Post 26. Actual Anomalous Features and Ambiguous Anomalous Features in Inspired Sources (The Creation, Volume I: Chapter 6, Subhead 3)

Actual Anomalous Features and Ambiguous Anomalous Features in Inspired Sources (Post 26. CVIC6S3)

In the multiple inspired source, “Lascaux Cave,” (Figure 1), which was introduced in Chapter 1, one of the three inspired sources that comprises Figure 1, is designated inspired source 1-2.  This inspired source is an inspired illustrative photograph of a cave painting of two horses, and is found in the axial gallery of the Lascaux cave.  At this time we shall discuss this inspired source, that is, inspired source 1-2, with respect to actual anomalous features and ambiguous anomalous features. 

 

Figure 20.  An example of an actual anomalous feature

(the left front hoof of the dark horse) that is also the

location of an alignment point of an alignment, in this

case, alignment point L3 of alignment L.  Click on the

picture to enlarge.

An actual  anomalous feature (Figure 20)¹  is one that is a clearly recognizable feature, that is, it does not require imagination to determine what it is.  However, this feature is important only because it symbolizes something else.  In Figure 20, the left, front hoof of the dark horse is an actual anomalous feature that is the location of alignment point L3 of alignment L. The symbolism associated with alignment point L3 of alignment L will be discussed in greater detail in Volume II of The Creation.  Suffice it here to say that the symbolic significance of the left, front hoof (and associated lower, left, front leg) of the dark horse, where alignment point L3 is located, is that it symbolizes the instrument of mystical particle transfer referred to in The Creation as the sword.  More specifically, the forward edge of the left hoof, where alignment point L3 is located, symbolizes the tip, or point, of the sword; while the remainder of the left front leg of the horse symbolizes the blade of the sword.  Click on the picture to enlarge. This feature does not require imagination to identify.  It is clearly a hoof (and associated lower, left, front leg).  However, it symbolizes something else.  This “something else” is the point of the sword, mentioned above, which can be thought of as meaning the sword, itself.   

It may be noted that the remaining two alignment points of alignment L, that is, alignment points L1 and L2, symbolize the two remaining instruments of mystical particle transfer.  These are the helmet and the breastplate, respectively.  In this regard, alignment point L1 is collocated with an actual anomalous feature, represented by the muzzle of the head of the dark horse, while alignment L2 is collocated with an ambiguous anomalous feature, represented by the dark form in front of the chest of the dark horse.  The former feature can easily be viewed as symbolizing the helmet.  The latter feature, however, is an ambiguous anomalous feature.  It takes imagination to recognize that this shadow, or whatever it is, in the symbolic context of alignment L (that pertains to the three instruments of mystical particle transfer), can be viewed as symbolizing the breastplate.  In alignment L the symbolic logic associated with the three alignment points of the alignment is clear and apparent.

Another example of an actual anomalous feature that is present in inspired sources is found in fruit that is depicted in a still life painting that is an inspired source.  In this regard, one could imagine an alignment making a connection with the peripheral edge of a peach that appears in a painting, such as this.  The location of the intersection of the alignment with the peach will also be the location of an alignment point of the alignment.  After studying other alignment points of this alignment, and the alignment points of other alignments of the inspired source that may be collocated or associated  with the above alignment point-this accomplished by one making mental associations-the peach may be determined to be one of the four primary mystical particles, associated with mystical technology.  Frequently, the same symbol-in this case, the peach-will be present in other still life paintings that are inspired sources, and will symbolize the same mystical particle.  In this way, the symbolism of fruit depicted in a still life painting that is an inspired source is often found to be consistent from one painting to another.  This, of course, simplifies the task of interpreting the symbolism of inspired sources, such as these.  It also implies that an intelligence of some kind is involved in this symbolism.  In regard to the peach, mentioned above, in the context of a still life painting that is an inspired source, this fruit has been found to symbolize a microwave photino.

 

Figure 21.  An example of an ambiguous anomalous feature

(the disc spaceship-like object above the back of the dark

horse) that is also the location of an alignment point of an

alignment, in this case, alignment point A5 of alignment A.

Click on the picture to enlarge.

There are times, when an anomalous feature collocated with an alignment point of an alignment of an inspired source is not an actual anomalous feature.  Rather, it is an ambiguous anomalous feature.  In The Creation, an ambiguous anomalous feature (Figure 21)²  is one that is not a clearly recognizable feature, but with imagination, it is possible to determine that it possesses a recognizable form or shape.  However, like an actual anomalous feature, an ambiguous anomalous feature is important only because it symbolizes something else.  Once more, referring to the multiple inspired source, “Lascaux Cave” (Figure 1) and one of the inspired sources that comprise it, that is, inspired source 1-2, it may be noted in Figure 21 that a dark disc-like form is located above the back of the dark horse.  Click on the picture to enlarge.  This is an ambiguous anomalous feature that could be said to be collocated with alignment point A5 of alignment A.  The symbolism associated with alignment point A5 of alignment A will be discussed in greater detail in Volume II of The Creation.  Suffice it here to say that the symbolic significance of the dark, disc-like form, referred to above-and particularly, the “rim” of this disc-like feature, where alignment point A5 is located-is that it symbolizes a disc spaceship.  Moreover, point A5 of alignment A, it is believed, symbolizes contact between people of the Magdalenian culture involved in transfer activity in the fifteenth millennium B.C. and living entities aboard the disc spaceship.  In this regard, it may be noted that the ambiguous anomalous feature, referred to above, despite its lack of clear definition, does bear a resemblance to a disc spaceship.  This resemblance, or likeness, it is believed, is sufficient to consider this ambiguous anomalous feature as symbolizing a disc spaceship. 

Another example of an ambiguous anomalous feature that is present in inspired sources is found in the folds and shadows of garments and tapestries that are depicted in paintings that are inspired sources.  These folds and shadows frequently assume ambiguous forms that with a little imagination can be said to resemble various objects.  In this regard, one could imagine an alignment making a connection with a specific part of a fold or shadow of a garment or tapestry that resembles some object.  This connection, as always, would be located at a peripheral edge of this ambiguous anomalous feature.  The location of the intersection of the alignment with the ambiguous anomalous feature in the inspired source will also be the location of an alignment point of the alignment.  After studying other alignment points of this alignment, and the alignment points of other alignments of the inspired source-this accomplished by one making mental associations-it is possible to arrive at the correct interpretation of the ambiguous anomalous feature located at the fold or shadow of the garment or tapestry.  In this way, it is possible for the symbolism of ambiguous anomalous features to convey knowledge to one studying an inspired source.  As noted previously, in The Creation, no distinction is made between actual anomalous features and ambiguous anomalous features unless the context requires this for better understanding.  Both are simply referred to as anomalous features.

In conclusion, both actual anomalous features and ambiguous anomalous features that are collocated with points of alignments in inspired sources are merely symbols that must be interpreted to understand the meaning of the symbolism present in an inspired source.  When this is done, and done correctly, a symbolic logic will be found to exist for each alignment and each of its alignment points in an inspired source.  This symbolic logic, in turn, makes it possible for one studying an inspired source to comprehend the knowledge that the Creator desires to reveal to man by means of inspired sources at this time in his history.


Commentary 

No comments are deemed necessary.


Credits

1  Branigan, K., Consultant Editor:  The Atlas of Archaeology, ©1982, from the article: 'Lascaux' by S. and T. Champion, 30-31 (St. Martin's Press)

2  Branigan, K., Consultant Editor:  The Atlas of Archaeology, ©1982, from the article
'Lascaux' by S. and T. Champion, 30-31 (St. Martin's Press)



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