Ros’ Rock No.1: Series of Articles 1-4

1) An Original Engraving Made by Ancient Advanced Technology?

By Steven & Evan Strong

Ros Rock 1: By Samarah Wood
Ros Rock 1: By Samarah Wood

Recently, a woman named Ros contacted local bushman extraordinaire Jake Cassar seeking some guidance on a stone artefact in her possession. Jake realised immediately how important Ros’ archaeology was and suggested she contact us as soon as possible. Ros’ account of how this amazing relic was found, and her experience with mainstream academics who literally ran away shielding their eyes from one amazing marked stone, was compelling, but until we could examine the rock ourselves, we were not prepared to pass any judgment as to whether it was genuine.

Michael Tellinger and Louise Clarke were spending a day with us viewing a variety of sites we are researching, and we decided it would be in the spirit of sharing and of great assistance if we asked Michael and Louise if they would also like to examine the rock. We arranged for Ros to meet us later, at the end of our research day, at an agreed point and approximate time.

First Impressions

During our day working on country, we showed Michael and Louise photographs of this enigmatic rock and they were certainly very keen to inspect it. What struck Michael was the delicacy of cut and the similarities to the Blombos Rocks of South Africa. This was a touch difficult for us to come to grips with as we had no idea what these rocks were, or that they even existed. Michael spoke of the Blombos stones in such a casual manner, as if such news was well known, and it may well be the case elsewhere but certainly not by us. A shared glance, shrug and raised eyebrow left us none the wiser.

Steven: I momentarily entertained the idea of bluffing my way through and feigning familiarity, but such was Michael’s enthusiasm and talk of the incredible antiquity of these South African stones, I swallowed my pride and pleaded complete ignorance.

Among his many qualities, Michael is obviously a very patient man. He took us through a ’101 introduction’ of the African stones he has personally seen and, in a fascinating extension of timing, explained that the stones are generally agreed in mainstream circles to be somewhere between 75-100,000 years old — perfectly synchronized with our estimates of comparable Original artefacts. It is claimed that the Blombos engravings are the very earliest evidence of Homo sapien art/communication yet found in the world, and promisingly, looking at these photographs, Michael’s first impression was that the lines and patterns evident on Ros’ stone could be of a higher standard.

We met Ros at the end of the day and what we saw, filmed and touched – and in one case kept – far exceeded our expectations.

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This following discussion is admittedly a work in motion, and will be followed up after further consultation. For now but we believe the stone is so unusual it can virtually ‘speak for itself’ and needs little description, interpretation or commentary on our part.

Ros’ Rocks

According to Ros, the rock was found in 1990 during excavations while building a new brick home on a piece of land located within two kilometres of the Bambara Hieroglyphs. Found approximately one metre beneath the surface, it is clear this rock is not part of the local assemblage. Above and below and in every direction, all rocks near and far are sandstone, and yet this rock is neither sedimentary nor sandstone.

Ros Rock Location

From the very first sighting Ros was aware that the rock didn’t belong to the Kariong/Bambara geology, but the markings on three sides was understandably the main focus of her interest. Not only was there evidence that tools of the highest refinement were in application, there was also on display a delicate touch and considerable artistic talent. This lead Ros to wonder: how was is made?

In the 20 years since she first discovered this stone, Ros has made numerous unsuccessful attempts to answer that question. ‘Experts’ Ros consulted with acknowledged the markings were clearly the work of human hands and sophisticated technology, but as any theory that could account for this artefact sat well outside the realm of all accepted accounts of Original pre-history, typically no further opinion was offered. It seems it was easier to walk away than to seriously consider evidence that might prove mainstream beliefs and assertions incorrect.
Although unwilling to venture far outside the ‘academic box’, one of the ‘experts’ Ros met did state that he believed the rock to be ironstone. Our resident geological advisor and ex-professor in geology, although limited by only having access to photographs, believes it is not ironstone but something even harder.

Having held and viewed it close up, all we can add is that this stone is extremely hard with small compact grains, and would undoubtedly require a chisel of considerable refinement and strength to cut into such a hard surface. So where did this stone come from?

Although not prevalent in the region, Original Custodian David Fitzgerald has informed us that there are two small deposits of ironstone relatively nearby, protruding out of the sandstone at Umina Beach and Dalley’s Point NSW. During our next trip down to that area, comparisons will be made between the engraved rock and both deposits.

Photo By Samarah Wood

Until then, what can be stated with certainty is the hard rock, intricate designs and time given in reverence in creating this sacred object necessitates the existence of an Original technology of sophistication, evidence of which is now so much the norm, in this area and many other locations across the country. Being either ironstone or something harder, with dozens of fine deep incisions, and found a metre beneath the surface automatically rules out the use of post-Cook technology in its creation, and equally, of any Original rock-stick-and-bone tool kit.

The Blombos Rocks… an Inferior Imitation?

In addition to the first three rock artefacts she showed us, Ros also presented us with two documents detailing similar finds in other parts of the globe. First up, and there were no surprises here, Ros presented photographs and some commentary on the Blombos Rocks. We could now see why Michael made the comparison, and who were the novices in this exchange. The markings on the Kariong/Bambara rock were indeed much finer and more pleasing to the eye.

Artistic merit aside, what was also evident was the softer grain of the Blombos Rocks. From a simple photographic comparison it is obvious that the Kariong/Bambara rock is a much harder type of stone; so hard that its deep incisions demand the use of a hardened tool – no less than an iron blade. This fact was no doubt the stumbling block for those ‘experts’ Ros consulted; according to universities and school text books, until the British Invasion of the late 1700′s no such tool was manufactured inside this continent. And yet there sat the end product, a metre below the established ground surface. Although we have more work to do, our first assessment is that this artefact alone may rewrite large sections of Original pre-history.

Leaving aside its questionable origin and sophisticated creation, and the reluctance of experts to venture into such unexplored territory, there is something that further accentuates the importance of this rock; another article Ros had found while researching. According to this article, discovered in China was a “stunning 30,000-year-old engraved stone artefact” which was half the size of this one, of a less precise line, and had one-tenth the amount of engraving. In fact it barely scratched into the surface when compared to what was in my hand. It may have been regarded as “stunning” in China, but in Australia, with Ros’ rock acting as the yard stick, it is underwhelming in comparison and barely rates a mention.

One of the other rocks had a particular appeal for Michael, which is his story alone. It too was extremely important for quite different energetic reasons and, until Ros’ intervention, was bound to be sold on the open market and stored in a private overseas collection.

Ros Rock 1: By Samarah Wood
Ros Rock 1: By Samarah Wood

What did resonate for us was learning from Michael and Ros that the Blombos rocks are claimed to mark humanity’s first venture into recording art and communication for posterity, and could be up to 100,000 years old. If so, where does that place the Kariong/Bambara rock in the great scheme of things? Is it older? And was it the inspiration behind the Blombos Rocks, which could be merely cruder copies of the original? Or is it younger, the result of a more refined, developing technology? What tools were used to engrave this rock? (we use the plural in this case as there seem to be indications that more than one type of blade was in use) Who created it? And why?

Once More into the Breach

Not only does this artefact potentially sit outside the embrace of accepted versions of Australian and global pre-history, but it’s presence within the earth, one metre beneath the surface, may also introduce ancient paradigms, participants and purposes to this unravelling historical equation. And although our investigation is in its preliminary stages, the question must already be asked – where to next?

First and foremost, we hope to examine the site at which this rock was found in more detail, and will continue seeking out the counsel of the Original Custodians of the Old Ways. Likewise, we will also continue seeking the advice of those academics (if any remain) who possess the open mind and inquiring disposition required to properly assess this intriguing artefact.

As always, we are also obliged to try and nudge and cajole mainstream media and academia into action. We approach this difficult task with trepidation – it is one we have tried before, with very mixed results. And until now, every time Ros has gone through ‘official channels’, a wall of inertia and denial was all she received.

