Post 75. Epilogue, Appendix, and Credits for Inspired Sources and Man,s Destiny, Volume II (The Creation, Volume II)

Epilogue

 

                           The Symbolic Significance of the Name, Magdalenian

As we have seen, the cave art of the Lascaux cave was executed by the people of the Magdalenian culture about seventeen thousand years, ago.  There is, of course, much we don’t know about these people.  However, we do know that they dwelt in southern France and northern Spain between 16,000 B.C. and 9,000 B.C.  As for the name that archaeologists have given to this culture, Magdalenian, is it possible that this name is one that the Creator desired this culture be known as in modern times?   If so, then, perhaps, there may be some symbolic significance in the name, Magdalenian, and this is what we shall address here. 

As noted above, the name, Magdalenian, had an archaeological derivation.  It is a name that designates Upper Paleolithic man living in southern France and northern Spain between 16,000 B.C. and 9,000 B.C.  It was the name archaeologists gave to a rock shelter used by Upper Paleolithic people sometime between 16,000 B.C. and 9,000 B.C.  The name given by archaeologists to this rock shelter was the La Magdeliene rock shelter.  The word, Magdeliene, is French, and translates to Magdalene in English.  The Magdaliene (or Magdalene) rock shelter is located along the Vezere River of the Dordogne River region about ten miles southwest of the Lascaux cave. 

The original inspiration for the name of this rock shelter, “Magdalene,” certainly must have been Mary Magdalene of the Bible.  With the possible exception of Mary, the mother of Jesus, Mary Magdalene was the most notable woman disciple of Jesus Christ and the most frequently mentioned (Mt. 27:55-56; Jn. 20:1-2, 11-18). At this point, we must ask, is it merely a coincidence that the name of this woman is the same name that archaeologists have assigned to the people, who decorated the Lascaux cave and were involved in transfer activity in the fifteenth millennium B.C.? 

As we have seen, Jesus Christ appears to have been intimately involved in transfer activity.  Is it possible that he was responsible for archaeologists naming the rock shelter on the Vezere River the La Magdeliene rock shelter?  Is it possible that he, too, was responsible for archaeologists choosing the name, Magdeliene, or Magdalene, to identify the primitive culture of Upper Paleolithic man that dwelt in the Dordogne River region between 16,000 B.C. and 9,000 B.C.?   He, who had been resurrected from the dead and became the incarnate Son (the Word), about nineteen hundred years before  archaeologists assigned the name, Magdalenian,” to these primitive people, undoubtedly, would have been capable of inspiring archaeologists to chose the name, Magdalenian, for these people.  

But why would Jesus Christ desire this primitive culture-the first of many subsequent cultures and civilizations with Atlantean ancestry that were involved in transfer activity-to be named after Mary Magdalene of the Bible?  It may be recalled that Mary Magdalene was the first of the disciples to see Jesus Christ, and talk with him, after his resurrection.  Stated another way, Mary Magdalene was the first disciple, whom Jesus Christ chose to visit and talk with following his resurrection (Jn. 20:11-18).  Perhaps, just as Jesus Christ first visited and talked with Mary Magdalene following his resurrection, before visiting the other disciples, he also may have first visited and talked with the first person, or group of people, with Atlantean ancestry, of every culture or civilization, who completed  transfer activity between 15,000 B.C. and A.D. 1500. The first of these, of course, were the people of the Magdalenian culture.  Therefore, Jesus Christ may have talked with the first person, or group of people, of the Magdalenian culture to complete transfer activity in the fifteenth millennium B.C.  After this, he may have talked with the first people, or group of people, of subsequent cultures and civilizations on earth, who completed transfer activity, also. But the people of the Magdalenian culture were the first of these cultures and civilizations, just as Mary Magdalene was the first of the disciples that Jesus spoke to following his resurrection.  Those that Jesus Christ spoke to between 15,000 B.C. and A.D. 1500 may then have related what he had told them to others of their culture or civilization who followed.  And what may have been the message that Jesus Christ conveyed to those with whom he spoke at that time. 

Perhaps, he explained to them the higher purpose of transfer activity that they had just completed.  Perhaps, he also told them that this higher purpose would only be realized in the day of the Lord.  At that time, when the present age would be drawing to a close, the people of the primitive cultures and civilizations on earth, who had completed transfer activity over the course of many millennia, would no longer need to participate in spiritual cloning.  They would be resurrected members of mankind who possessed glorified bodies and eternal life.  In addition, they would also be associate members of an advanced interstellar civilization.  As such, they would possess a knowledge of mystical technology and be capable of designing, constructing, and operating an advanced interstellar spaceship, based on mystical technology. 

