Post 43. Alignment A and the First Step of the Material Pathway of a Person of the Magdalenian Culture Involved in Transfer Activity (The Creation, Volume II: Chapter 1, Subhead 4)

 

Alignment A and the First Step of the Material Pathway of a Person of the Magdalenian Culture Involved in Transfer Activity (Post 43. CVIIC1S4)

Alignments A, B, and C, as we shall see, symbolize the three steps of the material pathway of a person involved in transfer activity.  It may be noted that all three of the above alignments pass through the dark horse.  These three alignments also intersect with an anomalous feature located above the back of the dark horse (Figure 4).⁴  This anomalous feature, which is highlighted in Figure 4, appears to resemble part of a disc spaceship.  And this, it is believed, is what the Creator intended this anomalous feature to symbolize.  However, only part of this spaceship is visible.  The remaining part must be imagined, as it is hidden behind the neck of the dark horse. 
 

 

Figure 4.  The anomalous feature (highlighted) located

above the back of the dark horse in the inspired source

1-2 (the two horses) of Figure 1 that symbolizes a disc

spaceship.  Click on the picture to enlarge.

 

Presumably, this spaceship symbolizes contact of some kind between living entities of an advanced interstellar civilization aboard the spaceship and a person, or a small group of people, of the Magdalenian culture involved in transfer activity.  Although it is not known, for certain, it is likely that the living entities of this advanced interstellar civilization used a small disc spaceship in support of this transfer activity.  As we have seen in previous posts, this transfer activity involved the transfer of members of mankind from their primitive culture on the surface of the earth to an advanced interstellar civilization located at a large grottobase in the interior of the earth.  This contact, it is believed, took place at three different times during the journey of the person on the material pathway-one contact for each step of his journey on that pathway. 

This appears to be confirmed by the intersection of all three of the alignments, that is, alignments A, B, and C, with three different areas of the anomalous feature that symbolizes the disc spaceship.  These intersection points are point A5 of alignment A, point B5 of alignment B, and point C5 of alignment C.  It may be noted that each of the three alignment points is located at a higher location on the spaceship than the previous one.  In this regard, point A5 is located at the rim of the spaceship, point B5 is located midway between the rim and the top of the spaceship, and point C5 is located at the top of the spaceship.  This may symbolize an increasing degree of intimacy between the living entities of the advanced interstellar civilization and the person, or group of people, involved in transfer activity during their journey on the material pathway. 

Therefore, alignments A, B, and C can be viewed as symbolizing the three steps of the material pathway of a person of the Magdalenian culture involved in transfer activity.  The various alignment points of these alignments, it is believed, possess symbolism that conveys knowledge concerning these three steps of that pathway.   As we saw in Volume I of The Creation, this symbolism is revealed, when the alignment points of an alignment and the anomalous features with which they are collocated are carefully studied.  The purpose of this study is to discover the associations that are present between the various alignment points and associated anomalous features of the alignment.  In cases where two alignment points of two alignments are collocated, these associations usually involve both alignments.  However, in the case of the multiple inspired source, “Lascaux Cave” (Figure 1), there is not one, but three inspired sources to consider, and these must be treated as one.

Based on the symbolism present in alignments A, B, and C of the multiple inspired source, “Lascaux Cave (Figure 1), three general contexts of meaning are believed to exist.  These are: (1) the three alignments can be viewed as symbolizing the three steps of the material pathway of a person of the Magdalenian culture involved in transfer activity; (2) the three alignments can also be viewed as symbolizing the three contacts between the living entities of the advanced interstellar civilization aboard the spaceship, referred to above, and a person of the Magdalenian culture involved in transfer activity; and (3) the three alignments can also be viewed as symbolizing three phases in the life of a person of the Magdalenian culture involved in transfer activity.  Each of these three phases, it is believed, was concluded by a contact by the living entities of an advanced interstellar civilization aboard the spaceship.  In addition, each of these contacts, it is believed, concluded one of the three steps of the material pathway of the journey of a person involved in transfer activity, 

Turning now to alignment A and the first step of the material pathway, this alignment begins at point A1 located at the border of inspired source 1-3 (the aurochs) of Figure 1. Here, also, points B1 and C1 of alignments B and C, respectively, are located, resulting in an unusual triple collocation of alignment points of these three alignments.  In this regard, point A1 of alignment A, it is believed, symbolizes the oversight of the Father, the first person of the Triune Godhead, in making possible transfer activity by a person of the Magdalenian culture, and the successful completion of the first step of the material pathway of his journey.  After leaving point A1, alignment A proceeds to point A2 located at the base of a linear anomalous feature depicted in the inspired source 1-3 (the aurochs) of Figure 1, continues to point A3 located at the top of the same anomalous feature, mentioned above, continues to point A4 located at the belly of the dark horse in inspired source 1-2 (the two horses) of Figure 1, continues to point A5 located at the rim of the anomalous feature that resembles a disc spaceship in the inspired source 1-2 (the two horses) of Figure 1, and terminates at point A6 located at no place of  apparent symbolic significance in the same inspired source.

  

Figure 1.  The three illustrations

(inspired sources: 1-1, 1-2, and

1-3) that are collectively referred

to as the multiple inspired source,

"Lascaux Cave" (Figure 1).  Click

on the picture to enlarge.  Photo-
graph of the aurochs, ©AAAC/
TopFoto/The Image Works.
 

