“Close to the Edge, Down by the Corner”(1)
By Steven & Evan Strong
12/10/21
In the last two articles we had begun our examination of both sides of an enigmatic rock ensemble. In this combined endeavour we are indeed “close to the edge, down by the corner,”(2) but our journey into the ancient past and immediate future is at best, barely halfway there. More rock facts and magic are needed, simply because the underlying premise behind their resurrection is that they are supremely magical and are ready and willing to share their energy with humans in need. At first glance believing such a seemingly fanciful, maybe even deluded, claim demands some convincing evidence. And lots of it.
What this soon to be an arrangement of over 200 sacred and star rocks positioned on the ground in a sacred figure-eight formation somewhere in South Australia, will allocate for each person who sits within for ten minutes, is an each-way bet. There either will or will not be a point of connection between the rocks and individual sitter. For any soul who has found the “fast-flowing river”(3) the Hopi speak of, or the two roads prophesised by the Mayans, these rocks will strengthen, expand and enlighten, but those still in transit whose spirit is hesitant, nothing will be given by the rocks beyond a guaranteed refund.
But for now, it is time to complete the list of the Top Ten Rocks, as there are still seven yet to be presented and briefly discussed. The fourth rock on my list is yet another star rock, as the previous three have been. Upon further reflection, even though originally stated in our first report that I had chosen seven-star rocks for consideration, that seems a touch unbalanced and a bit too much as on top business. So, number seven has been replaced by a sacred rock more concerned with earthly confines and affairs.
Ros’ Rock 5
By the time Ros’ Rock 5 came on to the market for auction, Ros Mulder was very keen in securing any rock that also displayed clear evidence of superior technology. She knew from first sighting that this shaped rock with four-star maps (The Pleiades, Orion, Southern Cross and Corona Australis) was not only unique but cleared up any lingering doubts many sceptics held towards our claim that nearly all of the star rocks have a melted rock and resin thin veneer attached on top of a lighter coloured base rock.
What we have been told and deduced, is that chert has been melted at a temperature that runs into thousands of degrees Celsius and then the resin was added into the mix before coating the base-rock. The rock beneath has a very light cream medium-sized grain that was first cut into this geometric shape, then coated in a manner that leads to every side being of exactly the same thickness, creating a glass-smooth coat free of all imperfections.
A stunning creation by any standards or date. So thought the person who first accompanied many of the early archaeologists of the mid 30’s in Australia to assist in their studies, along with that task he managed to find the time to ‘collect’ thousands of sacred and special Original artefacts as a side venture. So taken was he by this particular stone star map, it permanently sat on his bed-side table until he died.
But for us the star maps are of secondary interest, it was the constant uniformity of the topcoat that demanded immediate attention, and more importantly the one small pivotal deviation from that precise norm that required an even more advanced form of technology, that is only just available now. It is what we have referred to often as a ‘candle-wax drip line’ that has congealed along the left-hand side of the top edge, which demands deeper and more realistic consideration. Just as the heated wax from the top of the candle solidifies as it runs down the side which is still unheated, this indicates the intense heat needed to re-heat the top side of the chert and resin upper coat was focused solely on that area. The temperature of the flame needed runs into thousands of degrees, yet none of that heat spread any further. Even if the pecks of each of the six sides are indeed star maps, as impressive as that is, the selective application of intense heat used to create a depression for the thumb to rest is undeniably the most intriguing technological feature of this rock.
In total, the tapering and shaping, extreme temperatures and consistency of thickness of the upper coat require advanced technology claimed by ‘experts’ never present in Australia until sometime after 1788, and that asks questions never imagined in all polite academic circles. But it doesn’t end there, as there are three well-known constellations charted on the rock, plus located on the top end of this shaped rock is an exact replication of a little known constellation, Corona Australis. As with the other star clusters, It is a very accurate representation in spacing and shape.
What is the least dramatic feature on this stone star map are seven thin lines, five of which are very precise, vertical and completely straight. That is a common characteristic and immediate identifier of many star rocks that deal with stars, Aliens and routes taken to reach this planet. Of the other two lines, one is straight and horizontal, and the seventh is the shortest and is curved. Two of these lines cross over two sides, and four are on the Pleiadean side, which of course is to be expected.
