WHO DESIGNED ALL THESE SYMBOLS AND CONCEPTS?

The founder and High Elder Warlock Raymond S. G. Foster is the source of all these designs intending they are part of the Church's history, culture and overall tradition. They also express a wide range of his thoughts and awareness of many things that are more than just simple interpretations. They are, in a sense, guide posts that help to reinforce the integrity and solidarity intended to be central to all Druans.

33 STAR SEAL

Because this religion and Church its was founded in Oregon this symbol using 33 stars was chosen because it also represents Oregon as the 33rd State of the Union of the United States of America. The other significance of 33 is as follows:

In addition to this, it aligned with the symbolic connection with the Earth, its 8 main compass directions and 24 hours a day. The star for the Earth in the center represents its 6, rather than just five, qualities of composition: Solids, Gases, Plasmas, Liquids, Energy and the center point representing Life and the Soul. The surrounding ring represents eternity, infinity and wholeness.

The main stars or medium ones represent the 8 directions of North, Northeast, East, Southeast, South, Southwest, West and Northwest, which also is associated with 8 Seasons of ancient migration calendars. Between each of these 8 are 3 stars or 8 x 3 = 24 for the number of hours in a day. 24 hours + 8 directions/seasons = 32 + 1 for the Earth/World = 33. This becomes a symbolic number of wholeness and completion.

CLARIFICATION

As once can see here, the directions/seasonal stars are marked by the abbreviations N, NE, E, SE, S, SW, W and NW as well as numbered 1-8. In corresponding fashion each of the smaller stars, the numbers 1-24 are aligned for that clarification.

The World star is self explanatory with 1 placed in it. This again applies the basic mathematical equation as 1 + 8 +24 = 33. In this case, the stars are placed on a black background simply for clarification and separation from the white background. In Druwayu, one must be aware that these alignments are more important because they are foundations upon which so many things were built.

Applied to our Flag

Several potential designs were considered and were used for a time to represent the church and its religion. However, they did not fully resonate and were needlessly over complicated. The goal was to connect it in a meaningful way with natural alignments and with the State and Country of origin which wasn't an easy process of development. We also chose a break away by placing 33 Star Seal on a black background which is also how our Flag has been defined. For clarification of color symbolism, the following presents these concepts directly for quick reference. Be aware Color is one of the most potent psychological tools used in marketing, design, and propaganda; not because it speaks to logic, but because it bypasses it. It operates on both conscious and unconscious levels, shaping perception, emotion, and behavior before a person even realizes they’ve been influenced. Before Proceeding, the colors chosen were and are based on:

White
- Positive: Spiritual clarity, purification, openness → Psychologically used to invoke trust, freshness, and modernity.

Black
- Positive: Protection, containment, ritual closure → Triggers feelings of sophistication and control.

Red
- Positive: Passion, vitality, courage → Stimulates energy, urgency, and physical arousal.

We also recognize the fact that some may instead view it from the perspective of the more neutral or negative associations of these colors, however, the intentions and motivations are the positive side of them more than anything else. We also did not use Neon Colors and wanted to also make sure reproduction of flags fall within the following simple suggestions of vexillology (study of flags and banners) under what's known as Five Principles.

The Five Principles are:

Keep It Simple. The flag should be so simple that a child can draw it from memory.
Use Meaningful Symbolism. The flag's images, colors, or patterns should relate to what it symbolizes.
Use 2 or 3 Basic Colors. Limit the number of colors on the flag to three which contrast well and come from the standard color set.
No Lettering or Seals. Never use writing of any kind or an organization's seal.
Be Distinctive or Be Related. Avoid duplicating other flags, but use similarities to show connections.

CONICAL HAT - RELIGIOUS ATTIRE

This Druish Conical Hat traces its origins to the 17th–18th century capotain, the tall, structured hat worn by English Puritans and other Protestant groups. Because the capotain was used by both men and women, it became a recognizable symbol of discipline, austerity, and moral seriousness but later "phased out" of style.

In the 19th and early 20th centuries, illustrators exaggerated the capotain’s tapered form into the fully pointed “witch” or “warlock” hat. That sharp point was an artistic invention, not a historical feature of the original capotain. This later depiction carried themes of defiance, independence, and resistance to imposed authority which makes it a good fit and symbol resurrected for the Druish community; not just clergy.

