Five Rocks That Have Everything and Nothing in Common

Five Rocks That Have Everything and Nothing in Common

By Steven & Evan Strong

17/05/16

Unlike the last two articles on the ever-expanding collection of sacred marked and shaped rocks, there is in this introduction neither an apology nor a clumsy attempt to amuse or divert. Our recent research of the horse-like statue and a coin with Alexander the Great stamped on one side, focuses on products of humans and mines and lack one essential quality. These five rocks we have chosen from our ensemble are far more enigmatic and sublime than any object made by humans. And this time our analysis will be a touch more bold and introspective, through the addition of a new category: magic rocks.

We spent some time weighing up options and perhaps negotiating a mid-point with a slightly less confronting label, but ‘possibly a little bit magic’ is lame and the chances are our final choice has fallen well short. Until now all other groupings and general descriptions of these sacred rocks, be it marked, shaped, pecked, hand-held, astronomical, cut, etc. have been based on appearance or function, never a nebulous quality. Scientifically unmeasurable and unrecognised, any claim that breaks into mystical grounds, when all around we have remained constant in applying high science in our research of these rocks, stands on unstable empirical footings. Yes such a straying from the well-worn path is unwise at every conceivable level, bar one. Our Original guides, the content of the commentaries supplied with some of the rocks, an absolute certainty of Original authenticity and the things we have witnessed with some of the ‘magic’ rocks in hand, leave us no alternative but to break ranks.

The term ‘magic rocks’ is a compromise of our making, and includes rocks under our custodianship identified as “cylcons,” “magic rocks,” “shaped rocks,” “Churinga (Tjuringa) Stones,” “Stone Tablet” and others bearing images of sacred Sky-Heroes/Spirits. All of the rocks are attributed to have different powers and come in a variety of sizes, shapes, colours and markings. The only binding principle is a reputed ability to bend or break conventional laws of science. Be it levitation, transferring thoughts, opening portals, ringing like bells, transmitting energy through a symbiotic relationship between silica and skin, spinning copper rods at a distance of ten metres, these rocks can heal, kill and God only knows what else. The powers of these Original rocks and the energy some transmit has been verified by Elders past and present, and once given appropriate guidance on the handling of cylcons by Uncle Marbuck, many more of this genera have become part of this collection.

There are fourteen cylcons in various states from complete and pristine to a small segment of a point under protection. The geology is as always mixed, as is the shape and size. We have recently spent some time focusing exclusively on that strand of magic rock and made no mention of the others, but we did in our latest video and presentation debut one such rock. This time around we intend to continue down that complimentary path with five rocks that represent a cross-section of other types of magic rocks. In doing so, it seems appropriate to begin at the point of first entry with a more thorough examination of one sacred rock no woman should ever touch.

Men’s Magic

We have been reliably informed by an Indigenous Custodian of high standing that this rock should never be touched by a woman, and we have no reason to challenge that declaration. The notes that accompanied this rock were just as adamant that this is a “magic rock,” but is vague in further details.

We have never seen anything remotely like this rock. It is heavy, most probably basalt and where it hasn’t been coated, black. The rock measures at its widest points 16 cms x 7.5 cms x 4 cms and is very smooth and curved. If it wasn’t for a small notch we believe is made for the thumb, the rock is almost symmetrical. The extensive white covering is no less than two coats thick, and this white veneer is very thick, quite pitted and unseen before.

What is intriguing is that it seems a few small uncovered ‘breathing holes’ are a part of this arrangement where a few small sections of the rock were never covered. Not only is this rock unique, we cannot identify this white coating/substance. Whatever it is, we strongly suspect it is not lichen and as inappropriate as this may seem, the closest we can come to is coral. Its importance cannot be underestimated, the small notch which was used for the thumb to rest upon has the thickest accumulation of white coating. With every other held rock in the collection, the thumb-rest is roughened too intensify the contact between skin and silica, this time new rules are at play, where the coat is the primary catalyst.

Accompanying the thumb print, is the only large non-white vacancy on the rock. On the bottom side there is an almost totally clean section of 8 cms by 5 cms, which happens to trace out the line of the left-hand palm when holding the rock in the prescribed manner. There is one stubborn patch of 1 cm x 0.8 cms that has maintained its stationary post, but outside that spot the coat has been wiped clean through constant rubbing between hand and coat.

This rock has a ‘presence’ about it that is impossible to quantify. The note stating that it is “magic” is window-dressing and merely a statement of the obvious lacking in depth. We knew the rods would spin when the dowsing rods neared, irrespective of whether this rock was held, this sacred rock has levels and interactions within that in some cases, may well be best left inside.