These people, that is, all those who completed transfer activity beginning with the people of the Magdalenian culture in the fifteenth millennium B.C., it is believed, will share this knowledge with the resurrected church of Jesus Christ and other saved members of mankind, both resurrected and not (yet) resurrected in the day of the Lord.  The part of the day of the Lord, referred to here, is that part that follows the second advent of Jesus Christ in power and glory, and takes place during the one thousand years of peace, prosperity, and perfect government, referred to as the kingdom age or millennium.  Together, all of these people, both the saved and resurrected and the saved and not (yet) resurrected, will undertake the most ambitious and  important construction project in man’s history, that is, the design and construction of an advanced interstellar spaceship, based on mystical technology.  The completion of this project and the completion of a successful voyage  by the spaceship to a nearby stellar system and its return to earth will mark the transformation of man’s advanced stellar civilization to an advanced interstellar civilization. 

But more importantly, the church of Jesus Christ and other saved members of mankind will be, technologically, prepared for the end of the present age and the beginning of the future age.   Not only will these people be prepared to serve Jesus Christ as a spiritually mature people, who have received the Holy Spirit, they will be prepared to serve Jesus Christ, effectively, as a technologically mature people, who are capable of designing, constructing, and operating spaceships that employ mystical technology.  In the future age, these people will dwell eternally with Jesus Christ in the kingdom of God over which he will reign eternally.

Appendix

 

 

 

A Tentative List of Titles of the Seven Volumes That Comprise

The Creation:  Its Infinite Features and Finite Realms

 

 

Volume I           The Mystery of Inspired Sources and Their Significance to Man

 

Volume II          The Material and Mystical Pathways of a Person of the Magdalenian

                          Culture Involved in Transfer Activity  

 

Volume III         The Advanced Civilization of Atlantis, Advanced Interstellar 

                          Civilizations, and Their Relationship to One Another and Man

 

Volume IV         The Infinite Features and Finite Realms of the Creation and the Life

                           That Dwells Therein 

 

Volume V          Mystical Technology 1:  Advanced Planetary and Stellar Spaceship

                           Design and Operation

 

Volume VI         Mystical Technology 2:  Advanced Interstellar Spaceship Design                             and Operation

 

Volume VII        Mystical Technology 3:  Advanced Spaceship Travel Involving

                            the Use of Wormholes and Black Holes

 

 

 

 

 

 

 

 

 

 

                                                              Credits

 

 

A note concerning the Credits:  The Credits appear at the end of each post of this blog (where applicable), and list only those works that appear or are mentioned in the posts to which they pertain. The beginning  of each chapter marks the beginning of the sequence of note numbers that comprise that chapter.  The note numbers are listed numerically at the end of each post (where applicable) followed by information concerning the work that is being referenced.












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Post 74. The 911 2001 Terrorist Attack and the Predictive Aspect of Inspired Sources (The Creation, Volume II: Chapter 7, Subhead 8)

The 911 2001 Terrorist Attack and the Predictive Aspect of Inspired Sources (Post 74. CVIIC7S8)

The discovery that some inspired sources have a predictive aspect gives inspired sources a new significance.  This discovery seems to confirm that inspired sources are inspired by a spiritual being, who is omniscient, omnipotent, and omnipresent.  In The Creation, this spiritual being is referred to as the Creator. 

In the past, prophets and seers of the Bible foretold the future (1 Ki. 18:41-46; Jer. 25:11-12), and, according to the Bible (Mal. 4:5-6; Rev. 11:3-14), in the day of the Lord, they will do so again.  In the Scriptures, we find that those prophets whose predictions came true were viewed as true prophets sent by God.  And those prophets whose predictions did not come true were viewed as false prophets sent by Satan.  Because the predictions revealed in the inspired source, “Lascaux Cave Artist” (Figure 20), have already taken place, and have been found to be true, the latter can be considered an inspired source that is inspired by the Creator.  Likewise, the predictive aspect present in this inspired source must be true light originating from the Creator, and not false light originating from Satan.

 

Nevertheless, one must ask:  Why did the Creator produce an inspired source thirteen years before the terrorist attack on September 11, 2001 took place, but did not reveal this inspired source to man, nor the meaning of its symbolism, until several years following the attack?  The answer to this question is one that man may never know, and one that, in its entirety, can be known only by the Creator.  Since this is the view taken in The Creation, discussion concerning this matter will end here.  However, Isa. 45:7 may be of interest in this context.  It reads:

                           7  I form the light, and create darkness:
                            I make peace, and create evil:  I the 
                            LORD do all these things.

Finally, in a more secular vein, if man begins to discover other inspired sources in which the symbolism has a predictive aspect to it, and the events predicted are still future, man's response to this foreknowledge may allow him to be more effective in shaping his future and destiny.  This, of course, means a future and destiny that, ultimately, is still guided and directed by the Creator.


