“All Found Together …” New Marked Rocks

“All Found Together …” New Marked Rocks

By Steven & Evan Strong

Photography by Natalie Jacqueline Paez of Third Eye Society

A small note written by Ros accompanied a package of “14 marked rocks found at the side of a sand dune that had been weathered away,” in her explanation she gave details as to who found the rocks and in very general terms where, but the most important part of this ancient equation related to the quantity under examination. On every occasion and location never before has there been a cache of sacred objects in such numbers “all found together,” hidden away and buried until exposed through erosion. The fact that this ensemble is contrasted by differing sizes, styles, scripts and shapes and that none of the individual rocks are merely repeated copies but unique in marking and genre, only adds to the significance of such a huge accumulation of holy objects.

Normally when a larger cluster of rocks is sent by Ros, always sourced from a variety of locations, there is one time, occasionally twice where the impact is muted and the chances of nature’s involvement is slim but possible. This time, even with our ‘cynic’s hat’ firmly wedged whilst standing first in line, there is no room for protest or doubt. All of the rocks were artificially marked and found in situ, exposed long after being intentionally hidden by Original custodians. In every case bar none there is rock-solid evidence of cuts, marks, heat and sundry applications that can only come about through technology and science of a level that has to be described as very advanced.

Ros’ Rocks 18

In what is the highest benchmark recently set by Ros’ Rock 16, this rock (Ros’ Rock 18) is its equal in its minimalist approach and empty spaces. Four of the five sides have nothing at face-value to contribute, but the fifth side makes up for these omissions many times over.

Ros’ Rock 18: Natalie Jacqueline Paez of Third Eye Society

It is a comment and admission made before, and no doubt will reappear at a time not of our choosing, but on each occasion we are tempted to assume that the scope of expressing information through lines cut into rocks had reached its limit, something like this turns up.

Everything is connected, each line, shape and imprint is part of a bigger picture/diagram. There is one central line and sixteen other lines and shapes that intersect or merge into this dominant staff. It is very difficult and undeniably subjective when trying to interpret what this very intricate arrangement of lines could represent, but that never concerned us before. It is quite striking and certainly seems to resemble a serpent/dragon, even more so when factoring the five imprints that do not break the surface. One of those imprints could serve as a second set of limbs, or it could be something else again.

Ros Rock 18 Diagram
Ros’ Rock 18

Irrespective of what this diagram represents, never before have we seen 17 lines and shapes formally connected in creating one symbol/statement. To even suggest that this could be due to natural agents is not deserving of a reply, the only task worthy of consideration relates to determining the possible means of production.

The answer to this can be just seen in the five imprinted shapes that are spread around this figure. Each small depression still retains the original chert coating and due to this veneer remaining unbroken they are less visible. Despite the softer lines and muted effect they are part of the design and this seems to indicate that the base rock was marked before the molten chert was applied and hardened. It may be that the deeper and wider lines and marks were never covered, or were thinly covered then scratched off, but due to the fact that the five imprints have the shallowest base we suspect they were always meant to sit in the background, just below the surface.

Undeniably our insistence that molten chert was added at later date after the base rock was pre-cut is a formidable hurdle for many experts to negotiate, but those five imprints do not stand alone. There are impressions of six lines, found on the adjacent side, but none have broken through the top veneer. All can be seen in good light, each is separate, straight and just as shallow in depth as the five on the most marked side.

We are of the opinion that this rock was shaped to satisfy some very precise ratios. There are three notched areas, one on each side, and in each case some of the original rock was removed from each edge then smoothed off for reasons that do not seem immediately apparent. After all the trouble the artisan went to in shaping, smoothing then chipping into this rock three times over, we felt the least we could do is measure the three lines that connect these gaps on each side through forming the outline of a triangle. Whether this happened by coincidence or design, it makes no difference, what does measure up are the three sides of this connecting triangle (12mms, 21 mms and 24mms). All lengths are divisible by three, which leads on to a ratio of 4:7:8.