What sets this rock apart from every other in the collection, is that it alone leans to the left. When held in the right hand with the thumb positioned on the notch, the palm rests uncomfortably atop a thick unbroken layer of white, but when held in the left hand, the clean section matches exactly the lay of the palm and the outline traces out perfectly the edges of the left-hand palm. To our knowledge a left-hand grip is rare, or a one-off, and that alone is a point deserving of much reflection and further research. The confirmation from an Elder highly versed in the mystical of the spiritual credentials of this sacred object merely endorses what was already agreed upon.

A Doppelganger with Seven Sides and Straight Lines

Travelling further down the same esoteric path is the only other rock we have received that also received the tick of “magic rock.” However, there is one apparent qualification in that this accreditation comes from a non-Original dealer in Original artefacts, and that comment could be the result of a guise which masks a blatant attempt to up the price through duping the gullible who believe in such unscholarly claims. Problem is, this rock was sent to us directly by the person selling this artefact who also has a genuine interest in Original culture, for free.

Upon first inspection the immediate differences between the white and black rocks cloud the eyes. There is not one drop of white anything, it is not curved and round but straighter with sharper edges forming a distinct shape with corners. The black rock is slightly smaller with seven distinct faces and a base that can take the weight of the rock and stand upright unsupported. The numbers of this uncoated rock are also at odds with the larger rock, at the widest points it measures 12.5 cms x 5.5 cms x 3.5 cms. However, although the numbers are smaller, the proportions are similar and general shapes are alike. In height and width this rock is 1.5 cms smaller and 0.5 cms thinner.

All of these distractions clouded our vision for some time and it was only when the rocks were placed beside each other did their shared purpose and esoteric design become apparent. Firstly, both rocks are entirely of one make, basalt. The colours are identical and both share a dark grey hue and slightly pocked surface. The general shape of the second “magic” rock, once ignoring the seven sides and straight lines, is almost identical to its white companion, even more so when squinting your eyes. Each rock shares a narrowed point from which energy radiates outwards.

This rock also has an artificial notch for the thumb to rest upon, but on this occasion the positioning is very much the norm, in that it accommodates the right-hand thumb. There is a very small depression just below the projection point that was made for the index finger, and further down the left-hand side are three more slight undulations that are a perfect fit for the remaining fingers. This rock has the mystical flavour and heritage of the first magic rock, but remains very much part of the majority package in leaning to the right.

Of course, we knew from the beginning that even the casual use of the word magic will certainly see many eyebrows raised and cynical inclinations stir, but can we suggest before a heavy dose of righteous indignation is allowed to take control the reader remember that this concept was, until Cook, an Original reality. Men and women adept in the spiritual pursuits were admired by all, the idea that a human could levitate or disappear was never doubted. Magic was a daily part of life and death, and many talismans and sacred objects were part of that magic. The rocks we are discussing today belong to a yesterday where magic was science and everything was possible. These two magic rocks were created at a time where, as the great Ramindjeri Elder Karno declared, “people had more DNA.”

Unlike nearly all the rocks we are studying, this rock and its whiter companion has no prominent markings, cut lines, pecks, imprints, infills, intersections, perfect geometry or alignments of 90 and 180 degrees to marvel over. Even the few faint lines that are part of this clean-skin magic rock are no more than soft background fill. Both rocks were made to be held and pointed, past that point and coming out of each point all we can report is that whatever that energy is, the Original people of the time regard it as real “magic.” Our take is that the power still resides within these rocks, but alas our repertoire is running short on song, chants, notes on the yidaki and lacking an Elder or Custodian who can supply the missing pieces. But tomorrow, who knows.

The “Abraded Stone Tablet”

From the first time we read those words, a written explanation that nothing else that has come close to, it has created more gaps than explanations. In establishing the esoteric credentials of this very unusual creation, there is no precedent to compare against and no more information supplied. Even the choice of the descriptor “tablet” has no Original linguistic parallel, and certainly past that point, outside one very obvious biblical connection, we are in uncharted waters.

Every time I look at this rectangular stone tablet, I can’t stop being immersed in the same fictional flashback. Visions of Charlton Heston, in his role of Noah, coming down from the mount with the Ten Commandments inscribed into rock, are a constant companion I cannot shake. Photoshop this Original tablet and make it five times larger, the general shape and exquisite overlay on the top and bottom would make the perfect template for any Creative Being to burn their codes of behaviour into rock for posterity.