But amongst all the official deflection and procrastination, there was one ray of clarity that Ros never forgot; when the sensibilities of the Old Way prevailed. Ros told us of an Original Elder who told her that, not only was the rock the genuine article, but that she was chosen by the Original spiritual guardians of the site and stone to recover, then act as the custodian of, this precious and extremely ancient artefact.

Despite our justifiable skepticism of involving instruments of the mainstream, we owe it to Ros for her determination to try – once again – to speak her truth.
Ros has also made a Statutory Declaration outlining the details of her find, and her subsequent attempts to understand it.




2) The Rock That May Rewrite Chapters of World History

By Dr Derek Cunningham with Steven & Evan Strong

Dr. Derek Cunningham made contact with us after reading our first article on the engraved rock: “An Original Engraving Made by Ancient Advanced Technology” (see above). It soon became apparent his extensive work and research was a perfect fit and an essential element in making sense of this unique artefact. We now work in partnership and this article is one part of this process.

Recently we presented what is intended to be the first in a series of articles discussing some of the implications associated with an amazing engraved rock recently discovered in Australia that has rightly drawn comparison with the Blombos Rocks of South Africa; an engraved stone that is one of a select group of artefacts dating from circa 400,000 years ago to 70,000 years ago that shows the earliest evidence of conscious, non-survival related thought in early human history.

For most research scientists studying the ancient world, it is in that pursuit – the search for data that can draw definitive conclusions about early pre-history – where the greatest difficulties occur; simply because after so long a time there is now virtually nothing left on this planet with which to now make a comparison.
Though it is our intent to show these two samples are identical in design, archaeologists it must be said are not good at measuring “similarity”. Their training is the direct opposite, and that is to identify, wherever possible, the differences between two samples. This is done so that a sample can be “properly” catalogued and entered into their database. They are now so good at this process they have become unquestioned robots in their zeal to classify and separate everything by the smallest and most obscure differences. The problem now, to be blunt, is that unless two artefacts are absolutely identical in every single respect the archaeologists are by their training totally unable to state two otherwise identical objects are related. They will argue intensely about the perceived differences and then finish their argument with the completely untestable assertion that it is simply a coincidence. I am sorry but a coincidence argument is simply an opinion, and it is normally employed as a last ditch attempt by the person that has already lost the argument.
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For most neutral observers watching from the sidelines there is one other important fact that is really difficult to accept, but it is actually a very true reflection of the current position of “science”. The fact is…there is absolutely no archaeologist who is an expert in ancient writing, that is also an expert in astronomy and also an expert in stellar navigation, that specialises in Australian ancient rock carvings that can comment on an ancient carvings found in South Africa that are both potentially 70,000 years old, and who could comment on their similarities to the Lascaux cave paintings, and the Atacama Giant in South America. Thus if anyone is waiting for an “expert” to come forward, to give a green light and to say out loud and clear that they were constructed by the same civilization…you will be waiting until cobwebs have formed over your dust-filled decomposing computer.

And this is where the long-standing disconnect is. Others have looked at the exact same evidence that the archaeologists work daily with and see the hands of an ancient Stone Age Civilization that must have travelled the entire breadth of the world. Archaeologists by their strong need to categorize everything for museums create a science where it has slowly become impossible to compare any similar object. They need objects to be classified by region, by date and by material type. Once that has been done any attempt to link any two similar objects then automatically becomes controversial…for absolutely no obvious reason. Being really blunt once more. Is it really impossible that there were no tourist in the Stone Age? Did not one single ancestor think of the shape of the world until finally the Europeans sailed the oceans? Do not humans have legs and are capable of walking from one end of the world to the other? In recent years people have walked from one end of the Americas to the other. Here any honest archaeologist would have to say that such long distance travel must be possible, the only remaining problem then is agreement over common features present on ancient artefacts.

The problem in comparing an engraved Australian stone with a 70,000 year old stone uncovered at Blombos Cave in South Africa is that academics state that there is still insufficient evidence to argue that hominid set foot on the soil of Australia until 60,000 years ago. With this one single “fact” which produces a 10,000 year gap in dates, there is thus no academic expert, even at this most basic level, to consult as no “established” expert that studies Stone Age carved stones can argue an earlier date for Australian occupation than that give by experts that study Australian pre-history. Thus the Australian stone is now in our hands, left unstudied, and entirely ignored by academia. It is thus very embarrassing to established science that mere amateurs can now show through a series of very careful comparative tests that the Australian stone and the Blombos stone do in fact match each other in design, and not only can we show this, but we also can now show that the exact same logic used to create the Blombos Cave pattern and the Australian engraved stone in Australia is found worldwide, from the Lascaux caves in France, to engraved stones found in North America.

If it can be proven that the Australian stone was not fabricated within the last 2 years (in other words it was discovered before the first papers deciphering the linear patterns on these stones was published) it can also be argued that the discovery of the Australian stone is amongst the strongest evidence yet for a Stone Age global civilization. And for the first time, it is now no longer possible for the established archaeological community to ignore the results that we, a group of international amateur historians present.

Ros Rock 1: By Samarah Wood
Ros Rock 1: By Samarah Wood

For us we are now entering ‘unchartered waters. Our results are for the first time showing such a large degree of internal consistency that we can now begin to start working in isolation and not care what established archaeologists think or say. As we stated, there is no archaeologist with the experience that we have, and has studied as many samples worldwide. Our hope is that this second article will add a degree of clarity and perhaps narrow down the possibilities that surround this controversial stone. Originally this article was meant to be merely a progress report investigating some of the avenues that seem to have promise, which came about through the contacts made as a result of the first article. As a result of the first article quite a few researchers of high standard from overseas who have sought us out, sharing what they have discovered, and some of this advice and direction now forms the main focus of our present and future analysis of this unique engraved rock.

As encouraging and edifying as their knowledge and suggestions have been, there is still a continental recurring scholarly absence we just cannot escape, none of the offers of recent assistance are from Australian sources. We have made direct contact with one of the most prestigious universities and museums of high repute, and again fully expect absolutely nothing to come out of our approaches.

Lines with “Astronomical Values”

With hopes held low of breaching the divide, it makes no difference, as there is something quite spectacular attached to the narrative that accompanies this rock and in that respect we must thank Dr. Derek Cunningham, who was the first of our overseas advisors to make contact. From the very beginning we sensed he was navigating a similar path, in his first email we learnt that he too selected the date of 400,000 years as a seminal point in the evolution of modern man, and also believed that there was an extremely ancient global civilisation which was far more advanced and sophisticated than we are led/lied to believe.

As much as his take on our ancient past was in synchronicity, it was Derek’s research and a single, confident comment offered in his first email that left us so pre-disposed to continue. When declaring that “I’m betting the latest sample discovered will match the 70,000 year old Blombos Ochres” he certainly sparked our interest, but he then became more specific in supplying the potential key to deciphering this collection of engraved lines, angles and intersections. Derek maintains with now a considerable body of evidence that:
“The angles drawn by the lines are astronomical values. The angles the lines are drawn at simply represent, in an angular form, the astronomical values used to predict eclipses. In total there are only several astronomical values, producing several lines, and agreeing with our prior studies, samples with linear angular text has been found world-wide.” ~ see Derek Cunningham’s work on Lascaux, the Great Pyramids, and the Atacama Giant.

Ros Rock 1: By Samarah Wood
Ros Rock 1: By Samarah Wood

In presenting very much a global picture, Cunningham felt that the Blombos Ochres, which are comprised “of a double row of square and diamond patterns,” was a form of archaic symbolic text, with the angle defining the consonant and the direction of offset of the line defining the attached vowel, producing a written language very similar to Japanese. This early use of angular values was used, Derek contended, in creating a related, equally ancient star map that could be used to navigate around Earth. Of course, as this was our first contact through email it was all quite tentative, but knowing as we do that Original Elders of degree are united in insisting every earth-bound Original site, artefact and location of significance must have a celestial counter-part, we already knew Derek was right. Despite my intuition and Original tutoring there was still the question of evidence, and perhaps a measurement of the angles on this enigmatic rock by Derek would provide clues.

