ABOUT: This is an introduction to my ebook-in-progress The Final Truth - A Theory of Practice. (Alternative address: http://13intentions.info)
Most people like to push the idea that "no one knows the Truth" or that "there is no absolute truth." In both cases, they are making an absolute statement, they are presenting their version of the Truth. In other words, they are contradicting themselves and showing ignorance about the real truth. They are expressing their chaotic / relativistic perception of the universe. Well, suppose that someone really knows the Truth and tells you about It, but you dismiss the information as just another "opinion." Too bad. Relativity is not an absolute, and there is always a higher order beyond the perceived chaos. Lost amidst tons of opinions and teachings there is a subset of information that is more attuned to the Truth.
Theoretical knowledge will never replace direct experience of the Truth, and so every theory is still an interpretation, not an awareness. The person needs to internalize the experience of what is true, and not just contemplate an external representation of it. The learning process never ends. You can try to observe a small plant blowing in the wind and it will bring something useful to your awareness. The idea is that in practice you never reach an end to your knowledge, but in theory you can if you work to simplify it instead of just accumulating more redundant information. To acquire knowledge based only on quantity is to have many pieces that do not fit together. Quality is more important than quantity.
Only a small subset of all knowledge is useful by itself, while the rest only becomes useful when supported by this subset. You can have a general idea of the entire puzzle if you are able to find the most significant pieces first. Once you have a point of reference in your knowledge, the rest is just a matter of derivation. Why not learn the basics first and then have fun experimenting with your fundamental knowledge for the rest of eternity? If you can reach a theoretical end to your knowledge, then you can live life as it is supposed to be lived: with peace of mind, with certainty. Your doors will be opened for a fully powered practical approach. Theory is no longer separate from practice, but instead one reflects the other. You have achieved a final theory, which is also a theory of Reality and Creation.
The Thirteen Intentions of Creation are a finite number of basic meanings for Creation. As a computer programmer, my perspective is that they are the source code of the "program" of Creation. Naturally, the best way to understand how a computer program works is by seeing its source code. Knowledge that ignores the source code is usually superficial, because it is only based on the program's output. One may argue that the universe is not a computer simulation, yet to see it as so provides us with a rich metaphor that we can use to learn more about the artificial aspects of Creation.
NOTE: I am not the first one to come up with the name Thirteen Intentions of Creation. It seems that American researcher Ian Xel Lungold (R.I.P.) brought it up first with his interpretation of the Mayan calendar and the Mayan cosmology.
The Thirteen Intentions of Creation:
NOTE: This list is based on two years of intense research and experimentation. During this period I came up with more than 60 versions, because it comes to a point that you are splitting hairs to see which directive fits each Intention better. The current version (at the time this article was finished) is believed to be nearly perfect. To see an up-to-date list go to the Conspiracy Knowledge Base.
What do the Thirteen Intentions have to do with anything? Ha! They have everything to do with everything. They are Creation Itself. A theory or model of Creation based on them will be complete at the same time that it is never complete. Armed with this kind of knowledge, you do not have to be an advanced scholar to understand the fundamentals of reality. Ninety-nine percent of all human research becomes irrelevant if you understand universal principles down to the core, and the Thirteen Intentions are these principles.
But isn't there just one truth, just one principle? Yes, there is. The one principle is the 13th Intention alone, which also represents the first 12 Intentions joined as one. Each Intention has an independent meaning, but still it is difficult to separate one from another completely because in reality they are the same thing seen from different perspectives. The 13th Intention corresponds to absolute concepts such as Creation, Creator, Consciousness and Love, all of which are names for the same eternal singularity. It just happens that this great singularity can be broken down into 12 energies, meanings, principles, archetypes, steps, tones, commands or laws -- you name it. The 13th Intention is an infinite power of transcendence responsible for the continuation of Existence and the evolution of consciousness, while Intention #12 is the basis for the universe and reality as we know it. As we will see in Part 2, there is plenty of evidence showing that the universe is based on the frequency of number 12.
What the Thirteen Intentions of Creation represent is pretty much what is known as esoteric or occult knowledge. It is occult not because it is only meant for a select, prepared few, but because it tends to be forgotten and ignored by the majority. The truth is simple, mankind makes it complicated. The "secret" protects itself as long as people do not want to know about it. When you make the connections between the Thirteen Intentions and numerology, astronomy, sacred geometry, harmonics, physics and everything else, you can easily attain a state of mind in which you see all of reality as operating under a set of basic principles, because the Thirteen Intentions are reality, they are Creation.