Perhaps there is lot more truth to this ancient scene than Hollywood’s Biblical rendition of Genesis, but outside arguments over where truth and fiction collide, there is one elemental difference. There are marks on these tablets, they number in the hundreds, but none are written in Aramaic, Greek, Roman or English. The script is far too complex and profound in needing a keener eye, sharper mind and more DNA at the helm. From the first moment I saw this rock it reminded me of the ancient Original language engraved within and around the outline of a saltwater crocodile found at Panaramitee (S.A), which is dated to be no less than 80,000 years old. The timing alone has caused much grief within academic circles, but what seems to be lost in the debate is that Elders have also insisted that there is also a complex message encoded into these marks. The shapes, intersections and lines within and around this crocodile is a narrative which is very much in the style of this stone tablet. Could it be, as it is with the crocodile at Panaramitee, that this tablet also chronicles the most ancient form of communication?

Top and Bottom With a Serving of two in Between

The first issue to be resolved is whether this is one shaped rock or a composite of four horizontal layers of rocks that were joined. From our point of view it seems highly likely that this is not one unit, the top and bottom veneers are both quite thin with the bulk of the rock consisting of two inner layers. Together they measure 35 mms, while the upper and lower layers are both 2 mms thick.

A dark chocolate brown, the two inner layers seem to be sourced from the same geology. Where the differences begin relates to the remarkable reddish-brown hue that coats the top. What really ups the ante is that this colour is not repeated on the bottom, undeniably both are distinct overlays with lines of separation with the base rock beneath, but the bottom layer has less red and more brown on the surface. They are close in colouring, but there is enough variation to distinguish each rock as being clearly different.

What is fascinating and unparalleled in our collection, is that the two inner layers of rock are not equal in size. The upper layer is around 15 mms thick, while the lower slab is 20 mms thick. There is a quite noticeable crack that runs around all four sides uninterrupted. The line of separation is most likely a surface crack that does not run deep.

It seems to us we are looking at the end-result of one of two processes, the more feasible is four layers heated and bound together, the far less likely outcome is that the top and bottom plates were coated in some form of dye/ochre which was melted and hardened on top of the two fused rocks beneath. The chances this is one rock without any interference and down to natural forces are nil and not worth pursuing.

The main reason we feel that the lesser option is two coats applied at the last stage is that these thin sheets of rock are so different from each other and actually share little, if anything at all. Not only is the colouration different, on the left-hand side of the top plate is a much heavier red tinge running down one side. There no visible red colouring on the bottom plate, but there are at least twenty thin black lines running across the face, and not a hint of one such line on top.

The style of marking is dramatically different from that on top. There are two dominant lines on this face that stand as two focal points, and is very little else. Underneath those two lines is a cream undercoat. Whereas upstairs there are hundreds of lines of equal prominence that share nothing with its colleague. Each of these lines cut into the surface is coloured a reddish brown. In combination these lines create hundreds of individual shapes on the top plate, as opposed to an accidental one, or possibly none, on the bottom plate.

A Plate Full of Spider-Webs

As amazing as this tablet is, as stunning as the implications are in the technology required and temperatures needed during manufacture, there is something more important on display of which we can offer nothing of substance. The tablet was shaped, formed, heated and fused primarily to carry a message of considerable gravitas. Whether a map of the stars or earthly location, a narrative, prophecy, message from the stars, an amusing anecdote or broken romance, whatever has been engraved we can neither interpret nor have any guidance. The meanings and intentions of this ancient cryptic script is beyond our meagre capacities. The best we can do is very basic in that the red top plate looks like a spider web was pasted on top of the rock, and that’s about the sum total of our firm offerings on this area.

We can’t offer words, sentences or seminal events, but when it comes to identifying intentions and sources, many Indigenous keepers of the Old Ways throughout the world never lost their heritage. Lakota Medicine Man, Archie Fire Lame Deer, is one such custodian of the Old Ways. He is very familiar with sacred magic rocks and their meanings, paying particular attention to what his “father always told me.”(1) Archie Fire Lame Deer’s father knew of special rocks which “are covered with spidery lines and cracks.”(2) What reinforces our claim that there existed an ancient international language with a mystical agenda encoded into “spidery lines,”(3) is his claim that this “secret spirit writing that only a few can interpret”(4) is very much part and parcel of so many of the Ros’ Rock series found in Australia. Sadly, in understanding symbols or meaning we are not one of the “few,”(5) but one of the many when it comes to not comprehending the details of “secret spirit writing.”(6) Nevertheless, the little we can grasp makes it easier in identifying some context and authors.