Apart from the obvious similarities to the Blombos Rocks, and those we are now aware of at Lascaux, my first reaction upon seeing this rock was to compare it to Ogham Script-which is thought to be the earliest form of Irish writing, something that Dr Derek Cunningham has also looked at with some success. At the most simplistic level all Ogham Script appears to be is an arrangement of lines, mainly vertical and not much else. After all, as simplistic as this may sound, writing is merely different ways of using formalised lines and angles arranged in a way that can pass on all manner of information, and the lines on the rock Ros found have the angles, lines and patterns needed to tick every box in achieving those ends. Though Ogham has been around for a very long time noone until Dr Derek Cunningham has ever took the effort to measure the angles drawn by the Ogham script. All agree the Blombos Rocks is an example of early thought out art, and we, and those who have seen and touched this Australian rock, agree that it is superior to the Blombos Rocks in quantity, quality and manner of cut, hardness of surface and sophistication of message. There are three panels or faces of engravings and each is distinctly different in design and no doubt, message engraved.

Derek’s email supplying his analysis and measurements of the angles on the first face was doubly reassuring. That so many of these angles were recognised by Derek in other locations in both Europe and Africa was a more than pleasant confirmation, but what was intriguing was the angle of a secondary value that dominated and was represented on six occasions on the reworked photograph of the marked rock: it drew the value thirty three degrees, a value linked to the first reset point of the lunar and solar calendars.








Six Times Thirty Three Equals One

Derek immediately realised that “here the vast majority fit with prior studies.” To assist us in identifying angles seen elsewhere, “those marked in yellow are the offset values drawn. The lines marked in white are offset either above or below the horizontal”.

After examining Derek’s fine work I passed his photograph onto a select few that accompany us on site and are involved in every aspect of this research. Within minutes Sean Vandenberg emailed back pointing out something that much to my disappointment I really should have picked up within a millisecond after sighting, the place where the artefact was recovered is not only situated within two kilometres of the Bambara glyphs, but sits on the thirty-third latitude. This fact may just be yet another coincidence, but it certainly wasn’t through prior knowledge as Derek pointed out when responding to Sean’s observation.
“Oh I love that … That makes it an independent test, because I did not know the latitude.”

No Less Than a Metal Blade

A separate, but obviously connected feature of this rock, relates to the fact that the rock is incredibly hard and at the very least quite rare in the region, while the incisions are clean, deep and precise. There is the possibility that two blades of differing width were used, but at the very least iron blades of considerable hardness are the bare minimum requirement. Another possibility is obsidian, which can produce incredibly sharp edges. Irrespective of whatever translation is deemed acceptable, the question that needs to be asked is what tools were used in chiseling these engravings? The answer to that question is in many respects, more important than any translation.

What only adds to the intrigue, and narrowing of options, is that this rock is not the only rock bearing evidence of technology supposedly foreign to this country before the British Invasion. We know of four examples of cuts into rock in the immediate area that appear highly refined.
The 300 odd glyphs engraved into the sandstone walls at Bambara, along with two long narrow cuts into vertical walls of the same material were in our opinion chiseled by some type of blade.

Reading Between the Lines

In trying to find any meanings to what is engraved, we feel there could be much more to this narrative than is apparent to the eye. The lines, angles and intersections are plain to see, but what if one was to look more closely and magnify proceedings? Richard Gabriel and Judith Ann had already been liaising with us through his analysis of the walls of the ten metre underground shaft positioned behind the Bambara walls and other sites. Through the innovative application of a spectrum of coloured lenses and magnification, he detected the remains of an ancient gallery spread along the two walls of the tunnel exhibiting exquisite artistry in the depiction of animals and objects found both in Australia and other continents.

His work thus far on this single rock has left him excited and astounded, and utterly convinced that this artefact is of global significance and pivotal in opening up new horizons and reacquainting humanity with histories long forgotten by many. As it is with Derek’s research, Richard’s investigation is nowhere near complete, and until he has completed his first set of investigations we will hold back on further commentary. Even so there was a comment Richard made when discussing the impact of this discovery in setting the scene, spreading the palette and opening up options rarely considered.

“The whole point of the discovery is that here we have phenomenal artistry at a minute scale, on a rock surface which is dated back to infinity-and done by means at the hands of a highly advanced craftsman in a way we can only speculate over. It is irrefutable proof of advanced people back then.”
As we have conceded this is a work in transition and at its early stages, and of course we are waiting on the response of all Original Elders and Custodians consulted before venturing a collective comment. The little that has been revealed we are not at liberty to publish, but what can be stated is that an Elder has declared the rock to be “very, very ancient” and extremely sacred, and definitely an Original artefact.

Fact or Fiction

Nowhere near complete, this preliminary report is meant to set parameters and narrow down the candidature. The rock exists, and to be honest its credentials rest on the shoulders of Ros’ integrity and commitment in seeking out the truth. And it Ros who is both the lynch-pin of this sacred stone’s renaissance and weakest link in the narrative attached to this discovery.

No doubt, cynic and official minion alike will suggest and infer that this, just like the hotly-debated Bambara hieroglyphs, is merely a hoax. Worse still, what if it was Ros who found the rock days before the excavator came to dig foundations and scratched into it with a chisel, then cleverly dug down and placed it in a position sure to be disturbed soon after. Waiting a good twenty years since the bogus act of chicanery, Ros now presents her mischief as real and claims the limelight and her 15 minutes of notoriety. As utterly ridiculous as this scenario is, as we have personally met Ros and will vouch for her sincerity, every denial must be laced with degrees of this being bogus through her deceit. Because if all of what we claim to be true is actually that, then throw out the ancient history books and start again, because there is nothing inside those pages that can do anything other than get in the way.

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The alternative is that the rock is “very, very ancient,” Ros is telling the truth and there isn’t another option on any table. Truth or fiction, which label is to be given, it is that simple? Knowing the real truth of the rock and Ros, we now need to offer a tentative take on what these ancient engravings could actually mean.
At this stage we will limit our interpretations and conjecture to Side 1, simply because it is the only set of engravings Derek has measured and the repetition six times of thirty three degrees has held centre-stage. Knowing the Original mantra of ‘as on top so below’ holds fast for every sacred site and object, the idea that this is some sort of map bearing the latitude of the place where the rock was found, is so in keeping with Original Lore and difficult to dismiss.

That recurrence of angles/latitudes also negates another criticism, incredibly superficial and quite surprising as it was, that this rock bore the brunt of natural processes and the scratchings are merely the outcome of uncontrolled abrasion against sharp objects. But that would be random in nature and haphazard by design, one look at Derek’s reading show some lines slowly segmenting in an arch, others perfectly straight and often parallel with some at opposing angles, all inter-locking and formed at the same time. In what also runs counter to any erratic interplay with a combination of natural agencies, all the engraved lines are of the same depth and width.

If indeed the first side is what we suspect, a block of text relating to potentially an archaic map, what of the other two sides? At first glance we feel neither serves that function, each engraved side is different in setting, number of marks and pattern. As such, to assume that each section relates to something different seems logical.

Whatever it means and whenever it was engraved is still under consideration, what is not debatable is the large amount of time and skill required. Many, many hours were spent in engraving, which of itself is quite remarkable. Being part of a hunter-gatherer society where staying alive is a daily issue and the tribe’s dietary intake is limited to what is found or hunted on any given day, this could seem to be a total waste of time as it serves no utilitarian purpose. There must have been a very good reason, and an even more important message to pass on, if willing to sacrifice many hours that could have been spent adding to the chances of the tribe eating more.