The modern Druish Conical Hat intentionally omits the exaggerated pointed tip introduced by 19th‑century illustrators. Its construction returns to the authentic 17th–18th century capotain‑style silhouette, but with one strict Druish modification:

Structural Requirements

A completely flat tip — not rounded, not tapered, not pointed
Straight, structured conical sides (a truncated cone, not a sharp cone)
Typically crafted from leather for durability, uniformity, and ease of shaping
A functional buckle, reflecting period construction rather than fantasy stylization

This design preserves the historical lineage while eliminating the Victorian‑era fictional pointed cone.

Symbolic Meaning in Druish Practice

The Druish Conical Hat embodies a deliberate synthesis of two historical layers:

Discipline and devotion:

The original capotain signified austerity, seriousness, and moral focus.
19th–20th century reinterpretation as defiance

Later depictions of witches and warlocks reframed the silhouette as a symbol of independence and resistance to imposed authority.

The Druish Conical Hat unifies these meanings while rejecting the fictional pointed tip, grounding the attire in documented lineage rather than Victorian embellishment.

Straightforward Historical Checklist

✅ Historically Accurate Components

The capotain was worn in the 17th–18th centuries by English Puritans and other Protestant groups.
It was worn by both men and women, with stylistic variations.
By the 19th century, illustrators exaggerated the silhouette into the pointed witch/warlock hat.
This shift carried themes of defiance, outsider status, and resistance to dominant religious authority.

⚠️ Clarifications for Accuracy

The historical capotain was not sharply pointed like modern costume hats.
It was tall and tapered, but never a true cone.
The fully pointed silhouette is a later artistic invention, not a historical continuation.

Druish Conical Hat Justification

The tip is flat — the defining correction to both historical inaccuracy and Victorian exaggeration.
The design returns to a structured, historically grounded conical form without the fictional point.
Leather construction and a functional buckle maintain period authenticity.
Symbolically, the hat represents:
- Discipline and devotion (Puritan origins)
- Principled defiance (later reinterpretation)
- A grounded, non‑fantastical identity rooted in documented history

Folkloric and modern symbolic layers may be acknowledged, but never override the historical foundation.

Approved Color Variants for the Druish Conical Hat

The Druish Conical Hat maintains a disciplined, historically grounded palette. Colors are selected for symbolic clarity, material realism, and continuity with early‑modern attire.

Primary Standard Colors

These are the core, universally accepted colors:

Black — austerity, discipline, historical continuity
Charcoal — a softer variant of black used for formal or ceremonial contexts
Deep Brown — leather‑authentic, historically grounded, utilitarian

Secondary Traditional Colors

These colors maintain historical plausibility while allowing symbolic expression:

Burgundy — dignity, resolve, and principled defiance
Crimson Red — courage, conviction, and the fire of reform
Dark Forest Green — grounding, stability, and connection to natural order
Navy Blue — solemnity, depth, and contemplative focus

Limited Symbolic Colors

Used sparingly for specific roles, rites, or doctrinal functions:

Iron Grey — neutrality, judgment, and clarity
Oxblood — transformation, endurance, and historical weight
Umber — humility, craftsmanship, and earth‑rooted identity

Color Restrictions

To preserve the hat’s doctrinal seriousness and historical grounding:

No bright or neon colors
No pastel tones
No patterned fabrics
No metallic finishes except functional buckles

The palette must remain somber, natural, and historically plausible, reflecting the hat’s dual lineage of discipline and defiance. The only exception to this rule is what's worn by children and even then its by choice, not requirement and must never be forced by parents or anyone else. That would be regarded as a trespass.

Personal Charms and Tokens

While the form of the Druish Conical Hat is regulated, personal additions are permitted. Small charms or tokens may be attached when they mark a life event, achievement, bond, or recognition given by another Druan. These items are not decorative fashion, but personal records.

Adornments are typically modest and placed along the band or fastening, never obscuring the hat’s structure. Accumulation over time may result in a more whimsical appearance, which is understood as reflective of experience rather than irreverence.
Touching or removing such items without consent is considered disrespectful. No Druan is required to explain the meaning of an attached token.

The hat remains disciplined in form, while the adornments reflect the individual life lived within that discipline.

Social Rank and Functional Meaning

Among Druans, the hat communicates standing and function without the need for verbal declaration.