Commentary 

This post, Post 74, is one of five posts (Posts 70, 71, 72, 73, and 74) that discuss the symbolism of the inspired source, "Lascaux Cave Artist" (Figure 20).







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Post 73. The 911 2001 Terrorist Attack and Alignments E and F of the Inspired Source, "Lascaux Cave Artist" (Figure 20) (The Creation, Volume II: Chapter 7, Subhead 7)

 The 911 2001 Terrorist Attack and Alignments E and F of the Inspired Source, “Lascaux Cave Artist” (Figure 20) (Post 73. CVIIC7S7)

Turning now to the other two airliners that were hijacked on September 11, 2001, it may be recalled that one of these struck the Pentagon outside Washington, D.C. and the other crashed near Shanksville, Pa.  This crash occurred, when those aboard the airliner attempted to regain control of the airliner from the terrorists. 

The former airliner is symbolically depicted in the inspired source by an anomalous feature adjacent to the left hand and forearm of the person preparing fire.  This feature resembles the left side of the fuselage of an airliner with the nose of this airliner located in proximity to the left hand of the person, mentioned above.  The nose of this symbolic airliner, which is an accurate portrayal of the actual nose of an airliner, is pointed vertically down.  This airliner is symbolized by alignment E in the inspired source.  Alignment E begins at point E1 located at the place of the anomalous feature, mentioned above, that resembles the nose of an airline, proceeds to point E2 located at the right side of the head of the person preparing fire (where it intersects with alignment F), and terminates at point E3 located at an anomalous feature on the wall of the cave.  This anomalous feature, it may be noted, has a five-sided pentagonal shape.  In addition, surrounding this feature is another feature that resembles the ramparts of a fort.  Together, these two features, it is believed, symbolize the Pentagon, which was struck by one of the airliners on September 11, 2001. 
 

 

 Figure 20.  The inspired source, "Lascaux Cave Artist"

(Figure 20), with alignments drawn. Painting by Jack

Unruh.  Click on the picture to enlarge.

 

 

 Figure 21.  The inspired source, "Lascaux Cave Artist"

(Figure 21), with alignments not drawn for better viewing

of the features of the inspired source.  Painting by Jack

Unruh.  Click on the picture to enlarge.

The last airliner is symbolically depicted in the inspired source by an anomalous feature formed by the right forearm and hand of the person, who is preparing fire in the inspired source.  This anomalous feature resembles the right side of the fuselage of an airliner with the nose of this airliner located near the right elbow of the person, mentioned above.  The nose of this symbolic airliner, which is an accurate portrayal of the actual nose of an airliner, is pointed vertically up.  This airliner is symbolized by alignment F in the inspired source.  Alignment F begins at point F1 located at a place on the anomalous feature, mentioned above, that resembles the nose of an airliner, proceeds to point E2 located at the right side of the head of the person preparing fire (where it intersects with alignment E), and terminates at point F3 located at an anomalous feature on the wall of the cave.  This anomalous feature has a circular shape and is dark.  But it is surrounded by a larger circular area of lighter hue.  Together, these two features, it is believed, symbolize the site located near Shanksville, Pa., where the airliner symbolized by alignment F crashed.

In considering the symbolism of the inspired source, “Lascaux Cave Artist” (Figure 20), one is struck by the precision of the alignments and the appropriateness of the symbols used to portray the events that took place on that terrible day in 2001.  But, more importantly, one cannot overlook the fact that this inspired source was painted, at least, thirteen years prior to the attacks that took place on September 11, 2001.  Although some may consider this impossible, the evidence is clear and compelling.  This inspired source did, indeed, predict the terrorist attacks that took place on that day.

 

 

Commentary 

This post, Post 73, is one of five posts (Posts 70, 71, 72, 73, and 74) that discuss the symbolism of the inspired source, "Lascaux Cave Artist" (Figure 20).  Post 74 will be discussed in a subsequent post.

 

 

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Post 72. The 911 2001 Terrorist Attack and Alignments C and D of the Inspired Source, "Lascaux Cave Artist" (Figure 20) (The Creation, Volume II: Chapter 7, Subhead 6)

The 911 2001 Terrorist Attack and Alignments C and D of the Inspired Source, “Lascaux Cave Artist” (Figure 20) (Post 72. CVIIC7S6)

Two additional alignments further confirm the interpretation of the symbolism discussed in Posts 70 and 71 of this blog that pertains to the former twin towers of the world trade center.  These alignments are designated alignments C and D.  Alignment C is associated with the airliner symbolized by alignment A, which struck the north tower (the latter being symbolized by the little finger of the right hand of the artist).  Alignment D is associated with the airliner symbolized by alignment B that struck the south tower (the latter being symbolized by the finger beside the little finger of the right hand of the artist).
 

