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9
Mar

Creation Lesson #10 - JESUS AND I …WHEN LIFE HURTS

 

 

Jesus Christ is the same yesterday, and to day, and forever (Heb. 13:8). He is the high and lofty One that inhabits eternity (Isa. 57:15). He upholds all things by the word of his power (Heb. 1:3). At this very moment Jesus, my Creator is…

 

  1. Thinking about me… “The Lord thinketh upon me” (Ps. 40:17)
  2. Guiding me… “I will guide thee with mine eye” (Ps. 32:8)
  3. Holding me… “Neither shall any man pluck them out of my hand” (John 10:28)
  4. Living within me… “I in them and thou in me” (John 17:23)
  5. Loving me… “Love them as thou hast loved me” (John 17:23)
  6. Cleansing me… “The blood of Jesus Christ his Son cleanseth us from all sin” (I John 1:7)
  7. Empowering me… “That I may know him, and the power of his resurrection, and the fellowship of his sufferings” (Phil. 3:10)
  8. Strengthening me…“Strengthened with might by his Spirit (Eph. 3:16), “My strength is made perfect in weakness” (II Cor. 12:9)
  9. Feeling my infirmities…“Touched with the feeling of our infirmities” (Heb. 4:15)
  10. Assuring me… “All things work together for good to them that love God, to them who are the called according to his purpose” (Romans 8:28).

 

“But God is faithful, who will not suffer you to be [tested] above that ye are able; but will with the [testing] also make a way to escape, that ye may be able to bear it” (I Cor. 10:13).                          

 

   “Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need” (Hebrews 4: 16).

6
Mar

Creation Lesson #9 - Manipulation of Data, Haeckel’s Embryos

 

 

Introduction

 

Most of those involved in the Creation/Evolution conflict are aware of such outright frauds as the Piltdown Man of Sussex, England. From its discovery in 1912 by Charles Dawson until its factual public exposure in 1953, essentially the entire secular paleontology community accepted this fossil as an intermediate between Ape and Man. Over 500 doctoral dissertations were written on its technical place in the lineage of Man (designated Eoanthropus dawsoni, “Dawn Man”); and degrees were awarded from major universities around the world. One of the few scholars who saw through its fabrication early-on was the Oxford scholar Earnest Tolbert (Bull) Adams from Glen Rose, Texas. Upon seeing the famous fossil first-hand, he wrote home to his wife Mable that it was a fake. History later proved him to be correct. But the evolutionary community had accepted Piltdown and other dubious artifacts as concrete evidence to the point that evolution has now become so entrenched as to require no real evidence at all. Evolutionist and atheist Richard Dawkins famously announced: “We don’t need evidence [for evolution]. We know it to be true.”[1] There is a long list of “altered” or “manipulated” information, but Haeckel’s Embryos illustrate the point very well:

 

In his The Origin of Species (Chapter XIV), Darwin wrote that “the leading facts in embryology, which are seen as second to none in importance” should be considered “by far the strongest single class of facts in favor of” his hypothesis. Darwin was captivated by Haeckel’s drawings of select vertebrate classes, particularly the astounding similarity that he depicted among their early embryonic stages, and what Haeckel called “the biogenetic law” (or “recapitulation theory”). This simply means that embryonic growth of the fetus within the womb rapidly repeats the entire evolutionary history of the species prior to birth. But what we really see is -

 

I.  MANIPULATIVE MIS-REPRESENTATION

 

Prior to Darwin’s The Origin of Species (1859), Europe’s famous embryologist, Karl Ernst von Baer (1792-1876), the discoverer of the tiny mammalian egg cell, had already disproved by careful empirical observation the evolutionary “law of parallelism” – the belief that embryos of “higher” organisms pass through the adult forms of “lower” organisms in the course of their development. Despite von Baer’s anti-evolutionary views, his evidence was manipulated by Haeckel and misrepresented by Darwin. According to Dr. Jonathan Wells “Von Baer lived long enough to object to Darwin’s misuse of his observations, and he was a strong critic of Darwinian evolution until his death in 1876. But Darwin persisted in citing him anyway, making him look like a supporter of the very doctrine of evolutionary parallelism he explicitly rejected.”[2]

 

II.  PURPOSEFUL PROPAGANDA

 