Height, rigidity, and material quality subtly indicate experience, responsibility, or ceremonial authority.
Certain contexts permit variations in color within the approved palette to signal judicial, instructional, or ritual roles.
Simpler constructions are associated with daily labor, travel, or instruction rather than leadership or adjudication.
It may also have straps to tie the hat so it does not get lost from being "blown off by heavy winds."
It should be made of things like leather or other suitable material so it keeps its shape and useful in all weather conditions.

This mirrors early modern practice, where headwear conveyed status and duty, but is maintained in Druish culture as an active, living convention rather than historical reenactment.

Identity, Authority, Protection, Threshold

Within Druish understanding, the hat signifies interrelated functions:

Identity: It marks the wearer as Druan, publicly and unmistakably.
Authority: It indicates recognized standing, whether communal, instructional, or ritual.
Protection: Not in a mystical sense, but as a boundary—what is held inward is not freely exposed.

Forced Removal, Taboo, and Consequence

The hat is treated with the same seriousness afforded to other religious or cultural insignia.

Forceful removal is considered a direct insult and an act of desecration.
Such an act may reasonably escalate to confrontation, including physical conflict, depending on context and intent.
Unauthorized handling or mockery of the hat is similarly regarded as disrespectful, even if no violence follows.

Importantly, these consequences are social and ethical, not mythic obligations or supernatural bondage.

Voluntary Removal and Intimate Meaning

Context governs meaning.

In private or intimate settings, a Druan choosing to remove their own hat may signal trust or vulnerability.
In certain interpersonal customs, a woman deliberately removing a Druan man's hat and wearing it herself can be understood as an invitation toward intimacy or a relational bond.
This gesture is consensual, symbolic, and culturally intelligible—not theatrical or coercive.

The meaning arises from choice, not enforcement.

Otherness and Public Recognition

The Druish Conical Hat as a recognized marker of difference.

It identifies Druans immediately in pluralistic environments.
This visibility is intentional, not provocative—asserting continuity rather than separation, and adoption rather than theft.
The hat functions as a boundary marker between Druish observance and broader secular norms without hostility.

Thus, the hat communicates presence without spectacle.

Summary

For Druans, the conical hat is neither fantasy relic nor decorative tradition. It is a disciplined object, shaped by history, theology, and social function.

It declares:

Who the wearer is
What role they occupy
Where their obligations lie
How they stand in relation to both the seen and unseen

Its form channels intention upward, its flat crown restrains excess, and its continued use affirms that Druwayu remains grounded in documented lineage rather than based entirely on invented fiction. For Druans, it clan also serve to express a sense we are all in some way liminal beings—neither fully earthly nor divine, but always something in the middle.

Historical note:

The old historical designs rather than our adaptations mirrored medieval human society, where hats strictly marked class, guild, or clerical roles such as:

More elaborate hats → elders, leaders, ritual specialists
Simpler hats → servants, messengers, guardians
Shape variations → watchers, travelers, boundary-keepers

These specifics are not part of the Druan Conical Hat, though we have extracted the connections and associations from other and related references from various folklore and known historical content as described.

Common Warlocks and Witches

Elder Warlocks and Witches

High Elder Warlocks and Witches

As an additional note, those who have these recognized ranks can use them as seals for their avatar images for their various online accounts but must only use the one that is appropriate for their recognized membership within the Church. They may also use such on any personal documents as a stamp along with their name should they choose to pay for the creation of such out of pocket or if members donate such crafts of their own free will.

DRIKEYU: THREE KEYS

Drikeyu, dri- "three" + keyu = cǣga "keys." Each 'key' represent each of these three keys as cosmological concepts that bridge many aspects of philosophy, theology, sciences and social structures or concepts of the community, and the surrounding interlinking knot represents the eternal interwoven qualities of all things here and beyond, known and known.

Each Key breaks down into the following

Worloga – From Wor/Vor/Fora/Fara ("fore") + Loga/Lagu/Laga ("laws"), meaning "Primal Laws." Old Norse/Icelandic): Variant of Örlög.
Wyrda – From Wyrkh/Werg/Weorch ("work" from the base wyr-,wer- as wert, werg, wergh), meaning "Works", distinct from fate-centered interpretations. Yrkja (Old Norse/Icelandic): Variant of Wyrda.
Wihas – From Wihta/Wihaz/Weihs and Vé/Vi ("life", akin to Vital), meaning "Life", representing universal essence.

