THE LOOM OF MAYA: THE HARMONIC MODULE REVEALED
Leaving for the moment the departure of the galactic masters at the end of the 9th baktun, let us look at what they left behind. Their achievement, their actual calling card, was a series of monuments which recorded in a very precise manner the correlations between the galactic harmonic pattern and the terrestrial solar calendar. The current 5,125 year cycle—3113 B.C.-A.D. 2012—is a precise calibration of the galactic fractal, 5,200 tun in diameter. This 5,200-tun (or 1,872,000 kin or 260 katun or 13 baktun) cycle literally acts like a lens focussing a beam through which information from galactic sources is synchronized via the Sun to the Earth.
Of course, the galactic masters left clear enough teachings and instructions when they departed, teachings carried on by the prophetic traditions of the later Maya. Written in the language of the Zuvuya, these teachings that describe the katun cycles are, without proper preparation, of little help. Indeed, they have actually given rise to great confusion among those trying to understand the mystery of the Classic Maya. But then, by no means was it the purpose of the galactic masters to be remembered. It was their purpose, however, to leave a legacy, the Tzolkin, that would aid in the retrieval of galactic information. The retrieval of this information has but one goal: to assist in the alignment to the whole which leads to conscious operation within the greater community of galactic intelligence.
Of course, to our progressive world-view the notion not only that the Maya were smarter than us but that they were here on a mission to help us on this planet become coordinated with a larger galactic project may seem ridiculous or terrifying. Plot lines that smack of a larger plan or purpose boggle our little egos. It is easier to dismiss them as the paranoid projections of soap-box philosophers or science-fiction fantasies than to admit them into the forum of proper intellectual discussion.
And yet, there is a persistent little voice that keeps saying, "Why not?" After all, the universe is vast, and who is to say that we have in our possession the secrets to all of the mysteries? And in the history of civilization as we know it, if there is any mystery that dogs us to this day, it is the mystery of the Maya. As the greatest Mayan scholar, J. Eric S. Thompson, said in his monumental Maya Hieroglyphic Writing: "One is amazed at the mastery over tremendous numbers implied in the various terms for higher units which have survived. Surely no other people on a comparable level of material culture have had such a concept of vast numbers, and a vocabulary for handling them" (p. 53). The cause for amazement either disappears or is intensified when we consider the inadmissible: the Maya and their "system" were of galactic origins.
Letting rest for a moment the extra-terrestrial origins of the Maya, let me also remind the reader that my purpose in presenting the Mayan Factor is twofold. First, to open our eyes to the possibility of the galactic mission of the Maya and its implications for us at this moment in history; and second, to present, in as simple and practicable terms as possible, the Mayan Harmonic Module, or Tzolkin. While archaeologists and astronomers, art historians and mathematicians pore over and ponder the meaning of the sculpted stones and temple cities of the Classic Maya, the key unlocking the whole of it, the 13 x 20 matrix of the Harmonic Module, is user-friendly and lies within our reach.
As I suggested in the previous chapter, the Tzolkin or Harmonic Module bears a strong resemblance, by analogy, to the I Ching. Like the I Ching, the Tzolkin at first appears to be an archaic relic in code language from a far earlier era. Yet, even before the I Ching had left the hands of the philologists and archaeologists, philosophers and psychologists were seeing that rather than being archaic, the I Ching is timeless, and hence of use to us today. In addition to renewed popular use as an oracle, the timelessness as well as the timeliness of the I Ching have been verified by correlations with the genetic code (Schönberger, 1973) and with far-reaching mathematical-historical correspondences in my own Earth Ascending (1984).
The I Ching is based on a set of binary mathematical permutations, which also underlie what I call the "pure" progression of the Mayan number harmonics—2, 4, 8, 16, 32, 64. As it is presented to us, however, the I Ching is actually comprised of the combinations of eight symbols (trigrams) of three lines, either broken or unbroken, in all possible combinations with each other. By doubling the trigrams, the permutations yield 64 more complex symbolic possibilities of six lines each (hexagrams). By comparison, the Tzolkin is based on permutations of thirteen numbers and twenty symbols or Sacred Signs which yield a possibility of 260 permutations. At minimum, each one of the 260 permutations is a combination of one of thirteen numbers, one of twenty signs, and one of four directional positions.
Finally, like the I Ching, the Tzolkin is a system for revealing information relating to a deeper or larger purpose. While the I Ching is precisely synchronized with the genetic code, the Tzolkin is synchronized with the galactic code. As the genetic code governs information concerning the operation of all levels of the life cycle, inclusive of all plant and animal forms, the galactic code governs information affecting the operations of the light cycle. The light cycle defines resonant frequency ranges of radiant energy, inclusive of electricity, heat, light, and radio waves that inform the self-generative functions of all phenomena, organic or inorganic. The two codes are obviously interpenetrating and complementary.