 

 Figure 20.  The inspired source, "Lascaux Cave Artist"

(Figure 20), with alignments drawn.  Painting by Jack

Unruh.  Click on the picture to enlarge.

 

 

 

                                                      Figure 21.  The inspired source, "Lascaux Cave Artist"

(Figure 21), with alignments not drawn for better viewing

of the features of the inspired source.  Painting by Jack

Unruh.  Click on the picture to enlarge.

Alignment C begins at point C1 located at the left eye of the aurochs, proceeds to point C2 located at the base of a knife-like anomalous feature with a curved handle near the left eye of the aurochs, and terminates at point C3 located at the base of the little finger of the right hand of the artist.  The little finger, as noted previously, symbolizes the north tower.  Alignment D begins at point D1 located at the end of the thumb of the left hand of the artist, proceeds to point D2 located at the end of the thumb of the right hand of the artist, and terminates at point D3 located at the base of the finger beside the little finger of the right hand of the artist.  The finger next to the little finger, as noted previously, symbolizes the south tower.

As noted above, the knife-like feature consists of a blade and a curved handle.  The latter also represents the forehead of the aurochs that has been painted on the wall of the cave by the artist.  Alignment C proceeds from the left eye of the aurochs along the right side of the blade of the knife-like feature to the base of the little finger of the right hand of the artist.  Does the knife-like feature signify that the terrorists aboard the airliner used ceramic knives to take over the aircraft?  Ceramic knives, hidden in a secret pocket of the terrorists' clothing, would not have been detected by the metal detector portals that are intended to reveal weapons and other prohibited items of a metallic nature that a passenger's may have on his person.  Therefore, the terrorists may have passed undetected through this part of airport security with their weapons on their person.  In addition, a feature that resembles a box cutter is present in the inspired source, also.  Box cutters are believed to have been used by the terrorists to take over one or more of the hijacked airliners on September 11, 2001. The bottom of the handle and blade of the box cutter can be viewed as following alignment B from collocated points B3 and D1 located at the end of the left thumb of the artist to the right end of the tray of burning fat located near point B1.  The collocated points B3 and D1 represent the point of the blade of the box cutter.  These collocated points also are collocated with the left thumb of the artist and the associated shadow of the artist's left thumb, hand and arm on the wall of the cave.  This shadow, as we saw earlier in this chapter, symbolizes the airliner that crashed into the south tower of the world trade center.

Therefore, the feature that resembles a box cutter is symbolically associated with the airliner that crashed into the south tower.  The top of the handle of the box cutter  is formed by the dark line on the wall of the cave that begins to the right of the tray of burning fat, mentioned above.  This dark line also forms the chest, or the brisket, of the aurochs that the artist is painting.  As one can see, this line is not a straight line, like that one might expect for an actual box cutter.  Nevertheless, in a symbolic context, it still can be viewed as serving the purpose of depicting the top of the handle of a box cutter.  This line ceases in proximity to an extrapolation of alignment D.  Symbolically, the dark line and alignment D can be viewed as being joined at this place.  From this place, alignment D then intersects with alignment B at collocated points B3 and D1.  As we have seen, these two collocated points represent the point of the blade of the box cutter.  The triangular-shaped blade of the box cutter is depicted in the inspired source by the triangular area formed by the intersection of alignments A, B, and D.  It may be noted that point D3 is not located within the triangular-shaped area formed by alignments A,B, and D.  Rather, point D3 is located at the base of the finger of the right hand of the artist.  

Just as alignment C, mentioned above, intersects the base of the little finger of the right hand of the artist (this finger symbolizing the north tower), alignment D intersects the base of the finger of the right hand of the artist that is next to his little finger (this finger symbolizing the south tower).  Therefore, in this complex way, alignments C and D support alignments A and B, respectively, the latter two alignments symbolizing the two airliners that crashed into the north and south towers of the world trade center on September 11, 2001, and the former two alignments symbolizing the weapons that were used by the terrorists to carry out this act of terrorism.

 

 

Commentary 

This post, Post 72, is one of five posts (Posts 70, 71, 72, 73, and 74) that discuss the symbolism of the inspired source, "Lascaux Cave Artist" (Figure 20).  Posts 73 and 74 will be discussed in subsequent posts.

