At First Glance: Sacred Rocks

At First Glance: Sacred Rocks

By Steven & Evan Strong

15/06/22

I have to be honest, but on first glance when unwrapping this parcel, I was decidedly underwhelmed by the first appearance of four rocks. Nothing caught my eye, there was no standout feature, for all intents and purposes it looked like four rocks of differing geology with not much else on offer. As I was driving from the post office towards home-base I did remember bits of what Deb told me about the rocks she had decided to send in the post, in particular, the way her mother reacted to the one rock that was in its own separate smaller cardboard box.

                When speaking to Deb on the phone earlier it was very clear that one rock needed to move on and away from her, it just couldn’t stay any longer. This rock sat on her mother’s bed side dresser, and because of that choice and proximity her nose began to bleed. A bevy of medical experts tested and scanned and could offer no guidance or medical procedures. Alas, this is a male rock bound by Old Way protocol which demands no woman neither touch nor engage with it in any way, and if that happened, she must suffer the consequences. And she did, her nose kept bleeding and soon after Deb’s mother died.

                My advice in relation to that rock was simple, until disposed of by either contacting a local Original Elder sympathetic to protocol and ceremony or sent to us, she must never make skin contact. Equally, as all current residents in the house are female, the rock must be taken from the house with gloves on, and then buried in the backyard.

                In total Deb spoke about five rocks, but only sent a photograph of one that displayed obvious signs of advanced yet ancient technology and was of itself a very impressive, marked rock. That rock was never sent in the first package. It stayed behind as Deb was merely obeying my recommendation. Whenever we see rocks of this pedigree, we always remind the present custodian of what each person independently claims when speaking to us, that the rocks actually called them or made them aware of their location. This particular rock sought out Deb and still has business with her and that must be completed first, it is only once that is concluded can it move on. That is the standard rule of rock-engagement. I told her to seek instructions from the rock, which she duly did and found out it was staying for the time being.

At Second Glance

Yes, my first sighting of the four rocks was a touch underwhelming, but once looking again and the times after, it became obvious we have been spoilt by a surplus of immediately dramatic and impressive stone artefacts. We are now convinced that three of the four rocks are ancient and undeniably beyond the reach of all stick, stone and bone tool kits, and of course that means they are from a time in this country where the technology exceeds the best we have today. Found on these three rocks are cuts, artificial upper coats, geometry and shaping that is clearly made with no less than metal blades, and quite probably laser or sound. However, at this stage in our investigation the fourth rock seems to be lacking in any advanced technological activity and is probably a product of more recent times when stick, stones and bones were the only options on every table.

Two Separate Coats, Lots of Wear, Possible Traces of White Ochre and a Belligerent Attitude Towards all Females

This rock measures at its widest margins 13 cms x 9 cms and must be held in the right hand. Even though there is no obvious thumb rest, the rock sits very comfortably in the right hand and is decidedly unbalanced when placed in the left hand. It is a male rock and should never be touched or held by any woman.

                We have over one hundred coated rocks, but until now, none are from two clearly different materials. This rock has one very thin remaining patch (6.2 cms x 4.2 cms) which is coloured a light reddish brown and has seven lines. But elsewhere are two smaller residual narrow semi-rectangular raised ridges of a much darker brown (2.5 cms x 1.1 cms and 4.5 cms x 0.9 cms). They have little if anything in common with each other, the colouring, thickness in application and design is literally ‘chalk and cheese.’ In every respect these veneers are opposites, but both are found on the same rock. Outside the fact its uniqueness in presentation indicates that it is a very powerful male rock, which is clearly capable of inflicting harm all the way up to a bloody death, there is not much more we can add at this juncture beyond that I have not bled or reacted adversely.

                On the top side there are three small patches of white that is most likely ochre. On the other side there are close to thirty very small white dots. This could represent pertinent constellations, but what needs to be factored into this ‘as on top’ equation is that our rocks are hidden in the rainforest, and some have passively acquired similar white dots due to their positioning and the addition of spider droppings from above. So, it is possible these dots being of the same size could be due to spiders relieving themselves, but highly unlikely, as the three white marks on the top side are far too big, much more intense in colour and irregular in shape.