As with many sacred rocks, it was designed to be held and pointed in a prescribed manner in the right-hand, with the thumb at the vanguard. Probably more so than any other rock, as the thumb position is so long the entire digit down to the webbing can rest on the rock in comfort. It is a very balanced position which is easy to find with the whole thumb resting on the right-hand side, index finger at the top and three fingers spread evenly down the left-hand side. As heavy as this stone tablet is, it seems lighter to hold when resting in the ‘ready position.’

Poetic License

Until now, this account of the stone tablet has not made reference to magic or any other supernatural inclinations, and rightly so. That word was not used in the very brief sentence supplied through white-fella channels that accompanied this precious artefact. That, of itself, counts for little as these rocks should still be on country in the right hands, and once leaving the right location and tribal affiliations any non-Original explanation that accompanies this sad state of affairs counts for a bit to nothing.

So with nothing in the books, it’s into the rock-face to build up a check-list of what lies between. At the present state of proceedings we can confirm that the mechanics of the manufacture of this stone tablet is phenomenal. What only adds to the credentials of this unique creation is the subtle variations in colouring on the upper and lower layers with an accumulation of the most sacred colour red in the upper face, confirmation that it is “secret spirit writing,”(7) and the absolute uniqueness of this tablet with its parallels to the famed stone tablet of Genesis are all impressive contributions that present a strong circumstantial case for inclusion in the “magic” category. However, until holding this tablet in the right hand in the right way, this is merely spectator sport. Once held in the hand, deciding whether this rock is worthy of inclusion in this new grouping of “magic” is not a decision, but a natural turn of events.

While still in this subjective frame of esoteric arrangement stoked by a liberal dose of poetic license, the next rock we have nominated for inclusion is again proposed by us alone, and is also lacking in paperwork or direct Original endorsement.

Seven Sides of the Same Story

This rock is somewhat reminiscent of an artificial rock shaped into a four-sided pyramid we placed on the Standing Stones ridge. I remember Karno holding the rock aloft as he asked those assembled to select the position we felt marked out what would have been the centre of the southern circle of rocks. Once we found an agreed position, Karno placed it on the ground then shared with us seven different meanings held within this rock. Each face and edge, was different in size and details and in combination formed a complete narrative. There were no marks, cuts, pecks or any impact points, just the shape alone and the meanings unlocked.

If it was only that easy, as he shared this snippet of the First language, he then added that each symbol, line, shape, marking and angle has up to four meanings depending on timing and context. But it doesn’t stop there, there are specially shaped stones that are not only meant to be held, they can act as a catalyst in assisting the person in contact access their mystical powers. We are of the opinion that this seven-sided rock is one of those special rocks.

Originally this rock had seven distinct clean sides, a chip, which we are convinced is not an intentional thumb position but due to random impact, is the only imperfection. Before this breakage, all seven faces had defined lines and edges. This is a fascinating collection of clean shapes, of which none resemble any geometry. The combination of straight lines, curves, smooth kinks, converging lines, sharp corners and irregular shapes make an object that stands apart in so many respects. It would seem the person responsible was set the task of constructing a seven-sided figure where every side, angle and the distances in between, was opposing and unique.

Whenever we come across an Original shaped and marked rock that is without precedent, one that requires an inordinate amount of time to construct using very advanced technology and is not a tool, weapon or has any practical purpose, the spiritual bells start ringing. Containing the largest and smoothest thumb-depression of any rock in the collection, a very smooth discreet projection point and evidence of wholesale skin wear with over 85% of the original dark grey upper coat rubbed off, this object has been held and pointed often for a good reason.

Between the Lines, Along the Edges and Hints of the Past

Unlike the two accredited “magic rocks,’ which are entirely one make of rock, this construct did have a complete coat of dark grey silica, but it was way too thin to serve the long-term role it was destined to serve. With the exception of one side which although worn, still carries a tinge of grey and quite a few lines and pecks that are still visible, every other flat surface has been rubbed clean of the original veneer. The base rock is an almost cream colour and that dramatic difference in colouring between the much darker top coat and the light undercoat accentuates the prominence of the thin grey lipping running around the edges.

