Time is Art: The Discovery of the Law of Time by José and Lloydine Argüelles. Reconstructing the Planet Art Legacy.

[ Versión en Español aquí ]

Note to the Reader: This Journalistic Essay was published on the 28th Anniversary of the Discovery of the Law of Time is Art, which was commemorated on 10 December 2017. This date marked a significative numeric milestone of 28 years (7+7+7+7) since the memorable uncovering by José and Lloydine Argüelles, which consolidated the foundations of the 13:20 Galactic Maya Transmission of the New Time. Precisely, and according to the same revelation, number 28 encodes the feminine nature of Natural Time, also encoded on Unit 28 of Telektonon which represents the Tower of Bolon Ik. The invitation is to tune in to the universal source of the Archetypal Primordial Mother.

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“We found ourselves, by destiny, in Geneva, Switzerland, in December 1989, visiting the Museum of Time… when Lloydine and I had the greatest mutual AHA! in all history.”—José Argüelles / Valum Votan (1995, Sedona)

The concepts of “Time is Art” or “Law of Time” or “T(E)=Art” have been known or heard by many, but not everybody is aware that they are rooted within the alchemy of a visionary American couple, formed by José y Lloydine Argüelles. Both messengers unleashed a revolution of Planet Art never seen before on Earth, sparking the foundations of the New Time during their perfect 21-year prophetic ministry (1981-2002). The mythic encounter with the “Law of Time is Art” represents one of the most legendary living chronicles that are shared by the Argüelles, also known as Valum Votan and Bolon Ik, Agent 11 and Agent 22.

The Discovery of the Law of Time was inscribed on date 10 December 1989 (Kin 121, Self-Existing Dragon, Mirror Wavespell). As quoted above, this historical Eureka moment was described by José Argüelles as “the greatest mutual AHA! in all history”. In such way, its radiance of wisdom revealed the final design of Dreamspell, the Thirteen Moons  and the Telektonon Prophecy; thereby setting the foundation stones of the Argüelles’ Galactic Maya Cosmology.

Likewise, the same prophetic base sustained their theory, in which they worked during seven memorable years (1989-1996) under the central axis of “Time is Art: T(E)=Art”. At the end of this 7-year process, the researchers published T(E)=Art: The Discovery of the Law of Time, the legendary testament co-authored by José and Lloydine Argüelles and printed and distributed by Planet Art Network in 1997. On occasion of the 28 Solar Rings of such a memorable event, Tortuga 13:20 has reconstructed this publication, which is now public again and available as a PDF to all Planetary Kin.

Download “T(E)=Art. The Discovery of the Law of Time” by José and Lloydine Argüelles.

This Journalistic Essay reconstructs the historical records of the discovery of the Law of Time is Art. It also contributes to restore the Sacred Feminine memory of Lloydine’s Bolon Ik participation in such a remarkable finding for the universal vision of Planetary Peace. In Lak’ech.

 

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The Discovery of the Law of Time is Art

The remarkable unveiling done by José and Lloydine represents an essential memory of Planet Art. However, history can be fragile and if its records are not retrieved, it simply gets lost and forgotten. Then, consciously or unconsciously, this amnesia causes for some to pay the whole tribute of this revelation to José alone. However, Valum himself was the one who publicly recounted the facts of “the mutual discovery” on multiple occasions. Furthermore, both messengers appeared as co-authors of the already mentioned publication, The Discovery of the Law of Time. Unfortunately, these original records have been vanishing as time goes by. Hence, it is important to reconstruct this primordial memory of Planet Art, according to the facts that were inscribed by the same visionary messengers.

As we have commemorated 28 years since the mutual AHA!, a number which precisely encodes the feminine principle within the Law of Time, then it is morally unacceptable any attempt to omit or decrease the role of Lloydine Bolon Ik as a researcher and co-author. Consequently, in order to bring an equilibrium in the balance, this essay has the intention of retrieving part of the feminine participation in this revelation. By analysing the facts, it can be seen, by contrast, that any attempt to discrediting the feminine side of this 28-year milestone constitutes a distortion of history.

In this way, this historical reconstruction attaches to the principles of objectivity and journalism ethics, understanding that the concept of history diametrically opposes to the one of fiction. It is known that history is sustained by real chronological facts that confirm one another, facts that have been properly registered in multiple universal formats of human communication; such as books, magazines, audio recordings and video recordings. Therefore, those facts cannot be erased, since they are the facts of Planet Art History which were inscribed by the Argüelles, the Ascended Masters of the New Time.