“An embryologist, Dr. Michael Richardson [St. George’s Hospital Medical School], with the cooperation of biologists around the world, collected and photographed the types of embryos Haeckel supposedly drew. Dr. Richardson found that Haeckel’s drawings bore little resemblance to the embryos. Haeckel’s drawings could only have come from his imagination, which was harnessed to produce ‘evidence’ to promote the acceptance of evolution.”[3]

 

III. ILLEGITIMATE ILLUSTRATIONS

 

The astounding similarity between early stages of different vertebrate classes and orders that so captivated the interest of Charles Darwin is now known to be the result of Haeckel “doctoring” his drawings to make them all appear more alike than the actual evidence would allow. This is readily substantiated…

(a) Censored Samples: “Haeckel’s contemporaries repeatedly criticized him for these misrepresentations, and charges of fraud abounded in his lifetime…there is no doubt that his drawings misrepresent vertebrate embryos. First, he chose only those embryos that came closest to fitting his theory.”[4]

 

(b) Deliberate Deception: “Surprisingly, after developing quite differently in their early stages, vertebrate embryos become somewhat similar midway through development. It is this midway point that Haeckel chose as the ‘first’ stage for his drawings.”[5]

 

(c) Designed Distortions: “…the popularizers of evolution…still believe that similarities between embryos are evidence for evolution (common ancestry). But this confidence rests, consciously or unconsciously, on the woodcuts published by Haeckel and reproduced, in whole or in part, in many textbooks since. These drawings are widely believed to bear some resemblance to reality. But apparently no one has bothered to check.”[6] “In some cases, Haeckel used the same woodcut to print embryos that were supposedly from different classes.”[7]

 

(d) Erroneous Exaggeration: “Not only did Haeckel add or omit features…he also fudged the scale to exaggerate similarities among species, even when there were 10-fold differences in size.”[8] “Richardson and his colleagues also found that vertebrate embryos vary tremendously in size, from less than 1 millimeter to almost 10 millimeters, yet Haeckel portrayed them all as being the same size.”[9]

 

(e) Falsified Figures: “Finally, Richardson and his colleagues found considerable variation in the number of somites – repetitive blocks of cells on either side of the embryo’s developing backbone. Although Haeckel’s drawings show approximately the same number of somites in each class, actual embryos vary from 11 to more than 60.”[10]

 

YET THIS FALSIFIED INFORMATION IS STILL USED TODAY! “The Biogenetic law [Haeckel’s Drawings] has become so deeply rooted in biological thought that it cannot be weeded out in spite of its having been demonstrated to be wrong by numerous scholars.”[11]

 

 

[1] Richard Dawkins, Washington University Seminar: “Making Sense of Creation and Evolution.”

[2] Jonathan Wells, Icons of Evolution, 2000, p.86

[3] Ken Ham, Jonathan Sarfati, Carl Weiland, The Revised & Expanded Answers Book, 1900, p.120

[4] Jonathan Wells, Icons of Evolution, 2000, p. 91

[5] Ibid. p, 98

[6] Ham, Sarfati, and Weiland, op cit.

[7] Wells, op cit.

[8] Science, vol. 277, 9/5/97

[9] Wells, op cit, p. 92

[10] Wells, ibid.

[11] Walter J. Bock, Department of Biological Sciences, Colombia University, “Evolution by Orderly Law,” Science, vol. 164, May 9, 1969, pp. 684-5

2
Mar

Creation Lesson #8 - Creativity of Man, Mind of Man, Noah’s Ark, Gutenberg Press

 

 

Introduction

 

At the Creation Evidence Museum an entire section is dedicated to displays featuring the “Creativity of Man.” It begins with the construction of the 25-foot Replica by Dale Muska and his assistants; it continues with the creativity displayed in the engineering of the 1904 Oldsmobile, the artistry in the clay statue of coach Tom Landry by artist Robert Summers, the speech employed by Chief American Horse (featuring the actual attire he wore while negotiating peace between the Red Man and the White Man after the Battle of Little Big Horn), and the design in the space exploration instruments constructed by aerospace engineer Robert Helfinstine and his associates. These displays are actually in place at the museum. We should also mention the invention of the Gutenberg Press with movable type. The first book to be printed was the Gutenberg Bible! (The premier replicator of the Gutenberg Press is currently building a full-scale replica for our museum).

