The
Creation:
Its
Infinite Features
and
Finite
Realms
Volume I
The Mystery of Inspired Sources
and
Their
Significance to Man
by
Jack Hetrick
Copyright © 2013 by Jack Hetrick
All rights reserved
All Scriptural references are taken
from the King James Version of the
Bible
Contents
Introduction
Chapter 1 Inspired Sources and Their Unusual Symbolism
Chapter 2 Three Reasons Why the Existence of Inspired Sources Was
Revealed by the Creator to Man in the Late Twentieth Century
A.D., and Not Before That Time
Chapter 3 The Amazing Destiny of Redeemed Man
Chapter 4 The Four Finite Realms of the Creation, the Soul-Spirit of Man,
and the Abodes of the Dead of the Spiritual Realm
Chapter 5 Mystical Technology, Mystical Particle Transfer, and Spaceship-
Related Operations of Mystical Technology
Chapter 6 Techniques Employed in the Study of Inspired Sources, the Three
Most Frequently Encountered Kinds of Inspired Sources, and the
Role of the Creator in the "Creation" of an Inspired Source
Chapter 7 A Study of the Inspired Source, "Jewish High Priest" (Figure 22),
and the Symbolism That Pertains to It
Epilogue The First and Fundamental Operation of Mystical Technology
Appendix A Tentative List of Titles of the Seven Volumes That Comprise
The Creation: Its Infinite Features and Finite Realms
Credits
About 15,000 B.C. a small number of people of the Magdalenian culture dwelling in the Dordogne River region of southwestern France were involved in an activity of an extraordinary kind. They transferred from their primitive culture on the surface of the earth to an advanced interstellar civilization that dwelt in the interior of the earth. This transfer activity did not involve all people of the Magdalenian culture dwelling on earth at that time. However, those people that were involved, it is believed, transferred by means of a mystical pathway that enabled them to safely descend into the interior of the earth and arrive at their destination.
During the period of time
that the people of the Magdalenian culture were involved in transfer activity,
a cave located in the Vezere Valley of the Dordogne River region played an
important role in this activity. Today, this cave is known as the Lascaux
cave, and is the best known cave in Europe where Upper Paleolithic cave art has
been found. However, in the fifteenth millennium B.C., between 15,000
B.C. and 14,501 B.C., this cave was the transfer point, where people of the
Magdalenian culture involved in transfer activity began their journey on the
mystical pathway. Their destination was a base located in the interior of
the earth, where dwelt living entities of an advanced interstellar
civilization. Once these Magdalenian explorers entered the cave with the
intention of finding an entrance to the underworld, they never returned to
their former clans and communities on the surface of the earth,
again. Consequently, the cave may have remained unknown to other people
of the Magdalenian culture until later in the millennium, when the decoration
of the cave was executed by Magdalenian cave artists. This, it is
believed, occurred sometime between 14,500 B.C. and 14,001 B.C.
Although the Lascaux cave probably is the most famous cave in Europe, where parietal art has been discovered, it is not the oldest. This distinction belongs to the Chauvet cave, located in the gorges of the Ardeche River in southeastern France. Here, transfer activity was carried out between 35,000 B.C. and 30,001 B.C., and this transfer activity, it is believed, was the first transfer activity that was carried out by man. The people involved in this transfer activity were people of the Aurignacian culture. As in the case of the Lascaux cave, the Chauvet cave was decorated by cave artists, also. This is believed to have taken place between 30,000 B.C. and 28,000 B.C. In addition, like the cave art of the Lascaux cave, the cave art of the Chauvet cave appears to have been executed immediately following the transfer activity that was carried out at that cave. The paintings of the Chauvet cave are believed to be the first artifacts of man that were inspired by the Creator. In The Creation: Its Infinite Features and Finite Realms, artifacts, such as these, are referred to as inspired sources.
The cave art of the Chauvet cave and the Lascaux cave, as we shall see, possess an unusual symbolism. This symbolism is found not only in the cave art, itself, but also in photographs found in books, magazines, and other printed materials that pertain to these caves. And this symbolism is not limited just to the paintings of these caves. It also appears in tens of thousands of other artifacts produced by man since 30,000 B.C. A careful study of this symbolism reveals that it is not symbolism inspired by the artist. Rather, it appears to be symbolism that is inspired by an intelligent, spiritual being with supernatural attributes. In The Creation, this being is believed to be the supreme, spiritual being, whom some refer to as God, or the Creator. In The Creation, the Creator is believed to be the Triune Godhead of Christianity: the Father, the Son (the Word), and the Holy Spirit.