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The Harmonic Revolution of the Argüelles

“José Argüelles and his wife Lloydine reached the apex of their fame in 1987, when they issued a call for the Harmonic Convergence”. And so the story goes according to Gnosis Magazine, one of the many existing media records of the remarkable planetary activism driven by this visionary couple (1998, Press). Evidently, the charming leadership of both visionaries wasn’t called into question during the historical peak of their mission as the New Time Messengers.

The spiritual revolution unleashed by the ministry of the Argüelles caused profound impacts on the Awakening Movement, influences that live on until today. Data from newspaper records tells that the couple not only called for but also organised the Harmonic Convergence of 1987 and that it was proved successful in motivating the participation of over 144,000 people in what became the First Globally Synchronised Meditation of human history. This great revival brought the first media recognitions towards the New Age Movement, a phenomenon that until then had had an intellectual nature rather than a social profile. Thereby, the great social mobilisation of the Harmonic Convergence, even caused for the media to consider José and Lloydine as the initiators of the new spiritual movement.

In a talk given by the couple in Sedona (USA) in 1995, Lloydine informed that:

“At the time of the Harmonic Convergence, there was a great explosion of energy. No one knew quite what it was, why it happened. But for us, it was a part of an experiment in living according to the understanding the Maya had of calendars, timing systems, and the mathematics that describe time as the fourth dimension.” (Argüelles, Lloydine, 1995, Press).

Thus, it is evident that the couple had already been experiencing a synchronic life in tune with natural time. This is, precisely, the same fact that will bring the mythic discovery later on. In the coming years, both leaders would work hard in the development and proofs to sustain their theory, yielding concrete fruits regarding the divine investment that was given to them in time. Certainly, both actors were predestined to be the new John Lennon and Yoko Ono of their times and to indeed transcend history with the discovery of the Law of Time of Planet Art. However, as it has already been mentioned, history can be fragile and some forget those who opened the portals, especially for the feminine side of its history…

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The Greatest Mutual AHA! in all History

After the Harmonic Convergence of 1987, the New Time messengers moved to the island of Maui, Hawaii, where they started the long design process of Dreamspell, a parallel universe where both of them have been living for a while.

José and Lloydine teaching the Dreamspell Journey in 1992.

The final design of this multidimensional tool would be totally influenced by the historical discovery of the Law of Time, an event that happened on the 10th of December of 1989 (Kin 121, Self-existing Dragon, the frequency that regulates the Central Mystic Column of the Dreamspell Tzolkin).

Regarding the proactive participation of Lloydine Bolon Ik within this finding, there is nothing better than reviewing some declarations’ examples issued by José Valum Votan himself during different moments of his life. Thus, in the already mentioned interview with Gnosis Magazine, José declared that:

“We were in the Museum of Time in Geneva, Switzerland, in December 1989, and that’s when it became clear to us that what most of the world today thinks of as time is very much based on the clock and on the division of a circle, a two dimensional plane in space, into twelve parts. Which is the basis of both the twelve-month calendar and the clock.” (Argüelles, José, 1998, Press)

In a video recording of the talk given by both messengers in Sedona, Valum would explain the mutual eureka moment in more detail.

“We found ourselves, by destiny, in Geneva, Switzerland, in December 1989, visiting the Museum of Time. We were there for two hours on a cold Sunday morning, when Lloydine and I had the greatest mutual AHA! in all history. The first stage of the mutual AHA! was telling the museum people that the Museum of Time is really the Museum of Mechanical Time.” (Argüelles, José, 1995, Press)

Also in Sedona, José would continue this narrative by clarifying that the detection of the Law of Time was given to them as a couple due to the fact that:

“… We had our texture because we had dropped out. We had been living Mayan cycles on the island of Maui, and we now we were in the Museum of Time in Geneva. We had made the discovery that what people think is time is totally erroneous. We are living an error in time; this is the message.” (Argüelles, José, 1995, Press)

To which he proceeded by pointing out that:

“…because we knew the Mayan cycles, we could see this very clearly. We could see that mechanical time is based on an idea of movement in space, and space and time are two different things. We understood that we’re all hooked in and living in this. We had made a discovery of the Law of Time.” (Argüelles, José, 1995, Press)

Years later, Valum Votan’s version of the events would stay similar, now at the legendary Earth Wizards Seminary celebrated in Chile in 1999.