Note: Some will use actual keys in sets of three to represent each of the Drikeyu.

HAMMER OF THE DRIKEYU

This specific symbol which combines the head of a Gavel, a Handle of carved braid structure, and an acorn Pommel, through which a ring is inserted, it combines the concepts of the Drikeyu and the oath ring. It's one of the few things considered extremely holy to all Druans.

The dual head representing pardon and punishment is aligned with the Worloga. The braided handle representing interwoven connections and reciprocal dynamics is aligned with the Wyrda. The acorn isn't just a symbol of the oak tree but a symbol of life in potential and actualization and therefore aligned with the Wihas.

The oath ring represents a sacred bond that is intended to be an unbreakable commitment rooted in honor, loyalty, and personal integrity. Combined with the hammer symbol it becomes and expression of solemn vows that have consequences when broken or dishonored.

Thus, we have our saying: One's Word Wards One's Worth. Breaking One's Word Warrants Shame.

COSMIC TREE SYMBOL

This circular wooden design is more than geometry—it is a metaphysical scaffold. The three horizontal crossbars within the central vertical axis represent a triadic timeline:

Lower Bar: Ancestors and the past—those who laid the foundation, whose memory anchors identity.
Middle Bar: The present community—active participants in the living tradition, holding the center.
Upper Bar: Heirs and the future—those yet to come, shaped by what we preserve and transmit.

The vertical symmetry of the design, where upper and lower halves mirror each other, embodies a higher truth:

The future is rooted in the past, just as the past is shaped by the future.

This is not linear time, but cyclical resonance. It also is connected with the concepts of the 'cosmic web' that is the scaffolding of the universe and everything in it. In addition the, the bottom, middle and top in the same order, represents the same Drikeyu. This also should clarify why the Hammer of Drikeyu can be worn as a pendant inverted from the version above.

The circular frame and grid-like extensions evoke the scaffolding of the universe—a symbolic echo of the cosmic web described in physics and metaphysics. This is not a tree of life in the usual sense, though its applicable. The design’s resemblance to a stylized tree is intentional and metaphysical. It is a Tree of Scaffolds containing everything and nothing simultaneously.

ALL OTHER SYMBOLIC CONNECTIONS/REPRESENTATIONS

The Seven-Pointed Star within a triangle, upright or inverted, is often distorted to mean a host of other things, obscuring the fact that certain practices associated with it are designed to produce a false spiritual experience and to manipulate a person’s mind, will, and urges and by knowing all seven of the methods involved, one can sort out how such things are used to shape or condition the Ego, or sense of self.

These techniques can bend someone’s ego and redirect their impulses so effectively that the person may come to believe their choices and actions are their own. Several features of these practices require some reasonable, though significant factors of explanation and consideration. Additionally, the purpose of all this is to arm one with a stronger ability to protect their own minds and perceptions of imposed illusions of society and diverse ideologies. It is also advised that one does not toy with such things as it can do self inflected harm.

Mind is frequently replaced with the word soul. Will is replaced with spirit. Urge is replaced with body. This substitution hides the fact that various rituals—employing seven-fold methods intended to bend a person to the desires of presumed “masters and mistresses”—do not require direct contact. Instead, they insert “trigger words” and exploit suggestibility. Ego in the center represents self as in the "I AM" factor, a vital aspect of what makes you to be you that far too many seek to break down, destroy and remake in their own image.

These seven methods are sometimes mislabeled the “seven senses,” a deliberate inaccuracy. More accurately, they are the Seven Methods: auditory, vocal, olfactory, gustatory, visual, tactile, and kinetic. All are designed to make the mind more open to subtle suggestion and typically rely on repetition.

Auditory: anything you hear that is rhythmic or patterned (music, drumming, repetitive sounds).
Vocal: anything spoken or chanted (from prayers and mantras to guided speech).
Olfactory: anything you smell—pleasant or unpleasant aromas that trigger memory and emotion.
Gustatory: anything you consume and taste, including intoxicants that alter perception.
Visual: symbols, images, written words, and colors that guide attention and association.
Tactile: sensations of touch, whether self-generated or imposed by someone else.
Kinetic: movement—dancing, twirling, ritualized motion, sleep deprivation, and related bodily practices.