Below is an excerpt from Blue Blood, True Blood by Stewart Swerdlow:
Each of the 13 ruling families [forming the Illuminati] has a Council of 13 as well. The number 13 has great significance to them. They know that there are 12 types of energies that pass through the 10 aspects of the God-Mind. The totality of the 12 energies equals a 13th energy. This is considered the most powerful knowledge.
There is not a real cause for the fact that 13 is the "right" quantity. The Thirteen Intentions do not rely upon anything because they already are the last frontier in knowledge, and so they just are -- you either accept the quantity of 13 or you don't. However, you can find an enormous amount of evidence supporting that numbers 12 and 13 are central to everything in the universe. It is possible to simplify the group of Intentions into less than 13 tokens, but you will end with an incomplete picture, losing fundamental aspects of Creation that only become apparent when we make the distinction between exact 13 Intentions.
NEXT: Part 2: Evidence. (Coming soon.)
1. Swerdlow, Stewart A. Blue Blood, True Blood: Conflict & Creation. Saint Joseph, Michigan: Expansions, 2002. ch. 15.
PREVIOUSLY: Part 1: Introduction
Now that you have a better understanding of what the Thirteen Intentions are, let us see some evidence of how reality is implemented through them. Be advised that I won't go into too much detail here. There is really no end to the amount of knowledge that we can obtain from the Thirteen Intentions and their relationship to various aspects of reality.Music
The chromatic scale is a 12-note musical scale. For those of you not acquainted with music theory, know that this scale repeats at the interval of an octave. Two notes of the same letter, an octave apart, are directly related by a scale change in frequency. But let us remember that we are working with thirteen Intentions of Creation. There is a 13th note that is not part of the chromatic scale's context, but that logically follows in progression after the 12 notes. This note is the true last note in the octave because it is the "return" to the next higher octave. It introduces the base / root frequency of the next octave, and so in a sense it is the octave. Without the 13th note you cannot compute the frequencies of the other notes in the octave.
NOTE (11/05/2009): Someone called attention to the fact that an octave is strictly eight notes. Fair enough, but the idea here is that there is an equivalence between the 7+1 system and the 12+1 system to the extent that the 8th note is also the 13th note and vice-versa. The next paragraphs should make this clear enough.
The piano keyboard has eight white keys and five black keys. In total we have 13 notes with the 13th also being the first note in the next octave. The 8th white key becomes the 13th key if we count both white and black keys in order. The word octave comes from octavus meaning "eighth"; therefore, notice how there is an intrinsic significance about number 8. Even more interesting, the 8th note of all 13 notes that comprise the octave is the dominant one, and this works the same for Intention #13, which is the "leader" of all the others. Anyway, you can see that there is a direct correspondence between numbers 8 and 13 when it comes to music (i.e., sound and frequency). This is because an interpretation for Intention #13 is that of an infinite vibration, also known as Love, and the concept of infinity corresponds to Intention #8.
The traditional scale in Western music is the diatonic (seven notes) scale. In this scale's context, after seven notes (white keys) the eighth note begins a new octave as it completes the last octave. Also notice that there are 7 intervals in 8 notes and 12 intervals in 13 notes. The five black keys on the piano are the pentatonic (five notes) scale, which is the complement to the diatonic scale. If we count 5 black keys and 8 white keys we get 12 intervals, and if we play these keys in order, without leaving any out, we get the very symmetric and uniform structure of the chromatic scale.
In terms of musical harmony, the diatonic scale is more important than the chromatic. The diatonic is the musical scale. But considering our background knowledge about the Thirteen Intentions, we can assume that the chromatic is the standard universal scale, and thus not necessarily the standard musical scale. All musical scales are derived from the chromatic; they are either subsets of the twelve notes or they are modulations of these notes to produce extra notes. More than 12 notes in music is valid, otherwise we would have a limit for musical creativity, but still no musical composition can escape from being based on a 12-note symmetry and a 7-note harmony.Dimensions
There is more than one possible interpretation for what a dimension is. In the strict geometric sense, a dimension is one of the three spatial dimensions: width, height and depth. A spatial dimension is a mathematical construct, yet time, for example, is considered a temporal dimension. Dimensions can also be associated to parallel / alternative universes, planes of existence, and even levels of consciousness. There is also a fundamental connection between dimension and frequency range. Sound as frequency plays a key role in matters of the universe. In this context, the term dimension may be replaced by density. Each density is a level of how much sound is "compressed," and the greater the compression, the faster the vibration.
You may already have heard about the theory that consciousness exists in all dimensions at once. It is only human perception (five senses) that is restricted to a tiny frequency range interpreted as a three-dimensional world. But the universe is multi-dimensional; there are many other worlds, many other dimensions. These worlds can share the same "space" because they are resonating at different frequencies. It also makes sense that a dimension exists only because it receives support from a higher one: an example being that in the physical world every object receives support from the gravitational pull of another. Therefore, bear in mind that there is always a higher dimension offering support and serving as the basis for our current dimensional perspective.