I CHING & GENETIC & GALACTIC CODES
In speaking of a galactic code analogous to a genetic code, what do we really mean? When we speak of the genetic code we can point to the obvious manifestations of its functioning, be they the organization of colonies of plankton in the sea or the differentiation of functions in a complex organism like ourselves. But to speak of the galactic code, of light cycles and radiant energy—how are these manifested in ways that are obvious, and what information processes does a galactic code govern?
Without bogging down in technicalities, let us consider the nature of life itself. Though we may know the molecular and chemical make-up that is necessary for construction of the nucleic acids that form the building blocks of life and which can be articulated as the 64-word genetic code, where and what would all this be without light? In a word, the genetic code describes but half the picture. Light—radiant energy—provides the other half. Indeed, if we were to say which is more primary, which comes first, light or life, then we must say "light." If we observe the simplest phenomena, flowers opening and closing in their daily cycle, we see that all of life not only depends upon light but actually aspires to light.
We know that "light," the spectrum of radiant energy, runs the gamut from radio waves to ultra-high-frequency cosmic radiation. In simple terms, radiant energy is a range of wave-functions, inclusive of electricity, that transmits information as well as transmutes energy. The power to bear information—transmission—and to transmute energy—transformation—is inherent in radiant energy and, like DNA, is governed by a code. It should also be recalled that DNA possesses a vibratory infrastructure that parallels the molecular . structure. It is this radiant, vibratory infrastructure—the light body—that corresponds to the radiant-energy spectrum governed by the Tzolkin code, the Mayan Harmonic Module.
If we take radiant energy to its "source", we return to Hunab Ku, the galactic core. Emanating in spiralling spin/counter-spin pulsation streams from Hunab Ku, is the code governing the self-transmitting and self-transforming power of radiant energy. As described by the Tzolkin, the Mayan Harmonic Module, the galactic code governing radiant energy, is the primary source that informs and vitalizes the code of life, DNA, represented by its symbolic counterpart, the I Ching. In other words, the Tzolkin is to the I Ching what light is to life.
I realize that this discussion of genetic and galactic codes may require a leap of faith as well as imagination. Keeping in mind that the discovery of the identity of the 64-codon DNA with the I Ching was itself late in coming, let us turn to a consideration of the Tzolkin as a symbolic template or metaphor and see what we may learn.
As a template of the code governing the functioning of the entire spectrum of radiant energy, in its simplest terms, the finite components of the Tzolkin reduce to an easily remembered set of constants. These constants, a coherent system of symbols and numbers, have but a single, all-encompassing purpose: to assist us both in the retrieval of galactic information and in the attainment of a condition of galactic alignment.
LOOM OF MAYA GENERATED FROM BINARY TRIPLET
Such in its bare-bones essentials is the Tzolkin, the galactic constant: thirteen numbers, twenty symbols, and four rotating directional positions always coming back to itself, repeating, pulsing endlessly. The Tzolkin, or Harmonic Module, presents itself as a perfect metaphor of the self-generating and self-renewing galactic circuit.
While the combinations of the thirteen numbers and twenty positions or symbols produce the 260 units comprising the entire matrix, the 52 (13x4) directional position possibilities are reflected in the pattern unifying the matrix. If you look at this pattern carefully you will see that it occupies 26 units on the right side of the seventh or mystic column and 26 units on the left side of that column, for a total of 52 units.
In Earth Ascending, out of deference to its strictly geometrical symmetry, I call this 52-unit unifying pattern the "binary triplet configuration." While I admit that this is not an entirely evocative description, I also refer to this pattern as "the primary resonant structure common to all processes and systems. It is the visible form of the cosmic code."
Out of respect for its function of weaving together the thirteen numbers and the twenty symbols, it seems altogether appropriate to call this 52-unit pattern the Loom of Maya. A loom is an instrument for weaving at least two different "threads." While Maya here refers to the Maya who left us the Tzolkin as a guide and a tool, Maya also refers to the term in Hindu philosophy often defined as the world of illusion, the apparent reality of the phenomenal world.
What is woven by the Loom of Maya is the matrix of possibilities that correspond to our experience of the world. This woven matrix is a texture of 260 components or symbols that inform our senses and mind with the informational keys necessary to relate to and work with the larger world around us. While these 260 symbols describe the larger world as a cyclical composite of symbols, they also define our internal capacity to perceive this world as being of the same nature as the world we perceive.