 

 

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Post 71. The 911 2001 Terrorist Attack and Alignments A and B of the Inspired Source, "Lascaux Cave Artist" (Figure 20) (The Creation, Volume I: Chapter 7, Subhead 5)

The 911 2001 Terrorist Attack and Alignments A and B of the Inspired Source, “Lascaux Cave Artist” (Figure 20) (Post 71. CVIIC7S5)

Turning now to the alignments that are present in the inspired source, “Lascaux Cave Artist” (Figure 20), the first alignment, alignment A, begins at point A1, located at a corner of the tray of burning embers or animal fat that is held by an assistant to the artist.  This tray, in fact, symbolizes the right side of the fuselage of one of the airliners that struck one of the two world trade center towers.  After leaving point A1, alignment A proceeds to point A2 located on the right side of the head of the artist (where it intersects with alignment B).  Then, this alignment terminates point A3 located at the thumb of the right hand of the artist.  Here, the thumb of the artist joins the long shadow of the latter’s right hand and arm that is depicted on the wall of the cave.  In fact, this long shadow symbolizes the flight of the airliner, mentioned above, just prior to its collision into one of the world trade center towers.  It may be noted that an extrapolation of alignment A intersects the end of the little finger of the right hand of the artist.  As we shall see, this finger symbolizes the north tower of the twin world trade center towers.  Its appearance and that of the finger beside it, resembles in miniature, the two towers that comprised the twin world trade center towers.  It may be recalled that the north tower was struck first, and this is symbolized by the proximity of the long shadow, mentioned above, to the little finger of the right hand of the artist.  This little finger, then, appears to symbolize the north tower of the twin world trade center towers, while the finger beside this finger appears to symbolize the south tower.

Figure 20.  The inspired source, "Lascaux Cave Artist"

(Figure 20), with alignments drawn.  Painting by Jack

Unruh.  Click on the picture to enlarge.

 

Figure 21.  The inspired source, "Lascaux Cave Artist"

(Figure 21), with alignments not drawn for better viewing

of the features of the inspired source.  Painting by Jack

Unruh.  Click on the picture to enlarge.

Alignment B begins at point B1 located at a corner of a second tray of burning embers, or animal fat, that rests on the scaffold to the right of the artist.  This tray, in fact, symbolizes the left side of the fuselage of one of the airliners that struck one of the two world trade center towers.  After leaving point B1, alignment B proceeds to point B2 located at the right side of the head of the artist (where it intersects with alignment A), and terminates at point B3 located at the thumb of the left hand of the artist.  Here, the thumb of the artist joins the long shadow on the latter’s left hand and arm that is depicted on the wall of the cave.  In fact, this long shadow symbolizes the flight of the airliner, mentioned above, just prior to its crash into one of the world trade center towers.  Because this shadow is more distant from the two fingers of the right hand of the artist than the shadow, mentioned previously, it can be assumed that this shadow symbolizes the airliner that struck the south tower of the twin world trade center towers.  The attack on the south tower, it may be recalled, followed the attack on the north tower. 

The southern end of the island of Manhattan is symbolically portrayed in the inspired source by the head of the aurochs that the artist is painting.  In this context, the two fingers of the right hand of the artist, which symbolize the former twin towers of the world trade center, symbolically, are accurately located on the eastern shore of the Hudson River.

 

 

Commentary 

This post, Post 71, is one of five posts (Posts 70, 71, 72, 73, and 74) that discuss the symbolism of the inspired source, "Lascaux Cave Artist" (Figure 20).  Posts 72, 73, and 74 will be discussed in subsequent posts. 

 

 

 

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Post 70. The 911 2001 Terrorist Attack and Alignments A-F of the Inspired Source, "Lascaux Cave Artist" (Figure 20) (The Creation, Volume II: Chapter 7, Subhead 4)

The 911 2001 Terrorist Attack and Alignments A-F of the Inspired Source, "Lascaux Cave Artist" (Figure 20) (Post 70. CVIIC7S4)

Up to this point in Volume II of The Creation, we have studied the multiple inspired source, Lascaux Cave (Figure 1).  However, at this time we shall study another inspired source.  This inspired source is referred to in The Creation as the inspired source, “Lascaux Cave Artist” (Figures 20 and 21).⁴ The former inspired source pertained to transfer activity by the people of the Magdalenian culture between 15,000 B.C. and 14,501 B.C.  The latter inspired source, though it appears to pertain to the people of the Magdalenian culture and the Lascaux cave in the fifteenth millennium B.C., actually possesses no symbolism that pertains to this subject at all.   Rather, this symbolism pertains to an event, which took place relatively recently in the USA. 

 

                                                       Figure 20.  The inspired source, "Lascaux Cave Artist"

(Figure 20), with alignments drawn.  Painting by Jack

Unruh.  Click on the picture to enlarge.

 

 

Figure 21.  The inspired source, "Lascaux Cave Artist"

(Figure 21), with alignments not drawn for better viewing

 of the features of the inspired source.  Painting by Jack

 Unruh.  Click on the picture to enlarge.

