A short while ago an excellent article was published by Steve and Evan Strong on FB. discussing the influences felt while working with particularly important rocks found in Australia. After many hours of eye watering concentration and analysis I offer the following to everyone as serious food for thought.

The full article can be read here ::: Forgotten Origin – Out of Australia theory ::: http://forgottenorigin.com/six-rocks-apart-yet-two-sides-of-the-same-story

I was drawn to a central rock featured, which had been mooted in some quarters as an ancient stone axe, but which seemed to draw negative energy whenever it was handled or displayed – particularly within the proximity to two other rocks. (I urge readers to read the article and understand the full events surrounding these stones.)
Serious comments from those who worked in their presence complained of feeling the dark vibrations emanating from the rocks and their desire to get away from them…

I also was drawn to the central (axe) rock, but not with any feeling of foreboding. Instead I was drawn to this rock from a gut feeling of something hidden and misunderstood. From simple observation the surface of the (axe) rock seems almost featureless but I resolved to put it through full forensic photo-analysis. The results were astonishing and gave completely new insight and understanding as to its origin and purpose – differing from current reaction.

However before you view the sequence of results, I need to lay a background to the process of my findings. I found some years ago quite by accident that ancient so called sacred rock surfaces still preserved sophisticated imagery – faded now to where they cannot be seen by the naked eye. Following the results below I offer my own thoughts as to how these images may have been produced.

When deep photo digital analysis is employed to manipulate the bias of light, shade, exposure and colour frequency, these images can be rediscovered and exposed again.  Then if every single line of difference between shade and colour is delineated, it is possible to discern the amazing result.

There are still 3 main problems however in the process and interpretation.

It is beyond our modern paradigm to understand how these images could have possibly been laid and imprinted to the surfaces. This new analytical process creates a flattened delineated image which catches all – but badly because even when analysed  at 400%+ magnification on a large computer screen using a single pixel sized drawing point, the delineations are often still too large to define the micro images satisfactorily!

Furthermore, these images employ a generic trait (evident from sites across the world.) The visual scene is most often laid to the surface in layers. It is much like the effect of a modern artist who begins with the background and works to the foreground in layered stages; instead that with the ancient tapestries, layers bleed through layers. It is therefore very difficult to unravel individual layers to see what the artist was depicting.

There is a final generic complication because the artist/s consistently utilized every blank part of the canvas to fill with fractal micro images. These are an added distraction and may have been a deliberate disguise or concealment.

Here is the original picture from the article::

 

Then following first optimum adjustment

 

Third step was to delineate every colour and shade difference, working at single pixel level…. and (for serious researchers) to properly view this and the other pictures, they must be copy/saved to your own computer and examined closely at up to 300% magnification.

 

Next job was to return to Elements 9 and adjust to an optimum colour frequency to improve the scene.

 

Next task was to use shading to try and highlight the components that may reveal the scene.

 

Finally, another lighter version to help bring out the darker details.

 

 

 

I hope those who really study these pictures will agree on what was being immortalized on the stone. The hours spent examining the detail along with other frame versions have given me an advantage. I see a picture showing in the lower part, boats right and left foundering in tumult amid a chaos of associated drama. Sea creatures, crocodiles, broken masts, rigging, theriomorphic figures and more are stirred into the chaos. Above, as if viewing in abstract connection, disproportionate figures undoubtedly with animal depictions as metaphors to the age, stare down into the scene.

I believe this to be a memorial stone for an event of great tragedy; so important that such time, technique and effort were employed to produce this icon… I claim another advantage in that I have found similar scenes with equal or better result from other Australian locations and from Egypt especially; one of great expectation from the deepest part of the accessed tunnel system beneath the Giza plateau in Egypt. In fact there are correlations to depictions found in many other world locations too. The question remains: What monumental event of any kind in the distant past has been identified to possibly explain this.

I have said so many times I put all my effort into seeing beyond personality to the research material alone. I am only interested to understand our origins and to gladly get stuck in to the process of experiential discovery myself. Steve and Evan have opened a huge window to these special record stones and rocks, and in the lead article they draw the reader towards new ‘dare to believe’ ideas and explanations… I believe the illustrated stone is akin to a grave icon for the tragedy. The rock was imbued with the very vibration of that event. Subsequently in modern time when the depiction and therefore purpose had almost faded away, the stone was inadvertently handled with an equally faded reverence and respect. The negative vibration was of the captured event and absorbed by those who handled the rock.

But what of the event itself. As much as I respect and quote the material of Steve and Evan, I do the same for Colin Hayter from whom consistent and multiple cross referenced tangible evidence tells of an ancient foundering of the Egyptian fleet visiting the shores of Australia amid great tempest. The records tell of the royal party being lost to the sea and their remains interred beneath the soil of Australia. This would surely be an event of such significance at the time for great effort to be utilized in its memorial through different forms. Could this be the link that draws these incredible similar depictions together? Food for thought!!

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I stated earlier that I would share a few thoughts or ideas about the method for the illustrations. (PS. I hope a full understanding of their means, purpose, method and timing comes to light before I start pushing up daisies myself )… But for now, here are a few considerations::

I’ve commented often enough about the composition of the illustrations and this can be addressed again when I have specialist camera equipment – along with results that will be repeatable and worthy of peer review. For now I would like to add a few ideas about the means that produced them.

The best results so far of large tableau depictions are discovered from rock surfaces that are largely plain. Even the plainest rock surface however has undulations and flaws. The surfaces are three dimensional, but a photo capture flattens the surface to a two dimensional layer and leaves us with an impression of depth through perspective.

Under analysis when all aspects of light. shade, exposure, shadow, contrast, hue and saturation are adjusted, the aim is to enhance the perceived depth in order to bring it to an optimum level of perspective. At the same time the adjustments aim through colour adjustment in particular, to neutralise the predominant colour of the rock surface and expose deeply embedded images.

The results bring complex scenes to life. In fact some of the best look like a photographed original scene…. and that gave rise to an unthinkable and crazy possibility. Often we see now on the television where lasers are used to project still and moving scenes on the sides of buildings. It does not seem to matter if there are breaks or columns etc. The projections work perfectly… Well I found myself saying one time – that these ancient depictions look like a projection has been imprinted to the surfaces. Unthinkable? But the results do reveal extinct animals, city scapes, huge constructions, signs of mechanization, jungle scenes, flying craft, vast pyramids and energy devices… strange humanoids, theriomorphic figures and so much more. Can the truth be so strange, that the walls of record were deemed to be a perfect medium to memorialise the scenes and events of the time, and in a way lost to us, but common to the advanced civilisation which eventually seeded us?  Never truer words were spoken in jest as was the immortal line of :: Going back to the future.

We have a helluva a long way to travel because the route, just like the illustrations is still hidden ….in plain sight.

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More target material and results :: FB. Richard Gabriel / galleries &   www.richardgabriel.info

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