 

Figure 2.  The three illustrations

(inspired sources: 2-1, 2-2, and

2-3) that are collectively referred

to as the multiple inspired source,

"Lascaux Cave" (Figure 2), with 

alignments not drawn for better

viewing of the features of the

inspired source.  Click on the 

picture to enlarge. Photograph

of the aurochs, ©AAAC/
TopFoto/The Image Works. 

Returning to points A2 and A3, located at the bottom and top of the anomalous linear feature, mentioned above, these two points, it is believed, symbolize the oversight of the Son (the Word) and the Holy Spirit, the second and third persons of the Triune Godhead, respectively, in making it possible a person of the Magdalenian culture to undertake transfer activity and  successfully complete the first step of the material pathway of his journey.  This oversight by the Triune Godhead-the Father, the Son (the Word), and the Holy Spirit-may have involved preparing the person, who was involved in transfer activity, for the completion of the first step of the material pathway of his journey.  This journey, as noted previously, would conclude, one day, with that person being received by the living entities dwelling at a large grottobase located beneath the surface of the earth, and he being made an associate member of an advanced interstellar civilization.  This preparation may have involved spiritual teaching and instruction by the Creator, in the person of the Holy Spirit, during the person’s youth until the time arrived that the Creator considered the person ready to make contact with living entities of an advanced interstellar civilization.  The first step of the material pathway was completed, it is believed, when the person involved in transfer activity made contact in some way with the living entities aboard the spaceship, mentioned above. 

Point A4 is located at the belly of the dark horse depicted in the inspired source 1-2 (the two horses) of Figure 1.  This alignment point is located near the place, where the heart of the horse would be expected to be found within the animal.  The heart, it is believed, in this context, symbolizes “heart,” or courage.  The development of this trait, courage, may have been important for a person involved in transfer activity, who, one day, would encounter a spaceship and living entities of an advanced interstellar civilization.  At that time, he would have to decide whether to stand fast or flee in terror?  Therefore, the Creator, in the person of the Holy Spirit, it is believed, sought to develop the courage of those who were involved in transfer activity.  The  greatest testing of one's courage during the three steps of the material pathway of his journey may have taken place the three times that he was contacted by living entities aboard  a spaceship.

 
It may be noted that, in addition to point A4 of alignment A, points B4 and C4 of alignments B and C, respectively, are located at the belly of the dark horse, also.  Point B4 is located closer to the place, where the heart of the horse would be expected to be found within the animal than point A4.  However, only point C4 can be said to be located exactly at the place where the heart would be expected to be found.   One might conclude from this that the successful completion of each successive step of the material pathway by a person involved in transfer activity enabled him to possess more courage.  This is signified by points A4, B4, and C4, which are progressively closer to the actual place where the heart is located within the horse with point C4 being the location of the exact place.  In this regard, the Creator, apparently, believed that courage was important for those involved in transfer activity, and this character trait, apparently, was instilled in the person involved in transfer activity during his journey on the material pathway. 

Point A5 of alignment A is located at the rim of the anomalous feature that resembles a disc spaceship in the inspired source 1-2 (the two horses) of Figure 1.  This alignment point is believed to symbolize the first contact between the person involved in transfer activity and the living entities of an advanced interstellar civilization aboard a spaceship.  It is possible that the spaceship was already resting on the surface of the earth, when the person encountered it.  Then, perhaps, from the open entry hatch, a living entity may have emerged from the spaceship with his right hand held up in a gesture of greeting.  The living entity may have then approached the person.  Although it is not known, for certain, what may have taken place at the time of this contact, it is possible that the destiny of the person involved in transfer activity was partly revealed to him, and knowledge was conveyed that would enable the person to successfully complete the second step of the material pathway of his journey.

 

However, he first had to complete the first step of the material pathway, and he did this, it is believed, by simply allowing the contact to take place, and not fleeing after encountering the spaceship and those aboard.  This also must have involved an acceptance on the part of the person of the knowledge conveyed to him during this contact and a willingness on his part to act upon that knowledge.  This contact, it is believed, may have provided the motivation for the person to continue his journey on the material pathway.  However, as we shall see, when alignment M is discussed, it is likely that at the end of this contact, the living entities of the advanced interstellar civilization subjected the person to post hypnotic suggestion-like mind control techniques that would prevent  him from retaining a conscious memory of the contact.  He would, however, have a subconscious memory of the contact, and this instinct probably was sufficient for him to successfully complete the second  step of the material pathway of his journey. 

Point A6 of alignment A is located at a place in the inspired source 1-2 (the two horses) of Figure 1 that does not seem to have symbolic significance.  However, this is a place, where points M5 and K3 of alignments M and K, respectively, are collocated.  The intersection of these three alignments here is unusual, and is not believed to be the result of random chance.  Therefore, it is assumed that point A6 must be symbolically significant.  As we shall see, shortly, alignment M appears to symbolize the post hypnotic suggestion-like mind control techniques used by the living entities of an advanced interstellar civilization.  The presence of point M4, and its collocation with Points A6 and K3, appears to confirm that, which was stated above concerning a person of the Magdalenian culture involved in transfer activity, that is, he lost conscious memory of the events that took place during the first contact as a result of the post-hypnotic suggestion-like mind control techniques that he was subjected to at the conclusion of the contact.


