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

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.

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