But what then are the threads woven by this Loom of Maya? The vertical threads are represented by the thirteen numbers, the horizontal threads by the twenty symbols. But what do these represent? As I have already suggested, the thirteen "numbers" represent primary patterns of radiant energy, which we could call radio-pulses. The twenty symbols represent the cycle of frequency-range possibilities for transformation or evolution that each of these radio-pulses may undergo. The combination of anyone of the thirteen numbers and twenty directional positions creates a symbol or radiant pulsation pattern that contains a particular kind of information. The 260 symbolic pulses woven by the Loom of Maya create the entire resonant field which we experience as reality.
But let us talk for a moment about symbols. What is a symbol? A symbol is a resonant structure, the reverberation of a particular quality of radiant energy that takes form in our senses. Obviously, our sense faculties possess a form-receiving capacity; that is, the sense organs function as reverberatory receivers. Like different kinds of radar stations, the senses continuously receive the in-rush of resonant wave-forms that comprise our universe. It is the purpose of mind to "make sense" of the symbols or resonant structures informed by our sense faculties. Our various conditionings further affect the "interpretations" of the mind.
Plato and Jung called the resonant structures "archetypes", form-constants that exist in and define a field of consciousness that transcends both time and the individual. According to the Mayan Factor, these form-constants are the stuff woven on the Loom of Maya, while the Loom of Maya itself is the magically self-existing instrument created from the stuff it weaves. Self-created and self-creating, the Loom of Maya weaves the symbols into the whole tapestry which we experience through our mind and senses as our mind and senses. Not just as metaphor, but in truth, the world is a weave of symbols, and it is through symbols that we weave our understanding of the world.
When we understand that symbols are actually resonant structures, vibratory form-fields, and that we ourselves are resonant to our very core, then we can see that symbols are not something aery-faery but are completely vital to our functioning as whole beings. Asleep and unconscious to the potency of symbols, our dreams become nightmares, and we live hostage to a world which is in reality the eclipse of symbolic knowing. As we know, we do not live by bread alone. Though we may feel that spirituality is a vague concept and transcendence a remote aspiration, it is really our own belief in the separation of science, spirituality, and art that keep us from a full comprehension of symbols and symbolic knowing.
As resonant structures, symbols literally create, work with, and inform our light body. The light body is the electro-resonant galactic code bank that informs the genetic code bank. It is the stuff of imagination, insight, all true understanding—and more! While the foundation of our light body corresponds to the vibratory infrastructure of the DNA, it can only be activated through a knowing use of symbols. Nor should this symbol-thriving light body be seen as separate from what we call our physical body. Rather, the resonant light body underlies and interpenetrates all of our functions. It is not poetry alone that commands us to declare that just as a flower cannot live without light and water, we cannot live without symbols.
If the thirteen numbers are the light that arouses the mind and body, then the twenty directional positions are the water that nourishes this very same mind and body. In the interplay of thirteen numbers and twenty symbols lies the in-dwelling galactic code-bank that informs the resonant structures comprising the symbol-woven tapestry of our reality.
Let us look more carefully at the Loom of Maya, for its very structure containing the meaning of the thirteen numbers and the twenty signs is the loom of our existence. It is important to actually see the pattern of the Loom of Maya as the unifying structure of the 260-unit matrix. If we look at the permutation table of the matrix, pure and simple, it seems like mere numbers, albeit an interesting series of patterns. Being the essential visual construct contained by the 260-unit matrix, the 52-unit Loom appears to us as the frame of a body. we can further think of the 52-unit pattern as the resonant galactic frame, enclosing and providing opportunity for the weaving of a total pattern—the 260-unit matrix.
In Chapter 2, we spoke of the identity of resonance and information. In its enclosing and framing capacity, the resonant galactic frame fulfills the minimum requirements for a definition of information. Information encloses or encapsulates—hence, in-forms. What is encapsulated is like a resonant seed, filled with potentiality. The purpose of information is to provide the opportunity for new growth, expansion, or fleshing out of the resonant seed contained in the information.
This being the case, what is the information encapsulated within the 52-unit resonant galactic frame? If we examine the Loom of Maya, we see that it spans all twenty positions that provide the horizontal structure of the Harmonic Module. vertically, the seventh or middle column is distinctly devoid of any of the resonant frame units. At the same time, the seventh column provides the hinge for and actually defines the two sides of the resonant galactic frame. The invisible seventh is the mystic column. Unmirrored, it mirrors all.