Rough, Ridged, Uneven and Very Flat

This somewhat unassuming rock stands upright 7.1 cms, is 6.6 cms in width and 3.2 cms thick, and is full of contradictions. It wasn’t until a magnifying glass was called into the fray did the delicate details of this semi-concealed ‘as on top’ narrative cut into this rock come clearly into focus. From its somewhat muted and disappointing debut, once I looked deeper it became clear there were two features of this rock that have no parallel or precedent.

                We have so many rocks with cut lines, many exceedingly straight and finely cut, but this is on another level. On all the other rocks the lines are cut into a fairly level ‘playing field,’ with the rock palette flat or fairly close to level. This rock is sloped, bumpy, extremely hard and has no attached melted coat of silica and resin to cut into, which was the unbroken norm, until now. There are eleven very thin straight lines of an identical width and depth on the top side, of which two continue over the edge and further on along the flip side. In each line there is no kink or variation in depth or width, one line drops down over six small ridges but consistently maintains a perfect straight track. Any human hand-held blade would be unable to control the cutting edge with this degree of precision. What came be confidently claimed is that the surface on this rock is the most challenging and rough of all the rocks in our ensemble, yet the lines cut are the most exact in execution.

                We do have another rock, a sacred ceremonial cylcon that has a flattened base to rest upon, that also stands upright but is also straight. And it is that ninety-degree incline, which is the point of contention here, as this other rock has a flattened level side that can support the weight above. But the rock we have just seen is not straight with a flat horizontal base, it leans with a pronounced diagonal slope. This rock also stands upright stable and balanced, but is sloping to the right at around thirty degrees off-centre. It is so well balanced, the flat base which is patently neither natural nor is cut level, but once again it is sloped at around thirty degrees.

Just to emphasise the artificial nature of how this rock has been re-arranged, this supporting base has been thickly coated in a brown ochre. And in what only adds to the intrigue, just to the left of this leveled painted area is a second, much smaller flattened area which once again has been coated in the same brown ochre.

                There seems to be, centred around the area that has the most intense cluster of straight lines, some faded traces of a light reddish-brown colouring that is most likely residual ochre. It could be a natural element in the rock, but since the other two patches of colour are clearly a human inspired addition, that geological explanation seems unlikely.   

                This rock is not meant to be held, it has been deliberately designed to stand alone and semi-vertical. It was made with express intention of independently standing unheld and unassisted. With only one other rock to compare against, that makes this rock special and sacred. In this exceptional case we do not believe this rock engages in any symbiotic relationship with a human hand. In combination, the fine exact lineage and sloping stance makes this rock a top-shelf candidate.

The Faux Axe

This one is much easier at any glance, first or last, it is the blade which seems to resemble an axe-head that immediately catches the eye. The blade measures 4 cms by 2 cms and is extremely well made and totally lacking in any indication, be it ever so slight, of the customary percussion bulbs made when rock hits rock. Because of the hardness of this rock, any form of stick or bone blade would be flat out leaving a scratch on the surface during construction. This rock was made by no less than a metal blade, which automatically means it has to be older than the transition date in technology of around 12,000 years.

                What is also clear is that despite the superficial similarities, this object is definitely not an axe head, simply because it has never been wielded to cut or chop. There are two very small fine notches on the blade, but they are impact points when dropped or mishandled. If it was an axe, then why is it there is a very prominent right hand thumb rest touching the right side of the blade? It is clearly a percussion bulb placed there for the thumb to rest while being held. Not only is it too small to be part of any axe, there is no depression for the wooden handle rest. This is a holding rock with a spiritual or ceremonial function, certainly not a miniature tool or weapon.

                The only contribution we can make in determining a ceremonial or magical purpose is in comparing this rock to one we have with a much larger blade, but for all intents and purposes if ignoring the disparity in magnitude, they look identical. The problem being the larger rock is used aggressively in punishment leading all the way up to death, granted it weighs nearly six kilograms and is much larger, but both rocks have as their main feature a blade. More time with this rock might lead to clarity, but for now all that can be ticked off is that all further research should only be done by a male.

