The Call of Pacal Votan - Time Is the Fourth Dimension by José Argüelles (1996).pdf

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The Call of
The Call of
Pacal Votan
Time is the
Fourth Dimension
José Argüelles
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“Not a crisis of nervousness do we stand now, not at a time for the
vacillation of flabby souls; but at a great turning point in the history of
scientific thought, at a crisis such as occurs but once in a thousand
years, such as has not been witnessed for many generations. Standing
at this point, with the vista of future achievements before us, we should
be happy that it is our lot to live at this time and to participate in the
creation of tomorrow.”
V.I Vernadsky, 1932
Introduction
T(E)=Art, The Call of Pacal Votan 7
Overview
Thinking About the Unthinkable 9
I. Critique
Description and Nature of the Problem 15
Basis of the Critique:
A Planetary Whole Systems Approach 17
The Psychophysical Premise 17
The Universal Aesthetic Premise 18
The Mayan Premise 19
The Planetary Whole Systems Premise 19
Resolution of the Problem:
Discovery of the 12:60—13:20 Timing Frequencies 21
II. Principles
The Fourth Dimension: Qualities and Nature of Time 24
Mathematical Principles of Fourth-Dimensional Time 29
Radial Matrix 29
Fractals 29
Ratios 31
TheTetrahedronandTetrahedral Order 31
The Plus One Factor 32
Mathematical Proofs and Demonstrations 33
The 0-19 Code 33
The Wavespell 34
Pulsars 35
Color Cube, Harmonics, and Time Cells 37
Chromatic or Overtone Fifth: The Oracle Board 39
GalacticSpin:TheJourney Board 41
Spectral Fractals 44
Galactic Compass 48
Harmonic Index 50
Binary Pentad: Special Applications of the Overtone Fifth 53
III. Synthesis and Applications: Advent of the Noosphere 55
Contents
IV. Appendices
Practicing the Universal Equality of Awareness 62
Universal Transcension 64
Concerning the Atlantis Corporation 66
Formula of the Overtone Fifth: Transition to the Noosphere 68
V. Postlude: Vernadsky’s Biomass Constant, an Equation in Time 73
Other Information
The 13 Spectral Fractal Chromatics 80
The 73 Overtone Chromatics 81
Introduction
T(E)=Art,
The Call of Pacal Votan
In 1953, when I was a child of 14 years, I discovered the Mayan system of mathematical
notation. Unique among all other mathematical systems on the planet which are decimal or
based on 10s, the Mayan system is vigesimal, based on 20s. The Mayan system uses a
stunningly simple and elegant notational form: a dot for units, a bar for five units, and a
‘zero’ to indicate positional advances by the power of 20, e.g., 20, 400, 8,000, 160,000, etc.
the classic Maya (AD 435-830) of Central America used this mathematical system to great
advantage in correlating astronomical time and developing an unparalleled system of
calendrics.
As I delved into my lifelong study of Mayan mathematics, I became impressed by the fact
that scarcely any researcher (all Western-trained, of course) considered the Mayan
mathematic to have any significance as a kind of tool for gauging or critically evaluating our
own standards of time, history, mathematics and calendrics. Instead, after an initial
curiosity, the Western-trained writers merely accepted the Mayan mathematic as a unique, if
baffling, singularity, of no merit or value whatsoever to the modern world.
Not being able to rest with the archeological dismissal of the Mayan mathematic, by the
1970s I began to construct versions of the most unique cornerstone of the Mayan
mathematical system: the tzolkin or sacred 260-day calendar, a permutation sequence of 13
numbers (1-13) and 20 icons. In 1983 I made the discovery that a mathematical connection
existed between the 260-unit tzolkin and the I Ching/DNA 64-unit code, published in my
book Earth Ascending: An Illustrated Treatise on the Law Governing Whole Systems (1984).
My conclusion at this point was that the 13 X 20 permutation system of the tzolkin was
actually the mathematical expression of a higher self-existing galactic matrix through which
even DNA, the ‘stuff’ of life, is coordinated and cycled into comprehensive planetary forms.
The culmination of my first 33 years of research and reflection on the mathematics of the
Mayan calendar were published in The Mayan Factor: Path Beyond Technology (1987). Here
I finalized my hypothesis that the ‘classic’ Maya, practicing a ‘time science’ well in advance of
anything we know about, deliberately left two clues for modern humanity: the ‘long count’ of
the 13 baktuns or great cycle of history (BC 3113-AD 2012), and the tzolkin or 260-unit
sacred calendar. As I demonstrate in The Mayan Factor , even the ‘long count’ is a fractal of
the tzolkin.
By 1988 it was clear that I had no choice but to devote my entire life to the final
unraveling of the Mayan mathematic code of time so that its significance could impact
modern civilization in its entirety. Assisted by my partner and wife, Lloydine, we hit paydirt
at the Museum of Time in Geneva, Switzerland in December of 1989. Finally we understood:
humanity has evolved historically, unbeknownst to itself, under increasing stress of a false
and artificial timing frequency, the 12:60 (12-month calendar, 60-minute hour). As a result,
humanity has deviated from nature, and without correcting its timing frequency will end in
disaster, sooner than later. The natural, galactic timing frequency was encoded by the Maya
in the tzolkin, and is known as the 13:20 (13 galactic tones, 20 solar frequencies).
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