The Original Origin of Oregon: (Part 2) Oregon Nine to Sixteen
By Steven & Evan Strong
Special Thanks to Sandra Wafer
I normally, in fact always, spend some time in determining an appropriate title for each report. Progressive rock groups and songs are my first port-of-call, sometimes some rather tacky alliteration is another area to draw upon, but this time around it has to be less adventurous. The rocks come from America, they do not belong to this country and nor are we familiar with the geography or Indigenous input. Nevertheless, despite the separation through distance and a considerable expanse of salt-water, what we can affirm is that these American rocks display identical technology, the same markings and a common inspiration as that of the Original rocks we are the custodians.
As before, when investigating an earlier shipment of eight rocks from Oregon, the fact that these special rocks were once again in our hands is entirely due to Sandra Wafer. She not only found the rocks, and to be honest it was more a matter of being called than haphazardly stumbling upon this silicon mother-load, but after despairing in trying to get anyone to investigate or acknowledge felt compelled to seek us out. These eight rocks cost us nothing, they were sent free of cost and cartage, all that was asked of us was to examine and report. In doing so, we can only hope that despite the geographical and cultural divide, some of what we believe to be true is at least close to the mark.
It must have been a bumpy journey, as this particular rock was in a much worse non intact state of separation. The rock was split in half, although wrapped in bubble-wrap, it rested against the largest and heaviest of the group and at some stage that rock obviously moved and fell upon the smaller and quite elegant creation of considerable artistic merit. Outside a few grains and three horizontal strips of coloured rock that came away from the deepest incision, once a liberal application of superglue was placed in a few selected spots the rock is almost as good as it was before postage.
It wasn’t so much the unfortunate carnage in transit, but the four panels of what seems to be a pictorial narrative which we may have interpreted at the most elemental level, that made this rock our first choice. As it is with all Original counterparts, this rock has the customary thin upper dark coat overlaid on to a much lighter base-rock, there is a roughened section set aside for the thumb to rest while holding this meditation rock and the lines and markings are familiar, but the four panels are unique in both format and manner of application. Of the sixteen rocks from Oregon what we see here is the only time something is so patently at variance with all rocks, irrespective of whether from Oregon or Australia.
Until now, all rocks with markings are either mathematical, symbolic, dotted, lines of a variety of widths and depth, shapes or something else with cryptic undertones, never before have there been a series of panels with pictorial representations that form a narrative. There are four distinct scenes spread around this intriguing display. As with all holding rocks it is essential to initiate proceedings by first establishing the correct thumb rest and holding position. Once seen and held correctly, which is very easy to identify on this rock, the sequence of four scenes begins with a thick vein of reddish-brown resin/inlay touching the left-side of the thumb that leads towards the first participant in this historical snapshot. It then spans across three other events, completing the circuit by concluding with star lines leading back to the right-side of the thumb.
Our interpretation, which has to be hedged in equivocations due to the distance and cultural sensibilities not fully known, begins with a male carrying in his right hand a woomera and spear. There is no hostility shown as neither weapon is engaged or raised as he walks forward. The second panel is the largest and seems to have as its dominant theme a woman with her legs astride with both her right and left arm extended. The right and left arm points back to the thumb rest through different paths and her leg towards a huge cleft/chasm taken out of the rock which continues on to the third and fourth panels. The lower figure takes on the form and curved posture of a snake, while above are three arched shapes that could represent UFO’s. Of course, such an interpretation is subjective, and others could claim it is merely the letter c. Nevertheless, from our perspective and the contextual setting surrounding these rocks, such a non-earthly version of events is entirely consistent and utterly in keeping with the narrative of the Seven Sisters Dreaming Stories found in every tribal estate. What is equally suggestive of an extra-terrestrial involvement is that the ledge above these curls has thirteen straight lines, twenty-one intersection points and many angles. Such a script is typical of the star rocks format.