Forced Anonymity

We deliberately changed the name of the first lady who sent us rocks, and have done so again with the second batch of three rocks that also arrived in the post about a month before the rocks already discussed. The reason we told the truth everywhere bar their names is to protect these people from the guaranteed abuse and preaching from the pulpit some arm-chair critics wallow in. What these people have no knowledge of is that when these nomadic artefacts were made there were three tribal confederations throughout Australia and during those times these objects traveled extensively. The most important rock (Ros’ Rock 1) in the collection was found in Gosford which is solely sandstone country, and what is also a fact is that this rock is not sandstone.

                On one occasion a person who gave us a rock was told repeatedly to return it to the exact spot it was found. Even though it was made clear it was found in Chinchilla, which is fracking central in Australia, it had to be returned post haste. In what only added to the situational inconvenience of this rock, was that it was recovered from directly underneath high-tension power lines. None of this was acknowledged in these strident directives, but regardless many demanded it be put back under the leaking electricity. Another rock that was highlighted on our web site received the same sanctimonious chorus, yet none read the accompanying explanation that began in stating it was legally purchased in America and came from that country.

All of this hostility has led to us blocking close to twenty people on our face book site for either threatening or swearing at these people who were empathetic and merely asking for guidance in what the rock was and whether it was of Original origin. Therefore, in the spirit of preventative medicine and measures, the next person (Mary) who sent three rocks in the post will also be given a false name, everything else is totally factual.

A Very Thick Coat

The first rock chosen from this second batch of three, again in making first choices the eyes are the leading agency, is very small, in fact in measuring 2.4 cms x 2.4 cms at the extremes it is now the smallest rock of the ensemble. Nevertheless, even though it is so small it had to be the first chosen, if for no other reason than of all the rocks artificially coated over each base rock, this is the thickest and possibly shiniest rock on the block.

                Normally this thin coat of silica and resin is about one millimetre in thickness, sometimes even thinner, but the coat on this rock is at least twice as thick as any other star rock. And to top this off, whether artificial or natural sunlight, you can actually see the ball of sun or shape of the light source on the coat. No less important or unique is the colouring of this thick coat. Whenever discussing colour I always ask my wife, simply because she is an incredibly talented painter of watercolours, and I can barely draw a stickman adequately, and what struck me was that this was the first time she equivocated. Del’s first offering was a deep chocolate brown, but upon reflection she conceded it could be mix of brown and black, and that is a colour we have never seen before.

Not only is this rock the smallest, it is also has the thickest artificial coat seen, that coat has a colour never present on any of our rocks and is also without equal in being the shiniest and most reflective. But there is much more on display in the smallest stone package yet received by us. In fact, once again there is another precedent of geometric dimensions and angles that even caught us unawares, especially since for the first time ever we are not looking at exact geometry through straight lines or linear patterns, but it is all about twelve dots. And it is those dots that add up to another first.

On the flattest, largest and most intensively marked side there is a series of seven pecks/dots of which some are deep enough to expose the base rock this veneer is attached, while the softer smaller dots are merely indentations on the upper coat. When the base rock is showing it is coloured a light cream greyish brown, and owing to the dark contrast of the surrounding topcoat, this creates a stone tablet with extremely clear reading. What becomes apparent is that those seven pecks, of which none are of the same size which is fascinating since everything is in miniature, are placed in a very straight alignment. Even more compelling is the second line of dots, of which none are of the same size, but are all on the same diagonal that we estimate to be around fourty-five degrees.

In combination, once the dots are joined in a V-shape, this creates the iconic fourty-five-degree pattern. What does need to be recognised is that the longer base line is made of seven dots/pecks and that automatically equates to the Seven Sisters from the Pleiades Dreaming Story known in every tribal estate throughout this continent. As for the other sloped line of five, that is open to question, but not so the base seven.

In what seems to be at odds with the geometric precision on this side is the crudely smashed left edge, there seems to be no pattern or internal design. But the reality is that all holding rocks have a ‘roughed up’ section that exposes the base rock and provides a contact point between that base-rock and the skin of the person holding the rock. What only adds to the importance of this opening is that this area seems to be tinged in red ochre, which is the most sacred colour. As to which hand it is held, thus determining whether it is a male or female rock, that cannot be absolutely established. However, as it is so small, quite elegant, curved with rounded edges and uniform in colour, the chances are high it is a woman’s rock.

