SIGNS AND WONDERS

A feature of the C-of-C-C Newsletter in which we search for hints and meaning in nearly everything… because it is there where you find it.

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Most find themselves plopped down mise-en-scène in the middle of our plot and never have a hint of what could be going on. Their total lack of interest and awareness never ceases to amaze us — and that, in fact, is our “wonder” for today.

We have been actively seeking the big storyline from our beginnings. Perhaps it started that day, three score and some odd years ago, when we stepped out into the bright daylight from the Granada Theatre with a distinct, slightly unsettling feeling that we could be the actors in a film — and were being watched at that very moment. This remains a vivid memory. We don’t recall what made a preschool kid even consider such a thing. However it came to us, we became conscious of this idea at that time.

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We knew hierarchical thinking had to start somewhere. The female-oriented fantasy of Marija Gimbutas has fallen by the wayside. There may have been greater reverence for the female role in birth back then, but it certainly took the men not only to plan but to execute the design of Göbekli Tepe.

Maybe it was one of our ancestors among the then-future Early European Farmers who first realized and proposed the idea — much the way bored kids will all of a sudden become motivated for an activity when one of them says, “Hey kids, let’s put on a show.” (See the story in the link below.)

— János Alovatski

(Religion and Alt-Spirituality Correspondent, who now throughout the day contemplates his levitating globe which just hangs there suspended in midair. Amazing. We know the explanation has to do with magnetism, but those are words that just seem to explain it. This plug-in curiosity is his reminder that there are hidden forces at work in our world. — the editors)

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Excerpt from Reference Article

“… Placing these human depictions at the top of this triangle would have been a powerful message, and represented an ideological departure from the animal-centric canons of Paleolithic art.

In Paleolithic art humans are rare, and this is true here as well, but you start to see change, the beginning of an anthropocentric worldview in which animals and plants are no longer equal to humans but are subordinated to them,” Gopher tells Haaretz.

In other words, Göbekli Tepe may have been designed, consciously or unconsciously, to represent and perhaps explain humanity’s growing ability to manipulate its environment, which, in the coming centuries, would lead to the first domesticated crops in this very region, the researchers say.

“The end of the hunter-gatherer lifestyle is more of an ideological transformation than an economic or technological one,” Gopher maintains. “Hunter-gatherers cannot domesticate anything; it’s against their worldview, which is based on equality and trust. Once that ideology changes, the entire structure of society is transformed and a new world is born.”

Source: Haaretz: Israeli Archaeologists Find Hidden Pattern at Göbekli Tepe