The upshot of all of this is very simple and undeniable, this rock, of itself calls into question virtually everything assumed to be factual by academics. It comes down to this, either this rock is fake and very recent, or the current narrative of Original pre-history is bad fiction.
Over six Kilograms of Solid Granite
If any still question the credentials of the last rock, surely the next rock on parade is the ‘final straw’ It is no less sensational, and probably more so, and once again is totally unique in lacking an equivalent, parallel or another rock to compare against.
To begin with, this very heavy slab of granite (6.3 kgs) has been cut, has two flat sides where all the marking and engraving is contained and is ninety-two mms wide with the other four sides seemingly unmarked. Somewhat the worse for wear, on all four sides sections are missing. Irrespective of what is no longer in attendance through impact, what remains is more than sufficient.
Serpentine Rock
On two sides there is still residual traces of the original dark brown ochre coat. The granite slab is very very old and is fraying at the edges and has a dozen lines of fracture, some are quite fine while others were thicker and more pronounced. Close to half of the rear side of the slab is missing, while about a quarter of the front side is no longer attached. Unlike nearly all the sacred rocks, this huge rock has not led a sheltered life and we know for a fact that it has been exposed to the elements.
On the top plate, there are two motifs and one geometric pyramid that are co-joined. The seven curved lines cut into the level granite face making up a coiled serpent, continue across and slowly expand into seven separated lines. It is above this almost parallel curving backdrop three very precise straight lines converge to one point, which is very close to the exact centre-point of this intricate sublime linear narrative. We feel this side is devoted entirely to women’s business. Also found on the women’s side is a stone addition, a crude clump of melted stone was added after the engraving, evidenced by one carved line which can be seen entering and exiting this artificial ridge, while maintaining the same path.
Outside the three straight converging vertical lines cutting across five semi-horizontal curved lines, there are no other intersection points or angles. The scarcity of angles and straight lines, a customary trait of star rocks, rules out this being about ‘as on top’ and is more centred on ‘so below’ content. That these three lines are narrower and shallower than all the curved lines is strongly indicative of two blades and equally, a testimony to the skills of a stonemason of the highest order.
What also sits above the curved lines are the traces of a thin clear lacquer. There is one patch (8 cms x 1.5 cms) still remaining. It is quite reasonable to assume that in its pristine state this varnish covered the entire engraving and, of course, is yet another technological process that has no precedent, until now!
Serpentine Rock – Close up
In combination, this extremely heavy granite shaped slab is not a tool, weapon or any type of pragmatic device. The technology on display in cutting the slab, slicing into hard granite with two metal blades (or better), attaching an exotic rock slurry and applying a lacquered overlay is sophisticated, advanced and academically inconvenient. Moreover, the only sensible question remaining relates to determining what it is. What it isn’t is easy, totally lacking in precedent or parallel, all I can offer is a merging of intuition and previous rock experience in suggesting a purpose that is hedged in possibilities.
Maybe
It could be that there are two types of magic/independent energy created within this rock: men’s business and women’s business. The linear male side sits underneath, and curved female side stands above, but when it comes to placing dowsing rods or a suspended crystal above, the responses are just as dramatic and immediate.
It could be that this is a block of pure spirit energy that pulsates out of either face, the only difference is gender-based. When our crystal is held above the curved face, the crystal rotates in circles while when held above the male narrative it moves along the lines tracking a straight path. In the simplest of terms, we feel that this is a powerful portable portal. Its function is to cleanse the spirit and repel all forms of negativity.
serpentine Rock – Back side
Or maybe this is all just a natural fractured slab that someone made marks on that has no function whatsoever except serving as stone palette for an artist to experiment upon. Merely an idle fancy that occupied someone lazy or powerful with an inordinate amount a free time to waste.