 

The inspired source, “Lascaux Cave Artist” (Figure 20) is a painting by Jack Unruh that appears as an illustration in an article entitled, ‘Lascaux Cave’ by Jean-Phillippe Rigaud in the October 1988 issue of National Geographic.   An interesting aspect about this inspired source is that this painting could not have been painted anytime after the year, 1988, the year that the photograph of the painting appeared in the article of the issue of National Geographic, mentioned above.  However, the event depicted in the symbolism of this inspired source took place over a decade later, in 2001. Therefore, the inspired source, “Lascaux Cave Artist” (Figure 20), apparently, is an inspired source that has a predictive aspect to it. 

The inspired source, “Lascaux Cave Artist” (Figure 20), it is believed, possesses at least six alignments, each of which consists of three alignment points.  These alignments are designated alignments A, B, C, D, E, and F.  These are the alignments that will be discussed in this study of the inspired source.   Other alignments may be present in this inspired source that are not known at this time.  But before attempting to interpret the symbolism associated with the alignments of this inspired source, first, it may be helpful to attempt to describe, in general, what this symbolism appears to reveal.  After this, we shall study the symbolism of the inspired source in more detail.  This will be done in four subsequent posts (Posts 71, 72, 73, and 74)  The reason for this unusual procedure is the extraordinary nature of the symbolism of the inspired source.   

The symbolism of the inspired source, “Lascaux Cave Artist” (Figure 20), as noted above, does not pertain to the people of the Magdalenian culture.   Nor does it concern transfer activity by these people that took place in the fifteenth millennium B.C.  Rather, it concerns an event, or several events, that took place relatively recently in the year 2001 in the USA.  The events that are depicted in the symbolism of this inspired source, it is believed, are the September 11, 2001 terrorist attacks by members of the Alqueda terrorist organization that were carried out against the twin world trade center towers at New York City, N.Y. and the Pentagon at Arlington, Va.  In addition to the attacks, mentioned above, which involved three hijacked airliners, a fourth attack was thwarted when the hijacked airliner involved in this attack crashed in a field near Shanksville, Pa. before it could reach its intended target.  This event is symbolized in the inspired source, also. 

At first, it may seem incredible that this inspired source, which appeared as an illustration in an article of a magazine published in 1988 could possibly symbolize the events associated with the terrorist attack, mentioned above, which took place in 2001.  However, as we shall see, there appears to be no other reasonable way to interpret the symbolism that is present in this inspired source.

 

 

Commentary 

This post, Post 70, is one of five posts (Posts 70, 71, 72, 73, and 74) that discuss the symbolism of the inspired source, "Lascaux Cave Artist" (Figure 20).  Posts 71, 72, 73, and 74 will be discussed in subsequent posts.

 

 

Credits

 

 4  Rigaud, Jean-Phillippe:  'Lascaux Cave,' an article written for National Geographic,
  ©October 1988, Painting by Jack Unruh (National Geographic Society)
 

 

 

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Post 69. The Higher Purpose of Transfer Activity (The Creation, Volume II: Chapter 7, Subhead 3)

 The Higher Purpose of Transfer Activity (Post 69. CVIIC7S3)

The transfer activity associated with people of Atlantean descent initiated by the two groups of people of the Magdalenian culture, symbolized by alignments D and F in the multiple inspired source, “Lascaux Cave” (Figure 1) took place between 15,000 B.C. and 14,501 B.C.  However, as noted previously, transfer activity continued after 14,501 B.C. and involved people of other cultures and civilizations on earth until about A. D. 1500.  Because of the long period of time during which this activity took place, it is assumed that many people were transferred from their relatively primitive cultures and civilizations of the surface of the earth to an advanced interstellar civilization existing in the interior of the earth. This advanced interstellar civilization is symbolized by alignment G in the multiple inspired source, “Lascaux Cave” (Figure 1).  As we shall see in Volume III of The Creation, about 15,500 B.C. living entities of this civilization began converting a ground tower-spaceship facility, which once had been occupied by Atlanteans of the advanced stellar civilization of Atlantis to a transfer activity grottobase complex that was intended to assist and facilitate transfer activity by the two groups of people of the Magdalenian culture symbolized by alignments D an F.  This transfer activity grottobase complex, it is believed, was located near present day La Rochelle, France and was associated with the Lascaux cave (Figure 3).  The Lascaux cave, it may be recalled, served as the transfer point for the people of the Magdalenian culture involved in transfer activity. 
 

 

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 3.  A map of southern France and the

locations of the Chauvet cave and the Lascaux

cave, as well as the general locations of the

transfer activity grottobase complexes associated

with these two caves at Rennes-le-Chateau and

La Rochelle, France, respectively.  Click on the

picture to enlarge.