We can offer no conclusion at this stage beyond some incremental steps. We know that Ros is telling the truth, the rock is genuine and being found one metre beneath the surface, must have been engraved at a time well before Cook sailed up the east coast of Australia. Whatever tools were used are not supposed to be in existence anywhere within this continent until 1788, but it is obvious they were being used on this rock. Derek, Richard and Judith are hard at it with more to come. We are chasing up Elders and others with skills that may assist, and Derek made reference to other grid engravings in Australia, and in America, which may provide additional data to aid our work.

Where to Next?

Apart from continuing to consult with our world-wide network of talented advisors, in the meantime we are compelled to once again trudge down a weary road. Pardon our jaded enthusiasm and justifiable cynicism, but this Original artefact is of such immense significance we are duty-bound to vainly try and convince mainstream media and educational institutions how important this artefact is and the ramifications that emerge out of that acknowledgement. To that most probably frustrating end, we are continuing in our attempt to contact both academics and media outlets, by extending them an invitation to be present when this artefact will be first presented to the public. At present it is locked away in a safe and will remain secured and hidden until October 1.



3) Astronomical Stone Carving Defies Ancient History

By Dr. Derek Cunningham with Steven & Evan Strong

(The Rock That May Rewrite Chapters of World History – Part 2)

Capture 5








“There will be messengers that will precede the coming of the Purifier,
They will leave messages to those on Earth who remember the Old Ways,
The messages will be found written on the living stone …” ~ Hopi Prophecy

Following on from our previous article “The Rock That May Rewrite Chapters of World History” (see above), this article continues our ever-expanding research into a very special engraved rock that was discovered by a local woman, Ros, on the NSW Central Coast – a rock which throws into question many chapters of our accepted world history.

In our previous article we made a deliberately vague mention that there may exist an engraved rock, found somewhere in the Americas, that exhibits many similar features. On this front, there have been further developments. Dr. Derek Cunningham sent us a link to an article he had written in 2013 that was entirely unknown to us, and much to our surprise, it was an analysis of an engraved stone found in Canada which was similar in style and design to the second face on the Australian rock.
See: Analysis of a Carved Rock Discovered at Holt’s Point in Canada: Evidence of Proto-Writing and Astronomical Awareness

Recurring Astronomical Values

What immediately struck us in the diagram of the Canadian rock Derek supplied was the reappearance of an angle that recurs throughout the Australian carving: thirty three degrees. Without doubt, on the Australian rock it is the most numerous and prominent angle engraved and equally, what we feel is the most conspicuous engraving on the rock at Calgary is also aligned at thirty three degrees. With the angle on the Australian rock already confirmed to represent latitude, it seems more than a touch coincidental that, being one of many potential measurements, the same angle was found on the Canadian rock – especially given that a position of 33 degrees latitude is thousands of kilometres to the south of any location in Canada.

Another-Chapter-of-Ancient-History-to-be-Re-written-Astronomical-Values-Converted-to-AnglesOf course, opine critics and sceptics alike will dismiss this as a random occurrence, however, this is a gross underestimation of proceedings at two levels. Dr. Derek Cunningham is meticulous and precise in his compilation. His tests on each of 100+ artefacts and archaeological sites employs in each case a comparison between the artefact or archaeological site to a fixed list of astronomical values converted to angles.

Though many of the lines are found in a tight band ranging from 1 to 13.66 degrees, there is within this list only a small number of lines at higher angles. The potential for over 100 artefacts archaeological sites to randomly align to both the lower angle values, and also the higher angular values, is close to impossible especially when in some specific cases the sample being studied is aligned to the cardinal directions and cannot be rotated – see for example the Atacama Giant which shows alignments not only offset to due east but also a 90 degree rotational symmetry that produces the exact same values are aligned to true north. In comparison, the causeways in front of the Great Pyramids are much simpler.

The Atacama Giant of Chile observed “as is” with lines offset to due East. A detailed study shows that all lines are astronomical in nature with the image showing clear evidence of a 90 degree rotational symmetry.

The values chosen by Dr. Cunningham are restricted, as just stated, to a very specific range of astronomical values; those values are those that astronomers use most routinely to (1) measure time (2) align the lunar and solar years, and (3) to predict lunar and solar eclipse events.

To begin the most important values used by astronomers is arguably the sidereal month. This lunar value marks the time taken by the moon to cross the same star twice, which takes 27.32 days. This is thus drawn on archaic artefacts as a line at either 13.66 degrees (the half-value), or at 27.32 degrees (the full sidereal month), the half value perhaps represents the waxing and waning of a moon. The next value astronomers use to predict eclipses is the 6.511 draconic month period that equals the time between the two successive alignment of the moon, earth and sun at their nodal points at the time the moon is either a full or new moon (6.511 Draconic months equals 6 synodic months).

Obviously an astronomer will also need to take note of the 5.1 degree angle of inclination of the moons orbital plane, and with sufficient studies the astronomer would equally note the 9.3/18.6 lunar cycle which plots not only the movement of the moon through the night sky, but also the lunar nutation cycle that defines when an eclipse will occur. The 11 and 33 degree values often seen in ancient artefacts mark the 11 day difference between the lunar and solar years, and the 3 year reset point (3 times 11 days) that marks the first point where the lunar and solar years can be reset.

*Together these values mark the standard values used to analyse multiple sites such as the Causeways located in front of the Great Pyramids, the Lascaux Cave paintings in France, the Atacama Giant in Chile, and the Australian stone currently under detailed scrutiny here.

An image of a geometric pattern found in Lascaux Cave France. Here the image was recorded by an independent research team that took images of all the Lascaux cave paintings using an advanced camera. The pattern was analysed “as is” with no rotation of the image.


Side 2 – Tracks All Over the Place

Dr. Cunningham’s first reading of the angles carved into the second side of the Australian stone has been completed, and even at these preliminary stages there are observations that can be made that really fall under the ‘more of the same’ banner.

The first number that caught my eye when sighting the second set of figures was again this number thirty three, being equal to the angle of latitude where this specific stone was found. However there are in this stone a number of other angles and lines that appear equally noteworthy, including a set of lines that align to circa 23.4 degrees. The 23.4-degree value equals the current latitude of the tropics, and the angle of the Earth’s tilt.

Apart from these values appearing in artefacts found all round the world, the strongest argument against these lines being random is the fact that the same angular offsets are seen either to the right or left of vertical or above/below the horizontal. These exact same values are then seen in the archaeological records in the first Mesopotamian text, the Shang Dynasty Bones of China, and even the Petroglyphs found in Hawaii.


As described in Dr. Cunningham’s recent Book The Long Journey: 400,000 Years of Stone Age Science, the reason why these sites are connected is simple. The sites are linked to a long-forgotten world map that was created using the stars to position to map not only the shape of the earth’s continents, but also the most important religious sites of the world. This is a map that not only explains the location where the Australian stone was uncovered, it also explains the Mayan reset and, perhaps most impressive of all, explains the enigmatic nature of the ancient Greek Myths.

Before venturing any further down a path long forgotten by most, we need to completely brush aside a rather trivial objection and then move on to more serious business. More than once, those of a narrower inclination have dismissed these markings as being made by a human hand, and of no significance with no inherent structure on display. They see this as the result of someone idly scratching patterns into rock without intent or purpose, but seem to have no grasp as to how written language began and evolved.

To be honest, we are only now starting to get our head around the dynamics of this extremely ancient and linear script. The inclines, angles, length of line and shape created are elemental components of a formalised yet subtle language. A variety of recorded languages are quite similar to the ancient founding language engraved into this rock. The ancient past Ogham script is an obvious comparison, as too is the ancient text found on the Oracle Bones of Chinese. Here the angle of offset may reflect the vowel, and the angle of the line the consonant. For this reason, writing may have been a complex thing to master, and only taught to the religious elite.
And it is that evidence engraved into the rock which is the scene of yet another unexpected development.


