The Role of the Creator in the "Creation" of an Inspired Source (Post 29. CVIC6S6)
How is it possible for the Creator to use the artistic talent of a painter or a photographer to produce a cultural artifact of man that is an inspired source? In the discussion that follows we shall first address the subject of a painting that is an inspired source, and then a photograph that is an inspired source, and how the Creator inspires both.
With regard to a painting that is an inspired source, it is believed that the Creator, in the person of the Holy Spirit, uses the mind and body of a painter to produce-by the painter’s own hand-the anomalous features that comprise the alignment points of the alignments of the inspired source. In this unseen way, it is believed, the symbolism of the inspired source that is associated with the alignment points of the alignments is incorporated into the painting. The artist, of course, is not aware that he is painting anything more than that which his mind is telling him to execute in the painting. However, unknown to him, he is also incorporating the Creator’s symbolism into his painting. Regardless of when the artists may have painted his work of art: whether it was a century ago, a millennium ago, or many millennia ago, the anomalous features that comprised the alignment points of the inspired source and the symbolism associated with these, would remain undiscovered by man until the last decade of the twentieth century. At this time the Creator would reveal the existence of inspired sources to man. The knowledge conveyed by the symbolism of the latter would make him realize that redeemed man’s technological destiny in the present age and the future age is linked to a new kind of technology-one that is referred to in The Creation as mystical technology.
With regard to a photograph that is an inspired source, these can be divided into two broad categories: (1) inspired illustrative photographs that are inspired sources because they depict an object that is an inspired source; and (2) inspired non illustrative photographs that are inspired sources that do not depict an artifact that is an inspired source, but are inspired sources all the same. An example of an inspired illustrative photograph would be an illustration of a painting in a book of art that possessed the alignments and points of alignments typical of an inspired source. An example of an inspired non illustrative photograph would be a photograph of a random assembly of eclectic objects that possess the alignments and points of alignments that are typical of an inspired source. In The Creation, these two kinds of inspired sources are not distinguished in this way, unless this is necessary for the sake of clarity. Usually, both are simply referred to as inspired photographs.
A process is involved in the production of an inspired photograph that is different from that of an inspired painting. Here, we are referring to an inspired non illustrative photograph, not an inspired illustrative photograph. An inspired non illustrative photograph usually consists of many objects, each of which came to exist as a subject in the photographer’s photograph at different times and in various ways. Consequently, when the photographer arrived and took the photograph that included these objects, some objects may have existed at that location for a long time, and others for only a short time. However, in order for the photograph to have incorporated within it, the anomalous features that comprise the alignment points of the alignments, each object pertinent to that symbolism would have to exist at a specific location in relation to other objects in the photograph. Otherwise, alignment points would not exist and the photograph could not be considered to be an inspired source.
Therefore, in order for the photograph to be an inspired non illustrative photograph and an inspired source, all objects that were pertinent to the symbolism of the inspired source-one by one, over the course of time-would have to “find their proper place” in relation to one another; so that when the photograph was taken, it would have incorporated within it, the anomalous features that comprise the alignment points of the alignments. If an object like a hill or other terrain feature was pertinent to the symbolism of the photograph, it may have “found its place” (with regard to the future photograph) a million years before the photograph was taken. If an object like a house was pertinent to the symbolism of the photograph, it may have “found its place” (with regard to the future photograph) ten years before the photograph was taken. And if an object like a bird flying in the sky was pertinent to the symbolism of the photograph, it may have “found its place” (with regard to the future photograph) only a few seconds before the photograph was taken.
These objects did not simply “find their place” as a result of natural forces independent of the Creator. Rather, it is believed, the Creator was involved in this activity from the beginning to the end. It was he who was responsible for the natural forces that were involved in the assembling of the objects, mentioned above, until they all “found their place” with regard to the future inspired photograph. If this account of the production of an inspired photograph is true, the Creator must have been continually active in the production of this inspired source. If he is capable of lavishing such great attention on something as seemingly inconsequential as an inspired photograph, He must be also capable of guiding all aspects of the creation, small and large, in order to bring to fulfillment his plan and purpose for the creation, and the life that dwells therein.
Therefore, the Creator must have prepared millions of years in advance for the moment the photographer would arrive and take this inspired photograph. When all was prepared, the photographer arrived, the photograph was taken, and the inspired source was produced. But there is still more. The photographer would have had to take the photograph at the proper time. The bird referred to above would be located within the field of view of the camera for only a short time. In addition, the photographer would have had to take the photograph at the proper camera angle. An improper camera angle would cause the alignment points of the alignments to be skewed, and the photograph would not be an inspired source. Once again, we see that the hand of the Creator would have had to been continuously involved in this event for it to result in an inspired photograph.
When one considers the countless number of inspired sources that have been produced on earth for the last thirty-two thousand years, or more, it is clear that they all were miraculous events, and could not have taken place without the active involvement of a Creator who is omniscient, omnipotent, and omnipresent.
Commentary
This subhead concludes Chapter 6 of The Creation: Its Infinite Features and Finite Realms, Volume I: The Mystery of Inspired Sources and Their Significance to Man.
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