“We found ourselves in Geneva, Switzerland, where we made the discovery of the 12:60 and 13:20 frequencies, in the Museum of Time, on the 26th day of the Overtone Moon of that year, which was the year of the Planetary Seed. This was a very critical moment, and we knew that we were on a very, very new level of scientific and mathematical understanding. Around this time I also had another dream, in which I was informed that I had to completely engage the assistance of Bolon Ik in the decoding of the rest of the mathematics. When we returned from Switzerland, we found ourselves once again in the island of Maui… Here we worked out the final forms of the mathematical codes, which by late spring of 1990, we put together in the form of what we called the Green Book.” (Argüelles, José, 1999, Teaching Meditation Day 7, “28 Meditations on the Law of Time”. Note: The “Green Book” was the mathematical foundation of Dreamspell)

As for Lloydine Bolon Ik, on more than one occasion she insisted on the importance of the revelation of “Time is Art” as the fundamental harmonic frequency to counteract “Time is Money”. In the same meeting in Sedona, the female messenger stated that the discovery was indeed which drove them to become “Planetary Peace Pilgrims”. And that, as a matter of fact, “at this moment we’re going around the world in 80 days for a New Time of Planetary Peace.”

The archetypal mother of galactic culture continued stating that

“We can’t have a New Age without understanding the New Time… We’re here as two human beings on a mission. After the Harmonic Convergence, we learned not to use money. We are taken care of wherever we go, and fundamentally, we don’t charge for this message”. (Argüelles, Lloydine, 1995, Press).

“Aho!”, exclaimed José to Lloydine in the same talk, continuing the story. “This is a message of the truth”, maintained the father of galactic culture.

“Because it’s the truth we do not charge for it. This is a message of living prophecy, and this living prophecy is now churning and turning in the hearts and minds of many people in many places on this planet. This is a living prophecy, a living message, and we are messengers. We are planetary peace-pilgrim messengers and galactic messengers. We are bringing news of the arrival of galactic culture.”, concluded. (Argüelles, José, 1995, Press).

These historical quotes and records certainly contribute to dispelling some doubts regarding the mutual discovery of the Law of Time. It can be clearly seen that both researchers became “pilgrim messengers” in order to embody “Time is Art”, therefore to prove the revelation of time in the practice. In concrete, both masters demonstrated that it was possible to defeat the human material slavery towards money. It can also be perceived how this remarkable revelation would impregnate the future work of the visionary couple.  In other words, the materialisation of their vision in the final design of Dreamspell, the Thirteen Moon Calendar Movement and Telektonon, amongst other publications co-authored by them.

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The Law of Time of José and Lloydine Argüelles

Since the mutual AHA! there would pass seven years of testing and developing until the publication of their testament book, The Discovery of the Law of Time, printed by Planet Art Network in 1997. This emblematic publication, evidently co-authored by José and Lloydine Argüelles, constituted the historical recap of the revelation of the Law of Time. It also laid the major foundations of their theory and, consequently, of the Galactic Maya Cosmology proposed by the Argüelles.

When the copies of the book ran out, the authors donated it for free to the online libraries of their web pages Tortuga.com and EarthAscending.com, the former sites of their prophetic ministry. During this time, this publication was also translated into other languages, including a well-known Spanish version translated by the Planet Art Network from Chile. However, the posterior webpage dedicated to the Law of Time didn’t make this book available, something that certainly looks like a historical paradox within itself. In fact, for some reason, this latter webpage doesn’t list this visionary book within the historical works of José Argüelles. However, he did include it in Appendix II of his last best-seller book, Time and the Technosphere (2002). It was also always included in all his official biographies via Tortuga, Earth Ascending and the Invisible College.

Despite the fact that nowadays there are no traces of this book on the Internet, the digital copy in Spanish had better luck and it was still available in the files of the page 13Lunas.net at the moment of releasing this blog. For the same reasons, the team at Tortuga1320.com has produced digital copies of this publication, retrieving in this way such a vital memory of the Planet Art. (To download this book, please see References).

 

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Excerpts from “The Discovery of the Law of Time” by José and Lloydine Argüelles

Understanding that “what is written, is written”, down below there is a recap of selected passages of the publication, The Discovery of the Law of Time. T(E) = Art, by José and Lloydine Argüelles. The objective of this selection is simply to dispel the remaining doubts that might still exist concerning the co-authored work of both researchers. Some will notice that some random quotes of this book circulate on the Internet. However, those texts appear attributed only to José as an author. Therefore, there exists a copyright fault regarding this key co-authored work.

[Excerpts are in the original American English]

Chapter 1. The Law of Time, its Nature and Discovery. By J. & L. Argüelles.

