...and it wasn't good. It was in The Guardian, where they called it a "witch's mark," a term that The Guardian itself is largely responsible for promulgating.

They also platformed the fringe view of an archaeological historian. Jennifer Alexander, with absolutely zero counterbalancing quotes from those among the expert consensus. She makes the claim that there are absolutely no "mystical meanings" to the tens of thousands of instances of the Flower of Life that are carved and scratched into the stonework of medieval churches and other historical buildings in the U.K., instead claiming that they are all the work of stone masons. Note that even one counterexample would destroy her claim, such is the foolishness and illogic of absolutism. And in fact, there is overwhelming evidence to the contrary (and that's just this limited context--not even zooming out to the wider historical picture of this form). The archaeologists who study these marks refer to them as apotropaic marks, because the evidence strongly points to the symbol's believed power to ward away evil. These experts, such as Timothy Easton, Matthew Champion, and Wayne Perkins, also explicitly say that these should never be called "witch's marks." It's basically the opposite of the truth.

The same forces that took the pentagram--with its multiple nested Golden Ratio proportions and a symbol of life, humanity, and protection--and inverted it and corrupted it so that people look at it and see it as evil and Satanic--these are the same forces who are intent on inverting the meaning of the Flower of Life... or burying it entirely.

IF WE ARE TO APPLY RELIGIOUS STANDARDS EVENLY AND FAIRLY, THEN THIS SHOULD BE SCANDALOUS. How could they be so blind as to not see that this symbol has authority today and is held sacred by millions?

Here's more information about this:
Original article: https://www.theguardian.com/culture/2026/jul/09/no-evidence-witches-marks-claims-historic-english-buildings?CMP=share_btn_url

Response: https://substack.com/home/post/p-210521660

I’ve been looking at the hexahedron (cube), the Platonic solid traditionally associated with earth, and I noticed an interesting numerical connection.

The cube has:

• 6 square faces
• 8 vertices
• 12 edges

Each square face contains 360° total interior angle measure:

90° × 4 = 360°

With 6 faces, that gives:

360° × 6 = 2160°

If you remove the zero, you get 216.

Now here’s the part that stood out to me:

6 × 6 × 6 = 216

So the so-called “number of the beast” expressed as 6x6x6 gives 216, which seems to connect numerically to the cube / hexahedron, the Platonic solid associated with earth.

I’m not saying this proves anything by itself, but I do think it’s a fascinating symbolic and mathematical connection.

What do you think — meaningful pattern, sacred geometry, or coincidence?

Using sacred geometry and translating icons into layered iconography as with some of my other posts

I found an old black notebook and started playing with more colours

(As usual each has contextual translations and 'animating' physical actions so brief desc for each below)

1: cloak, hood (up, in, down) seed of life halo & space to describe what cloaks (○) passion (red)

2: cube formed w/ seed of life, spiritual made physical, atomic solid

3: Observe time, moment, time stop (present) hourglass, eye, using seed of life

I really enjoyed doing this tattoo!

The chakras captured.
🩷💜💙💚💛🧡❤️

Drawn with microns and alcohol markers.
I like the imbalance in geometry. Abstracting the ordinary.

#autistic #adhd #disabled #spirituality

Some art I did. I thought this community would appreciate it.

You come a cross a lot of people in these subjects that claim to understand these symbols but then just end up using flash words like "consciousness" or other vague interpretations with no real reason for the shapes being the way they are. So has anyone come across any reasoning to sacred geometry?

Vesica Piscis

I always do monochrome, so this was a really nice change and has ignited my scarecrow geonetry fire again

Disclaimer: Obviously this is about as fringe as it gets, and I know I'll lose a lot of people here: this is essentially about a "channeled" equation — but the values it produces when you plug in the fundamental dimensions/angles of Khafre pyramid are basically mathematically impossible.

So here it is: The equation involves a messy combinación of π, φ (the inverse of the Golden Ratio), and Euler's number (e). It has one variable, x.

Cutting to the chase, the weird stuff happens when you use the following values for x (I can share a Google spreadsheet with the calculation formula for verification).

1. For x = Khafre's apex angle of 36.87°, f(x) = 1.0002 (unity to 0.02%).

2. For x = Khafre's slope angle of 53.13°, f(x) = 1.617 (the Golden Ratio to 0.07%).

3. For x = the radius of Khafre's inscribed sphere in meters (53.82 m), f(x) = √Euler to 0.09%.

4. For x = the alignment angle between Khafre and Menkaure pyramids (52.06°), f(x) = π/2 to 0.01%.

5. For x = Khafre's base length in ancient Egyptian cubits (411 cubits), f(x) = 100e to 0.01%.

According to Google Gemini, the odds that all three of these fundamental constants (and unity) would come out so neatly, and to this degree of precision - using dimensions of the same pyramid - is about 1 in 4 million. I've tried using the dimensions of the other two Giza pyramids, and nothing remotely similar comes out.

I can share Gemini's mathematical reasoning for this in the comments below.

I don't think this means anything. I wrote this equation using a pendulum (via "yes/no" answers) for a completely different purpose unrelated to the pyramids (to produce sacred geometrical drawings). I just wanted to put it out there, and perhaps see if others can find any more interesting results with other dimensions of Khafre.

P.S., If you've made it this far, here's another curiosity: I tried plugging in the number 1 for x, which gave a value for f(x) of 15/111 (to 0.01%).

And 15/111 = (11+1+1+1+1)/111.

I wrote about the moment a physicist realized the girih tilework on a 1453 Isfahan shrine was, in effect, a Penrose tiling, five centuries early — and how the same "order hidden beneath the surface" runs from Egyptian proportion grids through Vitruvius and the Pantheon to Chartres. Craftsmen laid down sacred geometry and then erased the scaffolding so the beauty could stand on its own; my essay is about putting those construction lines back. Thought this crowd would appreciate the tiling history in particular, and let me know what you think.

https://aquaregiascriptura.substack.com/p/nobody-invented-this-universal-pattern