The geometry of the universe is bounded by a dodecahedral field -- let us call it the universal dodecahedron. Each one of the 12 faces of the universal dodecahedron is a pentagon, and each pentagon is an universe in itself. The 12 universes are all "flat" and connected to each other. Parallel universes are those pentagons on opposite positions of the dodecahedron. Also, since we are dealing with 12 universes instead of 1, it is better to consider the universal dodecahedron as a multiverse. Of course, as the very word universe implies, in the end there can be only one universe: the Universe with capital U. Thus we can say that there are 12 universes and 1 multiverse (the Universe) giving a total of 13.
All things considered, the number of dimensions in the universe is 12. Of course, the number of fractal dimensions is potentially infinite, but this fact does not conflict with the existence of 12 non-fractal (integer) dimensions. See the image below.
In Mayan cosmology, everything revolves around 20 "aspects" (sun glyphs) and 13 "intentions." Multiplying the number of aspects by intentions gives 260 days (kins) pertaining to the Mayan Tzolkin ("Count of Days") calendar. This means that the 13 intentions are repeated 20 times during one Tzolkin round. The Tzolkin is the most important of all Mayan calendars because it describes the timing of all natural cycles, be them cultural, planetary, galactic, cosmic, universal, etc. In short, the Tzolkin is the calendar of Creation for the Maya, and each day in this calendar has its own purpose imparted by Creation. (Note: a linear-time span for a day in the Tzolkin depends on the magnitude of the cycle being described.)
NOTE: In José Argüelles' work, aspects become "Sun Seals" and intentions become "Galactic Tones," though I have seen a reference to "tones of Creation" at http://www.13moon.com, one of at least four sites dealing with Arguelles' calendrical and metaphysical system. Please go to the External Links section to learn about the fundamental differences between Argüelles' 13-Moon Dreamspell Calendar and the traditional Mayan calendar.
It is important that we understand that the cycles described by the Tzolkin are fundamentally of a spiritual, non-astronomical nature. The Tzolkin was used both as a personal as well as an astrological calendar.
The Mayan developed calendars that would keep track of the flow / process of Creation. They would also keep track of linear time, but they would not let it take over their minds and overshadow the multidimensional aspect (cycles within cycles) of Creation. More importantly, the Maya knew how consciousness relates to their traditional calendar. Consciousness is at the very center of the cosmic process of Creation described by the Tzolkin. One is not controlled by and does need to blindly follow the Tzolkin; instead, one can learn through this calendar about a divine plan for the evolution of consciousness. As Ian Xel Lungold puts it, "The Mayan calendar is not now, nor was it ever used to tell time. It has always been a tuning device for consciousness."
A Creation cycle is the same as a Consciousness cycle. Each Creation cycle has 7 "days" and 6 "nights" forming 13 main events intended for consciousness to go through. The 7th day corresponds to Intention #13; it is a process outside of time in which a transition between one cycle to another of a higher order takes place. But the energy and meaning of this transitional process also has a reflection in linear time, and so it actually happens inside the 7th day of the Creation cycle, although the concept of time will be meaningless for those experiencing the associated shift in consciousness. Is it time that operates according to the cycles of Creation, not the other way around.
Quoting Ian Xel Lungold in his presentation "Mayan Calendar Comes North":
The Maya divided each day into 13 hours, not 24 hours. 13 hours. And then they divided those 13 hours, notice 13 intentions, into what we would call minutes, and then they divided those 13 minutes into what we would call seconds, and then they divided those 13 seconds by 13 and 13 to where every single moment was individually divided by 13 infinitely. That was their understanding. This was very central to the Mayan's understanding.
Ian proceeds to tell the audience that Creation and Consciousness have their own "job": while Consciousness divides by 13, Creation multiples by the factor of 20. This is the reason for the 13×20 Tzolkin matrix. (Note: Consciousness with capital C is Intention #13 personified, and as such it is an absolute concept like Creation. We can also call Consciousness as the Creator, who really seems to like number 13.)
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Additional examples could have been discussed here, but I have not been able to do enough research on them yet. Anyway, here is a preview of some information that may or may not be directly associated with the Thirteen Intentions of Creation:
Finally, here is something that I came upon recently: In the movie The Matrix (1999), the character Neo ("the One") sought Trinity, whose name represents number 3. As you can see, Neo and Trinity together form the number 13.
NEXT: Part 3: the Cycle of Life.