Novelty, Change, Archetypes and Events According to Tzolkin Cosmology
Novelty is perhaps the most important concept when it comes to detecting the correspondences between the events and persons of the day and the day’s Tzolkin coding as defined by the day’s themeplex. A study of novelty also leads us into an in-depth understanding of change.
The New Oxford American Dictionary defines novelty as; 1. the quality of being new, original, or unusual : the novelty of being a married woman wore off. • a new or unfamiliar thing or experience : in 1914 air travel was still a novelty.
Tzolkin Cosmology (TC) views novelty as an intrinsic property of change and qualifies it according to a different set of criteria that better matches how our reality changes from day to day. Examples further down under “types of novelty” You’ve heard the phrase that “there is nothing new under the sun”.
TC affirms that phrase because TC defines events, forces, objects, organisms, and processes in terms of their most basic attributes. And when things are reduced to their most basic properties we discover that truly original developments happen infrequently and most happened long, long ago in our evolutionary history. What is truly new and original is the articulation of Tzolkin Cosmology. TC is an entirely new way to see, understand and experience the world.
Most of the “novelty” we witness is simply another variation or refinement on a pre-existing theme or template. Take for example the example given by the dictionary when it states that “in 1914 air travel was still a novelty”. In 1914 humans flying through the air was indeed novel in the standard dictionary sense of the word. But when air travel is reduced to its common denominators we can see that its novel only for human organisms.
Air travel means, locomotion through the atmosphere or sky realm, and the atmosphere begins where it meets the earth. Insects have been doing air travel for almost 400 million years and birds have been around for about 150 million years.
Several Tzolkin archetypes refer to those 2 fundamentals. Locomotion and atmosphere are implicit in “Skywalker”. Implicit in the Eagle is flying. The Earth archetype possesses the key attribute of navigation which implies locomotion. Even something as “new” as computers is defined by communication, a key attribute of the Wind archetype. Individual atoms communicate information as much an anything else.
All of the foregoing is why I refer to the Tzolkin’s day symbols as archetypes because the word refers to things, states, or processes that can’t be simplified any further. Archetype refers to the most elementary of forms, forces, processes, states, situations, and arrangements, and the Tzolkin Code models reality accordingly. The tutorial on Tzolkin Cosmology contains an in-depth treatment of archetypes.
Birds are a more recent biological innovation relative to fish but the two are very similar in thematic and functional terms. Both glide through their respective mediums. Fish scales evolved into feathers, and their fins turned into wings that function in the same way. Birds and fish use paddle like limbs to propel and steer through aqueous mediums.
I say aqueous in references to air and water because they behave similarly. The main difference is their density. According to TC there are 2 fundamental states of matter—solid and aqueous. Liquids, gases and plasmas are all gradients of an aqueous, or liquid-like state.
Mammals, reptiles, fish, and birds are vertebrates with 4 major limbs, a trunk and a head. They all share the same basic internal organismic template. Even plants have a trunk, limbs, a circulatory system and a rudimentary nervous system, and the same basic molecular code underlies their creation.
A multitude of intimately related life forms arise from a singular molecular coding system. And the differences between them all are mostly superficial. In the same way that all life forms arise from a simple molecular code so does our reality arise from a simple cosmic order as mapped by the Tzolkin code.
Getting past the superficial differences, and acknowledging what all things have in common is essential to grasping TC. A book worth of material could be written on all the shared attributes of living and “nonliving” entities, but I think you get the point.
It is because of the foregoing and other works on TC that TC defines 3 kinds of novelty. The standard dictionary definition of novelty is rarely if ever useful within TC.
A Clarification of “Events”
The dictionary defines event as “a thing that happens, esp. one of importance : the media’s focus on events in the Middle East.”. We can dispense entirely with “especially one of importance”. “A thing that happens” is as general a statement as general can be.
Such generality presumes that things “just happen” and it lumps all happenings into the same generic classification. In contrast TC defines our world of “events” according to the characters, stage elements, settings, processes, states, and colors that constitute our reality.
The characters are humans, animals and plants, or the biological world of animate beings. The stage elements are all the human made and naturally existing inanimate objects that reside in our world. Settings, states, processes, and colors are self-explanatory.
Within TC usage of the generic word “events” implies the complete stage ensemble of happenings, instances, objects, colors, moods, states, processes, persons, creatures, weather, and other environmental conditions.
So when you read the word “events” or the phrase “events of the day” you know that I am referring to the complete stage ensemble. When you read the next section you will also learn why the words “events” and “novelty” can be used interchangeably within TC.
Types of Novelty
The generic meaning of novelty or novel within TC means those events, colors, instances, objects, settings, states, processes, moods, persons, creatures, and other environmental conditions, weather included, that make today different from yesterday.
Otherwise TC categorizes novelty into three primary types called micro-novelty, novelty of the day, and the supra-novel.
Micro-novelty refers to subtle day to day changes that we either take for granted, don’t give a second thought to or don’t even notice. The novel change need not engage us in anyway, it simply has to come across our sensorial field to qualify its presence. It’s incumbent upon us to be mindful to detect such subtle changes.
You will discover that such simple presences are not random changes. Close tracking of presences will confirm their relationship to the daily themeplex codes. For example on a red day you might recognize that red food items preponderate, or are novel, and that on a yellow days yellow food items do the same.
