Ros’ Rock 6: Another New Chapter of Australia Prehistory
By Steven & Evan Strong
There 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.
There 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?
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.
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.
On 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.
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………………