The artifacts of man that are inspired by the Creator and possess this unusual symbolism are called inspired sources. Despite the fact that some inspired sources are thousands of years old, the existence of inspired sources was not revealed to man until only recently-in the last decade of the twentieth century. As we shall see, the symbolism of inspired sources conveys knowledge, and this knowledge, it is believed, is of a kind that the Creator feels is important for man to receive at this time in his history. Although this knowledge covers a wide range of subjects, the subject most frequently encountered in inspired sources concerns a new kind of technology. In The Creation, this new kind of technology is referred to as mystical technology. The Creator, apparently, desires man to use the knowledge conveyed by the symbolism of inspired sources at this time to transform his present civilization, based on material technology, to an advanced civilization, based on mystical technology. This transformation, in turn, eventually will be followed by another in which man’s advanced civilization will be transformed to an advanced interstellar civilization, also based on mystical technology.
In The Creation: Its Infinite Features and Finite Realms, Volume I: The Mystery of Inspired Sources and Their Significance to Man, we shall discuss this new kind of technology. As we do so, we shall also seek to answer the questions: (1) what is mystical technology, and (2) why is it necessary for man to discover and use mystical technology at this time in his history. Man’s consideration of these questions, ultimately, will present him with a choice. Does he wish to continue to live in a civilization based on material technology or does he wish to live in a civilization based on mystical technology. Man’s destiny, it is believed, is associated with the latter. In addition to this technological aspect of man’s destiny, there is also believed to be a spiritual aspect, as well. The latter, it is believed, is represented by Christianity. Therefore, the doctrines and eschatological predictions of that religion are also addressed in Volume I, as they are in all volumes of The Creation.
Although the Lascaux cave probably is the most famous cave in Europe, where parietal art has been discovered, it is not the oldest. This distinction belongs to the Chauvet cave, located in the gorges of the Ardeche River in southeastern France. Here, transfer activity was carried out between 35,000 B.C. and 30,001 B.C., and this transfer activity, it is believed, was the first transfer activity that was carried out by man. The people involved in this transfer activity were people of the Aurignacian culture. As in the case of the Lascaux cave, the Chauvet cave was decorated by cave artists, also. This is believed to have taken place between 30,000 B.C. and 28,000 B.C. In addition, like the cave art of the Lascaux cave, the cave art of the Chauvet cave appears to have been executed immediately following the transfer activity that was carried out at that cave. The paintings of the Chauvet cave are believed to be the first artifacts of man that were inspired by the Creator. In The Creation: Its Infinite Features and Finite Realms, artifacts, such as these, are referred to as inspired sources.
The cave art of the Chauvet cave and the Lascaux cave, as we shall see, possess an unusual symbolism. This symbolism is found not only in the cave art, itself, but also in photographs found in books, magazines, and other printed materials that pertain to these caves. And this symbolism is not limited just to the paintings of these caves. It also appears in tens of thousands of other artifacts produced by man since 30,000 B.C. A careful study of this symbolism reveals that it is not symbolism inspired by the artist. Rather, it appears to be symbolism that is inspired by an intelligent, spiritual being with supernatural attributes. In The Creation, this being is believed to be the supreme, spiritual being, whom some refer to as God, or the Creator. In The Creation, the Creator is believed to be the Triune Godhead of Christianity: the Father, the Son (the Word), and the Holy Spirit.
The artifacts of man that are inspired by the Creator and possess this unusual symbolism are called inspired sources. Despite the fact that some inspired sources are thousands of years old, the existence of inspired sources was not revealed to man until only recently-in the last decade of the twentieth century. As we shall see, the symbolism of inspired sources conveys knowledge, and this knowledge, it is believed, is of a kind that the Creator feels is important for man to receive at this time in his history. Although this knowledge covers a wide range of subjects, the subject most frequently encountered in inspired sources concerns a new kind of technology. In The Creation, this new kind of technology is referred to as mystical technology. The Creator, apparently, desires man to use the knowledge conveyed by the symbolism of inspired sources at this time to transform his present civilization, based on material technology, to an advanced civilization, based on mystical technology. This transformation, in turn, eventually will be followed by another in which man’s advanced civilization will be transformed to an advanced interstellar civilization, also based on mystical technology.
In The Creation: Its Infinite Features and Finite Realms, Volume I: The Mystery of Inspired Sources and Their Significance to Man, we shall discuss this new kind of technology. As we do so, we shall also seek to answer the questions: (1) what is mystical technology, and (2) why is it necessary for man to discover and use mystical technology at this time in his history. Man’s consideration of these questions, ultimately, will present him with a choice. Does he wish to continue to live in a civilization based on material technology or does he wish to live in a civilization based on mystical technology. Man’s destiny, it is believed, is associated with the latter. In addition to this technological aspect of man’s destiny, there is also believed to be a spiritual aspect, as well. The latter, it is believed, is represented by Christianity. Therefore, the doctrines and eschatological predictions of that religion are also addressed in Volume I, as they are in all volumes of The Creation.
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