It was made to be held, often, but for what reason? With all utilitarian purposes crossed off, and no reason to suspect it could assist in art, music, dance, song or even tribal battles, if trawling through the daily life of Original pre-Cook societies, all that is left over to cater for is ceremony and magic. It just doesn’t fit anywhere else, of course that alone is not a justification, nevertheless the artefact took a long time to make so it must have a purpose which we feel cannot be pragmatic and must be mystical.

And to be honest we are forced into using terms like ‘feel’ when trying to validate any mystical presence or power held within any sacred Original rocks, there is nothing in our ‘scientific kit-bag’ that is up to the task. It seems yet again our closing argument in defense of the magical qualities of this rock comes down subjective observations and intuition utterly lacking in scientific rigour. Irrespective of the gravity of academic offense caused, we are compelled to declare that we have spent some time in the company of this fascinating Original rock and have no doubt it is a worthy inclusion.

After the last two examples chosen by us, it seems fitting to return to a sacred rock whose accreditation in sacred business cannot be challenged. The final rock in this esoteric chapter has been stamped incredibly spiritual and powerful by the Original Custodians of Far North Queensland some time ago.

Quinkan Country, “Gibb R. 1955”

Many of these rocks come with little to no paperwork, this very important rock has nothing. Fortunately, I knew within a millisecond of sighting the engraved spirit, where this rock’s country was in general terms and the specific “Quinkan” Dreaming Story associated with this figure. The river and date written on the back of the rectangular rock tablet in ink do help, but the figure and rock are quite capable of speaking for themselves in providing the setting, main spirits and potential powers residing within this rock.

Because this Dreaming Story comes from a country of which we have no Original connections or right to speak about, we intend to be spartan on details and names and focus more on the generalities. There are three main Creation Spirits in this Dreaming story, which undeniably is one of the most important of the region. In the simplest terms there are three Spirits: one is good, another evil and this one sits in middle. Each have special powers and some of these are most definitely magical, as is this rock.

What struck me the first time Ros contacted us expressing her desire to bid for this rock, was the size of the circular knob. We have seen other depictions of this spirit, both ancient and contemporary, and none had an appendage of this size. It is as wide as the outstretched finger on each side could reach, half as long as its body and the first point of attraction.

This rock will return to country, the power of that spirit is part of that rock and can be unlocked. It was put in there, way back, by practitioners of the Original mystical arts and the key was never thrown away. Its magical bona fides are secure, that was never in doubt.

As an incidental attraction, and something we are always on the lookout for, is any evidence of a technology that is well beyond the current mistaken expectations. And we were not disappointed, the rock is very hard and needs a tool of considerable strength and durability. However, as hard as the rock is, everything depicted bar the hands and feet has been pecked and it is feasible this could be done with stone technology. Nonetheless, it is the exception that inevitably changes the rule and the hands and feet are not pecked, but cut in one motion. Whether the metal blade of a chisel or blade of a very hard knife edge, it is difficult to choose but easy to rule out any stone, bone and stick tool-kit. The two sets of four fingers (reinforcing a non-Earthly origin) are each created by one stroke, of which one is one centimetre long with each making a very straight line, clean edges and a consistent depth. Without doubt, the hands and feet are yet another part of the same ancient Original technology we are yet to emulate.

Magic Rocks-an Apology and Retraction

Throughout this report that title, magic rocks, kept getting worse. The claim is trite and woefully short of the mark. There is a power, energy or latent force of some sort we are at a loss to fathom or come to grips with. The mechanics of how any rock, no matter what was done do it and when, could be so powerful does not fit into any conventional scientific model. None of this makes sense, and what only adds to the drama ahead, this is such a wretched path to travel down. If we centre on the magic within these special rocks, what shall we make of the wisdom of the ages, technology that rewrites our entire pre-history and a narrative that repositions part of human ancestry into the stars held within this rocks?

Apart from those inspirational testimonials from so long ago, some of these sacred rocks have the ability to take us to the other side, but that’s another story.

Upon due reflection, accepting that the description of this category of Original rocks fails at every level, we have decided to do the only sensible thing available in leaving the title, magic rocks, untouched. The reason we have done nothing except compound the error is simple. What we have here with these rocks is beyond words, outside the grasp of any hand, sorely needed by every Earth dwelling resident, and has no title.

REFERENCES:

(1) Archie Fire Lame Deer & Richard Erdoes, 1992. “Gift of Power: The Life and Teachings of a Lakota Medicine Man”, (Bear & Company, Inc., Santa Fe, N.M.) 219.

(2) Ibid.                                                   

(3) Ibid.

(4) Ibid.

(5) Ibid.

(6) Ibid.

(7) Ibid.