 

Among the Atlanteans who were displaced by the conversion of the ground tower-spaceship facility, mentioned above, to a transfer activity grottobase complex, were some that accepted an invitation by the Creator and the living entities of the advanced interstellar civilization symbolized by alignment G to dwell on the surface of the earth.  Those, who did this, intermarried with man, and become members of mankind.  Some, but not all, of the descendants of these Atlanteans were among the people of the Magdalenian culture involved in transfer activity between 15,000 B.C. and 14,501 B.C.  These people comprised two groups, which in the inspired source above are symbolized by alignments D and F. Their journey on the mystical pathway that began at the transfer point within the Lascaux cave would take them to the large grottobase of the transfer activity grottobase complex, mentioned above.  Here, they would be received in friendship by the living entities of the advanced interstellar civilization, who dwelt at the large grottobase.  These were the living entities of the advanced interstellar civilization symbolized by alignment G.            

It is assumed that all the Atlanteans who chose to dwell on the surface of the earth beginning about 15,000 B.C. were males.  The reason for assuming so is related to studies  by the scientific community concerning mitochondrial DNA.  Because the mitochondrial DNA of an offspring of a marriage is determined by the female genetic component of the offspring’s genome, and not the male,the mitochondrial DNA of the Atlantean males would not be reflected in the mitochondrial DNA of the offspring of a marriage involving a male Atlantean and a female member of mankind.  However, if an Atlantean female married a male member of mankind, the mitochondrial DNA of the Atlantean female would be reflected in the mitochondrial DNA of the offspring.  Mitochondrial studies do not indicate that a noticeable change in the mitochondrial DNA of man occurred at this time.  Therefore, if intermarriages between Atlanteans and members of mankind took place at this time, they must have involved Atlantean males rather than Atlantean females.

Transfer activity, it is believed, is no longer taking place on earth at the present time, at least, not in the manner it once was carried out in the past.  However, the many transfer activity grottobase complexes that were built between 15,500 B.C. and A.D. 1500 (including the one that was built for use by the people of the Aurignacian culture, who were involved in transfer activity between 35,000 B.C. and 30,001 B.C.), presumably, still exist, though many of these may be uninhabited at the present time.  This causes one to wonder if the Creator may have a plan to use these complexes for man's benefit at some future time.   Perhaps, that time is that eschatological period of time referred to in the Bible as the day of the Lord.  In Isa. 2:19, we read:

                                   19 And they shall go into the holes of the rocks,

                                    and into the caves of the earth, for the fear of the
                                    LORD, and for the glory of his majesty, when he
                                    ariseth to shake terribly the earth.

If these complexes will be used by man in the day of the Lord, perhaps the purpose of them will be to serve as subterranean refuges.   In that day, man may discover that entry to these subterranean refuges may not only be possible, but will be as easy as was for the people of the Magdalenian culture who entered the underworld of the earth in the fifteenth millennium B.C.  This will require the use of the instruments of mystical particle transfer, and may involve only a certain kind of Christian at that time.  Other people, both Christian and non- Christian, may seek to enter these subterranean refuges in that day.  However, because they do not possess the instruments of mystical particle transfer, their incursion into the interior of the earth will be restricted to the "holes of the rocks" and the "caves of the earth," as noted in Isa. 2:19 above.  

This, however, is not the higher purpose of transfer activity. The higher purpose of transfer activity, it is believed, is associated with the day of the Lord, but a different part of that day than that referred to above.  The part of the day of the Lord referred to above concerns the part of that day that occurs before the second advent of Jesus Christ on earth.  However, the higher purpose of transfer activity concerns the part of the day of the Lord that occurs after the second advent of Jesus Christ on earth, that is, his second coming in power and glory.  At that time, Jesus Christ will begin his one thousand year over Israel and the nations of earth.  This period of time is also called the kingdom age and millennium in Christian eschatology. The resurrected church of Jesus Christ will with their Savior at that time.  But what will the church do during the kingdom age/millennium?  Just as members of the church needed to prepare spiritually during their lifetimes on earth for their resurrection at the time of the rapture of the church at the beginning of the day of the Lord (1 Thes. 4:13-18; 5:1-9, they will need to prepare, technologically, for the changes in the creation that will take place at the end of the day of the Lord (2 Pet. 3:10-13), also. 