LOOM OF MAYA
13 SETS OF FOUR UNITS, EACH ADDING TO 28
LOOM OF MAYA SHOWING INTERVAL NUMBERS
Also, when we look carefully at the individual frame-units, we see that each of the thirteen numbers is contained at least twice. We also note that the frame is 26 units per side—fractal of the total 260—while the total number 52 is a fractal of the 5200-tun diameter of the galactic synchronization beam. We also see that the Loom can naturally be broken down to its components of thirteen sets of four units each, starting with the corners and moving inward. Thus the first set of numbers is 1, 7, 13, 7; the second set is 9, 13, 5, 1; the third set is 4, 6, 10, 8; until we get to the center 6, 7, 8, 7. Each of the thirteen sets of four numbers adds up to 28, the number of days in a vague lunar month. 28x13=364, the number of days in a vague lunar year. 364 can also be factored as 7x52.
Of the 52 units in the Loom of Maya, 7 is contained eight times. Indeed, where the 7 appears an almost perfect symmetry pattern is disclosed. The positions of 1 and 13, which each appear twice, also create a complementary pattern to each other. Finally, if one counts the intervals between the 52 numbered units of the Loom, one finds that there are 60 such intervals. If one starts at the upper left corner, for instance, the intervals are between 1 and 9, 9 and 4, 4 and 12, 12 and 7, 7 and 2, 2 and 3, etc. Noting the differences between the numbers that create the intervals, we arrive at the interval numbers.
Thus, starting with the upper lefthand corner, we find the interval numbers to be: 8, 5, 8, 5,5, etc. Indeed, if we look carefully we see that the interval numbers on the axis that runs from upper left to lower right are either 8 or 5, which add up to 13, while all of the interval numbers on the axis running from upper right to lower left are either 6 or 7, again adding up to 13. Finally the interval numbers of the vertical axis of the 52-unit galactic Loom are always 1. If one adds the possible interval numbers, 1, 5, 6, 7 and 8, the total is 27 If one adds all of the 60 interval numbers, the total is 270, whose key factor is 9. Thus, while 7 is the key factor of the sums of the 52-unit Loom, 9 and 13 are the key interval factors.
Well, you may say, so what? All that is meant to be demonstrated here is the magical nature of a model or system that is reciprocally self-contained. The Loom is the analogue or hologram of the operating principle of the galaxy itself as a total self-contained system. Keeping in mind that the numbers represent symbolic qualities which describe the potential of our reality, then we see that everything is interactive, interdependent, that all cycles feed on themselves, that nothing can really be described without describing everything, that the whole indeed is contained in the part. The Loom of Maya and the Harmonic Module woven by it comprise a genuine resonant keyboard for our use in toning or dialing up galactic frequencies whose wave formations lie within our very being.
Let us turn, then, to the system of symbols and numbers that constitute the Harmonic Module, beginning with the thirteen numbers. As we saw in considering the Loom of Maya, we have a vertical frame of thirteen columns. The seventh column in the center creates a symmetry pattern with six columns on either side. As we noted, the seventh stands alone; unmirrored, it mirrors all. This is important to bear in mind when we consider the thirteen numbers or rays. With the exception of the number 7, the other numbers may be viewed as complementary pairs mirroring each other.
TZOLKIN SHOWING BINARY MIRROR NUMBERS
Thus we have as mirror symmetry numbers: 1 complementing 13; 2 and 12; 3and 11; 4 and 10; 5 and 9; 6 and 8. The differences between the pairs recapitulate an even numbered progression: 12, 10, 8, 6, 4, 2. 7 has no mate, holds the center and reflects the total order. This is why we refer to 7 as the unmirrored whole mirroring the whole in all of its symmetry.
If we view the numbers as "pulsation-rays", each representing a particular radioresonant function that simultaneously pulses and radiates, then we have the following designations:
1. The Pulsation-Ray of Unity
2. The Pulsation-Ray of Polarity
3. The Pulsation-Ray of Rhythm
4. The Pulsation-Ray of Measure
5. The Pulsation-Ray of the Center
6. The Pulsation-Ray of Organic Balance
7. The Pulsation-Ray of Mystic Power
8. The Pulsation-Ray of Harmonic Resonance
9. The Pulsation-Ray of Cyclic Periodicity
10. The Pulsation-Ray of Manifestation
11. The Pulsation-Ray of Dissonant Structure
12. The Pulsation-Ray of Complex Stability
13 The Pulsation-Ray of Universal Movement
A brief review of the qualities represented by the numbers reveals a progression describing the formal nature underlying the appearance of things. If 1representstheinherent unifying principle in all manifestations, 13 represents the dynamic of movement present in everything and by which everything is ever-changing and at the same time vivified by the universal force of Hunab Ku. The numbers 1through 9 represent the nonmaterial principles of coherence immanent in and governing all phenomenal experience. While 10 represents the principle allowing manifestation to occur, based on the coherence of the preceding nine numbers, 11 represents the dynamic of dissonance accounting for randomness and non-stability. 12, on the other hand, represents the principle of complex stability which accounts for the conservative organizational force in nature.
