One of the first things I propose in my book is that the universe is binary, or dualistic. I can't prove that. I know there are other ways of looking at things. But in my speculative world of tarot-like wisdom systems, it is a simple enough pattern to start with. Yin and Yang. Absentia and Universe. Day and Night. Wax on, Wax off! Combinations of yin and yang halves, within yin and yang halves, are endless - like a branching fractal tree. Sorting them out, can be an interesting challenge. The Numerical Tarot deck is designed to address the problem of multiple sub-divisions of opposites.

In my book, I employ a bit of paradoxical logic to describe how a beginingless beginning could come to be. Then, once things are off and running, it becomes a task of subdividing an ultimate pair of binary, or dualistic opposites, into finer and finer descriptions of this one simple idea. So in my deck, we see a design with an underlying structure to its form, derived from logical steps of thought. As this logical design evolves, we also observe how each stage of development is influenced by the various stages of our guiding model of existence, presented elsewhere on this site.

In the construction of The Numerical Tarot deck, we actually use sub-divisions of an ‘ultimate pair’ to create the various ‘arcana’ of the deck. By taking a single number line, dividing it a select number of times, we create the six different number lines of The Numerical Tarot deck. In doing so, we observe the crossed influence of multiple divisions of yin and yang within the deck’s form, creating a matrix of overlapping yins and yangs which, when carefully sorted out, will bring supreme clarity to each card.

To begin the evolution of The Numerical Tarot deck's underlying design, we will start with a plain number line. A plain number line that we will use to represent the ineffable concept of "absentia" - the diametrical opposite to the tarot "universe" we hope to create. We will then divide this number line three times, just as we do when creating other models seen elsewhere on this site. Our first cut then, divides this plain line into two separate lines, each diametrically opposite to the other. This creates for us the two lines of the Major Trumps.:

-----

THE ABSENTIA and THE UNIVERSE:

A blank number line.

NOTE: I've had to pick a color with which to draw this "blank number line" only because of the limitations of the medium of communication being employed - that of a web page. In conceptual reality, this "blank number line" would not be drawn anywhere. It's just an idea in your minds eye. Get it? But, given that it now exists in some form (however hypocritical), we can now begin the process of deck evolution.

The "blank number line" represents the concept of "Absentia", the diametrical opposite to "Universe." In this primary duality of all creation, the absentia is characteristically not divided. While on the other hand, its diametrical opposite is divided - like so:

-----

1/9) POSITIVE AND NEGATIVE:

By cutting our blank number line, we create the Positive or Ameliorate (white) and Negative or Deteriorate (black) sides of The Numerical Tarot's Major Trumps. Like day and night, they are as opposite as can be. While at the same time, leading one into the other like the amelioration and deterioration of the seasons. In this way, we see how this first cut reflects the characteristics from the disparate nature of the 1/9 sphere of our model, or the 1 and 9 on The Apart/Together model (seen elsewhere on this site). In other words, the degree of separation between these first two halves reflects the essence of polarity and irreconcilable separation found in the numbers 1 and 9 in the Apart/Together model.

NOTE: There is no good or bad bias at this point. Good and bad are of course subjective terms. I use my own personal, subjective sense of good and bad in this deck design only to create the kind of contrast I need to make clear the pattern of interdependence that evolves.

So be it understood, that Positive does not necessarily mean Good. There is Good Positive and Bad Positive. Likewise with the Negative, it too does not necessarily mean Bad. There is Good Negative and Bad Negative. This deck describes them all. The idea is that one half of The Numerical Tarot deck augments and adds, while the other reduces and subtracts. Augmenting is not always good, and reducing is not always bad. This system forces you to see all sides to every coin...or card.

I should also point out that the order in which we make these cuts doesn't not matter, only the result.

But right now, these opposites are static. We need to divide them again - like so:

-----

2/8) ACTIVE AND PASSIVE:

By cutting our deck a second time into active and passive, we create a pattern of extremes and in-betweens. The two sides of the Majors are no longer static. They kind of fit together like a Yin/Yang symbol, giving the deck the same kind of dynamic structure. This hierarchal subdividing also allows for associations to be made between different cards that is not possible in any other deck.

This time, the characteristics of the 2/8 sphere influence how we view resulting sides. In this case, the difference between each side could be compared to that of dividing day (the ameliorate side) into morning and afternoon, an night (the deteriorate side) into evening and twilight. By dividing each number line of the majors at its midpoint, the 2/8 characteristics of entry and exit, found in the funneling action of The Funnel, Tunnel, Maze diagram, add additional detail to the basic concepts of positive and negative, creating yin and yang subdivisions, within each of the previous positive and negative sides.

These are the first two cuts of of three, that will be made. After only two cuts we have established the positive and negative aspects of the Majors as well as the equidistant qualities of each of its two number lines. Having done this much we can now stop for a moment to observe an important pattern in this formation.