We are in constant contact with a geologist of the highest calibre who, owing to his understandable preference to remain anonymous, is more than willing to guide and advise our team provided it can be done without publicity. From here on, we will refer to him as Professor X.

The reason we felt compelled to introduce a geological authority into this investigation is simply because some of what we will now attempt to paraphrase is known only by professionals of his field, and not fully understood by us. Until now, Professor X’s suggestions and advice has been generally understood and we were able to interpret his work without needing to rely directly on what was written. This time, his commentary contains knowledge that is beyond our reach, and because of the depth of geological insight required to properly understand this artefact, it would be disrespectful and disingenuous to present such a fascinating premise in our own relatively crude terms.

Admittedly, our advisor’s anonymity breaks a fundamental academic rule, but we believe that is irrelevant to this ground-breaking investigation. The truth has nothing to do with who said what, but rather what is said. Surely all that counts is whether the commentary supplied is geologically sound.
If our anonymous colleague’s observations are correct, this rock displays many unusual properties – including potential heating.

Reading Professor X’s recent correspondence, we had to check again to make sure our eyes or minds hadn’t failed in transmission. But there it was, the word “heat” was used as a possible causal agent in the creation of this rock. And while we already thought the notion of a “knife” was a big stretch, we certainly didn’t see this coming. Quite simply, our friend and advisor was having real trouble attributing a natural cause to this rock’s creation. In geological terms, this rock breaks all conventional rules.

“This thing has me totally puzzled from a “natural” point of view (if it’s natural), and I will tell you why. Most very hard rocks like silcrete (or flint and chert too, to a lesser extent) weather with a LIGHTER rind of cortex. This has DARKER rind than what seems to be inside it!!!! … judging from the bumps and scratches on/into it. I know VERY few things that could make a DARKER rind instead of the usual weathering product of a lighter coloured rind-heat might be one possibility. Is it something that has been heated?”

Of course we could never answer that question with any confidence ourselves, and it is because of our lack of awareness of such obscure geological processes we rely on the advice of those we trust. What we can say is that, heat of such intensity being applied to create a carved rock found one metre beneath the earth’s surface is a path of investigation we never suspected this man would propose.

Interestingly, we soon realized his question of heat was intended as a semi-rhetorical comment, as another comment he sent soon after related to another three areas he highlighted as also being “unusual” and of “lighter material”. Our expert noted once again that these anomalies exhibit qualities “true of heated objects”. However it must be made clear that, at no stage did our geological guide advocate the conclusion that intense heat was used to cut into one of the hardest rocks in the continent, just that there is ample reason to suggest heat of some sort was at play. As to what object or device is capable of delivering heat and at what temperature the stone was heated to (if indeed it was heated) we are not able to draw any firm conclusions.

Although our Original Custodian friend, the recently deceased Original Elder Mr. Bostock, advised us time after time that the enigmatic Bambara hieroglyphs were engraved not by chisel but by laser, we are also aware that there are many less technological advanced ways to apply heat and etch lines. In the case of the Australian stone, the unnamed professor refers to the darker rind as being evidence that the surface of the entire stone was heated, while the late Mr. Bostock was, in contrast, referring to the etched lines. If one is considering applying heat in a sharp linear path, the easiest method to comprehend is the high temperatures reached while cutting with a circular saw, such as the low-tech circular saws used towards the end of the 19th century. These saws, created with minimal technological advance could be rotated at high speeds with proper gearing. Other means to apply high temperatures in a straight line is the use of stones with sharp edges heated in a high temperature furnace, and applying the hot edge of the sharpened stone to the surface to be etched.

To determine how these specific linear lines were made on this Australian Stone will thus require further study. For example a comprehensive study using X-ray diffraction, High Resolution Transmission Electron Microscopy, and EXAFS might reveal useful information about the material’s structure and oxidation state at the “supposed” melt zone, and determine whether the surface of the stone is really consistent with the surface being exposed to a high temperature or is simply a change caused by natural oxidation or other chemical reactions. At present not enough data is at hand to draw any conclusions, and for now this will remain a work in progress.

SONY DSCIt should be noted that there exists one other sample that might require similar, very detailed studies, and that is an amalgam of metal and crystal found in the Bambara region, in which the crystal appears to be fused into the metal – a process which requires extremely high temperatures and technology far outside the Original rock and stick toolkit.


Maybe More Than Maybe?

At this juncture, there are three strands of investigation being undertaken, two of which we regard as rock-solid, but unlike that which we know to be true, there is also that which feel is likely. Since Dr. Cunningham’s understandings and findings of the general purpose of the Australian rock engraving is in accord with Original Lore and sentiment, we are utterly convinced this strand of our investigation stands on solid ground. Similarly, the geological observations of our anonymous Professor X are unshakeable, and form an integral part of part of this investigation.

However the same cannot be said for the research of Richard Gabriel and Judith Ann, independent archaeological field researchers. Unlike Dr. Cunningham’s research and the geological observations of our anonymous colleague, the jury is still out on Richard and Judith’s application of colour and magnification. Nonetheless, at this stage of our research, we are happy to share their findings and to supply a brief commentary.

Photo analysis/treatment: (Color enhanced and magnified) Richard Gabriel & Judith Ann and

Not only are the potential technologies and techniques employed in this rock’s creation challenging notions to absorb, Richard and Judith’s findings, that something akin to a “knife” cut into the very hard surface of this rock, has understandably been regarded quite poorly from a conventional stance. The problem being, if a chisel was in action we would expect to see a series of jagged lines not the smooth flow of line with consistent depth throughout. If by some unknown set of circumstances it has been chiselled, the blade required would be incredibly fine and even stronger in hardness and applied by a skilled and steady hand. Nonetheless, the enhanced image of what seems to be a continuous line at the bottom of many engravings does seem to support their observation.

The problem of course is that, whether a delicate yet extremely tough blade or a controlled heat of considerable intensity was used, both alternatives involve technology that is assumed never to be part of the ancient Original narrative or Australian landscape until the twentieth century. As controversial as either choice certainly appears, Richard and Judith pushed the boundaries even further in their claim that there is an even smaller, verging on microscopic, set of engravings and peckings evident on the Australian rock.
In totality there seems to be ample reason to walk away from their work and stand on more solid archaeological ground, backed by the work of Dr. Cunningham and Professor X.

The first reason is that direct etching of miniature images is clearly impossible. The images are just too small. There is however a mechanical method available to create smaller or larger scale replicas of a drawing or engraving, which uses a combination of levers that can be used to scale down or scale up a drawing. But as Dr. Cunningham mentioned in his recent book, science is not for the faint hearted. Every time you have an idea, the easy part has been done. The hard part is to create such a mechanical device that can copy a much larger, more detailed image to a much smaller stone – thus proving such a theory is possible.

Because of the misgivings and views of our colleagues who urged caution in endorsing this radical line, we began viewing the collection of treated and magnified photographs with some degree of cynicism. The concept of a knife cutting into this rock is still on the table, and is certainly a solid back-up theory to any mechanism/agent capable of applying intense heat to cut this rock. But the claims of Richard and Judith, who have looked even more closely at this stone, that there are miniature script, carvings, engravings and peckings evident on the Australian rock, is a huge stride into the void.

However, on first viewing, we decided to put aside our preconceptions and look at the pictures without prejudice so as not to be influenced by the opinions and interpretations of others. After viewing the first ten or so photographs, our initial reactions fluctuated from “I don’t see it” to a tentative “maybe”. It didn’t look promising and we were beginning to seriously wonder.

Then next shot appeared. It was of what appears to be a sphere with some small lines engraved, each line sharing the same depth and width of cut. Try as we might, there was just no way we could accept that this was a natural marking. There were at least two, possibly three, other magnified photographs that have left us inclined to believe there is perhaps some communication present at a level barely visible to the eye. Such layered detail would certainly correlate with our ever-present macro/microcosmic theme: As on top, so below.
For now, this idea remains a “maybe maybe”.