Novelty of the Day refers to the events, instances, colors, objects, persons, creatures, moods, settings, processes, and environmental conditions different from the day before, but that happen from time to time with varying degrees of regularity and intensity.
Daily interaction with a housemate is not novel, but aspects of the interaction will be novel, and some aspects will be recurring themes. You will note that recurring themes and what could be considered novel are in synch with some telling part or parts of the Tzolkin Code.
Supra-novel refers to events, instances, colors, objects, persons, moods, settings, environmental conditions, or situations that have either never happened before, or occurred with great magnitude, or they happen rarely. I am talking about events that “grab headlines”, or receive widespread or unusual amounts of attention at any scale.
By “any scale” I mean events that happen at the individual, group, regional, or global scale.
For example being attacked by a dog would qualify at the individual level. The death of the family dog would qualify at the group level. The mauling of a young child by a dog would get attention at the regional level. While the discovery of a new species of dog would qualify at the global scale.
A question that is sure to arise is… aren’t the themes of human life and life in general present everyday? The answer is a resounding yes. The distinction has to do with the themes that take center stage or are especially prominent on a particular day. This is precisely what the Tzolkin Code maps.
The Tzolkin Code affirms the constant presence of all themes via the fact that every themeplex contains one member from each of the 4 color families. The 4 Color Families contain the 20 archetypes (themes). Each Color Family may be thought of as a macro-theme.
The Color family representative of the day tells us which family’s set of traits will preponderate or predominate in the day’s events. For example the event I use in the next heading involves death. Death is a key attribute of the Worldbridger—a member of the White family. That means from the White Family’s complete set of themes the most prominent will be those of the Worldbridger.
The Tzolkin Code reveals the precise order and sequence that brings each particular set of themes into the foreground/prominence.
An Example of Death as Novelty
In the following account I use a landslide event that a first report was thought to have killed up to 1000 people. But miraculously the final death toll was only around 30 people.
The number of dead thought to have been killed and the actual toll are important details of this example as well.
I will also use other aspects of this example to demonstrate how the different elements of a single event have correspondence with the various parts of the day’s themeplex.
On September 28, 2010 or Kin 173 / 4 Skywalker, a massive landslide caused by heavy rain occurred in the Mexican state of Oaxaca.
Description of Tzolkin date for the day in question.
The landslide was considered massive, and thought to have killed hundreds because between 100 to 300 homes were swept away by the landslide in the early morning hours when people were thought to be sleeping.
The archetype signifying death is the Worldbridger and the Worldbridger is the analog partner of the Skywalker. Meaning that it forms part of all Skywalker themeplexes and so is apt to factor prominently in the day’s events when it is present in any themeplex. As the analog it means that its tendency is to act as the “supporting element” of the day.
But how can death play a supporting role you might ask? We must bear in mind that from a universal perspective, death is neither good nor bad. It’s just another facet of cosmic processes. Death is not something humans look forward to, but it happens regardless of what humans want. We must also bear in mind that the themeplex roles are rules of thumb and not absolute designations.
As you begin to track the Tzolkin, it might be less confusing if you don’t apply the roles, and instead simply note that archetype is present in the day’s themeplex.
Nevertheless this example will show how the Worldbridger could have played a supporting role in the event in question. We must also bear in mind that “opportunity” is another key attribute of the Worldbridger.
People die everyday so what is novel about death? When the Worldbridger is present in the day’s themeplex we can expect death themes to figure more prominently in the day’s events than when it is not present.
Some days there is more of something, and some days there is less of the same thing. TC asserts that such ebb and flow is not random but rather follows a predictable pattern of occurrence as mapped by the Tzolkin Code. In other words there is a gradient to all things, and the gradient is determined by the order of the Tzolkin Cycle.
So when the Worldbridger is in the day’s themeplex, it means that death will have a more pronounced showing than when its not present in the day’s themeplex. We must also consider the Worldbridger’s archetypal family, for they too embody the death theme in a more subdued or covert way, and they form part of the gradient that I am talking about. See the Archetypal Number Families for more details.
If you are a mortician then death is part of your daily routine. Death for a mortician is a background condition. That means it’s always present such as the sky and Earth, but what we see in the sky or on the Earth is always changing. Novelty around death for a mortician would revolve around the aspects, circumstances, or numbers involved in the deaths they tend to.
For example, novelty for the mortician near the landslide event in question would involve the high number of deaths and the way in which the people died. Death by landslide is not a common occurrence.
An event of the magnitude we are discussing has regional and worldwide reverberations. Those of us who heard about the event have an indirect experience of the death theme. But you needn’t know someone who died or hear about death to experience the death theme. You may come across a TV program on hospice work or your housemate is wearing his Grateful Dead t-shirt or you witness a funeral procession on you way back from work.
The next section will look at all of the landslide’s major themes to demonstrate how the day’s other themeplex elements corresponded with the day’s events.
A Demonstration of Correspondence Between a Themeplex and the Day’s Events
The table provides a concise way of showing the correspondences between the event and the themeplex. Below the table is an image of Kin 173 and the 4 Skywalker themeplex.
Click to enlarge and clarify.
Description of Tzolkin date for the day in question.