script is an obvious comparison, as too is the ancient text found on the Oracle Bones of Chinese. Here the angle of offset may reflect the vowel, and the angle of the line the consonant. For this reason, writing may have been a complex thing to master, and only taught to the religious elite.
And it is that evidence engraved into the rock which is the scene of yet another unexpected development.

Heat

We are in constant contact with a geologist of the highest calibre who, owing to his understandable preference to remain anonymous, is more than willing to guide and advise our team provided it can be done without publicity. From here on, we will refer to him as Professor X.

The reason we felt compelled to introduce a geological authority into this investigation is simply because some of what we will now attempt to paraphrase is known only by professionals of his field, and not fully understood by us. Until now, Professor X’s suggestions and advice has been generally understood and we were able to interpret his work without needing to rely directly on what was written. This time, his commentary contains knowledge that is beyond our reach, and because of the depth of geological insight required to properly understand this artefact, it would be disrespectful and disingenuous to present such a fascinating premise in our own relatively crude terms.

Admittedly, our advisor’s anonymity breaks a fundamental academic rule, but we believe that is irrelevant to this ground-breaking investigation. The truth has nothing to do with who said what, but rather what is said. Surely all that counts is whether the commentary supplied is geologically sound.
If our anonymous colleague’s observations are correct, this rock displays many unusual properties – including potential heating.

Reading Professor X’s recent correspondence, we had to check again to make sure our eyes or minds hadn’t failed in transmission. But there it was, the word “heat” was used as a possible causal agent in the creation of this rock. And while we already thought the notion of a “knife” was a big stretch, we certainly didn’t see this coming. Quite simply, our friend and advisor was having real trouble attributing a natural cause to this rock’s creation. In geological terms, this rock breaks all conventional rules.

“This thing has me totally puzzled from a “natural” point of view (if it’s natural), and I will tell you why. Most very hard rocks like silcrete (or flint and chert too, to a lesser extent) weather with a LIGHTER rind of cortex. This has DARKER rind than what seems to be inside it!!!! … judging from the bumps and scratches on/into it. I know VERY few things that could make a DARKER rind instead of the usual weathering product of a lighter coloured rind-heat might be one possibility. Is it something that has been heated?”

Of course we could never answer that question with any confidence ourselves, and it is because of our lack of awareness of such obscure geological processes we rely on the advice of those we trust. What we can say is that, heat of such intensity being applied to create a carved rock found one metre beneath the earth’s surface is a path of investigation we never suspected this man would propose.

Interestingly, we soon realized his question of heat was intended as a semi-rhetorical comment, as another comment he sent soon after related to another three areas he highlighted as also being “unusual” and of “lighter material”. Our expert noted once again that these anomalies exhibit qualities “true of heated objects”. However it must be made clear that, at no stage did our geological guide advocate the conclusion that intense heat was used to cut into one of the hardest rocks in the continent, just that there is ample reason to suggest heat of some sort was at play. As to what object or device is capable of delivering heat and at what temperature the stone was heated to (if indeed it was heated) we are not able to draw any firm conclusions.

Although our Original Custodian friend, the recently deceased Original Elder Mr. Bostock, advised us time after time that the enigmatic Bambara hieroglyphs were engraved not by chisel but by laser, we are also aware that there are many less technological advanced ways to apply heat and etch lines. In the case of the Australian stone, the unnamed professor refers to the darker rind as being evidence that the surface of the entire stone was heated, while the late Mr. Bostock was, in contrast, referring to the etched lines. If one is considering applying heat in a sharp linear path, the easiest method to comprehend is the high temperatures reached while cutting with a circular saw, such as the low-tech circular saws used towards the end of the 19th century. These saws, created with minimal technological advance could be rotated at high speeds with proper gearing. Other means to apply high temperatures in a straight line is the use of stones with sharp edges heated in a high temperature furnace, and applying the hot edge of the sharpened stone to the surface to be etched.

To determine how these specific linear lines were made on this Australian Stone will thus require further study. For example a comprehensive study using X-ray diffraction, High Resolution Transmission Electron Microscopy, and EXAFS might reveal useful information about the material’s structure and oxidation state at the “supposed” melt zone, and determine whether the surface of the stone is really consistent with the surface being exposed to a high temperature or is simply a change caused by natural oxidation or other chemical reactions. At present not enough data is at hand to draw any conclusions, and for now this will remain a work in progress.

SONY DSCIt should be noted that there exists one other sample that might require similar, very detailed studies, and that is an amalgam of metal and crystal found in the Bambara region, in which the crystal appears to be fused into the metal – a process which requires extremely high temperatures and technology far outside the Original rock and stick toolkit.

 

Maybe More Than Maybe?

At this juncture, there are three strands of investigation being undertaken, two of which we regard as rock-solid, but unlike that which we know to be true, there is also that which feel is likely. Since Dr. Cunningham’s understandings and findings of the general purpose of the Australian rock engraving is in accord with Original Lore and sentiment, we are utterly convinced this strand of our investigation stands on solid ground. Similarly, the geological observations of our anonymous Professor X are unshakeable, and form an integral part of part of this investigation.

However the same cannot be said for the research of Richard Gabriel and Judith Ann, independent archaeological field researchers. Unlike Dr. Cunningham’s research and the geological observations of our anonymous colleague, the jury is still out on Richard and Judith’s application of colour and magnification. Nonetheless, at this stage of our research, we are happy to share their findings and to supply a brief commentary.

Another-Chapter-of-Ancient-History-to-be-Re-written-Colour-and-Magnification1

Photo analysis/treatment: (Color enhanced and magnified) Richard Gabriel & Judith Ann http://www.echoesfromthechamber.info/ and http://www.richardgabriel.info/

Not only are the potential technologies and techniques employed in this rock’s creation challenging notions to absorb, Richard and Judith’s findings, that something akin to a “knife” cut into the very hard surface of this rock, has understandably been regarded quite poorly from a conventional stance. The problem being, if a chisel was in action we would expect to see a series of jagged lines not the smooth flow of line with consistent depth throughout. If by some unknown set of circumstances it has been chiselled, the blade required would be incredibly fine and even stronger in hardness and applied by a skilled and steady hand. Nonetheless, the enhanced image of what seems to be a continuous line at the bottom of many engravings does seem to support their observation.

The problem of course is that, whether a delicate yet extremely tough blade or a controlled heat of considerable intensity was used, both alternatives involve technology that is assumed never to be part of the ancient Original narrative or Australian landscape until the twentieth century. As controversial as either choice certainly appears, Richard and Judith pushed the boundaries even further in their claim that there is an even smaller, verging on microscopic, set of engravings and peckings evident on the Australian rock.
In totality there seems to be ample reason to walk away from their work and stand on more solid archaeological ground, backed by the work of Dr. Cunningham and Professor X.

The first reason is that direct etching of miniature images is clearly impossible. The images are just too small. There is however a mechanical method available to create smaller or larger scale replicas of a drawing or engraving, which uses a combination of levers that can be used to scale down or scale up a drawing. But as Dr. Cunningham mentioned in his recent book, science is not for the faint hearted. Every time you have an idea, the easy part has been done. The hard part is to create such a mechanical device that can copy a much larger, more detailed image to a much smaller stone – thus proving such a theory is possible.

Because of the misgivings and views of our colleagues who urged caution in endorsing this radical line, we began viewing the collection of treated and magnified photographs with some degree of cynicism. The concept of a knife cutting into this rock is still on the table, and is certainly a solid back-up theory to any mechanism/agent capable of applying intense heat to cut this rock. But the claims of Richard and Judith, who have looked even more closely at this stone, that there are miniature script, carvings, engravings and peckings evident on the Australian rock, is a huge stride into the void.

However, on first viewing, we decided to put aside our preconceptions and look at the pictures without prejudice so as not to be influenced by the opinions and interpretations of others. After viewing the first ten or so photographs, our initial reactions fluctuated from “I don’t see it” to a tentative “maybe”. It didn’t look promising and we were beginning to seriously wonder.

Then next shot appeared. It was of what appears to be a sphere with some small lines engraved, each line sharing the same depth and width of cut. Try as we might, there was just no way we could accept that this was a natural marking. There were at least two, possibly three, other magnified photographs that have left us inclined to believe there is perhaps some communication present at a level barely visible to the eye. Such layered detail would certainly correlate with our ever-present macro/microcosmic theme: As on top, so below.
For now, this idea remains a “maybe maybe”.