But if that is a viable proposition it does need to be placed into numeric context. This rock is one of many, with over two hundred who missed my cut, along with the other nine I selected. The most intriguing part of any collective comparison is that unlike the Original style and mediums found in their tools, sacred objects, cave paintings and engravings, where each tribal estate had a prescribed way of expression, when it comes to the rocks we are custodians of, nothing matches up. The reason for this total disparity is all about timing. The rocks in our ensemble come from far more ancient times running well into five figures, maybe even six.
This very heavy sacred rock is not a star rock, but part of a category that is just as unique. The next rock is also from the same spiritual genre but is from a sub-section which academics coined as being Cylcons. This time instead of a rectangular package, this one is entirely cylindrical, incredibly so. So precise and incredibly smooth is the side of this rock, a German geologist who examined this rock insisted he had never seen any core sample so circular, so smooth and so “amazing.”(4)
Around and Around
As with nearly all our rocks, the location or source of this rock is unknown. And just as it is with every rock selected, there is no other rock to compare against either within this ensemble or in any Museum, private collection or University. But before beginning any examination of this rock, it is a holding rock and until properly shaking hand with correct grip, nothing else can be said. At first glance it seems the top edge has been bashed around somewhat, but that is in stark contrast to the rest of the perfect cylinder, there is not one chip or kink and is entirely intact. As it is with many rocks with precision and geometry the resting place for the thumb is intentionally rough and jagged thus facilitating a deeper contact with the base rock. That is what happened here, the largest bulbed imprint on the top lip is where the thumb sits and on the opposite side a series of three nearly connected smaller depressions is a perfect fit for the index finger. Now we can move on.
Photo by Ildi Budai
The precision, geometry, 38 lines all perfectly straight, utter consistency of curvature and face so smooth, falls well outside the connection to any stick, stone and bone toolkit, yet again, in fact nearly always. We do apologise for restating this observation in every rock-examination, but what else can we do? It is a repeated technological truth that never goes away.
When it comes to those straight lines, eight are horizontal, and thirty-one slope up to ten degrees below the one-hundred-and-eighty-degree plane. There seems to have one thin sharp blade used in slicing into the rock, but the cut is of three depths. The lightest cut barely breaches the surface and is the hardest to photograph, the second depth is clearer to see and third stands out the most. What is compelling is that the length of cut varies between 5 mms to 36mms, and I sincerely doubt any cut is the same, even though there are few that are the same length, each is of different depth. The sum total of this mathematics and geometry is indicative of intentional communication. Clearly this is a very sacred knowledge rock.
Photo By Samarah Wood
That superficial analysis of what sits on the surface is easy to see, but as for what lays beneath, the academics are obliged to report that cylcons are claimed by all Original keepers of lore to be magical and capable of creating a force or energy. That being the case, we have no option but to briefly acknowledge and examine the mystical components of this rock cylindrical cylcon.
To first engage with a cylcon to turn it on, it is essential to find the correct grip thus opening up a direct symbiotic interface between skin and rock. Past that point of desiring to increase the flow, well that is entirely up to the rock, it alone accepts or denies an exchange of energies. From my personal perspective the cylcons I have held fall into two categories. At the lesser end of the exchange, nine of the cylcons will accept and generate, but they are running just above the idling station. Granted when the left and right-hand cylcons (which is the next rock to be analysed) are in my hand, crystals and copper Dowsing Rods always react, even when blindfolded, but that is as far as it goes.
But not so with the tenth rock, a rather bland looking cylcon, with that rock I was tutored in the intricacies of what comes next, and on both occasions, I abandoned the cylcon just before the time of graduation. This cylcon rests on the right index finger with the thumb alongside, and once in my hand, it works. Well, we work together, but it seems it is the human who initiates the process. The rounded end of this rock sits in the palm and that is where my heartbeat made its presence felt, then quite quickly became firmer and more pronounced. Never before had I felt my heart so strongly, but only in the back of my hand, everywhere else it was running on normal.
Then it happened, that same internal pulse jumped into the cylindrical rock and continued down a new path. The rock had not only captured my heartbeat, but once inside the rock it was getting faster and stronger. I could feel the rock with its ‘stone-beat’ that no longer needed a ‘jump-start.’ It was now independently performing, but as to its content and destination, I knew not, and because of this uncertainty on the two occasions I have held this rock I dis-engaged when the pulse got too vibrant and powerful. Throwing the rock (gently) on to the ground, turns it off.