Commentary 

The people of the Magdalenian culture involved in transfer activity in the fifteenth millennium B.C., apparently were chosen by the Creator to undertake this activity, and he developed in these people, in most cases, the character traits necessary for them to complete the three steps of the material pathway, complete the three steps of the mystical pathway, and transfer from their primitive culture on the surface of the earth to an advanced interstellar civilization beneath the surface of the earth. 

Although their does not appear to be a similar activity taking place on earth at the present time, it would not be unreasonable to assume that activity similar to this could take place on earth at some time in the near future.  This activity will not involve, merely, one culture, but all cultures of man on earth.  This activity will be one that involves spaceships whose operators serve the Creator.  And the time of this activity, it is believed, could be the period of time referred to in the Bible as the great tribulation (Mt. 24:21-22; Rev. 7:13-14). The purpose of this activity could be to rescue those of mankind who accepted Jesus Christ as their savior and were saved just prior to the beginning of the great tribulation.  In Christian eschatology, the great tribulation is considered to be the period of time that occupies the last three and one-half years of the seven year tribulation period that follows the beginning in the day of the Lord (Isa. 2:10-17; Joel 1:1-11).     

Because these Christians have just recently accepted Jesus Christ as their savior, they will have had little opportunity to grow and mature as Christians.  Consequently, in their own mind, they may not be prepared to be martyred during the great tribulation.  During the early part of the great tribulation, these Christians, it is believed will be rescued by spaceships whose operators serve the Creator and Jesus Christ.  They will be taken to places on earth that with the assistance of the instruments of mystical particle transfer, will enable them to travel by means of the mystical pathway to large grottobases of reactivated transfer activity grottobase complexes.  Here, they will be strengthened for service, and mature in the faith until they are prepared to go forth from their grottobases and serve the Creator and Jesus Christ.  Then, led by the Creator, in the person of the Holy Spirit, they will serve on the surface of the earth during the remainder of the great tribulation until they either die as martyrs, or live to witness the second coming of Jesus Christ in power and glory. 

At this time, the latter will be rescued once again, this time by spaceships operated by living entities that serve the Creator, in the person of the Son (the Word) and Jesus Christ (Mt. 24:30-31; Lk. 21:25-28).  These spaceships, for the most part, will accompany Jesus Christ at his second coming.  However, it is not unreasonable to assume that man, also, will operate spaceships in service to the Creator in the tribulation period prior to the second coming of the Lord.   


Credits

4.     Branigan, K., Consultant Editor:  The Atlas of Archaeology, ©1982, from the article:  ‘Lascaux’ by S. and T. Champion, 30-31 (St. Martin’s Press); Photograph of the
aurochs, ©AAAC/TopFoto/The Image Works

Figures 1 and 2:  The credit references for Figures 1 and 2 are found in the Credits of Post 41 (CVIIC1S2)



Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner.  
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.
 

Post 42. The Symbolism Pertaining to the Two Horses Depicted in the Inspired Source 1-2 (the Two Horses) of Figure 1 in the Multiple Inspired Source, "Lascaux Cave" (Figure 1) (The Creation, Volume II: Chapter 1, Subhead 3)

The Symbolism Pertaining to the Two Horses Depicted in the Inspired Source 1-2 (the Two Horses) of Figure 1 in the Multiple Inspired Source, “Lascaux Cave” (Figure 1) (Post 42. CVIIC1S3) 

The two horses depicted in the inspired source 1-2 (the two horses) of Figure 1, it is believed, have two symbolic contexts.  In the first symbolic context, the two horses can be viewed as symbolizing the two pathways-the material pathway and the mystical pathway-that a person of the Magdalenian culture involved in transfer activity followed during his lifetime.  These pathways eventually led the person to a subterranean base, where dwelt living entities of an advanced interstellar civilization.  Here, the person would be received in friendship and be made an associate member of that civilization.  These subterranean bases are referred to in the The Creation as grottobases.  One of these grottobases, apparently, was located in the vicinity of the Lascaux cave.  As we saw in Volume I, the location of this grottobase, vertically, may have been less than a mile beneath the surface of the earth.  But, horizontally, it may have been anywhere between forty to one hundred and thirty miles in any direction from the Lascaux cave.  Inspired sources indicate that the grottobase that received the people of the Magdalenian culture involved in transfer activity in the fifteenth millennium B.C. was located beneath the surface of the earth about one hundred and thirty miles north-northwest of the Lascaux cave near present day La Rochelle, France (Figure 3).³



Figure 3.  A map of southern France showing the location of

the Chauvet cave and Lascaux cave, as well as the general

location of the two transfer activity grottobase complexes

associated with the two caves.  These complexes are 

believed to have existed beneath the surface of the earth 

near Rennes-le-Chateau and La Rochelle, respectively.  

Click on the picture to enlarge the map.

The dark horse depicted on the left in the inspired source 1-2 (the two horses) in the context of the material and mystical pathways, is believed to symbolize the material pathway of a person of the Magdalenian culture involved in transfer activity.  The material pathway was that part of the person’s journey that involved the use of material technology (though from the point of view of modern man this material technology would be consider primitive), and was associated with the surface of the earth.  The mystical pathway, on the other hand, was that part of the person’s journey that involved the use of mystical technology, and was associated with the interior of the earth.  The material pathway of a person of the Magdalenian culture involved in transfer activity in the fifteenth millennium B.C. could be said to have had its beginning at the time of the conception of that person.  Guided by the Creator, in the person of the Holy Spirit, he continued on this pathway during his lifetime until he discovered the Lascaux cave.  At this time, his journey underwent a transition from the material pathway to the mystical pathway. 