In combination the four scenes, star lines and re-connection to both sides of the thumb seems to indicate what has been visually inscribed above is somewhat like a silent movie. But is there a ‘switch’ that can supply a script, soundtrack and volume? It could be that a song, maybe a ceremony or supplication through local Original tongue is required, or perhaps the rock itself will take the leading role in this partnership? As to what is on is the surface, well the hunter has both woomera and spear at rest, and because of the length of stride as he points forward and a thin tapering line tracks directly towards the engraved and infilled female figure, we feel these two scenes are interwoven. The woman is the central participant in these panels and everything seems to radiate around her figure. She has two elongated arms, and both return to different points on the left-thumb rest, while her right leg points towards and joins into the rectangular space (30 mls x 3 mls). This artificial cleft leads to and divides the last panel with the lower half bearing witness to what any Original commentator would almost certainly recognise as the Rainbow Serpent. Above are shapes of what we feel are Alien craft, and together could this be some form of a Creation Story, or perhaps it chronicles the Seven Sisters from the Pleiades first appearance in America?
No less intriguing is not so much the gallery of representational figures in motion, but the manner of application and tiered incision. The reddish-brown substance used to create this visual parade is not part of the base rock, something we cannot identify was attached. Whether another type of rock, resin or some other unknown chemical compound is unknown and without a precedent, but it is certainly there securely stuck onto to this rock, and as far as we know, there is no other rock anywhere displaying such an unusual style and method of manufacture. What seems to have occurred here, is that both the dark chocolate veneer along with some of the cream base rock was cut into forming something like a central trough that slopes up to the uncut dark coat. A thick light red substance has then been attached into these channels, and still remains secured to this day. This seems to be the guiding principle and technique in marking out the principle figures and lines in this rock.
It is not particularly big or heavy rock, without any pattern, exit point or unifying form beyond a prescribed grip, this is an introspective offering that rests in the hand when in a reflective state. Measuring at its widest margins 6 cms in length, 5 cms in width and standing up to 5.2 cms, there are markings that range from figures, U shaped curls, lines of three widths, dots and pecks, and above all these features, is the exactness of a 30 millimetres by 3 millimetre shelf that was carefully and skillfully cut out of the middle of this rock for a very specific purpose. Outside the sophistication of tools and hand required by the mason, why this precise geometric section was removed is beyond us. Moreover, every other marking is not edged by two continuous parallel lines, the precision found within such a severe incision stands in direct contrast to the irregularity of placement, line and lack of symmetry that overwhelms this holding rock.
To go any further or deeper necessitates finding the appropriate grip. In all sacred rocks the potential to initiate a symbiotic reaction between silica and skin is real and present and all begins with shaking hands correctly. The thumb position is plainly evident and from that firm foundation the index finger sits atop a clean coat that does feel and look slightly worn and the middle finger runs directly along the vacant rectangular space. The analogy may be crude, but this grip would resonate with anyone who has bowled a cricket ball, for although marginally larger than a golf ball, the rock should he held is if bowling a medium paced in-swinger. With the grip identified and esoterically engaged, the next step should see the rock in exchange with its human host/guardian. But alas, the song, ceremony or words spoken in language are not known at present, in the meantime we do have two copper rods and a crystal on a chain. I no longer intend to justify and validate why we choose devices that many feel is tinged with New Age trappings, beyond stating yet again, they work.
And did so when placed near this fascinating creation. The copper rods crossed when directly above the rock and the crystal rotated clockwise at a fairly strong rate which I estimated to be eight out of ten. The rock is exceptionally sacred, without precedent anywhere and still functioning if addressed properly, but here we sit at the bottom rung awaiting guidance, the pass word and further inspiration.
An exceptionally linear display, this rock is heavily focused on the presentation of lines of different lengths, at the same time it is rare indeed to find any rock so consistent in width and depth. There are normally three to four widths found on lined rocks, this may well be the first time every engraved line is almost identical in width and depth. What only adds yet another distinction is that there is not one line that is straight, normally rocks with these lines and intersections are star rocks. Not this one, every line is crooked, bent, segmented or askew.
With thirty-three lines cut into the upper coat the chances that not one comes close to straight, if it was unintentional, are incredibly remote. If anything, the probability that every one of these lines could represent a snake is far more substantial. What strengthens this observation, is that the two central lines that travel the furthest and are marginally thicker, could be the male and female parent snakes, with all the other lines of varying lengths their offspring.