In the first cut of this three cut process, the split between yin and yang was made horizontally to create two complete number lines out of one. In the second cut, we shifted our cutting action 90 degrees to create equidistant halves within each of our two lines. By shifting this yin and yang pattern 90 degrees we created 4 distinct qualities within our Major Trumps, and in doing so created a pattern of extremes and in-betweens. In the book All Things Are Numbers, a 90 degree shift pattern is used to represent the effects of a mobius band, upon opposites. Thus the idea of Major Trumps, consisting of number lines that run one into the other in an endless process of amelioration and deterioration, is reinforced as these opposite number lines are now seen as the two sides of a one sided journey the mobius band is known for.

But there's more! The final cut will show us how and why the Minor Suits come to be viewed as a child to the Majors, repeating the numerology of the Majors with two cards in the Minors for every one in the Majors - like so:

-----

3/7) ANALYTICAL AND SYNTHETICAL:

With cut three, we differentiate between Analytical ideas vs. Synthetical ideas - or Tangible Quantitative ideas vs. Intangible Qualitative ideas. In doing so we duplicate the yin/yang qualities of extremes and in-betweens within each half of the now divided Majors, creating four distinctly different, but still inter-dependent number lines in our deck design. These four number lines are now thought of as "minor" to the Majors, but obviously, cut from the same cloth!

In using the various models presented elsewhere on this site to determine the attributes of these four Minor Suit number lines (or two sets of two) we look to the 3/7 sphere of reality vs. fantasy to observe how analytical vs. synthetical perceptions can divide positive and negative into finer and finer subdivisions of opposites. In this case, each set of number lines in the Minors (either the two from the positive side, or the two from the negative side), has the same attributes for each of its two lines, rather than creating four different attributes for four different lines.

Because each set is being cut from one half of the Majors, each set of Minor Suit lines will have a number line that represents either the analytical or the synthetical in perception, in either a positive, ameliorate vein or a negative, deteriorate vein. Elsewhere on this site, an analogy of a piano octave is used to illustrate the idea of analytical vs. synthetical, where analytical is compared to scales, and synthetical is compared to chords. In relating the number lines of the Minor Suits to the piano octave analogy, we can see how each set of the Minors represents both physical features or conscious thought, as well as non-physical features or unconscious thought - within the same range of numbers.

And because this third division has been faithfully cut from the previous two it also carries on their attributes within its form. Therefore, in conclusion, we see how each set of the Minor Suits (either the two positive lines or the two negative lines) will represent the analytical or synthetical (3/7), in either a positive or negative vein (1/9), with equidistant similarities in each line (2/8)! To read a bit more on what is meant by Analytical vs. Synthetical, and how that might effect your perception of a tarot deck designed with this in mind, you might want to read this article from the NUMBERS section of this site.

Also note: still no good or bad bias yet.

By viewing the Minor Suits as a child of a the Majors, the Minor Suits repeat important ideas with greater specificity (two cards instead of just one).

In the last step of this deck design, I choose to associate the four operations of mathematics with these fundamental subdivisions, and then associate those operations of mathematics with the four suit signs of traditional tarot decks.

-----

THE FOUR SUITS OF THE Numerical Tarot:

Analytical + Active + / Positive +	Analytical + Passive - / Positive +			Coins (The Tangible)
Synthetical - Active + / Positive +	Synthetical - Passive - / Positive +			Cups (The Intangible)
Analytical + Active + / Negative -	Analytical + Passive - / Negative -			Staves (The Tangible)
Synthetical - Active + / Negative -	Synthetical - Passive - / Negative -			Swords (The Intangible)

In creating suits signs for The Numerical Tarot, I decided that the four operations of mathematics described the subdivisions of the deck more clearly than representations found in traditional decks. In this arrangement, addition is considered a more analytical process of augmentation, while multiplication requires more synthetical, conceptual leaps of thought. Both belong on the positive or ameliorate side. Likewise, subtraction is also the more analytical, being the diametrical opposite of addition, while division again requires conceptual leaps.

But how do the existing suits of traditional tarot come to be associated with each of these mathematical concepts? Well I could tell you that I associated the suit of Swords with division because swords divide. And that I associated the suit of Staves with subtraction because the subtraction symbol looks like a wand. Or that I associated the suit of Cups with multiplication because a chalice viewed sideways on looks like a multiplication symbol. I might also try to convince you that the coloration of suits in a traditional deck of playing cards into two red suits and two black suits lead me to conclude Coins (Diamonds) and Cups (Hearts), both red, to be positive, and Staves (Clubs) and Swords (Spades), both black, to be negative. But that would be silly. Or is it?

What would happen if these kinds of associations were made? How would that alter our perception of traditional tarot decks? Personally, I think it improves them greatly! In fact, after making these arbitrary associations and superimposing my knowledge of the numbers over other decks, numerous correlations appeared that lead me to conclude a "fortunate" arrangement of suits. This so-called "fortunate" arrangement of suit signs is interesting, when viewing existing decks, but it is not important to the creation of the Binary Matrix just described. The Binary Matrix does not care if you call the suit of Addition the suit of Swords or Cups or whatever. The subdividing of numerology into a system of inter-related ideas is what's important here. If, however, you do choose to call the suit of Addition the suit of Swords, you will probably not see very many correlations between this system and existing tarot decks. However, if you accept the arrangement given above, you will!!