A person of the Magdalenian culture involved in transfer activity, it is believed, was motivated by a desire to discover and enter the underworld.  Perhaps, the person believed that the underworld was inhabited by immortals, who dwelt in a subterranean paradise.  He may have also believed that some deceased members of his clan or community, following their death, were among these immortals.  Therefore, caves, such as the Lascaux cave, probably were viewed by some people of that time as possible entrances to the underworld.  The person’s entry into the Lascaux cave for the purpose of locating an entrance to the underworld could be viewed as the final aspect of the third step of the person’s journey on the material pathway.  The completion of this aspect would lead the person to the initial aspect of the first step of his journey on the mystical pathway.  During his journey on the mystical pathway, he would travel through the interior of the earth until he arrived at a large grottobase of a transfer activity grottobase complex.  Here, as noted above, the living entities that dwelt at the grottobase would receive the person in friendship and he would be made an associate member of their civilization.  However, before the person could actually begin the journey on the mystical pathway, he would need to obtain in some manner the instruments of mystical particle transfer.   In The Creation, these three portable instruments are referred to as the helmet, the breastplate, and the sword.

 With regard to the second symbolic context, mentioned above, the two horses depicted in the inspired source 1-2 (the two horses) of Figure 1 can be viewed as symbolizing an operation of mystical technology that is referred to in The Creation as spiritual cloning.  In this regard, the dark horse symbolizes the parent and the light horse symbolizes the clone, or clone offspring, of the parent.  Spiritual cloning will be discussed in greater detail in Chapter 2.  Suffice it here to say that living entities of advanced civilizations and advanced interstellar civilizations, apparently, are capable of being biologically cloned and at some subsequent time, voluntarily die.  At that time, their soul-spirit would depart their body, and be received by their clone offspring.  In The Creation, the soul of the soul-spirit is believed to be the mind of the person, and represents the only part of a person's body that survives his death.  By means of spiritual cloning, a living entity of an advanced civilization or an advanced interstellar civilization is capable of living multiple consecutive lives for many generations with his mind being the basis of this continuity.  This capability is believed to be associated with an operation of mystical technology referred to in The Creation as spiritual cloning, and the longevity that results from a living entity being able to live multiple consecutive lives is referred to as limited immortality.  This limited immortality, it is believed, was one of the reasons-perhaps, the primary reason-that the people of the Magdalenian culture involve in transfer activity entered the Lascaux cave hoping that it was an entrance to the underworld.  However, these people probably did not realize at the time that limited immortality involved an operation of mystical technology that would require them to voluntarily die before they would receive it.
 

 

Figure 1. The three illustrations
(inspired sources: 1-1, 1-2, and
1-3) that are collectively referred
to as the multiple inspired source,

"Lascaux Cave" (Figure 1). Click

on the picture to enlarge.  Photo-

graph of the aurochs, ©AAAC/
TopFoto/The Image Works. 

 

Before turning to the study of the alignments of the multiple inspired source, “Lascaux Cave” (Figure 1), there is a line designated line P in the inspired source that should be addressed first.  This line largely separates the two horses depicted in the inspired source 1-2 (the two horses) of Figure 1.  However, line P does not separate the two horses, completely.  It may be noted that the left hoof of the dark horse extends beyond this line into an area that normally would be considered as the area of the light horse.  Although a relatively minor feature in the overall symbolism of the multiple inspired source, “Lascaux Cave” (Figure 1), line P, it is believed, marks the boundary between the material pathway, which is based on material technology, and is symbolized by the dark horse; and the mystical pathway, which is based on mystical technology, and is symbolized by the light horse.  The extension of the left hoof of the dark horse beyond line P is believed to signify that the material pathway symbolized by the dark horse leads to the mystical pathway symbolized by the light horse.

In addition, it should be noted that both horses in the inspired source 1-2 (the two horses) of Figure 1 are depicted with the right side of their heads in view.  Normally, this would signify that right handed (Satan-like) spiritual attributes, right handed mystical technology, and service to Satan is involved.  Similarly, if the left side of their heads were in view, normally, this would signify that left handed (Christ-like) spiritual attributes, left handed mystical technology, and service to the Creator is involved.  As we shall see, the symbolism of the multiple inspired source, “Lascaux Cave” (Figure 1) clearly indicates that the people of the Magdalenian culture, who were involved in transfer activity between 15,000 B.C. and 14,501 B.C. possessed left handed (Christ-like) spiritual attribute, employed left handed mystical technology, and served the Creator.  In addition, Jesus Christ is depicted in the multiple inspired source, “Lascaux Cave” (Figure 1) as the one directing this transfer activity.  In this regard, he is symbolized by the head of the aurochs in inspired source 1-3 (the aurochs) of Figure 1.  Here, it may be noted that aurochs is depicted with the left side of its head visible to the viewer.  This is believed to signify that left handed (Christ-like) spiritual attributes are involved.