If we look at the numbers in their mirror symmetry, we see an intimate set of reciprocal relations, the lower order number presenting the constituent principle of the larger order number. Thus, while 1, the principle of unity, is balanced by 13, the ray of universal movement, 2, the principle of polarity, is balanced by 12, the principle of complex stability. Reflection shows that any order of complex stability is held together—or torn apart—by a subtle balance of polar forces.
In the next mirror pair, we see that the principle of rhythm, 3, accounts for variability and introduces the possibility of randomness which plays such a role in 11, the principle of dissonant structures. 10, the principle that allows for manifestation to occur, is complemented by 4, representing the principle of measure. It is only through the operation of measure as wholeness and order that any manifestation can occur as a coherent organism.
The principle of the center governed by the number 5 allows the order of 4 to move, as the seasons move around a common solar center. The cyclic periodicity of movement organized about a common center, 5, is governed by 9. Finally, 6, the ray of organic balance, is so called because it represents a factoring of the polar principle, 2, with the principle of rhythm, 3. The product, 6, organic balance, represents the hexagonal ordering principle underlying crystal and cellular structures. This organic balance, 6, is complemented by 8, the principle of harmonic resonance which governs the octave frequency levels by which all organic structures, inclusive of crystals, vibrate.
With no mirror number to complement it, 7 has its unique symmetry relation to 1 and 13, the alpha and the omega, as it were, of the Mayan number harmonic. At the center of the pattern, 7 represents the magic by which the whole holds together.
Such, in brief, are the meanings of the numbers in their complementary relation to each other. Obviously, there are many more relations that can be explored intuitively through playing with the radially reciprocal relations the numbers all have to each other. Suffice it for the moment to say that the descriptions give some idea of the progression of the structural cycle underlying the operation of the galaxy—or any of its constituent members-as a self—sustaining, self-organizing whole.
The numbers take on a richer meaning when combined with the twenty positional symbols which describe the horizontal lattice of the Loom of Maya. If the thirteen numbers are pulsation-rays, the twenty Signs are the frequency range possibilities that allow for the primary harmonic structures to come into existence. While in Earth Ascending I compared the twenty symbols to the twenty amino acids which comprise the DNA, the nineteen intervals between the twenty symbols could also be compared to the nineteen twists that the complementary DNA strands take in order to complete a codon, one of the 64 six-part structures that constitute the genetic code. On our planet, the Maya translated these twenty positional places into the twenty symbols known as the twenty Sacred Signs.
It is often said that the Mayan signs are more ideographic than hieroglyphic. A hieroglyph uses images to depict words or sounds; an ideograph uses signs, often of an abstract nature, to convey ideas, without using particular words or phrases.
TZOLKIN WITH SIGNS & PLANETS
As ideographic symbols, there are many different ways in which these Signs can be read. Dense with meanings, the Signs demand an analogical understanding. Analogical thinking randomly floats and leaps to a conclusion by a like association linking seemingly dissimilar things. Analogical thinking is also that which creates form on the basis of like proportions. As we have already seen, the Mayan number symbolism is completely based on fractal harmonics which are based on like proportions. The twenty Sacred Signs, like the thirteen numbers, participate in the same fractal harmonic.
When we look at the twenty Sacred Signs, we see that they are elegantly, comically simple. Even more than ideographic they are iconic. They are simply images. Some are more abstract than others. Some appear like faces. One is like a hand. The ultimate in iconic simplicity, the Signs are as easy to imprint as any set of comic-book characters. Indeed, the Signs beg to be imprinted, for in essence they are memory triggers. Whether familiar, humorous, or enigmatic, the Signs are ready-made and without complication. In this lies their ease and their power.
20 SACRED SIGNS IN THEIR DIRECTIONAL MATRIX
The twenty Signs are associated with specific directions which further amplify their meaning. The directions run in counter-clockwise order, from East to North to West to South. This is so because this order complements the order of the numbers, 1, 2, 3, . . .13, which could be said to run in a clockwise direction. Remember, in the Zuvuya of Maya, time—and everything else—operates in at least two directions simultaneously!