Ros Rock 18 no. 2 Diagram
Ros’ Rock 18

The rock is very smooth on each face and rounded edge and seems to have been polished many times. At first glance it is a small rock measuring at its widest points less than 5cms by 3 cms, but cut within the chert surface is an intricate diagram requiring skill and sophisticated technology, and skirting around the edges is a theoretical triangle. It is one of many Original sacred marked rocks that heighten the contradictions, admittedly it is quite small and at first sighting somewhat deceptive. So too another rock found at the same exposed dune that is less than half the size of Ros’ Rock 18, but this time around there is no idle space in between. This marked rock is both the smallest we have reported on and the most concentrated in markings and imprints. So intensive and cluttered are the marks it is nigh on impossible to make an accurate tally, which ends up near one hundred.

Ros’ Rock 18: Natalie Jacqueline Paez of Third Eye Society

Ros’ Rock 19

It is so small and so easy to overlook when in the company of other rocks or if positioned further than a metre from any eye. It is only when under full sunlight assisted by a magnifying glass does the complexity of script and clues as to how this was created become somewhat clearer.

Ros’ Rock 19: Natalie Jacqueline Paez of Third Eye Society

This even smaller rock is heavily pocked with all manner of imprints and a large number of lines. It is in nearly every respect, the complete opposite of the previous rock. There is nothing left that is smooth or even, it is so heavily cut or imprinted whatever level surface was in existence vanished during the first sitting. And it is that number of separate applications taking place at different times that so intrigues and seems to be very evident on this rock. We suspect that this rock was marked or imprinted on up to four separate occasions.

As with the last rock, but far more numerous, the imprints were engraved/cut into the base rock and there is ample evidence of that happening here. There are five lines cut through the chert and deep into the base rock that still retains the very sharp line of the original blade in the middle of the depression, past that point it seems some lines were widened through further cutting beside the line already present. At an even later date the finest lines of all, barely wider than a strand of hair, were cut beside and through the top of these older marks. One such thin line runs down into an older thicker multi-cut line and exits out the top edge and continues across the next side ‘gun-barrel’ straight until merging into a large cut shape and raised ridge. We are convinced that line is a more recent addition and obviously was cut after the older thicker incision.

The fringing found on Ros Rock 13, which we felt was part of a topographic map that represented smaller creeks flowing into a central river, is very delicate and requires an extremely steady hand and fine blade. This rock not only picks up on that technique, but blurs the lines. There are three areas were short thin lines like those on Ros’ Rock 13 are used, twice as a fringe of sorts and once where these small lines are spread throughout what appears to be a visual depiction of two people, with one holding a spear.

The other two collections are less precise and in one case much less. The smaller and slightly tidier series of small lines runs across the front edge of a raised section of rock which has been emphasised by cutting lines down the other two edges of the ridge. Along the front there are eight smaller lines jutting out, two are slightly longer and this gives a slightly irregular feel to the marking.

However, by comparison with the third set of small lines this is a page out of a geometry text-book. There are up to 20 lines in this disheveled ensemble, all quite small but markedly varied in width and length, they run down off one straight diagonal clean line which is much longer and spans the entire side. They look somewhat like different sized tentacles hanging down from a thicker rod.

The next rock in this ever-increasing tally is certainly much neater and cleaner in line. Although completely unlike the previous rock Ros’ Rock 20 does belong to a genre of shape and setting that has been seen before, and is remarkably similar in appearance, size and manner of line to that of Christine’s Rock 17.

Ros’ Rock 20

We are compelled to begin any investigation of this rock by way of comparing it to Christine’s Rock 17. That rock is a touch darker, slightly more polished and has one line that is the cleanest and sharpest yet seen, however, it would be unwise to dismiss this rock as an inferior replica. This rock has not one but six very straight lines, of which two remain perfectly straight, that circumnavigate all four sides.