-----

The Matrix, Math, Suit Sign Mandala

Here is a mandala you can use to meditate on some of the concepts put forth so far. To the left and right of the central grid of tiny squares, we see how a single line is divided into Majors (two bars) and Minors (four bars). When the four bars are divided again, to represent the moderate versus extreme variations of each card, we arrive at the tiny squares of the central grid. To the top and bottom of the central grid of tiny squares, we see a single line being divided left and right several different ways; in half, in thirds, insides versus outsides, etc. The grid in the center is the result of these combined influences: nine numbers, divided into four suits, with upright and reversed interpretations. Around the outside is a series of waxing and waning moon-like spheres bordered by the associated symbols of mathematics.

In the center is a number line! It's divided once, twice, thrice etc. to create a matrix of possibilities for any one card in the deck. Waxing and waning spheres coincide with the ascending and descending operations of mathematics which become the four suits of the deck.

Addition waxes; it adds. Subtraction wanes; it subtracts. One operation leads to the other. One destroys or restores the other. Like a waxing and waning moon, two suits lead into light, two suits lead into dark. Like the notion of a point and sphere being essentially the same (discussed elsewhere on this site), each side achieves its nine numbers by sharing its first and last sphere with the next side, making each sphere the point of the next nine step progression. At each corner of the inner square are solid and broken line combinations that indicate the ovelapping influence of Yang and Yin upon the matrix of the deck... described above with the words Positive - Active (solid/solid), Positive - Passive (solid/broken), Negative - Active (broken/solid), Negative - Passive (broken/broken) which leads to the idea of certain cards in the deck being dominantly influenced by Action or Thought or State or Emotion.

-----

4/6) IN and OUT:

Three simple cuts created the Major Trumps and Minor Suits of our tarot deck. With these three overlapping subdivisions of yin and yang we can now determine at least three attributes for any one card, before we even look at the numerological symbolism it contains. This is the kind of system for determining a cards predisposition that I was looking for, and not finding, when I began my study of tarot, years ago. This kind of system is what I felt was needed to dispel the effects of emotional responses to individual works of art, and eliminate the destructive effects of personal opinions, and the muddled atmosphere they create.

Because we have been associating each cut of a number line to a sphere of the model, the attributes of the five ways of being have been playing an important part in the shape of this system. As it stands now, only two more of these five ways of being remain. The matrix of overlapping yins and yangs that we have so far can tell us a lot about a card before we ever us it in a reading. The one thing it can’t tell us though is whether the message of the card in question is describing behavior that is sent out from the quarent or behavior that is being felt inward by the quarent. It also can’t tell us if this behavior is being pushed out or pulled out, or if it is being pushed or pulled in.

Typically you will find that the in and out characteristics are all decisions that cannot be made about a card until it is actually used in a reading. In other words, while the overlapping of linear yins and yangs can determine one card to be more positive, negative, analytical or synthetical or active or passive than another, all cards are affected by the characteristics of ‘in’ and ‘out.’ Therefore an introverted or extroverted state is not a precondition that can be logically determined. But it is one to be considered.

-----

5) GOOD and BAD:

The terms "Good" and "Bad" are of course infinitely subjective. What is bad for me might be good for you. What is bad today might lead to something good down the road. But as infinitely subjective as good and bad might be, they remain an inescapable component of life and living. Good and bad tell us what is right and wrong in this world. That's where we, as individual (usually majority-rule) societies, get laws that help to protect and preserve life. An optimist will find something good in everything bad. A pessimist will find something bad in everything good. But individual bias does not make good and bad go away.

Elsewhere on this site, the number 5 - being the midpoint of our number line - is compared to a infinitessimal moment in time. Time draws in a future and exhausts a past. The "event" we perceive as time is focused on the center of any entity. The number 5 is that center. Thus moments in time are seen as an infinitely indeterminable mixture of future and past. In the same way, the number 5 alternates between the two sides of our number line, perpetually favoring one side, then the other. The number 5 represents good and bad fused together, thus explaining how events in time, or events in our lives, can be seen as either good or bad, at the same time.

Even an optimist has to acknowledge that what they think is good might still be perceived as bad by someone else. And vice versa for the pessimist. Thus all events are both good and bad, at the same time. Elsewhere on this site, the ability of one thing to be two opposite things at the same time is compared to a mobius strip, where a two sided piece of paper is allowed to have only one side, or a one sided mobius strip is seen as having two sides and one side at the same time. Thus good and bad become the last things to consider when adding up influences.

But this doesn't explain how our matrix of overlapping yins and yangs see good and bad. For a complete analysis of how Good and Bad enter into the design of The Numerical Tarot, consult the essay entitled A Spectrum of Possibilities. For more on the subject of good and bad, and whether such concepts exists at all or not, consult the essay entitled Good and Bad, Right and Wrong, Smile and Frown.

This is how our matrix of tarot is constructed, but how it it used?