• “The discovery of the Law of Time was the result of the investigative research of two independent co-workers, J. and L. Argüelles.”
• “Time is the fourth dimension. Time is a frequency. One common timing frequency governs and shapes all third-dimensional phenomena. This frequency is an undeviating ratio, mathematically expressed as 13:20. The Law of Time also takes the form of an equation: T(E) = Art.”
• “T(E) = Art. (E)nergy factored by T(ime) (13:20 frequency) = Art, where Art is the form, quality and process distinguishing any third-dimensional phenomenon, (E)nergy, be it a rock, a flower, a star, or a human being. The Law of Time affirms that the quality of beauty in nature is supreme; it is a scientific and mathematical function of fourth-dimensional time.”
• “In essence, because they had postulated the existence of the galactically synchronizing “Mayan” timing frequency, the 13:20, by contrast, they were able to isolate and identify the artificial timing frequency, 12:60. Hence, by 1989-1990, the researchers had verified that there is a galactically natural timing frequency, 13:20, and an artificial timing frequency, 12:60. The basis of the artificial timing frequency is the irregular twelve-month Gregorian Calendar and the 60-minute hour of the mechanical clock, hence 12:60. Further, they now understood that the 12:60 artificial ratio is a purely human aberration, a mechanistic fiction restricted to a physical plane third-dimensional science and world-view. They also concluded that the 13:20 frequency is the actual fourth-dimensional timing frequency.”
• “Following the initial discovery, it was the intention of the researchers to create all the precise proofs of their discovery. By use of the proofs of the Law of Time as the correct fourth-dimensional standard, the researchers endeavored to conduct an exhaustive analysis of all 12:60 human institutions and behavior within the natural 13:20 context of the human environment and life-support system, the biosphere. For this reason discovery of the Law of Time has taken seven years to formulate.”

Chapter 2. Proofs and Demonstrations of the Discovery of the Law of Time. By J. & L. Argüelles.

• “Following a summarization of the immediate conclusions of the discovery of the artificial and natural timing frequencies, researchers determined the most significant consequence required by the discovery of the Law of Time was to replace the human’s anachronistic annual timing standard, the irregularly measured twelve-month Gregorian calendar, for the evenly measured and biologically accurate Thirteen Moon Calendar. The evenly paced Thirteen Moon 28-Day Calendar (1990) is harmonically organized and superior in every way to the Gregorian calendar, which cannot even be described as a system. This is because the Thirteen Moon Calendar is in every way a perfect expression of the 13:20 natural timing frequency.”
• “It was the researchers’ conclusion that in order for humanity to avoid certain disaster, socially and environmentally, it had to break out of its current civilizational condition. From the biospheric point of view, the human organism is governed by an artificial timing factor that is every day ever more dissynchronous with the rest of the life of the biosphere still operating by the natural timing frequency. Placing humanity in a calendar and timing device which is the expression of the natural timing frequency could only redound to the benefit of humanity and the biosphere.”
• “This objective analysis researchers soon discovered was a virtually unthinkable option to most members of the prevailing order of artificial time.”
• “Intensifying their study and analysis both of the conditioned effects of artificial time on human habit and society and of the radial mathematics underlying the fourth-dimensional Law of Time, researchers supplemented their harmonically designed Thirteen Moon Calendar with a set of tools and proofs of the mathematics of the fourth dimension. The comprehensive nature of the re-evaluation of the human order in its entirety necessitated by the discovery of the Law of Time endowed the tools and proofs of fourth-dimensional time with the psychically provocative name of Dreamspell: the Journey of Timeship Earth 2013 (1990-91).”
• “Having identified the artificial and natural timing frequencies underlying the discovery of the Law of Time, and having consequently designed the perfect Thirteen Moon Calendar and the set of tools and proofs for their discovery, the Dreamspell, researchers embarked on the next stage of their experiment: testing the system. Predicating the Thirteen Moon Calendar on a synchronization point corresponding to July 26, Gregorian, and given their analysis of the long-term effects of living unconsciously according to a timing frequency at variance with the natural environmental timing frequency, researchers determined the commencement of a “time shift,” beginning July 26, 1992.”
• “The mathematical proofs of the discovery of the Law of Time were formulated as “Thirteen Moons in Motion” (1992), an historic and harmonic analysis of the Thirteen Moon Calendar; and “A Treatise on Time Viewed from its Own Dimension,” the complete proofs and analysis based on and inclusive of the laws of the biospheric order (1992; published, 1996, as The Call of Pacal Votan, Time is the Fourth Dimension).”