Each method is designed to elicit mental, emotional, and physical responses—particularly by activating memories and cultural associations—to compel and inspire a desired action or state of mind. When used skillfully and repeatedly, these methods can trigger hallucinatory, visual, and emotional experiences that some find beneficial. When misused—accidentally or intentionally—they can induce temporary confusion or even lasting psychosis.

In the modern world, much of this can be achieved through audiovisual means: placing someone before a television or digital screen and bombarding them with rapid words, flashing images, colors, and sounds can rewire observers’ neural patterns. Marketing campaigns are a prominent example: advertisers use emotional appeals, urgency cues, and repeated visual/audio triggers to create desire and consumption habits—often before chemical agents or intoxicants are involved. Playing on emotions is central to these tactics because highly emotional individuals are easier to manipulate than those who think before reacting. That is precisely why such content is designed to “push your emotional buttons.” Social engineers use the same methods across targeted audiences and reinforce them with peer pressure to erode resistance.

All of this is part of subliminal messaging. Subliminal messages are stimuli—sounds or images—too faint or too brief for most people to consciously perceive. Though below the threshold of conscious awareness, they still stimulate the brain and influence behavior and perception. For this reason, subliminal techniques have been used to sway people’s thoughts and behavior, often with adverse effects. Research and experimentation on unaware human subjects have occurred for centuries—especially by those seeking to control the minds and emotions of populations, keep people compliant, sow division, and consolidate power. This is where the darker edges of psychology can intersect with occult practice, often for the worse.

Claims that such methods are benign or only beneficial—“they can help you lose weight, stop overeating, quit smoking, or stop drinking”—are frequently fraudulent perpetuated, and while this can help sometimes with getting someone to break bad habits that harm their health, it also serve as gateways into further manipulation, as well as physical and financial exploitation. Institutions that promote these claims are themselves sometimes participating in a form of collective social conditioning. The assertion that “once you know the methods, you can never be manipulated again” is also nonsense. Awareness increases resilience, but it does not render one immune; manipulators continually adapt with new techniques.

Finally, it should be noted that recognizing these methods does not imply they always succeed or that all ritualistic or contemplative practices are harmful. Context, intention, and consent matter. But understanding the Seven Methods—and the ways in which language, scent, sound, taste, image, touch, and movement shape cognition and behavior—helps protect against intentional exploitation and clarifies how certain symbols and rituals can be used to manufacture consent or belief.

Recognizing the Seven Methods of Manipulation

These methods target mind, will, and body by exploiting sensory pathways. Awareness helps reduce their influence.

1. Auditory (What You Hear)

Rhythmic beats, chants, repetitive phrases.
Background music or sound patterns creating mood shifts.
Rapid-fire speech designed to bypass critical thought.

2. Vocal (What You Speak or Repeat)

Call-and-response patterns in speeches, rituals, or ads.
Forced affirmations or repeated slogans.
Use of “trigger words” tied to emotional reactions.

3. Olfactory (What You Smell)

Scents tied to nostalgia, comfort, or arousal.
Ritual incense, perfumes, or environmental odors.
Artificial “brand scents” in stores or events.

4. Gustatory (What You Taste/Consume)

Intoxicants, stimulants, or mood-altering substances.
Ritual foods or drinks tied to emotional meaning.
Additives and flavors engineered to create cravings.

5. Visual (What You See)

Symbols, logos, flashing images, and colors.
Rapid image sequencing (e.g., ads, film editing).
Iconography designed to bypass reasoning and anchor emotions.

6. Tactile (What You Feel)

Physical touch, textures, or imposed sensations.
Clothing or objects used as ritual/branding tools.
Bodily sensations linked to memory triggers.

7. Kinetic (What You Do/Move)

Dancing, swaying, repetitive motions.
Sleep deprivation or physical exhaustion.
Movements tied to ritual participation or “belonging.”

How They Work Together

Repetition: Reinforces suggestibility.
Emotional Triggers: Overwhelm rational thought.
Subliminal Messaging: Below conscious awareness yet effective.
Social Pressure: Peer approval amplifies compliance.

Quick Awareness Check:

If you feel swept up emotionally, repeating without reflection, or physically drawn into a pattern, pause and ask:

What sense is being engaged right now and how is it influencing me?
Is my response automatic or chosen by my actual personal belief and will?
Is my reaction to words,images or situations my own or are they imposed perceptions?

