The Three Most Frequently Encountered Kinds of Inspired Sources (Post 28. CVIC6S5)
The study of tens of thousands of inspired sources has revealed that, in general, these belong to three general categories: (1) inspired cultural artifacts of man (excluding photographs); (2) inspired photographs; and (3) inspired terrain features.
With regard to inspired cultural artifacts of man (excluding photographs), any cultural artifact produced by man since the time of the cave art of the Chauvet cave about thirty-two thousand years ago, may be an inspired source. For an artifact to be inspired, it would only need to possess the alignments and symbolism characteristic of inspired sources. If these are present, then the artifact-regardless of its refinement or lack of refinement-can be considered to be an inspired source. However, the study of inspired sources has revealed that artifacts that are highly esteemed by man for their excellence are more likely to be preserved over the course of time than artifacts that are not. Consequently, artifacts of man, such as paintings, illustrations, sculptures, architecture, and other objects produced by man that possess pictorial, ornamental, and design features of notable excellence, are more likely to have survived to the present time than those that lack these qualities.
It is possible that the Creator chose many of the excellent artists and artisans of the past to produce inspired sources because he knew that these cultural artifacts would be highly esteemed by man and preserved by him until the present time. This, undoubtedly, contributed to the large number of inspired sources that exist at the present time. Excellent cultural artifacts that are inspired sources continue to be produced by man at the present time. Not all these artifacts are the kind of artifacts that man may consider worthy of preserving for posterity. Nevertheless, if these artifacts are inspired sources, the knowledge conveyed by the symbolism of these may be no less significant than that conveyed by a valuable painting by a famous artist that is an inspired source.
Cultural artifacts of man, such as paintings, illustrations, sculptures, architecture and other objects that are inspired sources, as noted above, continue to be produced at the present time. However, it is photographs, including photographs of artifacts that are inspired sources, that are the most common inspired sources encountered at the present time. In The Creation, a photograph of an inspired artifact produced in the past that appears as a photograph or illustration in a book, magazine, newspaper, or other printed materials, is referred to as an inspired illustrative photograph. The study of the latter has revealed that an inspired illustrative photograph of an artifact of man that is an inspired source invariably is an inspired source, itself. This is true though the inspired illustrative photograph may possess different alignment points of alignments than the original.
However, a photograph may also depict subject matter that does not involve an inspired cultural artifact, and still possess the alignments that are characteristic of an inspired source. The reason for this, it is believed, is that a photograph, itself, is a cultural artifact of man; and, as such, is capable of being an inspired source on its own merit (without depicting an inspired cultural artifact). A photograph of this kind, that is, one that depicts subject matter that does not include an inspired cultural artifact, but is an inspired source all the same, is referred to in The Creation as an inspired non illustrative photograph. The inspired sources that will be studied in this volume and subsequent volumes of The Creation, of course, are not the original inspired cultural artifacts. Rather, they are inspired illustrative photographs of these. Presumably, the Creator knew that it would be difficult for man to study the original inspired cultural artifacts. Therefore, he arranged for inspired illustrative photographs to take their place, making it possible for tens of thousands, and perhaps, even hundreds of thousands, of inspired sources to be studied by man at this time.
The study of inspired sources has revealed that it is possible for two or more inspired illustrative photographs, such as those that serve as photographs or illustrations in books, magazines, newspapers, and other printed materials, to possess anomalies and alignments of a kind not possible for a single inspired illustrative photograph to possess. In the multiple inspired source, “Lascaux Cave,” (Figure 1), which is introduced in Volume I, and will be studied in greater detail in Volume II of The Creation, the cave art of the Lascaux cave is represented by three inspired illustrative photographs. These are designated inspired sources 1-1, 1-2, and 1-3 of Figure 1. The three inspired sources are three photographs or illustrations that are found on the same page in an article entitled, ‘Lascaux,’ written by S. and T. Champion, in The Atlas of Archaeology, edited by K. Branigan.3
Each of these photographs or illustrations is an inspired source, individually, but they also are an inspired source, collectively, as well. This means that in the study of these three inspired sources, the three can be treated as one inspired source having no separate boundaries or margins. This is possible because these three inspired sources that accompany the article ‘Lascaux’ in The Atlas of Archaeology are arranged on the page in such a way that alignments that pertain to these three inspired sources, in most cases, originate at one inspired source and terminate at another. Stated another way, the alignments pertaining to these three inspired sources, in most cases, are not confined to the boundaries of the inspired source, where they originate, but extend to one or more of the other two inspired sources. This phenomenon is referred to in The Creation as the multiple inspired source phenomenon. The precision of these alignments in their intersection of actual and ambiguous features in the three inspired sources, as well as their intersection with one another-as revealed in the multiple inspired source, “Lascaux Cave” (Figure 1)-cannot be the result of mere chance. Rather, it is believed that the Creator was involved in the manifestation of this phenomenon. In addition, it may be noted that the multiple inspired source phenomenon is not restricted to multiple inspired sources that appear on the same page of a book, magazine, newspaper, or other printed material. It is possible for this phenomenon to be present even though the inspired sources that comprise the multiple inspired source are located on two different pages of a publication. In this case, the alignments extend across the separation of the leaves of the binding of the publication.
Another kind of inspired source appears to exist that does not actually pertain to cultural artifacts of man. This includes photographs. This kind of inspired source may be the result of activity on the part of the living entities of advanced interstellar civilizations that serve the Creator, or activity on the part of the Creator, himself. This activity also may be the result of both, the living entities, mentioned above, and the Creator, acting in concert. This kind of inspired source usually involves a terrain feature of the earth (or of another celestial body in the solar system) that may, at first, appear to be natural, but has undergone some change, either at the hand of the living entities, mentioned above, or the Creator, or by both, working in concert. This kind of inspired source is referred to in The Creation as an inspired terrain feature.
An inspired terrain feature may have had its beginning millions or billions of years, ago. One may mistakenly assume that this extreme antiquity would rule out living entities of the advanced interstellar civilizations as those responsible for the formation of these inspired sources. But, in fact, the symbolism of inspired sources reveals that the most ancient of the advanced interstellar civilizations was, indeed, present in the Milky Way Galaxy billions of years ago. Over the course of time, this inspired terrain feature may have experienced changes as a result of episodes of mountain building and erosion. These early natural changes in the formation of the inspired terrain feature may have been under the control of the Creator. He, apparently, guided the formation of the inspired terrain feature so that it would eventually conform to the configuration that he desired for it to possess, when, sometime in the late twentieth or early twenty-first century A.D., man would recognize it as an inspired source.
It is possible that the living entities of the most ancient advanced interstellar civilization, who serve the Creator, played a role in this activity, as well. If the latter were involved, perhaps they were responsible for the final definition of the actual and anomalous features that would be associated with the inspired terrain feature. These would make possible the alignments and associated alignment points that would allow the inspired terrain feature to possess the characteristics of an inspired source, and be capable of being recognized as such by man.
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Credits
3 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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