Chapter 3. From Scientific Truth to Spiritual Revelation: Testing the Law of Time. By J. & L. Argüelles.

• “It had taken four years (1989-93) to verify the Law of Time and create the tools and proofs. The next stage in the process of discovery was the unexpected revelation of “Telektonon, the Prophecy of Pacal Votan.”
• “The essence of the prophecy only confirmed what the researchers had been hypothesizing: time is telepathy. The 13:20 timing frequency that governs the biosphere is also responsible for the telepathy of the different communities of species. It is telepathy of time that keeps the species in their proper cycles in relation to the rest of the biospheric order.”
• “According to the prophecy, Telektonon, only by returning to the correct timing frequency by the specific means of the Thirteen Moon Calendar will humanity save itself and be restored to a state of universal telepathy in tune with the rest of the species and the Law of Time.”
• “The next stage of testing the Law of Time led the researchers to assume new roles, that of planetary peace pilgrims and prophetic messengers. In September, 1993, researchers abandoned their base in the Hawai’ian Islands and went first to Mexico, source of the prophecy, Telektonon. Decoding the revelation and the creation of the text was completed early in 1994. From this research was developed “Telektonon, the Game of Prophecy” (1993-95).”

Final Chapter 5. Divine Law and Moral Emergency: The Return of the Absolute. By J. & L. Argüelles.

• “As the discoverers of the Law of Time, researchers J. and L Argüelles most humbly submit the foregoing testament to the world community for immediate attention. They ask no reward for their efforts, but simply submit and present the knowledge of the Law of Time as a part of the cultural and spiritual patrimony of the human race.”

 

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Planet Art: The Great Purpose of Time Science

Two years after the publication of the quoted book, it was José himself who confirmed the great purpose of this testament. Inside an official PAN document, he wrote that:

“The Discovery of the Law of Time (J. & L. Argüelles, 1989-96), completed the scientific and mathematical foundations for the Science of Time, whose sole purpose is to further the creation of self-regulatory harmonic patterns of planetary art.” –– José Argüelles, 1999, “PAN: From Art as Everyday Life to Planet Art Spore”.

Then, from the pen of Valum, it is understood that the scientific and mathematical fundaments of Time Science are rooted in the discovery and work that José and Lloydine Argüelles did between the years 1989 and 1996. On the other hand, it is clear that the great prophetic challenge and responsibility of this revelation was to be able to embody the great purpose of Planetary Art.

In this way, both visionaries understood that the practice of Time is Art was essential to activate the harmonic frequencies of Planet Art, therefore actually proving the Law of Time. For the same reason, both messengers let go of the material world, they avoided using money and they even gave away thousands of copies of Dreamspell for free. From the moral point of view of this couple, it would have been unacceptable to charge money for the tools of Planet Art, even least of all to charge for the time dedicated to teaching the Law of Time.

It is evident that they set the bar high regarding human consequence, between what is preached and what is practised. A bar which opposes to some businesses that are built nowadays around the Law of Time and the sell out of the Dreamspell wisdom. All in all with the sole purpose of economic sustenance, in other words, with the purpose of Time is Money 12:60. In general, it can be seen that most of them fail to address, recognise and honour the exemplary memory of both masters messengers. Unfortunately, there are only a few that preserve the original message and activism of such a great spiritual legacy.

By embodying Time as Art, both galactic messengers understood that they were actually offering a universal gift for the awakening of humanity.  This remarkable example of consequence makes them worthy to be referred as the “Ascended Masters of the New Time”. In other words, both of them portrayed in their lives the same law they discovered and preached, thus they demonstrated it through their outstanding service, activism and dedication.

Hence, the fascinating Planet Art History that was built by both visionaries, it certainly transcends the Galactic Maya movement. As it has been observed, their call for the Harmonic Convergence, also made them worthy to be recognised as the leaders of a much bigger movement defined by the media at the time as the Movement of the New Age. Nowadays, this movement is also known as the Awakening Movement and, since 2011, it is also referred to the “11:11 Awakening Code”. Certainly, the Law of Time proved within Dreamspell confirms this couple as the source of the same 11:11 Code. That is to say Valum Votan as 11.11 (Kin 11) and Bolon Ik as 11+11 (Kin 22). Within itself, this is another proof of the telepathy of Planet Art, therefore, it is part of the fruits that were seeded by both masters and messengers.