Why This Appears in the Customs Section

This material is included in Customs because it directly addresses the ways cultural, social, and ritual practices shape human behavior. Customs are not neutral—they often employ these very methods of sensory influence, sometimes for beneficial communal bonding, and at other times for manipulation or control. Recognizing these techniques within customary practices helps distinguish between authentic tradition and imposed conditioning.

THE TRUE PENTACLE CONNECTIONS

Meaning of Pentacle:

Penta, as in pentagram, means “five.” While -gram denotes a drawn line or figure, -cle is a shortened form of “circle.” Thus, a pentacle refers to a pentagram — or a pentagon — enclosed within a circle.

Neither the upright nor inverted form of the pentacle holds any inherent association with evil. That idea is a later invention, emerging primarily in the 1800s. Traditionally, the inverted form has been understood to represent birth into being, often linked with summoning or calling, while the upright form has symbolized death, banishing, or sending away. These are directional concepts — one of calling forth, the other of sending out — not moral judgments.

Although many limit the figure to “five” elemental forces, the reality is broader. The five points are joined by a sixth: the center. The surrounding circle also signifies wholeness and completion. Because the line of the circle has no break, it may further be seen as eternity. In this way, the pentacle represents not only five principles, but six — the outer elements, their center, and the totality of their union.

The figure therefore embodies more than separation of forces: it represents totality of being, the interwoven link between physical and spiritual.

Elemental Offerings are simple, embodied acts that join the visible and unseen. Druwayu teaches that the Elemental Kingdoms dwell between the physical and the unseen. Offerings that align to specific elements therefore combine a physical act with an inward, intentional quality. As one sees in the diagrams, life remains in the center as its also the point associated with self, mind, soul, will and personality. The surrounding points spell out either Birth or Death as Birth of Life, and Death of Life. Both have elemental alignments as the Physical (inverted) and Spiritual (upright) expressions of them.

The Methods of Elemental Offerings In Concept

“The Wights of Spirit, Earth, Wind, Fire, Water, and Life.”

Offerings are not mere superstition;

They are practiced exercises of attention and responsibility. Performed regularly and thoughtfully, offerings help cultivate recognition, sensitivity, and reciprocal relations with the living patterns that sustain one's inner Wight so to speak and and builds within the individual a sense on a deeper level of connectivity with the world around them, for better or worse.

Elemental offerings also advance the Drikeyu.

They are not blind rites, but intentional practices that can be questioned, tested, and refined. Skepticism asks what the offering does in practice and whether it brings about real change. In this way, offerings do not fall into credulous repetition but remain accountable. They are also expressions of independent thought: each offering is adapted to the land, season, and circumstance, with practitioners sharing truthfully about outcomes rather than relying on imposed formulas. Finally, offerings follow the facts. They must be ecologically sound, lawful, and responsible, measured by tangible results such as the survival of plantings, improvement of habitat, or reduction of waste.

In the wider framework of Druwayu, offerings embody the Primary Tenets.

They affirm the Sanctity of Life by ensuring that no practice harms human or non-human beings. They strengthen Commitment to One Another by making shared offerings that build mutual responsibility and care. They uphold Self and Mutual Sufficiency by planting, restoring, or giving back in ways that foster resilience rather than dependency. They fulfill the duty of Custodians of Life, returning to the land what has been taken and acting as stewards of resources.

Offerings matter most when they are followed by action.

A gesture without care is empty. Druwayu holds that the real measure of an offering lies in the ongoing work—watering, tending, repairing, or sustaining what has been set in place. Practitioners are urged to record and reflect on what was done and what results follow, so that evidence, not assumption, guides future practice. Above all, offerings must never involve harm; acts that pollute, destroy, or kill violate the path of Druwayu. Where possible, offerings should be shared with others, not as display but as teaching: to show how care, responsibility, and recognition can be lived out in community.

Earth Offerings

Offerings to Earth honor grounding, fertility, and the abundance of the land that sustains all life.

Physical offerings: Stones, acorns, seeds, or soil placed in a natural setting or altar.
Homemade items: Fresh bread, cakes, or locally sourced grain.
Living offerings: Planting trees, shrubs, or pollinator gardens as enduring gifts to the land.
Land healing: Gather fallen branches and inscribe or burn protective signs, then return them respectfully.