Ros’ Rock 20: Natalie Jacqueline Paez of Third Eye Society

Just like the simpler cleaner version this rock has horizontal lines, but unlike the earlier rock this rock also has vertical lines cut into the surface and all are not straight. It seems that there is a mathematical rule at play, all horizontal lines are straight, while every vertical lines is not straight. The two most prominent vertical lines are less geometric and more curved and crooked. There are five other much smaller and fainter vertical lines, but without doubt the central feature is where the main vertical and horizontal lines intersect in the middle of the rock on Side 1.

Once again we can only detect one blade and one width of cut, and unlike the last few entries there is little evidence of imprinting. It is possible two small shallow imprints were placed on one edge which we suspect to be the position where the right thumb rested when gripped in the prescribed manner. The roughing up of this edge may have been done to facilitate a better contact between skin and silica. Christine’s Rock 17 also has two small worn depressions and as would be expected is the position where the thumb must be placed when held in the right hand.

Those two possible imprints aside, there is nothing else and this leaves open the possibility that the base rock was unmarked and then coated with molten chert. Before the chert hardened it is possible all of these lines were cut, and since that first cutting it would seem there have been no further additions.

Rocks like these which are sparsely marked and bear the same shape seem to form a distinct and frugal genre, of which 17 and 20 are a part of, but the paucity of lines, maps, imprints and intersection points is a touch limiting and determining any meaning will be process in need of considerable Original guidance.

Ros’ Rock 21

None of the 14 rocks found in the sand dune are particularly large or heavy, and this rock is the biggest of the group. Of the four rocks discussed until now, this rock is probably the oldest. It has a feature shared with Ros’ Rock 10 in that the top section of chert remains intact, while the rest of the rock shows signs of heavy wearing possibly through constant contact with the hand. Both rocks have triangular ends and the same polished dark chocolate chert. We are confident the Ros’ Rock 10 and 21 belong to a specific group, and that the messages inscribed share many similarities.

Ros’ Rock 21: Natalie Jacqueline Paez of Third Eye Society


Of all the rocks in this batch this is the most complex, granted there is a lot of activity on Ros’ Rock 19, but the lines are small, leave no trail and has a much more visual intent, this rock is far more cryptic. There are at least six continuous lines, some very fine, that span all sides of the rock. There are no less than three widths of cut, and very good indications this was the outcome of multiple sittings. Quite a few of the finest lines cut over the top of older thicker lines, and others are so worn they can barely be seen.

The same attention to precision observed on many other rocks is also on display on what we assume to be the main side. Almost entirely a horizontal narrative slanted towards the diagonal, there is one prominent exception to this general alignment. Positioned on the side with the most markings this segmented vertical line cuts across the flow in remaining straight from top to bottom. However, that original observation was not given in full sun and with magnifying glass in assistance. With the benefit of better light and magnification, this is indeed one continuous line that varies dramatically in width by a factor of close to 20. This is a task requiring considerable skill, the finest of metal blades and must mean something of significance.

Ros Rock 21 Diagram
Ros’ Rock 21

Beginning just above the top edge, this line cut into chert is at its widest measuring 2mms and narrows to half that gap over the next 2cms. At first glance that did seem to be the end of the line, but upon closer inspection there is indeed the thinnest line visible which can be no larger than 0.1mm across that continues for the next 2.7 cms. That hair-width line merges into a thicker line that is one millimetre in width which is 1.5 cms long and once again appears to stop at that point. But no, the same delicate line picks up the same angle and continues on until reaching the edge.

In what only adds to the mathematics and precision involved, under these more enlightening conditions it now became apparent that this vertical line was not alone. The side with the largest concentration of symbols and signs measures 6×4 cms and this much fainter line begins literally in the central point (3cmsx2cms). The second shorter line remains separate by 1mm in maintaining a parallel setting with both lines running down the face another 3 cms before spilling over the edge and continuing on at the same distance apart.