The Current State of Proceedings

There is so much more to investigate, and yet even though we have barely begun to understand the significance of this remarkable stone artefact, there are some ‘definites’ that have already emerged and some other avenues that look promising and certainly worthy of further consideration.

The recurrence and dominance of the same angular values in so many comparable samples is of paramount importance. Knowing that Dr. Cunningham has extensively studied these samples over a long time frame and on every populated continent, and that his related theory of an archaic ancient map can also explain why this specific region in Australia might be the location of so many unusual finds, in our opinion it would be a dereliction of duty to merely dismiss this repetition as an outcome of chance. As to whether some form of intense heat has been applied in its creation – a theory which we fully endorse – all we can say is … let the evidence lead the way.

Whatever form of technology was utilised in creating this special stone, it is undeniable that a great deal of time, labour, knowledge and expertise was invested. With that in mind, this was clearly an attempt to communicate something its creator felt was of great importance. These markings cannot be attributed to any natural process, nor are they examples of meaningless etchings. Make no mistake – this is an example of formalised script. It contains a message that may inform us of humanity’s ancestry, and possibly even our path forward.

Of course, naysayers will say it is all one big hoax. Perhaps Ros and her family are lying? Perhaps she had etched these lines into the rock and planted this as bogus relic? And to give the hoax more gravitas, perhaps she cleverly repeated the 33 degree angle on not only on two sides of the rock in Australia, but also whipped across to Canada with another rock that fraudulently highlights the same angles? And just for good measure, perhaps she ensured all the carved lines exactly match astronomical values that replicate those used by astronomers to predict eclipses? And then perhaps she etched the same lines into other ancient archaeological sites such as the Atacama Giant in Chile and, when the guard was not looking, the Lascaux Cave Paintings in France? And, perhaps to multiply her mischief, she chose a rock in Australia that is unlike any seen by a geologist with few professional equals? Then, with nothing to gain financially, perhaps she maintained this lie for some 20 odd years until some gullible researchers such as ourselves stumbled on to the scene and naively accepted her ridiculous claims at face value? Perhaps this is a hoax of monumental proportions?

Or perhaps the Australian rock is an archaeological discovery of monumental proportions, and those involved are in fact telling the truth.

Another unresolved issue relates to the actual make up and category of this rock. In her initial investigation of the rock’s origins, Ros met a qualified geologist who, although keen to hastily part company and have nothing more to do with Ros or that terribly inconvenient piece of geology, did concede the rock is exotic to an area entirely dominated by sandstone. In his estimation, the rock is ironstone and is a substance not naturally found in the Central Coast region. Yet on both counts, others claim he is wrong. Professor X is very confident it is not ironstone but something much harder, possibly chert, while David Fitzgerald, one of the local Original Elders who also assists our work (and who was also the Original sites officer for the area’s National Parks and Wildlife Services) knows of two local deposits of ironstone. Our understanding of the geological composition of this mysterious stone remains a work in progress.

Another-Chapter-of-Ancient-History-to-be-Re-written-the-Shuidongguo-Paleolithic-stone1

The Shuidongguo Paleolithic stone, published by Heritage Daily November 2012

What is evident is that this engraved rock is unique and so far without equal in Australia. Structurally, it is very similar to many other etched stones found word-wide. It’s carvings are certainly more complex than the 30,000 year old Shuidongguo stone found in north-west China (left). And it is certainly equal in complexity to the Holt’s Point engraved stone from Canada, and the Blombos Cave Ochres of South Africa. But the most beautiful sample, in the opinion of Dr. Cunningham, is still the golden Bush Barrow Lozenge discovered within the Stonehenge Heritage Park.
Bush Barrow Lozenge
Bush Barrow Lozenge found at Stonehenge Heritage Park

Our geological advisor has presented a compelling case in support of some form of heat being applied, and the many irregularities of the rock itself. This will be followed up, and as it is with Dr. Cunningham’s research, both strands of research have an extremely solid empirical base.

That brings us to Richard and Judith’s area of expertise. Despite the equivocation offered by others who urged us to reconsider, I feel they too do not fully appreciate, as we didn’t, the merits of their work. In this case, it is all contextual. There is information engraved into rock, including at least three images and one indentation that look unnatural. Whatever tool was used to create it can make an exceptional fine and delicate mark, and easily penetrate one of the hardest rock surfaces found on the planet. It is therefore no big stretch in logic or imagination to propose that the stone may record two messages that vary in size, not just one.

For us, the enlarged image (below) of the engraved rock caused us to reconsider. As Evan said at the time, “there is something going on there”. And if there is unexplained carving on this rock once, then the door is open for more.

Circle  Our ‘To Do’ List

There are many avenues of action and research still to pursue, and some that are yet to appear on the horizon – but they will. Our future agenda includes a reading of the angles on what seems to be the least interesting third side of the stone, but as appearances are often deceptive, we will pass no expectations or judgements until the figures are in.

From a geological perspective, we will check the rock against the two deposits of ironstone David Fitzgerald alerted us to in the region, as well as an inspection of the site at which the stone was originally found. Then, after our upcoming public presentation in Sydney, we will be venturing off to work with our geological expert. When the rock is taken out of the safe, it will be photographed with the highest resolution cameras at our disposal. Every line will be measured and depths of incisions compared. It will be weighed, and close-up photos will be taken of its grain.

In deciphering the information carved into the rock, Dr. Cunningham has spoken of the potential that there are “opposite angles” linking the 3 carved sides together, and has provided very specific instructions on how best to analyse the stone further. Also, having more defined and clearer images will assist Richard and Judith to identify further potential markings at the minute level. And of course, we have a slew of other rocks and artefacts that may also benefit from inspection by their trained eyes and technologies.

We have invited members of mainstream media and academia to attend, but having endured a track record of ignorance in our previous dealings with mainstream institutions, we hold very little expectation that anything meaningful will be done on their part. We have also extended an invitation to members of local government (the Gosford City Council) to meet with us at a place and time of their choosing, to view the artefacts, listen to the narrative, inspect the facts, and understand how historically important this area actually is. The entire region is literally littered with amazing archaeology and deserves nothing less than World Heritage listing. To that end, local government officials must play a vital role in recognising the significance of this archaeology – including this engraved rock – and should be involved in protecting and honouring the area.

There is so much more to come, and with the expert personnel we have on board and the beacon of Original wisdom acting as our guide, we are confident it will be revealed shortly. What, when and how that will come about is not our call, but entirely under the control of Original spirits and sensibilities. As long as we remain eternally mindful of that constant truth, we can be confident we will continue to learn more of this almost-forgotten ancient Original history. All we have to do is read the engraved lines, then read between the lines… and perhaps even magnify them as required. Once that happens anything is possible.

Further Analysis

Here is Richard and Judith’s research. As we mentioned earlier, the jury is still out on their proposition. But because every rule has already been broken with this artefact, we believe everything is possible. After all, this rock contains intentional messages, and there is very strong evidence an incredible fine blade or beam has been applied to cut into a hard surface using a technology regarded as sophisticated by today’s standards.
We deliberately avoided reading this text until after viewing their work. We also recommend to view first then read after each photograph is seen. Richard and Judith are adamant that at a level so small it can be barely seen by the unassisted eye, something has been engraved into the rock. We are inclined to think they are right and believe they may be onto something.
Take a look and see what you think.

 

 

4) Is Unexplained Rock Carving Evidence of Advanced Ancient Technology?

By Steven & Evan Strong (With Contributions from Richard Gabriel & Judith Ann)

Ros Rock 1: By Samarah Wood

Ros Rock 1: By Samarah Wood

 

 

 

 

 

 

 

 

 

 

 

 

 

We have done this many times before. Our modus operandi is to share our research work co-operatively, engaging all manner of experts in a variety of fields. It is the only effective way of dealing with the huge diversity of science and archaeology that has come our way. In fact, as we are being guided by specialists in their fields, whom we trust implicitly, we find our relative ignorance is actually the best position from which to begin researching the most challenging artefacts. With no predisposition to what we learn along the way, the ego must surrender to the knowledge of those who know more.