The historical uncovering of the Law of Time by José and Lloydine Argüelles is certainly a primordial memory of Planet Art. The attempts to remove, distort and/or confuse this story are disturbing. Fantasy statements such as “the discovery of the Law of Time by José Argüelles” fail miserably to the journalism ethics and objectivity. Therefore, they are unacceptable if compared with the abundant historical evidence that has been exposed. It is all about the undeniable facts that have been registered and inscribed by the same authors within the historical records of the Planetary Art. Thus, to deny the honour that the feminine founder of this great legacy truly deserves is synonymous with human involution of consciousness and it has nothing to do with the New Earth. It is a historical karma that not even José dreamt about himself across his worst nightmares. Furthermore, it constitutes an error within the Law of Time and a deviation of the Galactic Maya prophecy received by the Argüelles. At the end of the day, it is history that judges the ones trying to overwrite it.

As we commemorate a Feminine Solar Cycle of 28-years since the initial Eureka moment of the Law of Time, it is appropriate to consider that anyone who works with the time codes from the revelation of José and Lloydine Argüelles, has to honour and acknowledge both teachers. This includes all the foundational fruits of their discovery: Dreamspell, Thirteen Moon Calendar, Telektonon, Time Science, the activation of Planet Art Network and the same Foundation for the Law of Time that they established.

Let us remember that both messengers worked hard for their life mission and that they seeded with the example. Both of them embodied the fundamental truth of Time is Art, thus they delivered their message not-for-profit. During their 21 years of ministry, the Ascended Masters of the New Time walked as authentic servers and activators of the Planetary Art. A bar that, without a doubt, it would be very difficult to surpass…

These are the great reasons why they are the New Time Masters and its Authors in Eternity…

“As the discoverers of the Law of Time, researchers J. and L Argüelles most humbly submit the foregoing testament to the world community for immediate attention. They ask no reward for their efforts, but simply submit and present the knowledge of the Law of Time as a part of the cultural and spiritual patrimony of the human race.” ––José and Lloydine Argüelles, T(E)=ART. The Discovery of the Law of Time (PAN 1997)

Time is Art!

In Lak’ech Valum Votan and Bolon Ik

Discoverers of the Law of Time is Art

Masters of the New Time

“I have had no choice but to follow the unfolding of my galactic course, but without the unique love that came to me by name of Lloydine Burris, none of what I have been able to know, communicate or deliver of that galactic course would ever have come to light.“— José Argüelles / Valum Votan (1996, Author’s Afterword of “The Art Planet Chronicles”).

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References

Argüelles, José and Lloydine

—. 1990, The Thirteen Moon Calendar. Planet Art Network.

—. 1990-1991, Dreamspell: The Journey of Timeship Earth 2013. Chelsea Pacific.

—. 1992, Thirteen Moons in Motion: A Dreamspell Primer. Planet Art Network.

—. 1993-1994, Telektonon of Pacal Votan. Interlink Productions.

—. 1994-1995, Telektonon: The Game of Prophecy. Interlink Productions.

—. 1995, The Thirteen Moon Calendar Change Peace Movement Plan. Planet Art Network.

—. 1997, The Discovery of the Law of Time. T(E) = Art. (1989-1996). Planet Art Network. PDF in English. (For Spanish descargar aquí)

—. 1997. The 20 Tablets of the Law of Time. Planet Art Network.

—. 1999-2000. 28 Meditations on the Law of Time. Planet Art Network. Transcript of teachings prepared and given by Valum Votan and Bolon Ik at the Earth Wizards Seminary (1999, Picarquín “PicarKin”, Chile).

Argüelles, José. 

—. 1984, 1988, 1996. Earth Ascending, An Illustrated Treatise on the Law Governing Whole Systems. Bear & Company.

—. 1987, 1996. The Mayan Factor, Path Beyond Technology. Bear & Company.

—. 1996. Author’s Afterword of The Art Planet Chronicles. (Auto-biography). Planet Art Network.

—. 1999. PAN: From Art as Everyday Life to Planet Art Spore. Planet Art Network.

—. 2002. Time and the Technosphere. The Law of Time in Human Affairs. Bear & Company.

Press

—. 1995. Change from Mechanical to Natural Time by José and Lloydine Argüelles. Sedona Journal of Emergence. June 1995. Transcript of video produced during the visit of José and Lloydine to Sedona.

—. 1998, The Crisis of the Calendar. The Gnosis interview with José and Lloydine Argüelles. Gnosis Magazine, Fall 1998.

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Journalistic Research Essay by

Itzadragon Kin 21 (rotating as Kin 121)