The Current State of Proceedings

There is so much more to investigate, and yet even though we have barely begun to understand the significance of this remarkable stone artefact, there are some ‘definites’ that have already emerged and some other avenues that look promising and certainly worthy of further consideration.

The recurrence and dominance of the same angular values in so many comparable samples is of paramount importance. Knowing that Dr. Cunningham has extensively studied these samples over a long time frame and on every populated continent, and that his related theory of an archaic ancient map can also explain why this specific region in Australia might be the location of so many unusual finds, in our opinion it would be a dereliction of duty to merely dismiss this repetition as an outcome of chance. As to whether some form of intense heat has been applied in its creation – a theory which we fully endorse – all we can say is … let the evidence lead the way.

Whatever form of technology was utilised in creating this special stone, it is undeniable that a great deal of time, labour, knowledge and expertise was invested. With that in mind, this was clearly an attempt to communicate something its creator felt was of great importance. These markings cannot be attributed to any natural process, nor are they examples of meaningless etchings. Make no mistake – this is an example of formalised script. It contains a message that may inform us of humanity’s ancestry, and possibly even our path forward.

Of course, naysayers will say it is all one big hoax. Perhaps Ros and her family are lying? Perhaps she had etched these lines into the rock and planted this as bogus relic? And to give the hoax more gravitas, perhaps she cleverly repeated the 33 degree angle on not only on two sides of the rock in Australia, but also whipped across to Canada with another rock that fraudulently highlights the same angles? And just for good measure, perhaps she ensured all the carved lines exactly match astronomical values that replicate those used by astronomers to predict eclipses? And then perhaps she etched the same lines into other ancient archaeological sites such as the Atacama Giant in Chile and, when the guard was not looking, the Lascaux Cave Paintings in France? And, perhaps to multiply her mischief, she chose a rock in Australia that is unlike any seen by a geologist with few professional equals? Then, with nothing to gain financially, perhaps she maintained this lie for some 20 odd years until some gullible researchers such as ourselves stumbled on to the scene and naively accepted her ridiculous claims at face value? Perhaps this is a hoax of monumental proportions?

Or perhaps the Australian rock is an archaeological discovery of monumental proportions, and those involved are in fact telling the truth.

Another unresolved issue relates to the actual make up and category of this rock. In her initial investigation of the rock’s origins, Ros met a qualified geologist who, although keen to hastily part company and have nothing more to do with Ros or that terribly inconvenient piece of geology, did concede the rock is exotic to an area entirely dominated by sandstone. In his estimation, the rock is ironstone and is a substance not naturally found in the Central Coast region. Yet on both counts, others claim he is wrong. Professor X is very confident it is not ironstone but something much harder, possibly chert, while David Fitzgerald, one of the local Original Elders who also assists our work (and who was also the Original sites officer for the area’s National Parks and Wildlife Services) knows of two local deposits of ironstone. Our understanding of the geological composition of this mysterious stone remains a work in progress.


The Shuidongguo Paleolithic stone, published by Heritage Daily November 2012

What is evident is that this engraved rock is unique and so far without equal in Australia. Structurally, it is very similar to many other etched stones found word-wide. It’s carvings are certainly more complex than the 30,000 year old Shuidongguo stone found in north-west China (left). And it is certainly equal in complexity to the Holt’s Point engraved stone from Canada, and the Blombos Cave Ochres of South Africa. But the most beautiful sample, in the opinion of Dr. Cunningham, is still the golden Bush Barrow Lozenge discovered within the Stonehenge Heritage Park.
Bush Barrow Lozenge
Bush Barrow Lozenge found at Stonehenge Heritage Park

Our geological advisor has presented a compelling case in support of some form of heat being applied, and the many irregularities of the rock itself. This will be followed up, and as it is with Dr. Cunningham’s research, both strands of research have an extremely solid empirical base.

That brings us to Richard and Judith’s area of expertise. Despite the equivocation offered by others who urged us to reconsider, I feel they too do not fully appreciate, as we didn’t, the merits of their work. In this case, it is all contextual. There is information engraved into rock, including at least three images and one indentation that look unnatural. Whatever tool was used to create it can make an exceptional fine and delicate mark, and easily penetrate one of the hardest rock surfaces found on the planet. It is therefore no big stretch in logic or imagination to propose that the stone may record two messages that vary in size, not just one.

For us, the enlarged image (below) of the engraved rock caused us to reconsider. As Evan said at the time, “there is something going on there”. And if there is unexplained carving on this rock once, then the door is open for more.

Circle  Our ‘To Do’ List

There are many avenues of action and research still to pursue, and some that are yet to appear on the horizon – but they will. Our future agenda includes a reading of the angles on what seems to be the least interesting third side of the stone, but as appearances are often deceptive, we will pass no expectations or judgements until the figures are in.

From a geological perspective, we will check the rock against the two deposits of ironstone David Fitzgerald alerted us to in the region, as well as an inspection of the site at which the stone was originally found. Then, after our upcoming public presentation in Sydney, we will be venturing off to work with our geological expert. When the rock is taken out of the safe, it will be photographed with the highest resolution cameras at our disposal. Every line will be measured and depths of incisions compared. It will be weighed, and close-up photos will be taken of its grain.

In deciphering the information carved into the rock, Dr. Cunningham has spoken of the potential that there are “opposite angles” linking the 3 carved sides together, and has provided very specific instructions on how best to analyse the stone further. Also, having more defined and clearer images will assist Richard and Judith to identify further potential markings at the minute level. And of course, we have a slew of other rocks and artefacts that may also benefit from inspection by their trained eyes and technologies.

We have invited members of mainstream media and academia to attend, but having endured a track record of ignorance in our previous dealings with mainstream institutions, we hold very little expectation that anything meaningful will be done on their part. We have also extended an invitation to members of local government (the Gosford City Council) to meet with us at a place and time of their choosing, to view the artefacts, listen to the narrative, inspect the facts, and understand how historically important this area actually is. The entire region is literally littered with amazing archaeology and deserves nothing less than World Heritage listing. To that end, local government officials must play a vital role in recognising the significance of this archaeology – including this engraved rock – and should be involved in protecting and honouring the area.

There is so much more to come, and with the expert personnel we have on board and the beacon of Original wisdom acting as our guide, we are confident it will be revealed shortly. What, when and how that will come about is not our call, but entirely under the control of Original spirits and sensibilities. As long as we remain eternally mindful of that constant truth, we can be confident we will continue to learn more of this almost-forgotten ancient Original history. All we have to do is read the engraved lines, then read between the lines… and perhaps even magnify them as required. Once that happens anything is possible.

Further Analysis

Here is Richard and Judith’s research. As we mentioned earlier, the jury is still out on their proposition. But because every rule has already been broken with this artefact, we believe everything is possible. After all, this rock contains intentional messages, and there is very strong evidence an incredible fine blade or beam has been applied to cut into a hard surface using a technology regarded as sophisticated by today’s standards.
We deliberately avoided reading this text until after viewing their work. We also recommend to view first then read after each photograph is seen. Richard and Judith are adamant that at a level so small it can be barely seen by the unassisted eye, something has been engraved into the rock. We are inclined to think they are right and believe they may be onto something.
Take a look and see what you think.



4) Is Unexplained Rock Carving Evidence of Advanced Ancient Technology?

By Steven & Evan Strong (With Contributions from Richard Gabriel & Judith Ann)

Ros Rock 1: By Samarah Wood
Ros Rock 1: By Samarah Wood














We have done this many times before. Our modus operandi is to share our research work co-operatively, engaging all manner of experts in a variety of fields. It is the only effective way of dealing with the huge diversity of science and archaeology that has come our way. In fact, as we are being guided by specialists in their fields, whom we trust implicitly, we find our relative ignorance is actually the best position from which to begin researching the most challenging artefacts. With no predisposition to what we learn along the way, the ego must surrender to the knowledge of those who know more.