The meaning of the directions is as follows:
EAST: Place of Light and Generation. Color: Red
NORTH: Place of Wisdom and Purification. Color: White
WEST: Place of Death and Transformation. Color: Black
SOUTH: Place of life and Expansion. Color: Yellow
Like the numbers 1 through 13, the twenty Sacred Signs are reciprocal. They build on each other, and reference each other for meaning. On the other hand, a certain meaning is also gained by their relation to each other in the order in which they invariably appear. My initial presentation of the Sacred Signs is based on a somewhat cosmological description of the Signs from the prophetic text, The Book of Chilam Balam.
In this presentation, the Signs describe a process of development, the path of life itself. The first seven Signs represent the cycle of the lower body or physical being; while the remaining thirteen Signs describe the evolution of the higher mental body. However, it should not be thought that the evolution described by the later thirteen Signs in any way replaces the evolution described by the first seven Signs. Everything is congruent and interpenetrating. The second level of thirteen Signs is again divided into two stages. The first stage consists of seven Signs, inclusive of Signs 8-14, and the second stage consists of the six Signs from 15-20.
So, let us now present the Signs and their directional associations:
DEVELOPMENT OF PRIMARY BEING
1. IMIX: Source of life, Dragon, Primal Water, Blood, Nurturance, Breast, Mother Energy, Power of Birthing. EAST
2. IK: Spirit. Breath, Wind, Cosmic Energy, Inspiration, Vital Principle, Respiratory System. NORTH
3. AKBAL: House, Enclosing Darkness, Night, Body, Place of Mystery, Heart and Internal Organs. WEST
4. KAN: Seed, Idea, Ordering Power of Growth, Generative Principle, Sex and Reproduction. SOUTH
5. CHICCHAN: Serpent, Nervous System, Reptilian Brain, Integration and Attainment of Autonomic Functions. EAST
6. CIMI: Death, Revelation, Realization of Mortality of Physical Body. NORTH
7. MANIK: Hand, Grasping, Closure, Knowledge of Power of Completion, Realization of Finiteness of Physical Being. WEST
DEVELOPMENT OF HIGHER BEING—Generative Stage
8. LAMAT: Star, Harmony, The Octave, Intuitive Realization of Pattern of Higher Life, Love, Star-Seed. SOUTH
9. MULUC: Raindrop, Cosmic Seed in Gate of Awakened Consciousness, Principle of Communication and Expansion of Higher Life. EAST
10. OC: Dog, Mammalian Brain, Emotional Life, Guide and Principle of Loyalty, Faithfulness that Gives Strength in the Spiritual Journey. NORTH
11. CHUEN: Monkey, Artist, Trickster, Principle of Intelligent Co-Creation of the Higher Life. WEST
12. EB: Human as Vessel for Penetration of Higher Mind. SOUTH
13. BEN: Sky-Walker, Pillars of Heaven and Earth, Aspiration for Uniting Heaven and Earth, Principle of Growth of Higher Mind, Reed. EAST
14. IX: The Sorceror, The Jaguar, Feline Energy, The Night-Seer, Attainment of Magical Powers, Highest Level of Individual Conscious Development. NORTH
DEVELOPMENT OF HIGHER BEING—Fulfilment Stage
15. MEN: Eagle, Higher Collective Mind, Planetary Mind and Consciousness. WEST
16. CIB: Cosmic Force, Ability to Contact and Commune with Galactic Consciousness. SOUTH
17. CABAN: Earth, Earth Force, Synchronicity, Power of Intelligent Synchronization. EAST
18. ETZNAB: Hall of Mirrors, Ritual Patterr of "No-Time", Ritual Stroke, Ritual Knife, Sword of Wisdom and Purification. NORTH
19. CAUAC: Storm, Thunder Cloud and Thunder Being, Transformation that Precedes Full Realization. WEST
20. AHAU: Solar Mind, Solar Lord, Mastery, Realization of Solar Body, Wisdom, Knowledge, Ability to Focus Galactic Whole, Ability to Encompass and Generate the Entire Cycle. SOUTH
The first Sign, Imix, is in the East; the last Sign, Ahau, is in the South. An entire circuit is completed, a circuit of life woven on the Loom of Maya. Everything is in it that pertains to being, not only as progressions of the light but as a ladder to be ascended by hero and heroine alike. The twenty Signs in their ever-revolving order define a path of life in which the physical being prepares and is a stage for the higher mental spirals of being. It is a path of being that is total and inclusive of human being, a path and a pattern of being that is universal, not merely of this life on this planet but for all life throughout the universe. In their glyphic, iconic, comic-book simplicity, the twenty Signs describe the destinal adventure as the Mayan navigators have successfully charted it in their light-crafted explorations of the galactic field.