So, how can the right-sided view of the two horses depicted in the above inspired source be explained?  In this regard, it may be noted in the inspire source 1-2 (the two horses) of Figure 1 that the left front hoof of both of the horses is depicted in a more forward position than the right front hoof of these horses.  This may signify that the chirality, or handedness, of the two horses is actually left handed rather than right handed.  Although this may not fully explain the right-sided view of these two horses, this, at least, would be in agreement with what is known concerning the spiritual chirality of the people of the Magdalenian culture involved in transfer activity.  And that chirality, it is believed, was left handed (Christ-like).  In addition, the anatomical similarity of the left front hoof of a horse and the left hand of a person should not be overlooked.  In this case, this similarity may signify left handedness applies, and that the people of the Magdalenian culture involved in transfer activity possessed left handed (Christ-like) spiritual attributes.


Commentary 

The inspired source 1-2 (the two horses) of Figure 1 will be visited many times in the study of the symbolism of the Lascaux cave.  The features of the two horses will be used in many symbolic contexts from depicting the instruments of mystical particle transfer to aspects of subterranean grottobases.  Similarly, features of the inspired sources 1-1 (the Lascaux cave) and 1-3 (the aurochs) will be used in many symbolic contexts , also.  This multiplicity of symbolic contexts based on a common theme-transfer activity and events associated with it-could not have occurred, it is believed, without the Creator causing it to come to pass.  And this is why the multiple inspired source, "Lascaux cave" (Figure 1) and the three inspired sources that comprise it are called inspired. 


Credits

3.  Hetrick, Jack:  The Creation:  Its Infinite Features and Finite Realms, Volume I:  The Mystery of Inspired Sources and Their Significance to Man, ©2013 (The blog:  Inspired Sources and Man’s Destiny by Jack Hetrick (http://www.inspired sources.blogspot.com).

Figure 1:  The credit reference for Figure 1 is found in the Credits of Post 41 (CVIIC1S2).


 

Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner. 
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.

Post 41. The Multiple Inspired Source, "Lascaux Cave" (Figure 1) (The Creation, Volume II: Chapter 1, Subhead 2)

The Multiple Inspired Source, “Lascaux Cave” (Figure 1) (Post 41. CVIIC1S2)

In Volume I of The Creation, we saw that the multiple inspired source, “Lascaux Cave” (Figure 1) possesses symbolism that pertains to transfer activity by the people of the Magdalenian culture in the fifteenth millennium B.C.  The same multiple inspired source  designated Figure 1 in Volume I, is designated Figure 1 in Volume II, as well.  It concerns, once more, transfer activity by the same people, mentioned above.   However, as stated in the previous post, in Volume II, this activity by these people will be discussed in greater detail.  The three inspired sources that comprise this multiple inspired source are designated in the same way as they were in Volume I, that is, inspired source 1-1 (the map of the Lascaux cave), inspired source 1-2 (the two horses),and inspired source 1-3 (the aurochs).  In most cases, alignments are involved in the study of these three inspired sources, and when they are, the inspired source involved is usually referred to as the inspired source 1-1 (or 1-2, or 1-3) of Figure 1. 

Figure 1, in this regard, refers to the multiple inspired source, “Lascaux Cave” (Figure 1).  However, Figure 2, comprised of inspired sources 2-1, 2-2, and 2-3, is the same inspired source as Figure 1, with the exception that in Figure 2 the alignments are not drawn.  This is done for better viewing of the features of the inspired sources for sometimes the alignments hide these features. Therefore, both Figures 1 and 2¹  can be considered to be multiple inspired sources.  However, it is Figure 1 with its three inspired sources and associated alignments that will be studied in this volume of The Creation.   Figure 2, because its alignments are not drawn, can be considered to be the three inspired sources that comprise this figure as they appear in the article entitled, ‘Lascaux,’ by S. and T Champion in The Atlas of Archaeology, edited by K. Branigan.²
 

 

Figure 1.  The three illustrations

(inspired sources: 1-1, 1-2, and

1-3) that are collectively referred

to as the multiple inspired source,

"Lascaux Cave" (Figure 1).  Click

on the picture to enlarge.  Photo-

graph of the aurochs, ©AAAC/

TopFoto/The Image Works. 

 

 

Figure 2.  The three illustrations

(inspired sources: 2-1, 2-2, and

2-3) that are collectively referred

to as the multiple inspired source

"Lascaux Cave" (Figure 2).  Click

on the picture to enlarge.  Photo-

graph of the aurochs, ©AAAC/

TopFoto/The Image Works.

 

As noted above, Figure 1 is a multiple inspired source.  This means that the three inspired sources that comprise it, that is, inspired sources 1-1, 1-2, 1-3, are inspired sources that can be studied as if they were one inspired source.  Alignments that, normally, would be expected to originate and terminate within the borders of one of these inspired sources, in most cases, continue beyond those borders, and terminate within the borders of another inspired source.  It is this phenomenon that accounts for the term, “multiple,” in the multiple inspired source, Lascaux Cave” (Figure 1).  The alignments of the three inspired sources that comprise Figure 1 intersect with various features within the borders of these three inspired sources, and these intersections are all very precise.  As we shall see, this precision is a characteristic of the alignments of inspired sources, and is believed to be compelling evidence that the placement of these alignments is not simply random, but is the result of the divine will of the Creator.  Because of this, it is believed that the most reasonable explanation for inspired sources, in general, and multiple inspired sources, in particular, is a divine, supernatural explanation.