Working from this base – curiosity surrounded by brilliance – we believe we have an advantage over those bound by the academic establishment. We are more interested in re-constructing the big picture from the pieces of evidence that come our way, than fitting new evidence into already-accepted fictional accounts of history and science.

When the Penny Dropped

“I’m starting to pick this up … I get it!” Taken from our email response to our geological consultant, this was the moment when the “penny dropped”. It had been a protracted ordeal, and taken more time than any other geological work our mentor had guided us through, but finally the reasons why he was so “puzzled” and intrigued by the rock itself – and not just the engravings on the rock – started to become clear.

Our advisor is a geologist of the highest calibre who, owing to his preference to remain anonymous, guides and advises our team provided it is done without publicity. For the purpose of these articles, we refer to him as Professor X.
At this stage, Professor X is having real trouble doing anything more than ruling out what the rock is not. He has examined the possibility that it could be chert, river pebble, laterite, sandstone clast with a thin coating of iron oxide, ironstone, haematite and all manner of rocks containing iron oxide, and at the present stage, he is still unsure how this rock should be categorised, and has difficulty explaining its dark colour and hard composition.

Our geologist also made note of the “rinds or cortices” on the surface, indicating possible processes that seems to break all the rules. He describes two subgroups of rind types as bases of comparison:
a) Weathering rinds-typically lighter coloured (due to leaching).
b) Rinds on clasts in laterite-like ironstones (due to iron oxide ACCRETION).

Hard or Black (But Not Both)

Having clearly defined how things should proceed, Professor X went on to explain that “neither of the above fit well”.
In the most basic terms, it comes down to this: it can be hard and not black, or black and not hard, but never black and hard. This rock is most obviously very black and very hard. As Professor X put it to us:
“the (a) type could be on HARD stone yet is rarely black. The (b) type is rarely black (could get to be black with ‘excessive’ development) but mostly does not fit because it is accretional and always composed of iron oxide and iron oxide IS NOT HARD. A hard crust somehow related to heating seems at least feasible but in my collection of melt/fused/heated surfaces I have no close match in appearance to it. Hence as said before I can’t point to anything that is very close to having its properties as per your photos and presuming it is moderately heavy.”

And it is this aggregation of unique “properties” that is the primary focus of this article. To best understand the problems faced and the process our geologist went through that led up to this geological impasse, we have selected comments made from a series of emails from which we will piece together a narrative that may assist the reader in understanding the difficulties every geologist must face when considering this excavated rock.

A series of three emails sent between us, subtitled “Could your rock with lines on it have come from laterite?” best illustrates the knowledge, rigour and the steps taken – leading nowhere. He began by referencing previous research done on laterite, in particular he was interested in formations exhibiting a “thin coating or iron oxide” as being a possible explanation.

“Such coatings are very common in laterites or at laterite terrains. They are of haematite and brown or red-brown. Thus this phenomenon CAN give you a coating/cortex of darker over lighter”.

So finally, a geological agency seemed to have been identified that could explain the engraved rock’s darker cortex… but this respite was momentary. Professor X continued…

“BUT: I don’t think I have ever seen these coatings very dark brown or black. And, iron oxide (haematite / limonite / goethite) is never very hard-like your rock seemingly is.”

This rock really does seem to sit outside all geological conventions. Of course, until he personally examines the rock he is obliged to always add a proviso like “seemingly”, as would any good scholar, but we are certain that, upon inspection, there will be no more equivocations. The rock’s colour, being black, is one of many other features our expert is grappling with.

“The coatings on clasts in laterites are usually brown but not black but cannot say they NEVER approach black even if that be rare … in that some clasts getting to about car key length are very dark. But usually the very dark or black ferruginous clasts found in laterite areas are only pea or marble sized things.”

Our advisor well knows, as we do, known forms of “marble sized” or “pea” shaped black rock may apply to many other rocks and formations, but does not apply here. Because of its size alone, this rock seems to stand apart from the geology of the local area, and possibly everywhere.

What It Isn’t

The only thing that can be definitely said about this rock is that it has “properties” for which our resident expert has “no close match”. With no possibility of an official verdict, the rock is at least no less than a geological anomaly, and we have no doubt much more than that. Without going into details, we suspect this rock’s history and destiny sits outside the pages of any book. But that will be shown in the near future.

For now we would like to return to another observation made by Professor X in relation to the presence of “heat” used on the surface and engravings in the rock. It is a topic raised many times by our geological adviser and presents a recurring obstacle; in his opinion, the evidence indicating heat is there to be seen, but from what is currently understood in geological circles, it just doesn’t make sense.

To be clear, Professor X never mentioned or even hinted at the idea that the evidence of heat could be interpreted as laser cutting into rock: that is solely our contribution. In our previous article we went into greater detail in justifying our claim that a device made of crystal and metal capable of creating a laser beam of intense heat, could have been used.

Found within one hundred metres of the Bambara hieroglyphs and two kilometres from where Ros’ rock was uncovered, this recently discovered crystal and metal artefact may well be coincidental, but we sincerely doubt this is all random; there is just too much evidence for it all to be ‘random’. The object certainly isn’t natural and we strongly suspect it to be part of something larger.

SONY DSCThere was a farm house nearby that stood until the 1930’s when it was burnt down in a bushfire, which although hot, is unlikely to create the sort of heat needed to intricately fuse crystal and metal. Past that point in time, the area remained abandoned until well after any form of technology needing a crystal of this size was part of our technological landscape. Taking into account the extensive archaeology found in the region, we believe this lessens the potential of recent human involvement.

Our recent collaborator, Dr. Derek Cunningham, felt that dwelling extensively on such a controversial assumption as the use of lasers, would distract discussion of this artefact from some very solid science and research. He was right at that time, but not any more.

Five Reasons Why Not

Throughout this article and the series that preceded it, we have made a clear distinction between what we are certain is fact, and that which could be. Any conjecture about how these engravings and various marking were made currently falls short on any scale of certainty. For now, there can be nothing that comes out of this other than degrees of probability, but despite the absence of absolutes, there are five reasons why we believe lasers are a likely explanation.

First and foremost, our interest in such sophisticated technology was initially kindled by an Original Elder, as it always is, and should always be, in our discussions of another site – the Bambara Hieroglyphs. Recently departed, Mr. Bostock was an Original keeper of this site, introduced many to these walls over a long period of time and was the custodian of many Original secrets related to these sites. Mr. Bostock often spoke at some lengths not only about the validity of the Bambara engravings, but the techniques and tools employed. He began and finished many a conversation with the same claim: laser. We certainly don’t need further clarification.

Capture 2
See more at:-

Nonetheless, from the first time we were taken by local researcher Mark Bates to another site – the engraved compass – and learned of the time a university professor inspected the site, we received further confirmation of our opinion that laser was involved in the creation of some of the ‘unexplained’ archaeology in the area.

Positioned in the bush a long way from any sign of modern civilisation, there is no farm, development, roadway or any other reason to account for the presence of a small rock platform with a perfectly engraved 8-armed compass. Each arm radiates out from an impressive engraved circle that bears no hints of a jagged line or straight edge. Every arm is aligned at exactly 45 degrees and is absolutely straight with 90 degree sides and a 180 degree base. There are questions that stand out that require serious consideration, relating to to the hardness of the rock platform upon which it is engraved, the fact that there is not a one millimetre kink or deviation in any line engraved, and that the professor who conceded this engraving could be replicated in the laboratory but not in the field.

Theories of technology aside, what is just as intriguing the question of timing. If created before the British invasion, this artefact could be evidence of a civilisation of rarely suspected sophistication, and could indicate a timing of around 12,000 years BP. If created in the 230 years since invasion, it represents a disastrous miscalculation in the most elemental functions of map reading; the direction marked as ‘north’ actually 15 degrees west of north.