The complex mathematics, a junior parallel line escorting this line to the far edge, the idea that one that continuous line of 6.5cms can be very thick, then of medium width before becoming extremely thin before merging into a medium sized gap then completing its transformation by shrinking into an almost unseen line, can be natural is impossible at every level. The real issue at play comes down to what is required to create such a line that is supposedly far too sophisticated, technical and geometric to be part of any Original tool kit before Cook. Why go to so much trouble in making one cut into chert? Is the width and depth of cut, along with the length of each gap, yet another part of this rock language?

There is so much more to this rock, and it looks as if our follow up piece will break our self-imposed refusal to focus just on one rock as we have done in the past. This rock is the most imposing and enigmatic of the collection, but for now we will conclude our brief introduction with an unusual convergence that cuts across and brushes against the vertical line of five widths.

This blurred meeting point is very odd and a touch frayed at the edges. Just to the left of the point of intersection between the vertical line and the first main horizontal line, possibly no more than 2 mms away are six separate lines which all meet at one point of convergence. The resulting combined image, no doubt added to by the passing of years, looks very much like an explosion, blasting away beneath the side of the ridge which marks out the point of preservation above or wear below. Whether intentionally highlighting the difference above and below that intersection point or destination point on a star map is conjecture, but there has to be a good reason to make six lines meet at the same point.

And that is the real point that needs to be fully appreciated. Finding an exact meaning to all of this information from Ancients, well good luck with that, but there are greener and less spiteful pastures elsewhere. Our brief in research is not to make bold claims about what a script or marking means but identify an intention, intelligence and technology that belongs to this countries past and the Original people’s ancestry. As to what the rocks mean, that is a secondary pursuit, first and foremost for these rocks to gain classification and a number they must first tick all three boxes. There has to be evidence of human intention, intelligence and technology that just does not fit into any mainstream account of pre-Cook history of not only in Australia, but as time passes further back, the entire world.

To that end, the vertical line of five widths is utterly intentional and inspired by high intelligence and assisted by a technology and tool-kit that is assumed to be a sole product of the last century. The decision to cut six straight lines and make sure they meet at the same point right next to where the vertical line leaves the ridge and makes contact with the first of many opposing horizontal lines is also intentional and an act of unquestionable intelligence.

There are hundreds upon hundreds of cut lines, imprints, shapes and sundry marks on this rock. The number of marks sitting just below the surface runs into three figures, some form clusters or patterns, others individual lines and shapes. Like an earlier rock discussed which sat so comfortably in the hand with the marked face pointing upwards, this rock rests in the hand with the a similar feel and again has the marked face flat and facing the sky. We suspect that the earlier narrative was covered and coated and on two sides a brand new story was created on top. However, the third side is virtually untouched, and as a consequence has the largest portion of the imprints. Perhaps this side was deemed to be too important to cover or conceal? All are avenues we will pursue, but for now we still have one rock to examine to satisfy our self-imposed five rocks per chapter quota.

Ros’ Rock 22

Again if rating these rocks on first impressions this one is scrambling to get a C-. Measuring less than 5 cms in length, with three sides showing very little from a distance and the side with most of the visible marks small and narrow, there is nothing that overwhelms or grabs the eye.

PSY_7724 - Copy
Ros’ Rock 22: Natalie Jacqueline Paez of Third Eye Society

As with all bar the larger rock the small size is an impediment, but this rock only adds to the anonymity with over 80% of the markings being imprints which do not break the chert surface. What blends into the bland exterior is that very few lines that are visible do not take ‘centre-stage’ as they are found near the edge at the top and bottom of one side.

The lines are an assorted crew, the two thickest (3mms) are lightly fringed which widens and frays, but both being less than one centimetre in length their impact is minimal. The longest line is relatively straight, one millimetre in width and 24mms long, the only other line of note is of the same width and half the length. Outside these not particularly striking markings, there is little else that has broken through the chert overlay, but what is of much more interest sits just beneath the surface.