The opposite and second largest side have three pecks that break through the topcoat, and for want of a better description they look like a very basic human face with two eyes and a mouth. What also stands out is the unmarked and pristine ‘as new’ condition of this rock. It has clearly led a very protected and sheltered life and has no day-to-day functional purpose. We are extremely confident that it was used in women’s ceremonies that involve the Seven Sisters.

An Introspective Contribution

This five-sided rock measures 8.8 cms in length, and in what was an interesting repetition it measured 3.5 cms in width and height. We believe it is a holding rock used in men’s ceremonies for positive outcomes. We must point that whenever venturing into the mystical powers of these sacred rocks, there are no absolutes, any suggestion is hedged around possibilities and comparisons. There is no reference book or final verdict, although the recent appearance of all of Frederic Slater’s written work may yet fill that void.

                The most heavily marked side of this rock has nine fine lines of varying lengths which are all very straight and of the same depth and narrow ‘hair’ width. The rule is that whenever straight intersecting lines are dominant the content must relate to ‘as on top’ business. There is one line that is even thinner than the others and it is the only continuous line that circumnavigates all five sides. Perhaps this is a path taken by a spaceship or planet. Two other lines on this side do extend further on to the top side which is also quite heavily marked.

                These two sides also contain some fairly intensive pecking activity, with the densest cluster also acting as a thumb rest and interaction point between skin and rock. Most holding rocks do generate some form of energy exchange once the correct song or ceremony is given. Normally these rocks have a chipped section or hole at the front which happens to be where this manifested energy shoots out in one narrow beam. This rock seems to work in reverse, as the exit hole is at the back of the rock and would mean that power surge does not go outwards but inwards towards to person holding the rock.

                There is almost one common feature shared by this rock and the earlier thickly coated miniature, they are a very close match in colouring on the coat. Granted the larger rock’s coat is less than half as thick, not quite as intense in colouring or lustre, but in general terms they are close to a match.

Fading at the Edges

When comparing this rock to the other five rocks briefly discussed, it is a distant sixth and for some time was not included, it hovered on or below the minimum baseline for acceptance. We have rejected hundreds of rocks simply because our rule for inclusion must involve examples on the rock of technology beyond the reach of all stick, stone, bone and open fire tool kits, that is non-negotiable. In most cases there are multiple ticks, but this rock just gets one tick. The shape could be artificial, but we could never be definite, there is one huge percussion bulb for the thumb to rest, and as it is with the rounded edges all of this can be created with the more recent less sophisticated technology.

                Its saving grace is the thin red coat which is more like a lacquer than an ochre overlay. What is apparent on the coat of one of the five sides is not the customary combination of red, brown and yellow, but is mainly a muted yellow brown colour with five small patches of red. The other four sides are one consistent reddish-brown and until looking closely at the residual patches we had assumed that was the normal colour of the rock. Red is the most sacred colour and on that side it is clear to see the patches of red sit on top of the dominant colour.

                As to who held it, how it was used and what happened next, we have nothing beyond a thin red lacquer that was applied for reason or reasons unknown.

Instant Karma

These six rocks sent to us through the post bear witness to cuts, weight-supporting bases, pecks, shaping and geometry that contradict so many fundamental assumptions that underpin our current versions of human ancestry, evolution, history and technology. These rocks are real historical truths, but oh so inconvenient and unwelcome in polite academic and political circles. Their solution is to continue to look the other way. Right now, everything is so chaotic and is imploding into this way and that way.

                The problem is this time around a choice must be made over which way to proceed forward or backwards, and once made, that decision has immediate consequences.                               

1 Comment

  1. Yes of course I came across a butterfly black it was with white dots in liñe its head much like the black stone in your video, it flew onto a sea palm tree leaf folded it’s wings and sat there while the gentle breeze blew I was mezmerized by its beauty and gently aproaching it I began to sing sound coming closer and closer reached out with my left hand to touch it’s wing as I did it sat there and then it fluttered geñtly it’s wings of recognition to me and I continued with sound as the beautiful butterfly sat still again, wings folded up in a pray position. How grateful life is. So in love we are. It was as a pray, touched forever

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