Seeing Patterns In The Stones

My name is Sarah Kohler. I live in a small western Massachusetts hilltown. In the fall of 2012, while walking in the nearby forest, I had a stunning epiphany. I began to see that virtually every stone that lies undisturbed by the hand of Colonial and Post-Colonial development (yes, even those we are taught to call "glacial erratics"), is in actuality a remnant of an immense, intentional, fractal, geometric configuration.

From pebble mosaics and tiny, recognizable images on the surfaces of single stones, to vast alignments of boulders, stonewalls, stacked stones, cairns, chambers, mounds, outcroppings and ridge-tops; the magnitude of what I had begun to observe was (and still is) mind boggling.

Following the stones as a blueprint - tangible, codified expressions of projective geometric transformations - I have been learning the very basics of a multi-layered language, and in so doing, have been able to photograph facets of this extraordinary, technologically sophisticated, astronomically-centered feat of human engineering; which I see to be at once calendrical, directional, informational and have holographic properties.

Indeed, it appears to me to be, quite literally, a 4th-dimentional stone GPS, almanac, travelogue and picture-story library; told with the sun and shadows, through the days and through the seasons of the years, in the universal language of mathematics.

Observing and following the stones has lead me on a path that I could never have scripted, and to a radical reorganization and reaffirmation of how I perceive the Earth and Earth's peoples.

**I shall note here that the "experts" have long declared that there are no significant stoneworks in the northeastern United States, pre-European contact. In Massachusetts, all stonewalls, foundations, etc., are "officially" attributed to colonial farmers.[^1]

To this I offer the words of John F. Kennedy:

"The great enemy of the truth is very often not the lie -- deliberate, contrived and dishonest, but the myth, persistent, persuasive, and unrealistic. Belief in myths allows the comfort of opinion without the discomfort of thought."

"Seeing" the patterns in the stones began with the recognition of symmetry. A realization that I was standing on the edge of an enormous, segmented circle - each segment being in the shape of a meniscus lens - far from any historic roadway or forgotten colonial homestead and buried beneath the centuries of reforestation.

I recall that it had seemed like an audible "click" in my brain when I saw the first circle. I then began to realize that this circle was but one geometric isolate within several concentric circles - at the center of which stood a single stone, entirely white quartz and covered in moss.

Having recently begun learning to play the game of chess, it's not surprising that the first thought that came to me as I began to perceive this wreath of geometry was, "This is what my nephew meant when he described 'seeing into the third move.'" For I simultaneously saw that there were lines of stones radiating outwards from this central quartz stone - like spokes from a hub - and that these extending stone lines were bisected by other lines of stones, vanishing into the deep forest...

The cognizance that took hold upon seeing this, was that I had released myself of all presuppositions; henceforth, allowing only the remnant evidence before me to speak for itself...

And so I began to explore the forests, seeing the stones with new eyes.

The first truth: Once you see them, you can never unsee them.

All presuppositions cast aside, allows for the possibility that these stones were not merely pushed or stacked to clear land for planting, but were placed with deliberate intention.

Given the sheer volume of evidence, logic suggests a timeframe of thousands of years. The apparent importance of the sun and shadows' play upon the surfaces of the stones, suggests that its origin predates the Holocene (~10,000 yrs), when this region was a vast, post-glacial tundra to boreal stonescape.

Beyond my observations, I am not making any claims as to who, when or how these earth/stoneworks were constructed. I have no personal agenda here other than to show what I see.

In my observations, these stone/earthworks appear to cross reference over time and distance in relationship to the laws of projective geometry, as described (for instance, but not exclusively limited to) in Desargues' theorem.

For example, as I move across the landscape, observing the stones, my point of perspective changes relative to space-time and so the alignments appear to move with me (not unlike walking along a grid-planted corn-field).

I have learned along the way that there is a specific type of stone (comprised primarily of quartz and feldspar, predominantly pinkish-orange in color, with or without the presence of granite) that appears to be deliberately placed in relation to other stones to act as a marked "point of perspectivity". In other words, a marked viewing position, from which to see the stones correctly aligned and thus to be able to see the image/s.

Assume that I am standing at or very near these intended "points of perspectivity" (as described in Desargues' theorem) when the following photos were taken. Some shifting has occurred over time of course, and some stones may be dislodged and/or missing from their once-held positions. Nonetheless, I observe that there are alignments within and through the various stoneworks that seem to me to be far beyond the realm of coincidence or chance.

Here is a close-up of the view from where I'm sitting as I write this first blog-post -- The wall runs directly north/south. Note the alignment of stones at center, perpendicular to the main wall, which continues on directly east/west into the forest. Also note the repeating double-helix pattern of the main, north/south wall:

Detail of a more northerly section of the same north/south wall. Author removed leaves and loose forest duff to reveal underlying pattern:

I observe that many of the wall-ends have one or more stunning effigy heads incorporated into them. Here are two examples:

I also observe that these patterns are fractals, in that each part is reflected in both the macro and the micro scale.

Individual stones, may bear any number of grooves, notches, or other intensional marks upon their surfaces. Applying the same principles of perspectivity to the individual stones within the arrangements may (depending on the light) yield equally stunning images on a smaller scale.

Here are a few examples:

This 1st photo is of a stone that sits just a few yards from a blasting zone where a local road (beside a pre-historic monument and ancient gathering place) was redirected. Many hundreds of its counterparts were crushed to make the new roadbed:

The top stone in an end-wall, set to face directly east:

The lion and the lioness, two sides of the same stone (yes, there were maned lions here until the end of the Pleistocene):

This is the stone that the lions are facing:

Close-up detail of the above stone:

How this extraordinary construct was created, when, or by whom, is not my primary concern here, nor do I believe that it is my job to ascertain this. My job, if you will, is only to show that it is here, that it is real, that it came into being with intention, and that it is important to humanity.

In future blogs, I will present evidence that these projective geometric "stone wikis" can also be found in many other parts of the world.

As I came into awareness of these ancient, intentionally placed stones, I also became aware that they are being dug up, bulldozed, crushed and reapportioned at an ever accelerating pace...

Every stone disturbed is a piece of our human story torn away forever.

I fully realize that until and unless they are recognized, documented and acknowledged for what they are, there will be no incentive to protect and preserve them.

This blog is about raising awareness, and reaching out for others to see, to document, to bring to light, and to save and preserve what remains of this extraordinary truth.

I believe that it is our human duty to speak up for our collective human history.

Because I can photograph what I see, I can show the images to others.

In person, or on video, I can also demonstrate how to see them in situ, so that anyone can learn to see the patterns and images that I have seen, and with this knowledge see others that are yet to be re-discovered.

It is my intention to actively raise funds not only for preservation, but also for grants and scholarships in the hope that some one or some ones, will participate in 3D mapping the stones, perhaps even writing programs that will virtually illuminate the crystal fractal holograms within the stones, enhancing their depth to reveal the images more clearly.

It is time to open our eyes, to stop perpetuating myths and to give credit where credit is due.

The story of humanity and the peopling of the Americas is long overdue a rewrite.

Sarah Kohler

[^1] Terra Firma #5, Stones That Speak: Forgotten Features of the Landscape, 2007. A publication of the Massachusetts Department of Conservation and Recreation's Historic Landscape Preservation Initiative.