Until now we have always seen the imprints as one second-tier all-encompassing category, but there are five lines on the main face that add an unexpected nuance and extension that had not been recognised earlier. All five lines have vacillated between being acknowledged as imprints and lines that cut through the veneer and expose the lighter base rock. They are neither, deeper than any other imprints, it is just possible under full sign and magnification to see a few lighter grains. As to whether this was the original intention or the result of weathering is difficult to determine, either way these lines are certainly deep and share sharp edges.

What was of immediate interest relates to how the five lines were created. Two are no different from hundreds we have seen on these rocks, the lines were cut with a sharp blade and as both are not long it seems each was the outcome one continuous stroke. Both lines are sharp and narrow at the point of entry, widen in the centre and taper to a point as the blade exits, merely more of the same and certainly nothing remarkable on display.

The three lines below were not cut into the base rock or the chert veneer when soft, a technique occasionally seen was used in a way that has no precedent. Pecking is a method used on other rocks, but never to make straight lines. Despite being less precise and much more difficult than one simple stroke that is the choice made. The three lines below the two straight cuts, are made of five, six and four pecks placed close beside each other in forming lines that are fairly straight, nearly tidy and almost even in width. Each peck mark is still visible under magnification, and this is the only rock where pecks were used to ‘punch out’ something resembling a straight line. To do this three times over only heightens the significance.

Apart from making the logical assumption that the pecked lines have a meaning different from that of that cut lines, nothing can be declared with certainty outside that the markings on the five rocks show similarities and variation, adherence to established patterns and so many features that repeat yet others that keep extending parameters. The pecked lines are certainly not inferior copies, and does give another insight into the intricacies and cryptic nature of what a line, mark or imprint can be when part of the First Language.

Kangaroo rib, Eucalyptus Branch and a Rock

As with the four other marked rocks, there is much more to ruminate upon and compare against, and as this is meant to be a very brief introduction of one or two features found on each rock it is sufficient in hopefully dispelling one myth. According to every approved text, lecture, lesson, curriculum and endorsed version of Original history before the British Invasion, their tool-kit consisted of stones, sticks and bones. Nothing else was allowed, there was no metal, machines, melting of rocks, mining or even some bows and arrows to lighten the load, it was all very basic with no frills attached. All of the more advanced technologies many cherish and extol the virtues of were never part of the Original landscape until Cook came sailing up the east coast of Australia: that is the official version of events.

So say the books, but these sacred rocks read from a different script that was written into stone long ago, made from tools and technology that is modern by today’s standards. What we are looking at are two contradicting narratives, one written on paper that can rot in a day the other cut into stone that can outlast the entire lifespan of all hominids on this planet. Make no mistake all five rocks (and the nine yet to come) display human intention, human intelligence and show evidence of technology any human of today would agree is advanced.
All five rocks share the same colour, the best description we can offer is a dark chocolate with no variations in grain or other colour, it is so consistent it is as if they were all painted from the same can of liquid chert. All undercoats are equally consistent, the colour beneath is a light cream grey and within the five base rocks there is no deviation from that palette.

What this all means, knowing both accounts cannot co-exist, is that one version is false. Paper may cover rock in child’s game with fingers and palms, but the reality is that to leave a piece of paper on top of any rock in the hope that will be enough to extinguish or conceal the truth of its existence will see the paper blow, wash or rot away. Despite the short-term inconvenience the rock will always prevail, and these ancient rocks are genuine in every sense and are ready to reclaim their heritage. The truth is that they are Original artefacts and are much, much older than the two hundred odd years since the British dropped anchors. These sacred rocks were made in Australia by the Original Australians using technology and knowledge that originated in this country.

It comes down to one multiple choice question with two alternatives, a or b, either the rocks are fake or the official version of Original pre-history is fake.

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