Working from this base – curiosity surrounded by brilliance – we believe we have an advantage over those bound by the academic establishment. We are more interested in re-constructing the big picture from the pieces of evidence that come our way, than fitting new evidence into already-accepted fictional accounts of history and science.

When the Penny Dropped

“I’m starting to pick this up … I get it!” Taken from our email response to our geological consultant, this was the moment when the “penny dropped”. It had been a protracted ordeal, and taken more time than any other geological work our mentor had guided us through, but finally the reasons why he was so “puzzled” and intrigued by the rock itself – and not just the engravings on the rock – started to become clear.

Our advisor is a geologist of the highest calibre who, owing to his preference to remain anonymous, guides and advises our team provided it is done without publicity. For the purpose of these articles, we refer to him as Professor X.
At this stage, Professor X is having real trouble doing anything more than ruling out what the rock is not. He has examined the possibility that it could be chert, river pebble, laterite, sandstone clast with a thin coating of iron oxide, ironstone, haematite and all manner of rocks containing iron oxide, and at the present stage, he is still unsure how this rock should be categorised, and has difficulty explaining its dark colour and hard composition.

Our geologist also made note of the “rinds or cortices” on the surface, indicating possible processes that seems to break all the rules. He describes two subgroups of rind types as bases of comparison:
a) Weathering rinds-typically lighter coloured (due to leaching).
b) Rinds on clasts in laterite-like ironstones (due to iron oxide ACCRETION).

Hard or Black (But Not Both)

Having clearly defined how things should proceed, Professor X went on to explain that “neither of the above fit well”.
In the most basic terms, it comes down to this: it can be hard and not black, or black and not hard, but never black and hard. This rock is most obviously very black and very hard. As Professor X put it to us:
“the (a) type could be on HARD stone yet is rarely black. The (b) type is rarely black (could get to be black with ‘excessive’ development) but mostly does not fit because it is accretional and always composed of iron oxide and iron oxide IS NOT HARD. A hard crust somehow related to heating seems at least feasible but in my collection of melt/fused/heated surfaces I have no close match in appearance to it. Hence as said before I can’t point to anything that is very close to having its properties as per your photos and presuming it is moderately heavy.”

And it is this aggregation of unique “properties” that is the primary focus of this article. To best understand the problems faced and the process our geologist went through that led up to this geological impasse, we have selected comments made from a series of emails from which we will piece together a narrative that may assist the reader in understanding the difficulties every geologist must face when considering this excavated rock.

A series of three emails sent between us, subtitled “Could your rock with lines on it have come from laterite?” best illustrates the knowledge, rigour and the steps taken – leading nowhere. He began by referencing previous research done on laterite, in particular he was interested in formations exhibiting a “thin coating or iron oxide” as being a possible explanation.

“Such coatings are very common in laterites or at laterite terrains. They are of haematite and brown or red-brown. Thus this phenomenon CAN give you a coating/cortex of darker over lighter”.

So finally, a geological agency seemed to have been identified that could explain the engraved rock’s darker cortex… but this respite was momentary. Professor X continued…

“BUT: I don’t think I have ever seen these coatings very dark brown or black. And, iron oxide (haematite / limonite / goethite) is never very hard-like your rock seemingly is.”

This rock really does seem to sit outside all geological conventions. Of course, until he personally examines the rock he is obliged to always add a proviso like “seemingly”, as would any good scholar, but we are certain that, upon inspection, there will be no more equivocations. The rock’s colour, being black, is one of many other features our expert is grappling with.

“The coatings on clasts in laterites are usually brown but not black but cannot say they NEVER approach black even if that be rare … in that some clasts getting to about car key length are very dark. But usually the very dark or black ferruginous clasts found in laterite areas are only pea or marble sized things.”

Our advisor well knows, as we do, known forms of “marble sized” or “pea” shaped black rock may apply to many other rocks and formations, but does not apply here. Because of its size alone, this rock seems to stand apart from the geology of the local area, and possibly everywhere.

What It Isn’t

The only thing that can be definitely said about this rock is that it has “properties” for which our resident expert has “no close match”. With no possibility of an official verdict, the rock is at least no less than a geological anomaly, and we have no doubt much more than that. Without going into details, we suspect this rock’s history and destiny sits outside the pages of any book. But that will be shown in the near future.

For now we would like to return to another observation made by Professor X in relation to the presence of “heat” used on the surface and engravings in the rock. It is a topic raised many times by our geological adviser and presents a recurring obstacle; in his opinion, the evidence indicating heat is there to be seen, but from what is currently understood in geological circles, it just doesn’t make sense.

To be clear, Professor X never mentioned or even hinted at the idea that the evidence of heat could be interpreted as laser cutting into rock: that is solely our contribution. In our previous article we went into greater detail in justifying our claim that a device made of crystal and metal capable of creating a laser beam of intense heat, could have been used.

Found within one hundred metres of the Bambara hieroglyphs and two kilometres from where Ros’ rock was uncovered, this recently discovered crystal and metal artefact may well be coincidental, but we sincerely doubt this is all random; there is just too much evidence for it all to be ‘random’. The object certainly isn’t natural and we strongly suspect it to be part of something larger.

SONY DSCThere was a farm house nearby that stood until the 1930’s when it was burnt down in a bushfire, which although hot, is unlikely to create the sort of heat needed to intricately fuse crystal and metal. Past that point in time, the area remained abandoned until well after any form of technology needing a crystal of this size was part of our technological landscape. Taking into account the extensive archaeology found in the region, we believe this lessens the potential of recent human involvement.

Our recent collaborator, Dr. Derek Cunningham, felt that dwelling extensively on such a controversial assumption as the use of lasers, would distract discussion of this artefact from some very solid science and research. He was right at that time, but not any more.

Five Reasons Why Not

Throughout this article and the series that preceded it, we have made a clear distinction between what we are certain is fact, and that which could be. Any conjecture about how these engravings and various marking were made currently falls short on any scale of certainty. For now, there can be nothing that comes out of this other than degrees of probability, but despite the absence of absolutes, there are five reasons why we believe lasers are a likely explanation.

First and foremost, our interest in such sophisticated technology was initially kindled by an Original Elder, as it always is, and should always be, in our discussions of another site – the Bambara Hieroglyphs. Recently departed, Mr. Bostock was an Original keeper of this site, introduced many to these walls over a long period of time and was the custodian of many Original secrets related to these sites. Mr. Bostock often spoke at some lengths not only about the validity of the Bambara engravings, but the techniques and tools employed. He began and finished many a conversation with the same claim: laser. We certainly don’t need further clarification.

Nonetheless, from the first time we were taken by local researcher Mark Bates to another site – the engraved compass – and learned of the time a university professor inspected the site, we received further confirmation of our opinion that laser was involved in the creation of some of the ‘unexplained’ archaeology in the area.

Positioned in the bush a long way from any sign of modern civilisation, there is no farm, development, roadway or any other reason to account for the presence of a small rock platform with a perfectly engraved 8-armed compass. Each arm radiates out from an impressive engraved circle that bears no hints of a jagged line or straight edge. Every arm is aligned at exactly 45 degrees and is absolutely straight with 90 degree sides and a 180 degree base. There are questions that stand out that require serious consideration, relating to to the hardness of the rock platform upon which it is engraved, the fact that there is not a one millimetre kink or deviation in any line engraved, and that the professor who conceded this engraving could be replicated in the laboratory but not in the field.

Theories of technology aside, what is just as intriguing the question of timing. If created before the British invasion, this artefact could be evidence of a civilisation of rarely suspected sophistication, and could indicate a timing of around 12,000 years BP. If created in the 230 years since invasion, it represents a disastrous miscalculation in the most elemental functions of map reading; the direction marked as ‘north’ actually 15 degrees west of north.

If manufactured recently, which will no doubt be the preferred explanation of status quo academics, the entire engraving can serve no functional purpose; despite being perfectly engraved it is patently inaccurate. If created during ancient times, when the axis of the earth was aligned 15 degrees east of what is currently known as north, the engraving serves many purposes – and finally starts to make sense.

So logically, our next question is: Could there have been a time when the Earth’s axis was tilted 15 degrees to the east of what we currently call north? Could known phenomena like geomagnetic reversal and the precession and changes in axial tilt account for this apparent discrepancy?