Because of their directional order, the entire circuit of twenty Signs can be viewed as five sets of radial sprockets, each one turning counterclockwise from East to North to West to South. Each four-armed sprocket should be imagined spiralling in phase with the others, reciprocally and harmonically interacting in a simultaneous manner.
Let us further imagine that each of the five sprockets represents a direction in itself which also follows the fourfold counterclockwise movement characterizing the order of the Signs. Thus, the first four sprockets represent the directions East, North, West, and South, while the fifth sprocket represents the Season of the Center. In this manner a mandalic pattern is generated by the spiralling movement of the sprockets, each sprocket a fractal or hologram of the entire progression.
Here, then, follows the groupings of the twenty Signs into five Directional/Seasonal sprockets or cyclical families:
CYCLIC FAMILY OF THE EAST—Generation of Light
EAST: IMIX. The light Quickens into Forms
NORTH: IK. The Wind Purifies the Forms
WEST: AKBAL. The Forms Find Enclosure
SOUTH: KAN. The Form Generates Its Own Seed
20 SIGNS AS MEMORY SPROCKETS
CYCLIC FAMILY OF THE NORTH—Purification of the Light
EAST: CHICCHAN. The Form Takes on Specific Being
NORTH: CIMI. Specific Being Knows and Transcends Death
WEST: MANIK. Through Skill All Things Are Transformed
SOUTH: LAMAT. Harmony Is Born Uniting All Things at Once
CYCLIC FAMILY OF THE WEST—Transformation of the Light
EAST: MULUC. Through the Cosmic Gate the Creative Seed Is Sown
NORTH: OC. Through Loyalty and Faithfulness the Creative Seed Is Guided
WEST: CHUEN. Through Artistry the Creative Seed Is Empowered
SOUTH: EB. The Creative Empowerment Penetrates, Making Fully Human
CYCLIC FAMILY OF THE SOUTH—Expansion of the Light
EAST: BEN. Descent of the Sky-Walkers
NORTH: IX. Star-Born Wisdom of the Magicians
WEST: MEN. Attainment of the Planet-Mind
SOUTH: CIB. Reunion with and Embodiment as the Cosmic Force
CYCLIC FAMILY OF THE CENTER—Renewal of the Light
EAST: CABAN. Alignment of Planetary Force
NORTH: ETZNAB. Ritual Entrance into Timelessness
WEST: CAUAC. Transformation of Transformation
SOUTH: AHAU. Attainment to the Mind of Light
Representing the power of the stages of the galactic ladder of light, the Signs constitute a lattice of the mythic voyage. For dwelling in the twenty Sacred Signs are the sources of all mythic structure. Myth is here understood as the frame of resonating points spun out from the galactic heart, informing every aspect of the galactic whole. The twenty anchor points of this mythic frame are the primary symbols whose spiralling power forms a fractal ladder connecting mythologies, worlds, and star systems.
In the process of unfoldment described by the twenty Signs, the 5th, 10th, 15th and 20th Signs represent key articulations of the evolutionary stages of mind passing into ever greater, more encompassing fields of being. Each of these four signs is associated with one each of the four directions, and so can be considered the ruler of that particular direction. These four signs, in their role as Evolutionary Directional Guardians, constitute an inner wheel of meaning:
5th Sign. EAST: CHICCHAN. Reptile Brain. Autonomic System. Instinct.
10th Sign. NORTH: OC. Mammal Brain. Emotional and Conceptual Mind.
15th Sign. WEST: MEN. Planet Brain. Higher Resonant Mind.
20th Sign. SOUTH: AHAU. Solar Brain. Starhood and the Mind of Light .
When the twenty Sacred Signs are combined with the thirteen numbers, which can be visualized emanating from each of the signs, then the entire 260-unit mythic lattice is constructed. This lattice, called Tzolkin, the Harmonic Module, is a hologram and transmutation table of the different levels of information, knowledge, consciousness, and being. Through the understanding of the applications of this Module, different resonances can be pinpointed and the light body can be crafted and navigated. But these uses are for the advanced. The Maya knew that as a total organism we humans were not yet at the stage of fully crafting the light body, so they showed the use of the Tzolkin as a time-recording device.
Representing but one dimension of the Harmonic Module, the sacred 260-day calendar is nonetheless the key left behind by the Maya to unlock the other dimensions of the Module. As a hologram of the galactic process and pattern, the Sacred Calendar is still useful and needs to be understood for what it is: the fractal pattern demonstrating the twenty spiralling galactic vortices charged with their 13-pulsation-ray information beams superimposed upon a 260-day passage of our planet around the Sun.