The Bible and the passages found within it are believed to be the authority for the transformation of the spiritual nature of man from a lost soul-spirit to a saved soul-spirit. However, this soul-spirit must receive the Holy Spirit in order for a lost soul to become a saved soul.  At the present time, this apparently is accomplished by trusting in Jesus Christ as one's Lord and Savior.   Similarly, the inspired sources are believed to be the authority for the transformation of the technology of man’s civilization from one of material technology to one of mystical technology.  In order for man’s civilization to experience a technological transformation, such as this, the technology associated with this new civilization must be understood by those who will use it. This includes the resurrected church of Jesus Christ.  Though they will possess eternal life and glorified bodies in the kingdom age/millennium, they will still need to understand mystical technology and the various operations of this technology.  This is not something that can be deferred to the future age, or as the Bible refers to it-the age to come (Mt. 12: 31-32).  Rather, the church must be wholly prepared to begin serving Jesus Christ in that age at the very beginning of the latter.  Without knowledge of mystical technology, particularly, as it applies to the operation of an advanced interstellar spaceship-the church of Jesus Christ, it is believed, will be incapable of serving Jesus Christ and the Creator effectively in the kingdom of God in the future age.

As we saw in Volume I of The Creation, the future age will be one in which the church of Jesus Christ and other redeemed members of mankind will employ mystical technology, and, eventually, perhaps other higher intrinsically energetic technologies.  But they will not employ material technology.  Therefore, because of this it will be necessary for the church of Jesus Christ and other redeemed members of mankind to become proficient in the use of mystical technology in the present age, in order that they may be prepared to employ it in the future age.  Although the discovery of mystical technology by man may well take place prior to the day of the Lord, man probably will not be wholly proficient in the use of this technology until near the end of that day.  This transition, it is believed, will be assisted by the most ambitious construction project in man's history-the design, construction, and operation of an advanced interstellar spaceship based on mystical technology.  The construction of this spaceship will take place, it is believed, during the kingdom age/millennium.  It will involve the resurrected church of Jesus Christ and other saved members of mankind-some resurrected and some not (yet) resurrected.  And it will be a project that will be necessary in order to transform man's advanced stellar civilization to an advanced interstellar civilization.  Only in this way will the church of Jesus Christ and other saved members of mankind be prepared, technologically, for the end of the present age and the beginning of the future age. 

At this point, some may wonder:  What does all this have to do with the higher purpose of transfer activity?  Well, as we have seen, thousands of people were involved in transfer activity between 35,000 B.C and A.D. 1500.  Many of these people originated from relatively primitive cultures and civilizations on earth.  However, after the transfer of these people to an advanced interstellar civilization, they became associate members of that civilization. Presumably, over the course of time these people became proficient in the operations of mystical technology that involved the operation of an advanced interstellar spaceship.  In addition, some of them became capable of designing and constructing this kind of spaceship, as well.  These people, it is believed, are associate members of the advanced interstellar civilization symbolized in the multiple inspired source, "Lascaux Cave" (Figure 1), as alignment G.  But they are also, as a result of their transfer activity, members of mankind, as well.  Therefore, it is possible that, in the eyes of the Creator, these people are especially qualified to instruct and assist the church of Jesus Christ and other saved members of mankind in the kingdom age/millennium in the design, construction, and operation of an advanced interstellar spaceship.   When the construction of this spaceship is completed, and it has actually accomplished a journey to a nearby stellar system and returned to earth, then, man, in the eyes of the Creator, will be considered members of an advanced interstellar civilization and prepared, technologically, for the end of the present age.

Therefore, in the eyes of the Creator, the higher purpose of transfer activity involved his choosing among members of mankind that dwelt of the earth between 35,000 B.C. and 30,001 B.C and again between 15,000 B.C. and A.D. 1500 a few that would transfer from their primitive cultures and civilizations to an advanced interstellar civilization, the living entities of which, in part, dwelt in grottobases beneath the surface of the earth.  As a result of their transfer to an advanced interstellar civilization, they would gain a knowledge of mystical technology as it applied to an advanced interstellar civilization.  And by means of spiritual cloning, and, finally, death and resurrection in the day of the Lord, these people would be present on earth with the church of Jesus Christ and other saved members of mankind during the one thousand year kingdom age/millennium reign of Jesus Christ on earth following his second advent.  Because of their technological background, they will be capable of instructing the church and others of mankind on earth at that time on matter concerning the design, construction and operation of an advanced interstellar spaceship.

Following the completion of a journey by man to another nearby stellar system by means of this spaceship, and the latter’s return to the earth, man’s advanced stellar civilization based on mystical technology, in the eyes of the Creator, will have been transformed to an advanced interstellar civilization.  But just as important, if not more so, the church of Jesus Christ and other saved members of mankind, will be prepared both spiritually and technologically for the future age and the kingdom of God over which Jesus Christ will reign in that age.  This future age, as we have seen, is the age that Jesus Christ spoke of and referred to as the age to come (Mt. 12:31-32).


Commentary 

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Credits

Figure 1:  The credit reference for Figure 1 is found in the Credits for Post 41 (CVIIC!S2) 




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