“The positions of the Tropical and Polar circles are not fixed because the axial tilt changes slowly… The main long-term cycle causes the axial tilt to fluctuate between about 22.1° and 24.5° with a period of 41,000 years. Currently, the average value of the tilt is decreasing by about 0.47″ per year. As a result (approximately, and on average) the Tropical Circles are drifting towards the equator (and the Polar Circles towards the poles) by 15 metres per year, and the area of the Tropics is decreasing by 1100 square km per year.” [source]

A feature of this enigmatic compass engraving that we discussed in an earlier article relates to the consistency and smooth line of its circumference. It is not jagged nor is there the hint of the straight edge of a chisel’s blade.

Unquestionably a curve of that refinement demands the delicate but firm hand of a stonemason of the highest order and training. If concocted recently, there is no tag, official ‘stamp’ of ownership, rumours of anyone laying claim to this ‘hoax’, nor has there been any publicity declaring it even existed.

Within two kilometres of the Bambara Glyphs, and where the engraved rock and the remains of a metal/crystal artefact were found, we have examined (and photographed) two long vertical cuts that running deep into the sandstone cliffs which form lines and angles that appear entirely unnatural. Admittedly, due to the demands of other sites with a more impressive archaeology, we need to return to this site for further investigation before conclusions can be drawn. For now, it is sufficient to make note of the real potential of other sites that reflect similar properties – and questions.

In combination there are now six pieces of archaeology in the immediate area that exhibit signs of contact with intense heat. Of course, Ros’ carved rock is the undisputed prime candidate. And when viewed in context with the other artefacts and sites found within a ‘stones’ throw’ of where that rock was found, it all begins to add up. As to what the answer is, one of the best geologists in the country is on the case, and until closer inspection is done, all that can be stated with certainty is that this rock is extremely unusual.

Looking Even More Closely

Maintaining our focus on these lasered/cut lines, we feel it is appropriate at this juncture to magnify the images of these incisions and colour in the background. Undoubtedly, Richard and Judith’s research is extremely left-field, as to whether the term ‘cutting-edge’ is also applicable, time will settle that score.
Nevertheless, we consider their work to be deserving of further consideration. The detection of ‘micro-messages’ through the creation of engravings and peckings is not recognised by mainstream science, but that is to be expected — nothing about this rock fits into any known patterns or geology so far. We felt that due to the radical nature of their approach, along with some reluctance within some of our collaborative group to fully embrace the potential in their work, this seems to be the best time for Richard and Judith to state their case.

The Path to Ironstone… Richard and Judith
In their own words…

“Much of what I say here is paraphrased from our deeper website explanations but I will try to give an overview of our interest in the Rockstone. Judith and I had stumbled upon a photo-archaeological first while analysing the pictures we gained beneath the Giza Plateau.

With the naked eye, rock surfaces appeared as almost blank. However by the use of MS Office10 and Photoshop Elements9 we suddenly found we were able to counter the blinding colour of the rock surface, the grime, the calcification, the fading, and reveal wondrous illustrations.

These eventually showed complex jungle and animal scenes, some extinct. They showed modern and jungle buildings, devices, theriomorphic figures, regal characters, multitudes of smaller (fractal) infill images and much more. The illustrations seemed to be impregnated to the surfaces and gave a three dimensional effect. We are still investigating but we have learned much already. Ogham script accompanied them. Translations have begun which relate to undiscovered things deeper underground.

We transferred the technique to photographs from other world (sacred) sites and were shocked to discover many instances of the same very distinctive style of hidden imagery. Here was a generic language of illustration spread around the world. We had only speculations for an answer, such as common culture before migration and inundation perhaps. From their nature and content they were clearly from the hands of a highly advanced and sophisticated people.

Our attention turned to the Ironstone following successful analysis of photographs from the Kariong discoveries by Steve and Evan. This artefact in particular yielded a baffling array of results which include micro carved reliefs and impregnated images of great sophistication. Our website article examines the preliminary results. Now the stone needs to be photographed with the greatest measure of expertise and technique so these findings can be pursued fully. We may not yet have a clue how they were all done, but as in this artefact, and along with the deliberate indentations covering the surface – it contains the story of its ancient creators – waiting to be understood again.

Our website (NC2) files also contain exact instructions for anyone to learn the photo-analysis technique, and there are files with thousands of pictures and explanations for anyone to join the study. We look forward to the next chapters….
Richard and Judith”

Stepping Outside the Comfort Zone

What is so tragic and utterly symptomatic of the state of play within academic and official circles, is that Professor X, our geological advisor of high degree, is not willing to declare his name and identity in this work. And he certainly does not stand alone; we have a host of other academics offering expert assistance in our research, and they will continue to do so as long as their identities remain secret.

Make no mistake – we fully understand why they choose to remain anonymous. The savage and personal nature of the ‘critiques’ we have endured over the years, and the stonewalling that comes from every level of officialdom, that causes so many scientists to stop seeking new horizons, shrug their shoulders and walk away from the unexplored.

Why is it that challenging the current status quo is such a perilous and thankless task? Today, the academic climate is hostile and defenders of orthodoxy are zealous in attacking any who dare look elsewhere. In reality, our advisers’ reputations and standings will be considered ‘sullied’ in academic circles, just by being associated with ‘scoundrels’ like us.
That, friends, is an appalling state of affairs!

Term 1 Report

Enough of those who refuse to venture anywhere outside roads that are clearly signposted. Let’s return to the geology and archaeology at hand.

The engraved rock is smooth, hard and black, and according to our geologist, that simply should not be. The engraved lines are not random or natural but precise, containing information of which some is most likely directional – mapping out locations on earth or further afield. Whether this stone was cut by laser, an incredibly hardened steel blade or any other unknown tool can not be comprehensively proven nor disproven at this point. But from the information that has been collated and observed so far, it appears the most probable agent is laser.

We believe the make and off-world location of the rock has been established, but more has to be done. Our resident geologist will be personally inspecting the rock within days, and we are always open to other geologists (with open minds) viewing this rock.

Derek will continue in his measurement of angles, inclinations and intersections found on the three sides of this black rock, and some of his most recent work will be covered in our next article. The repetition of angles and lines seen here and throughout the planet is of fundamental importance in establishing an approach that will eventually lead to deciphering what we believe is an ancient global language.

Irrespective of whatever Dr. Cunningham, Professor X, Richard and Judith and other academics propose or presume, the sum total of our work is incomplete as it lacks the pivotal element: an Original narrative. We cannot understand the ancient creation or use of any artefact without Original consultation. Until that cardinal omission is properly addressed, no more than 50% of our research is complete.

Long distance enquiries of several Original guides have assured us we were on the right path, but until those with knowledge of the Old Ways can personally make the journey to touch and feel the rock – and whatever else they feel inclined to do with this sacred object – nothing is certain. Their input is of the highest priority and far more important than any verdict passed down by non-Original ‘experts’ who may only bring a limited comprehension of this artefact. Once we receive further advice from our Original guides, we will then be in the position to report the whole truth and nothing but the Original truth.

Feb 20

“Ros’ Marked Rock No. 3: (Accompanied by 3 1/2)” (Article)

Ros’ Marked Rock Number 3: (Accompanied by 3 ½)

By Steven & Evan Strong

2015-02-12 14.46.53We are of the firm opinion that an incredibly inconvenient but nationwide pattern is beginning to emerge, and that the last influx of three potential candidates to join the first two rocks Ros has provided for us, opens up possibilities and locations that have even caught us unawares. The third ‘batch’ of three rocks come from inland Queensland and expands the distance and area we are researching well past one thousand kilometres. All three new rocks are of the same make, possibly chert, and as with Ros’ Rocks 1 and 2 very hard, fine grained and compact. No store bought chisel would disturb, let alone engrave into the surface of the rocks we received yesterday. The questions at hand no longer relates to if, but what does it all mean and are there more of these sacred Original rocks spread throughout the entire country?

Of the three rocks Ros purchased, with the benefit of time and a much closer inspection, the smallest in length is undoubtedly worthy of inclusion with Ros’ Rocks 1 and 2. This rock is much smaller, less than one fifth the size of Ros’ Rock 1 and it is at first glance, far less imposing than either of the earlier rocks. The same can be said when comparing the quantity of markings, the other two rocks number in the hundreds while the smallest rock contains 33 lines, has no peckings and nor is there evidence of in-filling. I have to be honest in admitting that I was more than a touch underwhelmed when first sighting this rock. Knowing that Ros had purchased these rocks for the express purpose of supplementing Ros’ Rocks 1 and 2, my first reaction was that none of these three aspirants were deserving of inclusion into such an elite class.