The Maya further showed how this 260-unit pattern locks in with the solar cycle every 52 years. Being the fractal of the 5,200-tun cycle which describes the diameter of the current synchronization beam through which spaceship Earth is traversing, the 52-year cycle describes a period of time during which not one day was repeated—every day had a unique name and meaning. (See Appendix E. The 52-Year Cycle & Daily Calendar Round.)
As a fractal template applied to our planetary passage, the Tzolkin, or Sacred Calendar, is divisible into four larger patterns or seasons of 65 kin or days each. These four "seasons", holographically imprinted within every 260-day cycle, represent the unceasing galactic discharge of energy in a fourfold cyclical pattern. The fourfold energies correspond, among other things, to the four directions.
Thus, the larger 65-day "seasons of the Tzolkin" are functions of the four characters whom we just introduced as the Evolutionary Directional Guardians: CHICCHAN—EAST, OC—NORTH, MEN—WEST, and AHAU—SOUTH. In the later prophetic texts, these Directional Guardians were associated with the image of "the Burner;' the primordial, timeless fire-bringer, the hero of vision and light venerated everywhere by different names as the Promethean bestower of culture.
TZOLKIN BURNER CYCLES
There are four Burners corresponding to the Four Evolutionary Stations, ruled by the Four Evolutionary Guardians. Each Evolutionary Station is divided into four stages, three of twenty days each, and one of five days, for a total of 65 days for each Evolutionary Station. Thus, there are four initiatory days per Station that are significant for the Burner Cycles.
The Sequence of Evolutionary Stations, Guardians and Burner Days is as follows:
STATION OF THE EAST. Guardian: CHICCHAN, The Serpent
Burner Takes the Fire. 3 CHICCHAN
Burner Begins the Fire. 10 CHICCHAN
Burner Runs with the Fire. 4 CHICCHAN
Burner Puts out the Fire. 11 CHICCHAN
STATION OF THE NORTH. Guardian: OC, The Dog
Burner Takes the Fire. 3 OC
Burner Begins the Fire. 10 OC
Burner Runs with the Fire. 4 OC
Burner Puts out the Fire. 11 OC
STATION OF THE WEST. Guardian: MEN, The Eagle
Burner Takes the Fire. 3 MEN
Burner Begins the Fire. 10 MEN
Burner Runs with the Fire. 4 MEN
Burner Puts out the Fire. 11 MEN
STATION OF THE SOUTH. Guardian: AHAU, The Solar Lord
Burner Takes the Fire. 3 AHAU
Burner Begins the Fire. 10 AHAU
Burner Runs with the Fire. 4 AHAU
Burner Puts out the Fire. 11 AHAU
In the imagery of the Burner, we may visualize the Four Sacred Stations of the Four Directions, each protected by its Guardian. In the first phase, Burner Takes the Fire, the Guardian takes the knowledge of fire from the previous Station to the new Station. The number associated with the first phase is 3, the ray of rhythm and synergy. In the Second Phase, Burner Begins the Fire, the knowledge of fire is actually applied to illumine the current evolutionary season. The number associated with 'this phase is 10, the ray of manifestation. In the third phase, Burner Runs with the Fire, the Guardian takes the Fire and spreads its influence. The number associated with this phase is 4, the Ray of Measure, of extension to the four directions. Finally, in the fourth phase, the Burner puts out the fire and seals the influence of the fire for the current evolutionary stage. The number associated with this fourth stage is 11, the Ray of Dissonance.
In this mythic structure commemorating the seasons of light, we begin to see some of the multi-leveled symbolic potentialities contained within the Tzolkin or Harmonic Module. Sprung from the Radial Matrix of Hunab Ku, the 13x20-unit template is merely the device for providing the focus that allows us to take in the whole. Ever mandalic, the Mayan Factor is a fractal harmonic whose wave-patterns describe a science beyond materialism and whose resonant matrices tune us into a mythic web directing us to the home which we never left.
Taking in the whole, the 260-unit Template can also be described as a holoscanner. Not only does such a device provide us with a view of the whole, but being a fractal or holographic chip off the old galactic block, it provides entrances to multiple realms of being and consciousness. With this challenging thought, let us take the Harmonic Module and see more precisely how it gives us a holoscan of the 5,200-tun synchronization Beam whose passage our planet is now preparing to conclude.
TZOLKIN AS THE HARMONIC MODULE