As for the state of play with this cylindrical cylcon, it has never been as up close and personal but is more a cordial and platonic relationship. However, with the next cylcon presented, it too is one of the nine where full contact and acceptance has not occurred, even so, I believe that of the nine this one is next in line and may yet one day very soon allow a deeper connection.
A Rocky Rocket
As with all these spirit rocks, there is more unknown than known. The safest path forward is to begin with the shape, facts and figures, then move on to the esoteric side of this rocky equation. Whether a curved four-sided cylinder with a point or rocket is a better description is a subjective call, either way it measures 23 cms in length and at its base, which is somewhat spherical, it varies in width between 2.3 cms to 2.7 cms.
What is intriguing is that the left-hand cylcon that accompanies this one, has some very precise ratios when comparing the measurements of width, length and two internal dividing lines, and the same mathematical principle applies here. The bottom section of the cylcon has 42 vertical lines beneath a band of 4 horizontal lines, and together that heavily marked caption measures 4.6 cms. Now that happens to be double the minimum width of the 2.3 cms at the base, and if 4.6 is multiplied by five, that number equals the full length of this cylcon (23 cms). In concluding this comparison, it surely is no coincidence that if the 46 lines are halved, we return to the central number 23. In combination, there is an exact ascending ratio of 1:2:10:20.
Whether by design or coincidence the marks and measurements of this object are but one area that raises questions. When it comes to seven quite fine and faint lines cut into the dark chocolate brown coat which all are less than two centimetres, we believe it is a quiet and subtle acknowledgement to the Seven Sisters.
The chert and resin coat is very thin and clearly an addition. The flat base of this light-grey rock was never coated and is still exposed, so too a thin coat of chert and resin can be seen running around the bottom edge of the lip.
There are two types of pecking evident on this rock, deliberate and percussive. Those we identify as deliberate can be found on the same side that contains five of the seven softer straight vertical lines. The two sets of pecks are in clusters, the larger one (23mms x 15mms) exposes enough of the base rock so that the thumb can make an effective interface with what lays beneath. All the other pecks are smaller and seemingly without a pattern, but if the cylcon is played and used like a clapstick these percussive marks will occur whenever the other rock makes contact with this rock.
Skirting Around the Edges
The rock itself is certainly not shaped through any natural process, all four curved sides measure the same 3.5 cms across, and all of this is because the rock went through three processes. Beginning with it being firstly cut and shaped and thirdly when the thin darker coat of uniform with was attached. As for the second sounding treatment, that is too sophisticated and unknown to offer any explanation bar its existence, outside every time this cylcon is struck by another rock the sound is nothing like any rock makes. The cylcon is vibrating at a much higher octave that sounds exactly like a wooden clap-stick would, note-perfect. That is not normal, everyone who has heard it has said exactly the same. How and why? We have nothing, all we can state with absolute certainty is that it is a rock that has a wooden song to sing.
But what of that symbiotic cross-magnification of energy between skin and silica cylcons engage in, is there any news on that front when dealing with this cylcon? Well, even though this is not the right-index finger cylcon that bonded with me, I did say it was next in line, and there is one reason why. The last time I held this cylcon in my right hand there was the same type of reaction that I had with the index-finger cylcon. Granted it was a mere shadow of the full complement, perhaps no more than one-tenth as powerful. My heartbeat was softer and muted, and even though it did transfer into the rocket cylcon, the pulse barely registered and never got to the stage where I felt we had to sever contact. This was a very soft echo, but at least it did resonate and tenuously engage.
Oh Brevity, my Eternal Shortcoming
I have lapsed yet again, as much as I tried, and failed, in my futile attempt to make this preview of the seven remaining rocks brief and to the point, it did not happen. With the word count yet again ticking over my self-imposed 3,500 words limit, I still have three rocks waiting in the aisles. And there is only room for one more, and perhaps this should lead on to the last star rock selected, which will mean that in the third concluding article we can focus solely on the two remaining ‘so below’ Earth spirit rocks.