2015-02-12 14.49.40Apart from being much smaller (7.2 cms long, 4.5cms wide and 3.3 cms high), the other two rocks have four sides while this one has eight. Having the least amount of markings (33 lines), what distinguishes this rock is not so much the quantity, but quality of lines on display. The rock has the widest line of all the engraved rocks (35mms) and this is merely an opening gambit. There are at least four widths of engraved lines (20mms, 10mms and >2mms) and not only the widest but narrowest lines are both found on this rock. There are no less than three lines that run continuously around the rock’s three main sides and quite a few other lines join onto those that wrap around the rock.

Bearing a trait evident on the second rock, some of the thicker lines are not perfectly straight, and as before some of these thicker lines on this smaller rock vary in width, and on occasions is quite jagged. As it is with Ros’ Rocks 1 and 2 the much thinner and quite possibly considerably older lines engraved into Ros’ Rock 3 are much straighter and consistent. However, it is a mistake to assume this smaller rock is a lesser-cousin of the two larger rocks. There is one feature of this rock that not only eclipses the meagre collection of imprints on Ros’ Rock 2, but stands above what seemed at the time to be a very striking collection of imprints stamped into the first rock.

Over 1,000 Degrees

Imprinting was first identified on Ros’ Rock 1 and there is one amazing example we have previously highlighted. Granted even though more numerous on this smaller rock there is nothing stamped into the surface that is of that size or complexity. Being a much smaller rock by comparison yet containing the most imprints, these artificial indentations appear to the eye to be far more dominant in proportion as it is nearly equal in number to the lines and because of this, must take on a greater role in the narrative encrypted into rock. There could be 28 imprints on this rock and possibly more with ten on what we suspect could be the main top ridge, seven on the next edge, two clusters of five on two of the smaller ridges and one, with a strong possibly of two, imprints positioned on the flatter sections.

2015-02-12 14.51.36As noted in some detail when discussing this very sophisticated feature, the technological implications that can account for these depressions is very radical to say the least. The fundamental issue and contradiction this creates, relates to the mechanisms involved in not breaking the surface and thus exposing the lighter surface beneath, as happens in varying degrees on all eight sides. How the top layer of rock can be pushed inwards yet not disturb or crack the crust is a much more difficult assignment, and can only come about through the application of intense heat. Those with much more knowledge in such fields than us have suggested the temperatures needed have three noughts, and as far as we can ascertain no accredited expert in Australian pre-history has ever proposed that the Original people were familiar with an oven or such technology. We would also add that any device capable of generating such an intensity of heat is a very recent addition to the Homo sapien sapiens tool-kit and certainly well beyond the reach of any combination of a rock, stick, bone and open flame technology.

markedstones_32

Photo by Samarah Wood

For any either uncomfortable or unconvinced about the notion that such a concentration of heat was used to soften the surface, pause for a second and imagine going back at least ten thousand years and there you are staring at one of these rocks lacking in any artificial markings in your hand, and your sole task is to punch, chisel or stamp dozens of shapes into this rock. The problem is all you have as tools is what is laying on the ground. Nothing will happen, that is a fact, our interpretation of how this came about may well be wrong, but what we are even more sure of is that any mainstream explanation is guaranteed to be five times more unconvincing. The depth of depression on Ros’ Rock 1 is 50mms, which means the top layer of rock, although extremely shallow and surely less than 10 mms, was forced down at least five times its original depth, yet remained fully intact and unbroken. The same principle and dichotomy is ever-present and all over Ros’ Rock 3, if a chisel or blade was used the thin outer layer has to be pierced or broken, there can be no other result. Whatever the process and whoever the mason or sculptor, none of these imprints can be part of any conventional pre-historical narrative.

What is also apparent for the first time on any marked rock, is absolute evidence of the sequence of application. On the third rock there is one imprint that has an engraved line running right over the top of an oval shaped depression measuring 85 mms x 30 mms. It is patently obvious the shape was stamped into the rock and at a later stage the line was then marked in and over this imprint.

2015-02-12 14.51.24The deeper we look and more time spent in reflection, the more has been revealed that once again breaks the rules and accepted version of past events. As with the other two larger rocks, it would seem that this smaller rock has been polished, in fact of the three rocks this has the smoothest and most lustrous surface and carries the most reflective sheen when exposed to direct sunlight. In what also seems to be part of a pattern, there appears to be no less than two separate times when this stone was worked and marked. And once again, it would seem the entire rock was heated first and then cut into with blades, but on this occasion there is a compelling case to be made that this smaller rock required the most number of blades which were used in literally slicing across the molten surface. As before, there is no evidence of a variation in pressure or a moment where the blade slipped after contact with a firmer grain, it seems to have always been one continuous motion.

2015-02-12 14.50.23One observation, which took many magnified assisted inspections before first noticed, is a deliberate and extremely cryptic form of formalised communication commented upon often in earlier articles written about Ros’ Rock 1. We proposed that Side 2’s primary role, through the repeated use of small and delicate horizontal lines evenly set across that side, is to serve as a connection point between the two sizeable and complex engraved narratives on Sides 1 and 3. In each of the five lines there is a large gap in both directions which eventually reconnect to another line or point of intersection on both Sides 1 and 3. Not even a tenth of a millimetre off on any of the ten occasions these five lines stopped mid-rock face and pointed each way, so exact the alignment and mathematics, it was obvious there was untold ancient knowledge afoot. My immediate concern if wishing to solve this riddle in decoding the wisdom of the ages, was that the intellect and depth of understanding of so many truths possessed by the ancient author was well beyond the collective intelligence of this planet’s entire present-day population of Homo sapien sapiens.

In what was a finding that was never entertained by us, the same literary device was used all over Ros’ Rock 3. Again these segmented lines are of the same faint marking and straight inclination and always reconnect further on, and since we can identify this occurring ten times on this 8 sided rock, it seems reasonable to assume what is on this rock is deliberate and highly refined.

Two Rocks in the Hand and one in the Distance

Amongst all the shared traits through tool and furnace that these three rocks share, this smaller more recent rock gives no indication it was destined to be held in any prescribed manner. Not only fashioned to rest in the hand, the two bigger rocks were meant to be held in the right hand and the second has a very specific grip and evidence of considerable wear caused by the index finger. The smaller, semi-triangular rock has no worn surface, nor a depression or section removed to assist in holding the rock, and seemingly has a slightly different function. Coupled with a quite markedly different arrangement of lines forming an interconnected web, we suspect the narrative here is unlike the other two and possibly less focused on ‘as on top.’ Outside the less than intimate relationship with the human hand or finger, Ros’ Rock 3 is consistent to the pattern evident on the larger rocks and is made from the same material, has imprints, a variety of lines of differing lengths, angles and widths creating shapes and points of intersection of many lengths.

And it is that one omission of an up close and personal interaction between silica and flesh that both rocks serve and the third rock does not, that seems to be the only purpose the next rock serves. Originally this rock was the subject of even less interest than Ros’ Rock 3. There is not one line or mark that could be confidently claimed to be unnatural, and upon further inspection that opinion still holds fast. There are possibilities, some lines were cut into the surface, but nothing can be proclaimed as definite.

To begin with the rocks only redeeming feature is a section that was either removed or the result of natural weathering, which provides a position for the right thumb to rest. Knowing that Ros’ Rocks 1 and 2 were also meant to be held in the right hand, what can be seen on this apparently unremarkable rock could be merely a coincidence, or maybe it was designed to be held in right hand resting between the thumb and index finger. As with so many aspects of the path of research we have chosen, nothing comes easy and more often than not, perseverance supplemented by full sunlight and a magnifying glass will often add some clarity and a touch of nostalgia.