The multiple inspired source, “Lascaux Cave” (Figure 1) possesses eighteen alignments and one line.  The alignments are designated A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, X, Y, and Z.  In addition, one line is present, and is designated line P.  These alignments and one line are distributed among the three inspired sources that comprise Figure 1. However, the inspired source 1-2 (the two horses) of Figure 1 possesses several anomalous features of significance that are useful to begin this study.  Therefore, we shall begin with these. 

 

 

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);  Photograph of the
aurochs, ©AAAC/TopFoto/The Image Works

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);  Photograph of the
aurochs, ©AAAC/TopFoto/The Image Works



Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner.  
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.
 

Post 40. The People of the Magdalenian Culture Involved in Transfer Activity Between 15,000 B.C. and 14,501 B.C. (The Creation, Volume II: Chapter 1, Subhead 1

The Creation:  Its Infinite Features and Finite Realms

 

Volume II

The Material and Mystical Pathways of a Person of the

                                Magdalenian Culture Involved in Transfer Activity

 
Chapter 1

                                     Alignment A as It Pertains to the First Step
                                      of the Material Pathway; and Alignment M

      ----The People of the Magdalenian Culture Involved in Transfer Activity

      Between 15,000 B.C. and 14,501 B.C. (Post 40. CVIIC1S1)

   
----The Multiple Inspired Source, “Lascaux Cave” (Figure 1) (Post 41. CVIIC1S2)

----The Symbolism Pertaining to the Two Horses Depicted in the Inspired Source 1-2
(the Two Horses) in the Multiple Inspired Source, "Lascaux Cave" (Figure 1)
(Post 42. CVIIC1S3)

----Alignment A and the First Step of the Material Pathway of a Person of the
Magdalenian Culture Involved in Transfer Activity (Post 43. CVIIC1S4)

----Alignment K as It Pertains to Point K3 and the Completion of the First Step of
the Material Pathway Symbolized by Alignment A (Post 44. CVIIC1S5)

----Alignment M as It Pertains to Post Hypnotic Suggestion-like Mind Control Techniques
(Post. 45. CVIIC1S6)
 

The People of the Magdalenian Culture Involved in Transfer Activity between
15,000 B.C. and 14,501 B.C. (Post 40. CVIIC1S1)

 

In Volume I of The Creation:  Its Infinite Features and Finite Realms, it was stated that between 15,000 B.C. and 14,501 B.C. people of the Magdalenian culture dwelling in the Dordogne River region of southwestern France, and possibly elsewhere in Europe, transferred from their primitive culture to an advanced interstellar civilization that dwelt in the interior of the earth.  This transfer activity by the people of the Magdalenian culture in the fifteenth millennium B.C. also included the use by these people of a cave, which was located in the Vizere Valley of the Dordogne River region.  Today, this cave is known as the Lascaux cave.  We will not discuss again all that was stated in Volume I of The Creation concerning the Magdalenian people and the paintings of the animals of the Upper Paleolithic period that they executed within the Lascaux cave.  The reader can refer to Volume I and other books, if he wishes to learn more about this subject.   

 

The subject that will be addressed in Volume II of The Creation is the transfer activity of the people of the Magdalenian culture between 15,000 B.C. and 14,501 B.C.  Although this subject was discussed to some extent in Volume I, in Volume II, it will be discussed in greater detail. It would be natural to assume that the Creator’s purpose for transfer activity was simply to transfer primitive people dwelling in primitive cultures and civilizations on earth to an advanced interstellar civilization, where these people would become associate members of that civilization.  However, in the plan and purpose of the Creator for the creation, and the life that dwells therein, apparently, there was a higher purpose for this activity.  This higher purpose was briefly addressed in Volume I.  However, it will be addressed again in Chapter 7 of this volume.


Commentary 

In this chapter, Chapter 1, we will discuss symbolism concerning the inspired source 1-2 (the two horses) of the multiple inspired source, "Lascaux Cave," (Figure 1), and symbolism concerning alignments A, K, and M of the same multiple inspired source.  We will discover that alignment A depicts, symbolically, the first step of the material pathway of the people of the Magdalenian culture involved in transfer activity in the fifteenth millennium B.C.




Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner. 
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research
and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.
 

Post 39. Title Page, Contents, and Introduction (The Creation, Volume ll)

The Creation:

Its Infinite Features

and

Finite Realms

Volume II

The Material and Mystical Pathways

of a Person of the Magdalenian Culture

Involved in Transfer Activity

by

Jack Hetrick

Copyright © 2014 by Jack Hetrick
All rights reserved

 

All Scriptural references are taken
   from the King James Version of the Bible 

  

 

 

                                                                 Contents                   

 

Contents

Introduction

Chapter 1                       Alignment A as It Pertains to the First Step of the Material
                                       Pathway; and Alignment M

Chapter 2                       Alignment B as It Pertains to the Second Step of the
                                       Material Pathway; Spiritual Cloning and Angels; and the
                                       Mystery of Jesus Christ

Chapter 3                       Alignment C as It Pertains to the Third Step of the Material
                                       Pathway; Alignment K; and Alignment L

Chapter 4                       Transfer Activity of People of the Magdalenian Culture
                                       Symbolized by Alignment D, and Their Journey on the
                                       Mystical Pathway

Chapter 5                       Transfer Activity by People of the Magdalenian Culture
                                       Symbolized by Alignment F, and Their Journey on the
                                       Mystical Pathway; Alignments E, N, O, X, Y, and Z; and
                                       the Steps of the Material and Mystical Pathways as
                                       Symbolized by the Great Pyramid of Giza