In that tradition thirty of the thirty-three snake-like lines do converge towards one of their parents. What is worthy of further thought is that the three lines that remain apart, do seem to be actually one continuous connected line, until viewing from close up the points of separation are barely detectable. Granted the third section does curl towards one of the main two lines, but unlike others that either cross or fall just short of connecting, there is still a deliberate disconnect within and without.
The rock itself has the same dark chocolate veneer as the first rock, but is even more polished, with each side rounded and the coat still in pristine condition. This artefact rarely saw the light of day and was kept in a protected location, as there is not a scratch, chip or any sign of abrasion or wear apparent. At its widest margins it measures 10.5 cms in length, 5.2 cms wide and is 3.7 cms high. There are five sides that have engraved lines and a few other additions (pecks, faint sequences, one circle and three shapes), two of the sides are quite small and the other three larger and roughly the same in size. One of the main sides contains more than half of the assembly and logically must be the main passage. Seven lines cross over to other sides, but on this rock none circumnavigate all sides.
The grip is quite easy to find and as expected the back of the rock nestles into the back fleshy part of the palm. Held in that position, the most heavily marked face sits against the palm and callouses, my thumb rests upon the heaviest cluster of lines/snakes on the second side, and what faces upwards is the side with the least marking. Such an arrangement facilitates a synchronous interaction between the skin and what lays beneath the thin exotic crust.
What only adds to the allure and mystique surrounding this rock is a soft fine series of five lines of pecks. However, unlike other pecks none of these very small marks breaks the upper coat, they are more soft indentations than actual marks, and in the shade almost impossible to see. An actual tally is difficult, but it is greater than thirty and has to mean something as all other sides are free of imperfection or cracks in the thin upper veneer.
Knowing that this rock was found at the conjunction of two major rivers, it is quite reasonable to assume that those two rivers, plus subsidiary in-flowing creeks are also depicted on this rock. The conjunction of the two main lines, highlighted by a larger sphere at the cross-over point and the only engraved circle nearby, could represent meeting points. At the first level of meaning, our take is that this rock is topographical and aquatic in the upper features, but what of the ceremonies and songs given when meetings occur, and when thanks is given in the Mother Tongue to the Spirits of the Land and Rivers? Is this wisdom stored within awaiting retrieval?
When activated through copper rods and crystal, there was a noticeable difference in the intensity of response. With the dowsing rods, irrespective of which route was taken, once about half a metre out the rods cross and remain locked until exiting at that distance. The reaction was strong and easy to repeat, and I expected something of a similar positive nature when placing the crystal above this beguiling artefact. There was no looping or rotation, granted the crystal did track along the main two lines/rivers but there was no surge or acceleration as before, it was weaker and a touch limp in speed and thrust and deserving of no more than five out of ten.
Due to the clean coat, untarnished condition, contrast in colour and striking arrangement, the rock is a very comfortable hold and easy on the eye. Although a touch subjective, this rock seems the lightest and balanced in a way that spreads the weight so evenly. In every respect it invites being held, so smooth is its silica skin and those lines beg to be caressed and stroked. It is a touching rock, that much is clear, and there is a sacred story and journey to be shared under the correct protocol and timing.
Needless to say the same rules apply to every sacred rock currently residing in our ensemble, we could, as we did when comparing the first influx of Oregon guests highlight similarities to Original rocks yet again, but that is such a pointless gesture. That argument has already been concluded in the affirmative. Yes, we could present almost identical matches for this rock, and the next six to follow, but why reinvent the wheel? They are the same, granted the first rock did have one intriguing extension, but outside that deviation it is really all part of one global form of agreed communication.
We have two rocks of the same general shape, clean coat and each of them literally begs to be held. There is something to this ‘rock-call,’ that can neither be scientifically measured, proven or quantified, nonetheless, this rock just keeps ‘calling out for a cuddle.’ What that means, is either delusional or seminal, it is all a matter of perspective, but from my stance this rock is offering something of elemental importance outside feeling nice to touch.
We have plenty that look so much like this one. There is one rock that is very similar, we call it Jetstar, as it was packed in a bag marked fragile, heavily wrapped in bubble-wrap, and when unpacked a sizeable piece was broken off due to a very heavy fall while being loaded on or off the plane. They were brothers in appearance until the drop off, the Original twin has had an amputation and reattachment via superglue that was generally successful, but a touch ill-fitted and frayed.