The Index Finger and Seven Imprints

IMAG0195We are now fully convinced this depression, whether partially there to begin with or created from ‘scratch,’ has the hand and tools of humans. The immediate issue to address is simple, there is no way it can be proved this depression is not natural on its own, and that is the saving grace in this interaction. Both curved sides of rock adjacent to the thumb hold are far less ambiguous. The side that was formed or removed to accommodate the index finger has four distinct oval sections where the top layer is missing, each impact point seems to show evidence of some sort of tool that knocked/gouged away a piece of rock. What must reinforce this interpretation is that between each of the four percussion marks the remaining top layer is still intact. So what we actually have are four depressions separated by three thin diagonal lines of the top layer and surrounded by more of the same. All four depressions measure 5 centimetres in length, there are too many coincidences here to dismiss, and for any inclined to do so this rocks narrative is not complete.

IMAG0202On the opposite side, although the edge is quite narrow and would be very difficult to chisel, slice into or imprint being no wider than 30mms, are seven separate imprints. At the top edge, where the thumb depression is at its widest, there is an oval and a smaller circular depression. This cryptic passage continues running down the edge to the middle where there are two jagged lines, this is followed by a small oval and concludes with two diagonal lines. Without doubt the focal point is the thumb and index finger positions, with the imprints along one side and hints of at least six very worn lines all around this large depression possibly supplying directions or words to be used once the rock is held as prescribed.

IMAG0203Nevertheless, no matter how remote, there is an infinitesimal chance all of this is due to natural and random events. The problem being nature can abrade and erode but cannot stamp shapes and lines into a hard rock surface. The presence of imprinting on one edge, and elsewhere on Ros’ Rocks 1 and 2, demands a human tool or oven. However, the imprints on this narrow surface are not as dramatic or large, yet again, could have been caused by nature. There is no obvious narrative, clearly visible lines either chiselled or sliced, no pecking, intersecting lines, shapes or in-filling and all of these omissions do diminish the rock’s impact and credentials.

It is because of the residual hint of uncertainty and absence of so many components of what has been engraved elsewhere, this rock cannot claim an equal standing with Ros’ Rocks 1, 2 and 3. Despite these inherent flaws we believe this rock is a complimentary, but second tier aspirant when it comes to the technology and complexity displayed. It is for those reasons we have decided to name this rock Ros’ Rock 3 ½, as it is half way there and certainly likely, but unlike the other three, doubts still remain.

3 Plus 3 ½ Equals …

IMAG0186Whatever the answer, it isn’t six and a half. There are new rules at play in this geology and technology, we are of the opinion Ros’ Rock 3 is a worthy colleague and stands beside 1 and 2, while 3 ½ is close, but a work in progress and as yet, still under consideration. The question that has never been addressed by any mainstream scholar is why are these marks, imprints, depressions and pecks on these rocks? What tools and technologies were applied, and why was so much time and effort spent using such a massive array of symbols, angles, lines and imprints in chronicling something of immense importance? But alas, today, in our eyes and nearly everyone else, all we can see are lines, dots, shapes and one question mark.

This is merely a preliminary report and precursor to the next ‘batch’ of rocks soon to reach our hands. All we have seen are photographs and an email with a promise from a very good person alerting us to the eminent arrival through post of 14 rocks of a similar make or potential markings of some type. There is a 99.999999% chance Ros’ Rocks 1, 2 and 3 will soon be joined by more rocks, but as always there is always the chance we are wrong. It matters not, because these three rocks, irrespective of whether more or none can be found, are sufficient in themselves and can already combine in making one defiant, yet truthful statement.

Ros’ Rocks 1, 2 and 3 are not part of any accepted conventional historical narrative of both Australia and the planet. With that truth established, the solution is simple, consult the Original Elders and Custodians of Lore and take it from there. But as you do, leave in any preconceptions and books steeped in the invader’s version of what took place in this sacred land before conquest, this can only be done if behaving as a novice. Having done that, knowing that the second and third rock are acknowledged in the 1930’s as sacred objects of immense cultural and mythological significance, they are indeed Original possessions made by their ancestors who had access to technology and insights long lost and never claimed even today.

That, ladies and gentlemen, is the second truth we claim these rocks reveal, once again, the mathematics in this equation seems to come out at around 99.999999%. Put it all together and this adds up to the second time the numbers come out the same. What are the odds of that being merely another coincidence with the good chance of more to come?

Feb 09

You Tube: Episode 84. Steven Strong and Evan Strong – The Peter Maxwell Slattery Show

Published on Feb 8, 2015

A bit about Steven Strong and his son Evan Strong and what they do from their website “Forgotten Origin”.

50,000 years ago, the very first Homo Sapiens set sail from Australia. These people were responsible for the development of religion, art, agriculture, seafaring, surgery, and many of the cornerstones of civilisation as we know it.

Steven and Evan Strong have spent over 20 years assembling facts from archaeological finds, explorers’ accounts, genetics information, traditional Australian Aboriginal mythology and many more sources to develop one coherent and controversial theory: Aboriginal people exported civilisation to the world-at-large.

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(Audio Version)

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Feb 09

“From the Middle” -Part 1

From the Middle-Part 1

By Steven & Evan Strong

This article picks up on where From the Beginning finished in describing what happened next. With the Homo sapien sapiens seed now beginning to spread throughout the globe, to begin with all of this meant very little. They were just one of many, a new kid on the hominid block, simply because outside Australia many hominids were already in residence. They were not alone, standing beside them once they set sail from Australia to new lands were Neanderthals, Cro-Magnum man, Denisovans, Red Deer Cave Man, Homo Enigma, a new species without a title referred to as Penghu 1 and a multitude of other hominids. Outside Australia, the planet was packed to the rafters with all manner of folk, and of course when itemising those in attendance, we must not forget to include the little people (Homo Florensis).

What we would be a grave error of huge proportions is to assume that once the first Original Homo sapien sapiens set foot on distant shores they stood above them and kept apart. That was never part of the plan. This interaction was meant to be up close and personal in every possible way, and explains why 4.7% of my genetic make-up is Denisovan. Babies were made, but these other non-sapien species are claimed to be lesser in intelligence and inferior in genetics to the pinnacle of hominid evolution: Homo sapien sapiens. Yet it is obvious some Original Homo sapien sapiens were never that condescending and saw things on an equal footing. We disagree with that imposed distinction, and believe this obsession with an increasing cranium capacity being the indicator of a superior status is a fallacy.

Could it be that other hominids used more than the paltry 10-15% of the brain‘s capacity and cells we call to the thinking equations of today? What if the Denisovans used 25% of what was available? Moreover, how does one explain, if remaining faithful to the genetic maxim that bigger is better, why the Neanderthal had a bigger brain than modern humans? The size of Homo Florensis’ brain is not much bigger than that of a chimpanzee, yet it is postulated they made tools, had a society and may have talked. There are suggestions the frontal lobes of these ‘hobbits’ are larger than expected and thus explains their unexpected sophistication, in other words they had less but were using more of what was on offer. If that happened with one earlier hominid, why not the others? Is it possible the only reason our brains are bigger is that we use less and thus need more quantity just to keep at the same thinking level as the others?

Irrespective of where these mariners from Australia were positioned on the Hominid ladder it is undeniable they did eventually occupy the top rung, and that at some time between 16-12,000 years ago, nearly every other species of hominid literally disappeared off the face of the earth. Whether due to a global catastrophe, stagnating in genetic cul-de-sacs or combination of both can never be determined in absolute terms. What does seem obvious is that past that point the Homo sapien sapiens prevailed and all others either became extinct or were so decimated in numbers they were rarely seen.

With the issue of genetics and position on the pedestal still to be determined and far less clear than what many presume, there are still many parts of this package exported abroad that have rarely been understood or acknowledged, and this forms the base of the next portion of this ancient Original narrative. It is these blessings, insights and technologies, all originating in Australia, that is our focus and includes religion, language, art, astronomy, navigating by the stars, gender equality, democracy, technology of a level that is so advanced it is has just been equalled today and sometimes is beyond our reach, brain surgery, mathematics and all the hallmarks of cultured behaviour we mistakenly feel separates us from all other life-forms. This place and these people was the source from which all myths relating to the fabled Garden of Eden originated.

