The precision of days and connections to the Israel/Jewish Festivals is startling and amazing. When one is talking about huge planets rolling around in the sky, one could easily expect that there should be a fudge factor of at least a few days. But in using the Starry Night program, one can actually measure the distance between two objects in conjunction to determine the actual time of their closest approach. And, in regard to the festival dates and for such things as the time of gestation, the extraordinary accuracy really stands out and makes merely dismissing this all as coincidence a very difficult thing to do.
This is no “after the fact” contrivance by hopeful followers of Jesus trying to construct a justification for their faith. The pathways of stars, planets, sun and moon are established in their creation, thousands of years earlier. The important festivals of the Jewish year are firmly entrenched for well over a thousand years before Jesus is born. To anticipate the two coinciding with this precision at this very point of time would be beyond the capacity of human ability – and why would humans even think of setting up the festival structure with this in mind? No, this is no wishful imagination.
But there can be a bit of confusion: the star Regulus which meets so close in conjunction with Jupiter is actually 77 light years away from the planet. Indeed if we were to look down on the universe, the principle characters in this Ballet are seemingly randomly scattered far and wide – how can anyone say that what we see is “real”? Is it not merely a figment of imagination?
However, a form of graphic art can direct us to an answer: it is called Anamorphic Art. Looking at a drawing or painting made in this technique, one either sees a terribly distorted image, or even merely just a jumble. However, if one looks at the art from the right place – at certain angle and usually just above the surface of the image or, in one case, through a pinhole in the picture frame –, all the perspectives take their proper positions and the image in the masterpiece appears without distortion.
We view the universe from one such pinhole, the earth, and what has been described in the previous blogs is what we observe. Do we see a legitimate picture? Well, that depends on the Artist, doesn’t it? As we look through the pinhole, we should see what the Artist intended.
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But the universe is so big! Why would Jehovah so construct the heavens for the exclusive viewing experience for this miniscule dot called the earth? Why should the human have such a prestigious place when we are so tiny in the vastness of the universe? It seems a bit arrogant of us.
Yet we didn’t put the items in the universe in the places they are. We didn’t choose our vantage point just so that we would see what we wanted to see. We didn’t decide on the festivals and when they should occur so that they would just “happen” to coincide with the anamorphic art we see in the stars. We are left with the reality that all this was already placed by Somebody Who wanted us to “get the picture.”
Then again, the whole reason for Christmas through to Easter leaves us with just as much of the question, “why?” Why should the eternal Creator bother with insignificant protoplasm who can do such terrible things to each other, who often justify themselves by invoking His Name, and who in fact would crucify Him Himself? Yet the witness Jehovah has left in the earth and in the sky is that He does bother, and He does so from His heart.
Does this mean that the whole universe exists entirely for our benefit? It could be. After all, there is nothing that says that God can’t do something on a grand scale rather than on a minimal budget if He wants to. Nor is there anything that forbids Him from so arranging things so that from different places in the universe different “portraits” might be seen. And besides, the universe wasn’t created for our benefit, it was created for His delight. Like so often what He does is that He simply includes us – takes us along with Him – as He goes about His activity.