The one very minor deviation that is evident is that the Jetsar rock has lines we believe to be of the same make, widths and tools that run across the face of the four sides. Not here, with Oregon 11 we seem to be restricted to the edges and corners. On both the top and bottom face lines begin to enter then stop or run near and around the edges, nothing cuts through or close to the centre, that area must be left untouched.
Unlike the previous two Oregon rocks which had geometric sections excised, faces flattened and edges rounded, this rock is unworked, with one quite large subtraction. This is not a delicate extraction on display here, just any old rock smashed against the top edge would do the trick, and it did just that! The top quarter is missing through some formidable impact, but it did not happen after construction, more the opposite, it is quite possible that before any marking or coat was applied this crude reshaping in creating a formidable thumb-rest, was considered the prime objective. What came after through coats and cuts was merely supplementary, because this is a holding rock par excellence.
Everything on this rock is all about facilitating cross-contact. Excluding the exit point, all 21 lines are positioned so that 18 are covered by skin from the thumb and index finger and the remaining 3 lines provide a resting place for the other three fingers of the right hand. The lines do not have a meaning or mystical intent, their role is to maintain energy lines of interaction between the base rock and spirit behind the skin. It is an energy exchange and amplification program wrapped inside a thin silicon/resin coat. There is no reason to cut into the middle section of either the top or bottom plate, simply because where the skin cannot reach there is no need to breach.
The sole point of energy departure is beside and between a depression in the rock marked out by a separate cluster of ten cuts and lines. It points not out but inward, and we suspect should be held against the stomach or pineal gland once sung and activated. Our suspicion is that this rock possesses no innate power of itself, but does amplify and magnify whatever the human host brings to this interface. We feel what comes out of this can heal and repair esoteric discord and ailments, it is not so much a bearer of wisdom or magic, but more a way to activate and draw out what lays below the surface.
At a superficial level, this rock is unremarkable by every comparison. There is no appeal in the markings, shape, coat, patterns or arrangements, nor does it radiate any positive or negative presence or resonance. The rock is up to 9.5 cms long, 7cms at its widest point and stands no higher than 3 cms. The thin coat attached to a much lighter brown base rock is the same dark chocolate brown crust as the first two rocks. The width of lines is very much status quo here with three different sizes on display.
This rock is certainly the heaviest and largest of the sixteen. It was responsible for crushing and splitting the first rock of the second batch, but past that guiltless indiscretion it is undeniably imposing in stature. And it is at this juncture, as I am sitting here next to this stunning rock, the issue of why rocks of this lofty calibre were so kindly given to us by Sandra just will not go away. She had sought out a bevy of so called ‘experts’ and all assured there was ‘nothing to see here.’ The only truth is that there is everything to see here, that the opposite occurred is not good science and purely rampant convenience. It is so obviously genuine, very important and displays technology that just does not fit into any acceptable American pre-invasion historical narrative. That being the truth throughout Sandra’s research, she had no choice but look further afield. We got these rocks by default, simply because at the moment it seemed that no other group was prepared to accept that which cannot be denied. All credit to Sandra for refusing to give up, and no kudos whatsoever to those she approached for being so timid and untruthful in inclination.
Way back, when this large rock was first treated, cut and coated, it would have been a quite striking, verging on dramatic, addition to any ceremony. The heavily worn upper coat, when in its pristine state, is almost, but not quite of the same colouring as the previous three rocks. It has a tinge of black, carrying slightly more darker pigments giving it a blacker infusion to the normal dark brown. That seems to indicate this rock was not made by those responsible for the other three. It certainly varies in size, markings and an intriguing inset, that the coat would also differ in colouring only accentuates a different make and capacity.
First up, a quick once-over of some of the features present on the top layer will assist before digging deeper. It measures at its widest margins 15 cms long, 11 cms wide and 8 cms in height and weighs a touch over 1.8 kilograms. All five sides are marked by either thick semi-straight lines, or some form of extensive patterning. The top veneer is heavily worn, but there is a spread in the degree of wear and tear. There are three patches that are still close to the original dark brown/black, other sections are a lighter grey, while some patches more a washed out grey with quite a large portion of the overlay almost ‘washed clean.’