Settling Business and Southern Law

Above all of this wisdom and practical guidance was one elemental structure that underpins all that was bequeathed to humanity, a form of societal protocol and alliances that set the foundation for everything that followed. If constantly bickering and in an aggressive state of attitude and conflict, nothing ennobling or spiritually elevating will come out of this arrangement except blood spilt and vendettas. It was here in this state of near-paradise men and women found a way to agree and disagree with grace and controlled anger. Rules of engagement if violence erupted guaranteed no mortal would ever stray onto another’s tribal estate. Pillaging, raping, stealing another person’s home or country and all the vices peculiar to human’s behaving badly were taboo. Tribal alliances and confederations amongst equals was not the exception but norm. As strangers became neighbours and related through marriage and shared endeavours, these people embarked upon a journey where the spiritual truths reigned supreme. With no money or personal ownership of one sod of earth, each person was equal in every respect and “the forests echoed with laughter.”(1)

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Image Created By Richard Patterson

One such Original confederation is still in existence, it never ceased nor was it forgotten. Southern Law binds together hundreds of Original tribes, running all the way along the coast from the Kimberleys in the north through to Cape York and inland nearly 500 kilometres, and shared so much more than just food, tools and resources. Within this ancient alliance there were central sacred sites that bound all of the tribal members across the country to a shared set of beliefs and ceremonies. One such site was the Standing Stones arrangement found in the Far North Coast of NSW. In what is a very convincing and seemingly unheard of activity which was extensively reported in many newspapers in the 1930’s, Elders from Broome, Cape York, Stradbroke Islands and many other locations were reported to have conducted ceremonies on the mound, or were seeking out the site after it was destroyed. In each case these men of high degree were adamant it was right and proper for them to conduct their rituals on land they were not born on or had any direct kinship connection.

The symbols and arrangements used were known of by Elders and Custodians of Lore, and we know as an absolute fact Karno Walker (Ramindjeri spokesperson) knew of the symbols used on this ancient mound before Frederic Slater’s ‘Original dictionary of the First Language’ was recovered. His people live over 3,000 kilometres to the south-west of this site, yet despite the enormous distance that apparently separates, his people are part of this sacred place. We do not believe it is purely coincidental that the Kartan Tool Technology is considered the oldest in Australia and originated in Ramindjeri country (Kangaroo Island/Karta: Island of the Dead). Equally what is believed to be one of the oldest styles of Original art is referred to as Panaramitee also originates in South Australia and can be found throughout the entire Southern Law confederation.

Setting Sail from Australia

Once a harmonious system of social and spiritual order is instituted, lacking in greed, steeped in spiritual sensibilities and underpinned by gender equality, then anything is possible and all of these understandings, insights and improvements become an integral part of daily living. When Karno first told me that in ancient days Original sailors circumnavigated the globe in a figure eight, we thought we had some idea of what was shared with others, but now know the check list we are ticking off is woefully inadequate. Despite our shortcomings and omissions, if nothing else it will at least serve in resetting Original parameters and geography.

To circumnavigate the oceans of the world in a figure eight requires people building ocean-going boats, being able to navigate across the oceans and chart their progress. If consulting the Original Custodians of the Old Ways this did indeed happen in ancient times, if reading from the pages of accepted historical texts such a proposal is ludicrous and beyond the capacities of any Original person until well after the British Invasion. There is only one truth here, one account is right and the other version wrong.

The solution is simple, check the archaeology in Australia and see what was then exported abroad, and in doing so it is worthwhile taking notice of the means of conveyance. For Karno Walker’s claim that ancient Original mariners circumnavigated the oceans of the world in a figure eight to be feasible, we need proof of a boat with a high bow and stern which was designed to withstand nature’s fury, of a crew large enough (>20 adults) to negate in-breeding once stepping ashore on new shores, sophisticated navigational skills, knowledge of the four cardinal directions, the stars above and their movement. Not only is such knowledge compulsory it exists in abundance, is found in Australia, is very ancient, and stands in complete contradiction to the conventional accounts of Original and global pre-history.

All Aboard

If leaving Australia with less than twenty adults on board, the chances of avoiding the effects on in-breeding and mutations is minimal. As such, Graham Walsh’s discovery of a cave paintings in the Kimberleys of “massive,”(2) “totally alien”(3) “ocean-going boats”(4) crewed with 23 and 29 people is a pragmatic concession to the need to keep Original genes untainted. In what only adds to the ambiguities, Walsh was heavily influenced by the accepted gross underestimation of Original intelligence and technology and was at a loss in supplying any coherent explanation beyond straying into the realms of pure fiction. His explanation is without a specific return destination, name of those who came and went unheralded and any supporting evidence, when declaring that these paintings of boats capable of sailing across oceans were created “at a time pre-dating Aboriginal occupation.”(5) Then to compound the offense, Walsh stipulated that because of the design and size of the boats being able to cater for that number of crew, everything about these paintings was too sophisticated to be anything else than “painted by non-Aborigines.”(6) When cavalierly conceding he did “expect to make enemies,”(7) Walsh most assuredly did exactly that, and the first two that immediately come to mind is the truth and Elders and Custodians of Original Lore.

SAMSUNG DIGITAL CAMERAThe elemental flaw in Walsh’s preference for unknown pioneers from afar is that this far-fetched allegation only works if any other depictions of such vessels is limited to the far northern areas of Australia, at no stage was Walsh aware of the existence or be able to accommodate an engraving on a rock platform of an ocean-going boat some thousand kilometres to the south. Found within 200 metres of the ocean at Gosford (NSW) this engraving is, according to the ex-Senior Park Ranger of Brisbane Water National Park, of an ancient boat with an exceptional high stern and bow. The configuration of the boat serves no purpose in still waters and was fashioned to bear the brunt of large waves and turbulent waters. John Gallard took us to this place with the promise of seeing a boat capable of sailing to distant lands. What is of the utmost importance is that at no stage did he suggest anything other than Original hands being responsible for both the engraving and the boat from which it was modelled.

Pointing in the Right Directions

With the boat ticked off, we still have some considerable distance to sail to and return from, and if venturing any further into the water a familiarity with the four cardinal points is compulsory. A long, long way from where Walsh’s hypothetical technological savants briefly stepped ashore, yet extremely close to the engraving of the two ocean-going boats, is an engraving of a compass of the highest refinement which was created through the use of technology that cannot be emulated today.

Capture 2The eight lines radiating from a perfectly formed circle without the hint of a straight line or chisel’s blade, are spaced fourty-five degrees apart and mark out the four directions (north, south, east and west) and mid-points between each cardinal point (north-east, south-east, south-west and north-west). The close-up of the circle attests to a tool or technology that can cut into very hard rock and maintain a smooth even curve. Each of the nine cuts, has the same depth, narrow width, perfectly straight sides and flat bottom. There is no deviation, such consistency and unwavering steady line is beyond the abilities of any hand-held chisel, past or present. A resident professor in the closest related field inspected this exquisite copy of a compass and openly admitted that although such an engraving could be replicated in the laboratory, there was nothing mobile available that could be taken to any outside location that could come close. He was astounded by what was in front of him and unable to add anything beyond it wasn’t possible and nothing on the radar was likely to change that vacuum.

For any clinging to the hope that some maverick reclusive odd-ball scientist invented such an ingenious device and decided to wander off deep into the bush and let loose, as remotely possible as such a proposal is, it also comes with a caveat, he also has to be an idiot. The engraved compass is not aligned properly and north is 15 degrees to the east of where it should be today. This means one of the most intelligent and secretive scientists of recent times can create such an incredibly advanced machine, but cannot read a compass and was not aware before, during or after of this elementary mistake. Or alternately, and much more likely, ancient people did have such advanced technology a long time ago when the earth’s axis was positioned in a way that north was 15 degrees further to the east. As to when that was so, all we can guarantee is that it was well before the British Invasion and well outside the embrace of any mainstream version of Australian and global pre-history.

As on Top so Below

We have the boat, we have the crew and knowledge of the four directions, but that isn’t enough and will neither assure rites of passage across the open seas or any realistic chance of returning. And if by some convergence of fortuitous events they did manage to return, there is no way they could claim they had any idea of how they found their way back to home-base, and it certainly wouldn’t be through a familiarity with any geometric pattern be it a figure eight or a crude circle. While it’s helpful to have the main tool needed when navigating, the compass, there has to be something against which to measure and map their course when so far from land. Unless they are intimately familiar with the movement of stars, planets and the cosmos at large, nothing is certain beyond sailing into the void.

The evidence in support of an intensive and ancient understanding of the mechanics of the stars and Universe is impressive in both quantity and quality. Equally, what seems to be part of a recurring tendency to forget and omit, is how little of these archaeological truths have reached the ears and eyes of the general public. The archaeology is there, papers were published, astronomical stone constructions have been reported in the media and star charts dated, but nothing seems to change.