Chapter 6                       A Hypothetical Journey of a Person of the Magdalenian
                                       Culture Involved in Transfer Activity on the Three Steps
                                       of the Mystical Pathway

Chapter 7                       The Four Advanced Interstellar Civilizations That Serve
                                       the Creator Symbolized by Alignments G, H, I, and J; the
                                       Higher Purpose of Transfer Activity; a Study of the Inspired
                                       Source, "Lascaux Cave Artist" (Figure 20); and the Predictive
                                       Aspect of Inspired Sources

Epilogue                         The Significance of the Term, "Magdalenian"

Appendix                        A Tentative List of Titles of the Seven Volumes That Comprise
                                      The Creation:  Its Infinite Features and Finite Realms

Credits










                                                        Introduction

 

 

As we saw in Volume I of The Creation:  Its Infinite Features and Finite Realms, Atlanteans of the advanced stellar civilization of Atlantis, dwelling at a subterranean base located beneath the surface of the earth in southern France, began appearing  on the surface  about 15,500 B.C. These Atlanteans, it is believed, intermarried with man, and became, in the eyes of the Creator, members of mankind.  The people involved in these intermarriages, it is believed, were people of the Magdalenian culture who dwelt in southwestern France about this time.  However, it is also possible that these people were of a different culture, and it was their descendants who would become the people of the Magdalenian culture.  Some of the descendants of these intermarriages that occurred between 15,000 B.C. and 15,001 B.C. eventually migrated to the Dordogne River region of southwestern France.  Here, between 15,000 B.C. and 14,501 B.C., a small number of these people were involved in an activity of an extraordinary kind.  These descendants of Atlanteans, as well as other people  of the Magdalenian culture, who may have possessed little or no Atlantean ancestry, but found favor in the eyes of the Creator, were involved in an activity that is referred to in The Creation as transfer activity.  This activity involved the transfer of a small number of people of the Magdalenian culture from their primitive culture on the surface of the earth to an advanced interstellar civilization that maintained subterranean bases located in the interior of the earth.  In The Creation, these subterranean bases are referred to as grottobases. 

 

It was possible for these people to accomplish this transfer because they discovered in a  cave three instruments of advanced technology that would allow them to descend by way of a mystical pathway into the interior of the earth.  These instruments, it is believed, had been left for these people to find by living entities of an advanced interstellar civilization that served the Creator. The cave in which these instruments were found is known today as the Lascaux cave, and the three instruments, mentioned above, are referred to in The Creation as the instruments of mystical particle transfer.  Using these instruments, people of the Magdalenian culture were able to pass through the solid rock walls of the Lascaux cave and the interior of the earth until they arrived at an excavated tunnel.  And by means of this tunnel and other connecting tunnels, these people eventually arrived at their destination, a large grottobase of a subterranean base.  This base is referred to in The Creation as a transfer activity grottobase complex.  Here, it is believed, these people would be received in friendship by the living entities that dwelt here, and would be made associate members of that civilization.

 

Transfer activity by people of the Magdalenian culture, it is believed, took place between 15,000 B.C. and 14,501 B.C.  During this time, the Lascaux cave, located in the Vezere Valley of the Dordogne River region, served as the transfer point for that activity. It was here that the people of the Magdalenian culture discovered the instruments of mystical particle transfer that had been left for them to find by the living entities of the advanced interstellar civilization, mentioned above.  And it was here, also, that these people departed the surface of the earth, and by means of a mystical pathway, traveled into the interior of the earth.  Although the departure of the people of the Magdalenian culture from the Lascaux cave  marked the beginning of the first step of the three steps of the mystical pathway associated with transfer activity, inspired sources indicate that three other steps preceded this first step by the people of the Magdalenian culture on the mystical pathway.  These three steps are referred to in The Creation as the three steps of the material pathway of a person involved in transfer activity.  Therefore, in order for a person of the Magdalenian culture involved in transfer activity to arrive at a large grottobase located beneath the surface of the earth, he first had to complete three steps on the material pathway and three steps on the mystical pathway.  When this was accomplished, the person involved, it is assumed, was received by the living entities of an advanced interstellar civilization, who dwelt in the large grottobase of a transfer activity grottobase complex.  This person then became, in the eyes of the Creator, an associate member of an advanced interstellar civilization. 

 

In Volume II of The Creation, entitled, The Material and Mystical Pathways of a Person of the Magdalenian Culture Involved in Transfer Activity, transfer activity by the people of the Magdalenian culture, carried out between 15,000 B.C. and 14,501 B.C., will be discussed with the purpose of better understanding the three steps of the material pathway and the three steps of the mystical pathway that the people of the Magdalenian culture involved in transfer activity followed on the journey to their destination.  In addition, the significance of  transfer activity by these people to man's present and future on earth-particularly, as this applies to the period of time referred to in Christian eschatology as the day of the Lord (Isa. 13:9-13;  65:17-19;  2 Pet. 3:10-13)-will be addressed, also.    In this study of transfer activity by the Magdalenian people of the fifteenth millennium B.C., and its application to man in the present and eschatological future, the multiple inspired source, “Lascaux Cave” (Figure 1) will be studied.  This inspired source, introduced in Volume I of The Creation, will be studied in greater detail in Volume II.