In this one, the markings are everything, they carry the significance and energy of the rock. That became manifestly evident when the rods and crystal came into contact with the ‘big brother.’ Of all the rocks from Oregon, this one created the most activity with the crystal. It ran directly along the cut lines, picked up on the energy flow immediately and moved with as much speed and force as any reaction I have ever witnessed. I seriously had trouble holding the chain, the scope of swing and speed of return was without any parallel. Whether this was caused by the cut or application of some form of resin, somewhat similar to what still remains on Oregon 9, which still remains in thin beads at the centre of most of the cut lines, is still under consideration. What is definite is that the remnants of this resin is coloured a lighter brown that which was attached to Oregon 9.
Irrespective of how close in colouring and chemistry either application of resin is, the other rock does not have a small quartz crystal inset in the resin as Oregon 12 does. It could be this is the mystical release point, or that the crystal worked in unison with the ley lines running all over this sacred rock and the energy is radiating out all along the resin and silica veins. What only adds to the spiritual gravitas, is two small specks of white ochre found in sloped recesses.
Again, a holding rock, but unlike 99% of others, this one needs two hands holding it, and that changes the dynamics of this holding rock, as nearly every other candidate in this rock genre has one hand free and unattached. Does this mean that this time around both the male and female part of each soul is in congress? Equally, is this rock neither male nor female, but both? And if so, what precedent in Original protocol is there? I cannot answer the first two questions, but the third is dead set so easy, the answer is none whatsoever.
A Pause in Proceedings
Four down, four to go, yet already well past 4,000 words. And once again it is another report all about rocks, and more rocks, followed by rocks. Knowing that when exclusively reporting on rocks once passing that word count, it is time to summarise and embrace the unfamiliar concept of brevity. The next four rocks from Oregon deserve more, but their position in the queue has been compromised by mathematics and spending more time than expected in discussing the credentials of the first four.
Possibly the least visually impressive of the 16 rocks from Oregon, it was rarely held by me. Yes, I always hold each rock for some time before putting pen to paper. That is my rule, but there is no timing restriction and with this rock it was as brief and fleeting as is permissible under present rock protocol.
A clearly drab and unbalanced pastiche with three sides, of which two carry most of the lines, dots, shapes and abrasions. Measuring 5 cms by 3 cms by 3 cms, the coat has a black tinge and still retains a strong sheen where it has not been cut or gouged. There are lines of three widths, while quite a few travel over an edge to another side, none covered the entire journey. Some lines are straight and others crooked, with all markings found on two sides and around the lip and edges of the third side that was intentionally left uncut.
All up, not much to look at or get excited about until …
The rods crossed one metre out in any path or approach taken and the crystal spun just as strongly as it did for the biggest rock, and I gave it the same score of ten out of ten. As much as it looks so ‘un’ anything, the rods and crystal tell me one thing, stop looking with my eyes as there is more to ‘see’ here.
The smallest offering, but from the beginning its size was never an impediment, if anything the opposite applied as the arrangement of lines is as complex as it is connected. Once again, this rock has a coat colouration that contains a darker black pigmentation mixed into the standard chocolate brown base. However, the base rock is different in being more grey than cream, because of this when cut and exposed alongside the much darker upper coat, it tends to emphasise the blacker colouring in the veneer. The colour contrast makes the lines stand out more, thus attracting the eye and interest.
As seems to also be the norm irrespective of continental location, there are three widths of line used. The lines differ in being straight, partially so, curved, jagged and crooked. Being 3.5 cms by 3 cms by 1cm, it obviously cannot be used to point, curse, dig, cut or paint. It has been recut in one area, often, and there is a resulting grey bald patch of 15 millimetres in length. Perhaps, this re-cutting marked the beginning or completion of a ceremony, or a time of moving camp, or to be honest any significant event in tribal life worthy of remembering could be the topic memorialised in stone. With these rocks, in ancient times, they represented everything, with the same rocks, in modern times, according to the experts, they represent nothing except geology supplemented by the haphazard scratchings through striation.