Sky Map_0001 - CopyAs to why the climate is so hostile to the Original astronomical truths, perhaps the plight of a star map that Sydney University openly admit they did receive and date, then lost all records of to this day is symptomatic of this malaise. A series of star markers that sit directly above the rather sensational and hotly debated Bambara hieroglyphs were mapped and sent to Sydney University and then lost. Repeated approaches for copies of the original work and co-ordinates have been stonewalled, and until we received a copy of the original star chart with dates, latitude, longitude and a date of 2,500 years BC, we also thought all these rumours were some sort of ‘rural myth.’ But no, these star markers mark out the night sky as it appeared over 4,600 years ago and this runs counter to not one, but two assumptions.

That the size of each star marker was in proportion to that above and exactly aligned is an unexpected step outside every academic comfort zone, but knowing that the Bambara hieroglyphs are alleged to be Proto-Egyptian and that this style of writing was the chosen the script 4,600 years ago in Egypt and possibly Australia, will cause even more discomfort. As such, the less said the better, and until the dated map was found this inconvenient truth was always kept at arm’s length.

However, it would be unwise to ignore all academic reports and papers, as not all researchers are tied to postings and the approval of bureaucrats, and Hugh Cairns certainly falls into that impartial category. His book, Dark Sparklers, is the only academic book yet written that is solely devoted to Original astronomy, and contains two findings that directly impact the timing of the journey and navigational skills they possessed. Cairns is adamant the Original people had been studying and noting the movement of the stars at least 30,000 years ago. In what certainly upped the ante considerably, Cairns went to great lengths in emphasising the obsession the Original astronomers had with the dark spaces. They charted not so much the separate lights of each star, but the shapes in between. The similarities to black holes and antiquity of their interest in as on top, is well known in Original circles, but outside the orbit of so many experts who opt for a different type of intellectual ‘black hole’ which should be avoided at all costs.

Rock Walls Reaching to the Sky

OLYMPUS DIGITAL CAMERAWhat only adds to the scope and complexity of the Original expertise are two massive stone astronomical constructions found in the Snowy Mountains. We were first taken to both sites by John Gallard, who was also the ex-Senior Park Ranger of the Snowy Mountains. The first site was the smaller, consisting of about 15,000 rocks which ran down a quite steep slope and disappeared into the waters of Lake Jindabyne. Some preliminary work had already been done and it was found the purpose of this wall was very astronomical and quite unexpected. The wall marked out the rare alignments of five planets with the earth and obviously was a planetary orientation of great significance and requires an extensive understanding of their respective orbits, coupled with the ‘unscientific’ belief this arrangement has a direct impact on earth. Our guide was adamant the way the wall was constructed, with small and large rocks evenly spread both on the outside and throughout, is not in the style of European walls which have predominantly large rocks as a façade and small rocks used as the fill in the centre.

profile of astronomical siteAs impressive as this 100 metre wall (with the possibility of much more) descending into the depths of the recently created lake is, it was merely an entrée to the main course. Within the same general area are no less than 50,000 rocks spread over at least four walls, one of which climbs up a slope of about 70 degrees, and another that is so steep I was too concerned for my personal safety to even go near to measure. This is not just a set of walls, but a technological feat of considerable dimensions. There are three smaller walls that introduce this arrangement and all are aligned east to west. The other larger walls are harder to ascribe a role, star, planet or constellation and are still firmly wedged in the too hard basket, and we await Original guidance on this matter.

Now we have a complete stock-take and every reason to set sail from Australia with a reasonable expectation of returning in a boat which is ready, willing and able. The next question relates to the cargo stowed aboard and insights stored, outside Original genes and chromosomes what else was bequeathed to the rest of the world?

Speaking in one Tongue

Everything! Any attempt at putting together a detailed account will fall woefully short on every level. Once seated on the boat, so many new perspectives and ideas would have been shared using an Original tongue, and this is our next port-of-call. Simply because whatever skills and wisdom they were to share had to be offered elsewhere through their language, and the Original tongue is the foundation upon which all other languages of the world evolved.

The First Language as chronicled on the Standing Stones site, of which we have already written many articles, is the foundation behind all languages. This opinion is not ours alone, but that of one of the most respected archaeologists in the country (Frederic Slater-President of the Australian Archaeology Education and Research Society) who spent nine months studying the site and language of the First People from Australia, and then compared that mother-tongue against many off-shoots. Slater was adamant that whether “Phoenicians, Romans, Jutes, Danes or Anglo-Saxons and the language which we speak is not Anglo-Saxon but just aboriginal (sic)-the same as that of our natives on which other dialectic words were superimposed until it developed into a literary language. Just as French had Latin superimposed on its Gaul or Gwal which in the language of our aborigines (sic) means “speech.” The Celts used these symbols to develop a written language which is known as Ogham, and you will find the basis of that language in the symbols on the Mound.”(8)

Another eminent researcher, German anthropologist Dr. Hermann Klaatsch, spent three years (1904-1907) in Australia seeking evidence to substantiate his belief modern humans originated in Australia. Being German he had an obvious affinity for the Lutheran missionaries stationed in Western Australia. What intrigued both Klaatsch and the missionaries was how closely some of the Original languages resembled his native tongue. So alike was the vocabulary and structure, “missionaries who studied the language in the early days of colonisation were led by the many resemblances to words of the “Indo-Germanic” group to believe that the aboriginals (sic) had once lived at a more advanced level of culture; though of this there is no question. According to the missionaries it was the confusion of tongues at the Tower of Babel that cut off the ancestors of the Australians from other races.”(9) It seems that the Original people’s sins were so heinous and despicable they were exiled to this forlorn outpost situated at the far reaches of the globe as just punishment for the gravity of offence caused. Klaatsch correctly noted that as “childish as these ideas are, they are of value in some respects, as they give us an impartial testimony to the Indo-Germanic affinities of the Australians.” (10)

Knowing that the first words were spoken in Australia and is the first step and precursor to all other languages, it now seems an appropriate time to determine what was said and shared once stepping onto new lands. But to do so requires another article of no less than equal length to this report, as the list of insights, knowledge, technologies and ceremonies exported throughout the globe is huge and warrants a considerable time and space.

What we can guarantee is that there is so much more than can be found in any approved text or syllabus and extends into every aspect of almost all human endeavours and philosophies. There is a ‘log-jam’ of inconvenient archaeology ahead and we feel the best way to conclude this small chapter and introduce what will follow is to refer to a newspaper article (The Mail, Adelaide, SA, Saturday 23 October 1937) which was discussing, but never contesting or ridiculing, the thoughts and theories of an academic sixty years ahead of his time, Frederic Slater.

“Mr. Slater seeks to prove that the stone-age aboriginal (sic) believed that men came from a protoplasm created by God as a special species, and that the original man could speak from the moment of his creation. The author also offers evidence that the stone-age aborigine (sic) had a deep knowledge of the human circulatory system, that he believed that the origin of the planetary system was tidal, that he understood the creation of the world and knew much about light, darkness and fire. Fresh evidence is also given that he believed in the immortality of the soul.

It is stated too, that aspects of Mr. Slater’s research will be of particular interest to students of the origin and history of Freemasonry.” (11)

SOURCES:-

(1) Robert Plant & Jimmy Page (1971), “Stairway to Heaven” Led Zeppelin, (Atlantic), Song Lyric.
(2) Michael Winkler, (2004), “Rock Star of the Kimberley”, The Age. 20th Sept. 2004. http://www.theage.com.au/articles/2004/09/17/1095394002333.html?from=storyrhs

(3) Ibid.

(4) Ibid

(5) Ibid.

(6) Ibid.

(7) Ibid.

(8) Frederic Slater, (1939), Personal Notes.

(9) Prof. Hermann Klaatsch, (1923), The Evolution and Progress of Mankind, (Edit/Enlarged Prof. Adolf Heilborn & Trans. Joseph McCabe), (Frederick A. Stokes Company Publishers: New York, U.S.A.) 136.

(10) Ibid.

(11) “Came From Africa To Australia Our Black’s Ancestors”, The Mail, (Adelaide: 23rd Oct. 1937), 6 (N).

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