If manufactured recently, which will no doubt be the preferred explanation of status quo academics, the entire engraving can serve no functional purpose; despite being perfectly engraved it is patently inaccurate. If created during ancient times, when the axis of the earth was aligned 15 degrees east of what is currently known as north, the engraving serves many purposes – and finally starts to make sense.

So logically, our next question is: Could there have been a time when the Earth’s axis was tilted 15 degrees to the east of what we currently call north? Could known phenomena like geomagnetic reversal and the precession and changes in axial tilt account for this apparent discrepancy?

“The positions of the Tropical and Polar circles are not fixed because the axial tilt changes slowly… The main long-term cycle causes the axial tilt to fluctuate between about 22.1° and 24.5° with a period of 41,000 years. Currently, the average value of the tilt is decreasing by about 0.47″ per year. As a result (approximately, and on average) the Tropical Circles are drifting towards the equator (and the Polar Circles towards the poles) by 15 metres per year, and the area of the Tropics is decreasing by 1100 square km per year.” [source]

A feature of this enigmatic compass engraving that we discussed in an earlier article relates to the consistency and smooth line of its circumference. It is not jagged nor is there the hint of the straight edge of a chisel’s blade.

Unquestionably a curve of that refinement demands the delicate but firm hand of a stonemason of the highest order and training. If concocted recently, there is no tag, official ‘stamp’ of ownership, rumours of anyone laying claim to this ‘hoax’, nor has there been any publicity declaring it even existed.

Within two kilometres of the Bambara Glyphs, and where the engraved rock and the remains of a metal/crystal artefact were found, we have examined (and photographed) two long vertical cuts that running deep into the sandstone cliffs which form lines and angles that appear entirely unnatural. Admittedly, due to the demands of other sites with a more impressive archaeology, we need to return to this site for further investigation before conclusions can be drawn. For now, it is sufficient to make note of the real potential of other sites that reflect similar properties – and questions.

In combination there are now six pieces of archaeology in the immediate area that exhibit signs of contact with intense heat. Of course, Ros’ carved rock is the undisputed prime candidate. And when viewed in context with the other artefacts and sites found within a ‘stones’ throw’ of where that rock was found, it all begins to add up. As to what the answer is, one of the best geologists in the country is on the case, and until closer inspection is done, all that can be stated with certainty is that this rock is extremely unusual.

Looking Even More Closely

Maintaining our focus on these lasered/cut lines, we feel it is appropriate at this juncture to magnify the images of these incisions and colour in the background. Undoubtedly, Richard and Judith’s research is extremely left-field, as to whether the term ‘cutting-edge’ is also applicable, time will settle that score.
Nevertheless, we consider their work to be deserving of further consideration. The detection of ‘micro-messages’ through the creation of engravings and peckings is not recognised by mainstream science, but that is to be expected — nothing about this rock fits into any known patterns or geology so far. We felt that due to the radical nature of their approach, along with some reluctance within some of our collaborative group to fully embrace the potential in their work, this seems to be the best time for Richard and Judith to state their case.

The Path to Ironstone… Richard and Judith
In their own words…

“Much of what I say here is paraphrased from our deeper website explanations but I will try to give an overview of our interest in the Rockstone. Judith and I had stumbled upon a photo-archaeological first while analysing the pictures we gained beneath the Giza Plateau.

With the naked eye, rock surfaces appeared as almost blank. However by the use of MS Office10 and Photoshop Elements9 we suddenly found we were able to counter the blinding colour of the rock surface, the grime, the calcification, the fading, and reveal wondrous illustrations.

These eventually showed complex jungle and animal scenes, some extinct. They showed modern and jungle buildings, devices, theriomorphic figures, regal characters, multitudes of smaller (fractal) infill images and much more. The illustrations seemed to be impregnated to the surfaces and gave a three dimensional effect. We are still investigating but we have learned much already. Ogham script accompanied them. Translations have begun which relate to undiscovered things deeper underground.

We transferred the technique to photographs from other world (sacred) sites and were shocked to discover many instances of the same very distinctive style of hidden imagery. Here was a generic language of illustration spread around the world. We had only speculations for an answer, such as common culture before migration and inundation perhaps. From their nature and content they were clearly from the hands of a highly advanced and sophisticated people.

Our attention turned to the Ironstone following successful analysis of photographs from the Kariong discoveries by Steve and Evan. This artefact in particular yielded a baffling array of results which include micro carved reliefs and impregnated images of great sophistication. Our website article examines the preliminary results. Now the stone needs to be photographed with the greatest measure of expertise and technique so these findings can be pursued fully. We may not yet have a clue how they were all done, but as in this artefact, and along with the deliberate indentations covering the surface – it contains the story of its ancient creators – waiting to be understood again.

Our website (NC2) files also contain exact instructions for anyone to learn the photo-analysis technique, and there are files with thousands of pictures and explanations for anyone to join the study. We look forward to the next chapters….
Richard and Judith”

Stepping Outside the Comfort Zone

What is so tragic and utterly symptomatic of the state of play within academic and official circles, is that Professor X, our geological advisor of high degree, is not willing to declare his name and identity in this work. And he certainly does not stand alone; we have a host of other academics offering expert assistance in our research, and they will continue to do so as long as their identities remain secret.

Make no mistake – we fully understand why they choose to remain anonymous. The savage and personal nature of the ‘critiques’ we have endured over the years, and the stonewalling that comes from every level of officialdom, that causes so many scientists to stop seeking new horizons, shrug their shoulders and walk away from the unexplored.

Why is it that challenging the current status quo is such a perilous and thankless task? Today, the academic climate is hostile and defenders of orthodoxy are zealous in attacking any who dare look elsewhere. In reality, our advisers’ reputations and standings will be considered ‘sullied’ in academic circles, just by being associated with ‘scoundrels’ like us.
That, friends, is an appalling state of affairs!

Term 1 Report

Enough of those who refuse to venture anywhere outside roads that are clearly signposted. Let’s return to the geology and archaeology at hand.

The engraved rock is smooth, hard and black, and according to our geologist, that simply should not be. The engraved lines are not random or natural but precise, containing information of which some is most likely directional – mapping out locations on earth or further afield. Whether this stone was cut by laser, an incredibly hardened steel blade or any other unknown tool can not be comprehensively proven nor disproven at this point. But from the information that has been collated and observed so far, it appears the most probable agent is laser.

We believe the make and off-world location of the rock has been established, but more has to be done. Our resident geologist will be personally inspecting the rock within days, and we are always open to other geologists (with open minds) viewing this rock.

Derek will continue in his measurement of angles, inclinations and intersections found on the three sides of this black rock, and some of his most recent work will be covered in our next article. The repetition of angles and lines seen here and throughout the planet is of fundamental importance in establishing an approach that will eventually lead to deciphering what we believe is an ancient global language.

Irrespective of whatever Dr. Cunningham, Professor X, Richard and Judith and other academics propose or presume, the sum total of our work is incomplete as it lacks the pivotal element: an Original narrative. We cannot understand the ancient creation or use of any artefact without Original consultation. Until that cardinal omission is properly addressed, no more than 50% of our research is complete.

Long distance enquiries of several Original guides have assured us we were on the right path, but until those with knowledge of the Old Ways can personally make the journey to touch and feel the rock – and whatever else they feel inclined to do with this sacred object – nothing is certain. Their input is of the highest priority and far more important than any verdict passed down by non-Original ‘experts’ who may only bring a limited comprehension of this artefact. Once we receive further advice from our Original guides, we will then be in the position to report the whole truth and nothing but the Original truth.


  1. I too have a similar rock, the lines are all over the rock and cross each other in the patterns like above. There is only one difference, there is a small circle made from two lines that loop around together. Very strange.

  2. I have a similar rock the same as Bambora are you interested in this if so contact me for further correspondents thank you

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