 

I.  The Unparalleled Mind of Man

 

At the heart of the creativity of man is his awesome mind, designed to reflect the image of the Creator Himself. The human brain’s three pounds represent a mere two percent of the body weight…the quartful of brain is so metabolically active that it uses twenty percent of the oxygen we take in through our lungs…A third of our genes code for one or another aspect of the brain.”[1]

 

The brain allows the finger to feel vibrations of 8/1000 of an inch…Allows the eye to see 10 million different colors.[2] [T]he brain’s complexity is beyond anything [we had] imagined…the total number of synapses in a brain roughly equal the number of stars in 1,500 Milky Way galaxies![3] At the subconscious level “people can actually reason, anticipate consequences, and devise plans – all without knowing they are doing so.”[4] This introduces us to the power of the human mind and its amazing creativity.

 

Scientific American reports: “ [M]ounting evidence indicates that…a large mental gap separates us from our fellow creatures.”[5] “[O]ur species alone creates soufflés, computers, guns, make-up, plays, operas, sculptures, equations, laws and religion. Not only have bees and baboons never made a soufflé, they have never even contemplated the possibility.”[6]

 

The author lists various intriguing feats that animals accomplish and explains that “animal thoughts are largely anchored in sensory and perceptual experiencesWe alone ponder the likes of unicorns, and aliens, nouns and verbs, infinity and God.”[7] The same article lists four unique ingredients of the human mind. (1) Generative computation enables humans to create a virtually limitless variety of words, concepts and things. (2) Promiscuous combination of ideas allows the mingling of different domains of knowledge – such as art,…space, causality and friendship – thereby generating new laws, social relationships and technologies. (3) Mental symbols encode sensory experiences both real and imagined, forming the basis of a rich and complex system of communication. (4) Abstract thought permits contemplation of things beyond what we can see, hear, taste or smell.”[8]

 

II.  The Ark of Noah

 

Our 25-foot (1/20 scale) Replica of the Ark is the culmination of over forty years of research, months of working with our draftsman, eighteen months of actual craftsmanship on the vessel itself, and the sacrifice of dear people who contributed to make it possible.   The original Ark was 300 cubits long, 50 cubits wide, and 30 cubits high[9]. The cubit is normally considered to be about 18 inches in length. Often the ”royal cubit” was given as up to 26 inches. Our research indicates that the cubit was very close to 20.5 inches. This would make the original Ark 500 feet long, 86 feet wide, and 52 feet high.

 

III.  The Gutenberg Press

 

The art of printing originated in China. Emperor Ling of the Eastern Han dynasty inadvertently inspired this invention in AD 175 when he commanded that Confucian classics be engraved in stone. Bi Sheng invented a form of movable print during the reign of the Emperor Renzong of the Song dynasty, between AD 1041 and AD 1048. He took thin pieces of clay mixed with a sticky substance, carved a mirror image Chinese character on each piece and baked it in a kiln. When printing, he placed the characters in proper order on a coated metal plate.

 

Johannes Gutenberg (c.1395 – 1468) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention of mechanical movable type printing played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the Scientific Revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses. Gutenberg was the first European to use movable type printing, around 1439. Among his many contributions to printing are: the invention of a process for mass-producing movable type; the use of oil-based ink; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system which allowed the mass production of printed books. In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society.[10]

 

 

[1] Sherwin B. Nuland, op cit, p. 328

[2] Paul A. Bartz, Letting God Create Your Day (Minneapolis: Bible Science Association, 1993) Vol.4, p. 197

[3] E.A. Moore, Human Brain has more switches than all computers on Earth, CNET News, news.cnet.com November 17, 2010

[4] Joseph Weiss, “Unconscious Mental Functioning,” Scientific American, March 1990, p. 103

[5] Marc Hauser, “The Mind,” Scientific American, September 2009, p. 44

[6] Ibid.

[7] Ibid., p. 46

[8] Ibid.

[9] Genesis 6:15, The Holy Bible

[10] Google Information

ABOUT THE MUSEUM
The Creation Evidence Museum
of Texas is a 501(c)3 non-profit
educational museum chartered
in Texas in 1984 for the purpose
of researching and displaying
scientific evidence for creation.
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Glen Rose, Texas 76043
Phone: 254-897-3200

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