The shape of this rock is intriguing in both the lack of any other rock being this triangular, with particular reference to the front and back end. The top end is the least worn and closest to its original state, and because of that lack of contact, this triangle measures 40 mms x 45 mms x 55 mms. However, the bottom triangular plate has been held and rubbed often, and at every side it is exactly 5mms shorter (35mms x 40 mms x 50mms). We strongly suspect that when this sacred rock was in its pristine state the two triangles were of identical dimensions. What just keeps reappearing in these mystical rocks is an incredible mathematical precision.
As with all star-rocks, this one has a thin coat, but more than three quarters is now missing, it has gone on ‘walkabout’ never to return. It has been rubbed away through being held by humans while in ceremony for a very long time. Clearly, this is a ceremonial rock, three times over, because on each of the three sides there are different symbols, motifs, ridges and circular depressions. And it is the ridges and curved motifs that literally stand out. Unlike the cuts, incisions and pecks found elsewhere, there are lines, ridges and one loop that sits above, not beneath, the brown coat. They are not cut but raised, the thin veneer thickens considerably at these junctures, and you can feel with the finger-pad that each line and curve stands above the chert coat, yet is clearly the same material laid all over the top of the light brown base rock.
This was the first rock that added something quite intriguing to these topcoats, cutting into is an extension of some merit and very common, but this is something else again. On what is the smallest side there is one continuous raised ridge, two smaller ridges and then we have a curling wavey raised relief that has a loop. The adjacent side is similar in that remains of five ridges are present, but there is no undulating curved line as there is on the first side. The third, and largest side, is very different. There are two small ridges (15mms and 26 mms), and they are not as high as the others, while there are at least seven lines and quite a few imprints cut into the chert coat. There are no cuts or lines on the other two sides, which does mean that the narrative attached to the cut side will share little with the content of the other two sides.
It is a holding rock, it does not have a point of exit as all cylcons do, and that makes sense as it isn’t a cylcon anyway. There is a thumb piece/notch on the larger top triangle with the fingers curling around one side then resting in three small undulations carved into the edge. Once correctly positioned in the right hand, which I can do, the next step is ….
I have not got a clue, granted every rock is different, but there are hints of others throughout this rock ensemble. This one is a one-off, absolutely unique and I have nothing to ‘bounce off.’ It surely holds wisdom and energy, but at this stage, both the rock and I are on an esoteric holding pattern. At least with the cylcons I can get them to idle, with this one I am not even sure if it is on or off.
Eight Down and Two to go
Too important, sacred and special to be ever stored or displayed in a box, these rocks are magical first and foremost. The advanced technology, massive temperatures, adhesives used, tools used to cut and shape, and all the tricks of the masonic trade are amazing and historical, but none of that can save your soul. Undeniably that solemn promise made by the rocks is a game-changer and a ticket not to ride, but reside.
We will return once more to complete my chosen top ten list, but next up it is time to turn the rocks around, and once again delve into their hidden agendas and the mystical powers and proclivities each of these rocks possess in varying amounts. As conceded earlier when introducing this decidedly ‘unscientific’ claim, we are empirically handicapped in this pursuit. We have no film, photographs or chemical read outs, just our promise to be truthful. It’s not much, but the rocks are not on parade they do what they do as they see fit and normally my role is reduced to that of a spectator.
So here, seated in the grandstand without a steering wheel or road map, we will embark on the second part of a magical mystery tour.
References:
(1) – (2): Yes (Jon Anderson and Steve Howe), 1972. “Close to the Edge”, Close to the Edge, (Atlantic Records), Track 1.
(3): Thomas Banyacya Sr. (Hopi Chief), June 8th , 2000. (Shared by Wendy Nickerson, Department Administrator for the Department of Family Medicine and Community Health), “We are the Ones We’ve Been Waiting For: Prophecy made by Hopi Elders”, COVID-19 UPDATES – Office of Academic Clinical Affairs,
(4): Name Withheld, 2016, Personal Communication.