My wife, from first glance, nominated this rock as her favourite. It was an instant reaction, considering how many rocks have been seen in dispatches, some of which are quite stunning, it was a surprising choice from my perspective. Not that it is a poor candidate, it obviously carries systematic markings made by humans some time ago, quite a respectable smooth coat as well, but in the great scale of rocks in the ensemble, it is just medium-level at best.
What was unexpected was that when the crystal was placed above this rock, nothing happened. The dowsing rods were just as disinterested, repeating the process made no difference in both cases, neither copper or crystal detected any form of energy or power. That is not to say the artefact is not authentic, one side being perfectly flat with an unmarked face while the other has a row of five vertical notches, quite a few pecks and an assortment of eight shapes, and all of this is down to a human hand wielding a tool with a blade. But whatever the function it is not spiritual, mystical or symbiotic. Not all rocks in our collection are star rocks or sacred, some record events, detail journeys over country or introduce events or stories. All we can offer in defining the content is that the middle section does have the feel of a tally or counting up to five, and we suspect that number is the central part of what this rock is bearing witness to.
We have two rocks with the same fractured, spider-web facade. Even though under a magnifying glass the detail and intricacy of marking is quite staggering in expertise and time taken, this rock struck no receptive chord. To be honest the same aversion to bond exists with the other two, until now I never bothered to look closer and only now appreciate how delicate and complex the markings are. Having conceded my error, a deeper glance is needed. In doing so, it will still be brief, as there is something about this style/patterning that feels unwelcome around my territory.
There are hundreds of small flicks, pecks and small lines cut into the brown upper coat. This is overlaid by six reasonably straight lines and five indistinct shapes. The amount of time and effort in creating this arrangement is huge, so it does have a purpose and meaning. What that is, I suspect will never be found by me. It isn’t as if I find the rock troubling or threatening, we have quite a few recalcitrant members in that belligerent group, this one in particular just doesn’t connect.
Sixteen Minus one
Of the sixteen Oregon rock sent by Sandra, fifteen show no deviations or additions from the Australian norm. Oregon 9 most definitely introduces a previously unknown technique, but everything else about that rock is part of the First Language package. The reason why Sandra had so much trouble gaining recognition, is due to exactly the same barriers and academic mind-set we face. Those acclaimed to be ‘experts’ know that both the Indigenous people of America and Australia had stick, stone and bone tool kits, which means that these rocks are either modern-day fakes or were mischievously brought from afar and planted on sites.
The only rational explanation is deception by ourselves and Sandra, nothing else will explain these rocks away. But remember in dismissing what lays engraved and cut into the upper coat, the energy and magic stored within these rocks is also a scientific impossibility, such talk of esoteric phenomena is pure fantasy. So, the official verdict is a double cross. One cross for the technology needed that never existed on either continent until European invasions, and the other simply because neither magic nor mystical powers reside inside any inorganic non-breathing rock.
Of course, in making that blanket denial of rock-energy legitimacy one has to also exclude all rocks with a label that ends in ‘ium.’ Whether plutonium or radium, put a Geiger Counter alongside and the needle immediately registers a surge in negative toxic energy independently pulsating outwards in every direction. But those dozens of radioactive rocks aside, the rest do nothing, so say those awarded degrees for regurgitating approved answers.
There is an inherent problem in trying to make sense of yesterday’s gifts and testimonials using today’s conditioning and genetic limitations. When Karno spoke of the star and sacred rocks, it was always hedged one equivocation, in that he said these rocks and artefacts that breach the divide were made at a time “when humans had more DNA.” By that he doesn’t mean we have mutated and genetically regressed with genes being shed, but more a matter of the so-called ‘junk DNA’ that was functioning at an elevated and enlightened level then, is no longer engaged or used now. Because of this inter-generational genetic atrophy, the magic and connection to animals, rocks and the planet itself has withered and become all but silent.
The rocks came back to help us turn on our lost genes. The flat-headed skulls, rings from Lemuria and Atlantis, metal jewellery that is one quarter non-earthly metal and the Original ceremonies culminating at Uluru on December 21 at 9 pm, all of these events/artefacts, plus many others, will be part of a trip-switch that will kick start sapien/Pleiadean genetic codes long dormant, but never extinct.
The sixteen rocks from Oregon are part of a have a noble magical past denied. They have come back to reclaim an ancestry and destiny which humans must either embrace, or move on.