 

Finally, in Volume II of The Creation, an inspired source will be studied whose symbolism does not actually pertain to transfer activity by the people of the Magdalenian culture.  This is so, despite the fact that this inspired source is entitled, “Lascaux Cave Artist” (Figure 20), and depicts a Magdalenian cave artist decorating the Lascaux cave.  The symbolism of this inspired source, as we shall see, actually concerns a prediction, and reveals that some inspired sources are capable of predicting the future.  In this case, the event predicted by the inspired source has already taken place, and has done so, very recently.  A discussion of the role of inspired sources as predictors of future events concludes Volume II of The Creation. 






Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner.  
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.

Post 38. Introduction to the Blog: Inspired Sources and Man's Destiny, Volume II (The Creation, Volume II)

The work that follows is the second volume of several volumes that comprise the series, The Creation:  Its Infinite Features and Finite Realms by Jack Hetrick.  This volume, Volume II, is entitled, The Material and Mystical Pathways of a Person of the Magdalenian Culture Involved in Transfer Activity.  It is an unpublished (in book form) copyrighted work (copyright © 2014 by Jack Hetrick) that concerns man's spiritual and technological destiny.  Because it is a copyrighted work, all rights are reserved.  All Scriptural references in this work are taken from the King James Version of the Bible. 

In regards to man's spiritual and technological destiny, the spiritual destiny of man, it is believed, is intimately involved with Christianity and the Christological  and eschatological aspects of that religion that pertain to the end of the present age.  The technological destiny of man, it is believed, is intimately involved with a recently discovered body of knowledge, the increments of which are derived from an unusual symbolism.  The Creation  series is different from other works of this genre because it is based on the discovery that many artifacts produced by man, past and present, possess this unusual symbolism.  In The Creation, these artifacts, and photographic images of them, are referred to as inspired sources.  They are called "inspired" because they are believed to be inspired by the Creator, and they are called "sources" because they are sources of knowledge-knowledge that is conveyed to one by the symbolism of  inspired sources.  Volume II of The Creation comprises Posts 38-75 of this blog entitled, Inspired Sources and Man's Destiny (http://www.inspiredsources.blogspot.com).  Additional information concerning inspired sources may be found in Volume I of The Creation, which comprises Posts 1-37 of this blog  (http://www.inspiredsources.blogspot.com).  Information concerning this subject may also be found in the posts of the blog entitled, Inspired Sources, Symbolism, and Anomalies 
(http://www.inspiredsourcessymbolismanomalies.blogspot.com) by Jack Hetrick. 

The knowledge derived from inspired sources covers a wide range of subjects.  In Volume I of The Creation (Posts 1-37 of this blog)), man's need for a new kind of technology was addressed.  In The Creation series, this new kind of technology is referred to as mystical technology.  In Volume I, we saw that the principles of mystical technology are revealed in the symbolism of inspired sources.  Presumably, after man has come to understand the principles of mystical technology through the study of the symbolism of inspired sources, the Creator will help man discover the devices that employ it.  All of this will be necessary for man to be prepared technologically, for the end of the present age.   However, it will be necessary for man to be prepared, spiritually, for the end of the present age, also.  And for that reason, Christianity and Judaism were discussed in Volume I of The Creation, and will be discussed in Volume II, as well.

In Volume I of The Creation, the transfer by some members of the Magdalenian culture in the fifteenth millennium B.C. from their primitive culture on the surface of the earth to a subterranean base of an advanced interstellar civilization was discussed.  This activity, it may be recalled, was referred to as transfer activity. In Volume II of The Creation, transfer activity will be studied in greater detail, and we will discover that this activity is comprised of a material pathway and a mystical pathway.  The purpose of this study will be to determine what purposes were served by this activity and why this activity is still important to mankind dwelling alive on earth at the present time.  The primary inspired source that will be used in Volume II to study transfer activity is entitled, "Lascaux Cave" (Figure 1), and is the same inspired source that was studied in Volume I.  However, the symbolism of this inspired source, which was  introduced in Volume I, will be studied more completely in Volume II of The Creation. 

In addition, the symbolism of another inspired source will be studied in Volume II.  This inspired source, entitled "Lascaux Cave Artist" (Figure 20), at first, appears to pertain to the Magdalenian culture in the fifteenth millennium B.C.  However, careful examination reveals that this inspired source possesses symbolism that pertains to an event that took place in the USA early in the twenty-first century.  Although it may sound incredible, this inspired source reveals that some inspired sources have a predictive aspect to them, which, if discovered and understood in time, may make it possible for man to change or, at least, to direct to some degree, the course of his destiny and that of other living entities dwelling in the matter universe of the material realm. 

Finally, a statement is in order concerning the images used in this blog.  Frequently, the photographs, illustrations, and tables that appear in the text of this blog are small in size and difficult to see with the unaided eye.  However, the blog medium has a solution to this problem, and that is, simply click on the image and the image will be enlarged.  When finished viewing the image, click off the image and the latter will return to its normal size in the text of the post. 



Fair Use Notice: This post may contain copyrighted material the use of which has not been specifically authorized by the copyright owner.  
This blog distributes this material by means of this blog without profit to those who have expressed an interest in receiving it for research and educational purposes.  We believe this constitutes a fair use for any such copyrighted material as provided for in 17 U.S.C § 107.