(Etymology: Erda/Artha)

Wind Offerings

Offerings to Wind speak to breath, inspiration, communication, and unseen currents that carry voice and thought.

Incense and smoke: Burning herbs such as lavender or juniper to carry words into the air.
Feathers: Found feathers offered as tokens of sky and flight.
Song and sound: Singing, drumming, or playing instruments as gifts of breath and rhythm.
Climbing vines: Vines trained to climb altar-posts, symbolizing the rising bridge between earth and sky.

(Etymology: Wind/Wint)

Fire Offerings

Offerings to Fire call upon transformation, passion, and the force of renewal through flame and light.

Herbal blends: Pine, juniper, or local herbs offered into flame with spoken words.
Oil and drink: Pouring small libations into fire as an act of devotion.
Ceremonial fire: Walking around or safely leaping over flame recalls ancient rites of renewal.
Light: Simple candles lit in remembrance or blessing.

(Etymology: Fyr/Pyre)

Water Offerings

Offerings to Water honor flow, healing, intuition, and the cleansing of life’s pathways.

Fresh water: Pouring clear spring or well water into earth, stream, or stone basin.
Special waters: Rain, dew, or sea water gathered and poured in blessing.
Reflective offerings: Silver coins or other tokens placed in a pool or well.
Flowers and drink: Floating petals or pouring mead or ale into sacred water.

(Etymology: Wæder/Watar)

Spirit/Ghost Offerings

Offerings to Spirit recognize the breath that joins all elements and wights into living wholeness.

Prayer or spell: Spoken, sung, or whispered words of intent.
Meditation: A moment of stillness or contemplation to honor the unseen.
Unified rite: Planting (Earth), pouring (Water), lighting (Fire), and scattering (Wind) performed together.

(Etymology: Spirit is Latin for "air/wind" though the word Gast is root with similar context for a sudden movement of air as gust, becoming a formative word for geist = ghost experiences as a physical presence or "change in the air"). Sometimes breathe is used as in (one's own breathe) though the sense we use it today was a different word spelled was æðm(Aethm) based also in Latin aether.

Life Offerings

Offerings to Life does not mean sacrificing a living thing as some sort of blood rite. Instead it is a meaning by which to honor all living beings, as in the wights of land, water, sky, and flame.

Care for living beings: Feeding birds, tending animals, or planting for pollinators.
Care for environments: Cleaning up trash and removal of toxic industrial waste from local environments.
Communal sharing: Giving food or drink to neighbors, travelers, or the hungry.
Acts of kindness: Service and generosity offered as living devotion and compassion for others.
Remembrance: Naming forgotten ancestors or lost companions in gratitude for their part in the great cycle of life.

(Etymology: Lyf "life,” Lyfian "Living", though Wiht as "Wight" with similar context of the vitality = life essence of a thing).

INFLUENCES OF COLORS

Most sources simplify color meaning to only its affirming traits and what it "represents" in idealized form. This is misleading. Symbolic structures are inherently multivalent: every color, concept, or form carries tension between its affirming, neutral, and denying potentials. To leave out the neutral and negative aspects not only strips symbolism of its practical honesty, it conditions users to misuse these symbols. For example, invoking red as “love” without recognizing its capacity for aggression or fixation can distort ritual outcomes and personal intentions.

White
- Positive: Spiritual clarity, purification, openness → Psychologically used to invoke trust, freshness, and modernity.
- Neutral: Stillness, reset state, blank field → Promotes mental pause and visual simplicity.
- Negative: Sterility, emotional detachment, oversimplification → Can feel cold, impersonal, or void of character.
Black
- Positive: Protection, containment, ritual closure → Triggers feelings of sophistication and control.
- Neutral: Silence, concealment, formlessness → Offers focus and contrast, but may lack warmth.
- Negative: Suppression, isolation, obsessive finality → Associated with fear, secrecy, and emotional withdrawal.
Red
- Positive: Passion, vitality, courage → Stimulates energy, urgency, and physical arousal.
- Neutral: Instinct, raw movement, survival alertness → Quickens pulse and attention.
- Negative: Aggression, obsession, reckless desire → Linked to hostility, dominance, and over-stimulation.
Pink
- Positive: Emotional openness, joy, affection → Elicits nurturing, romance, and approachability.
- Neutral: Softness, comfort, light emotional tone → Reduces perceived threat or tension.
- Negative: Naivety, clinginess, avoidance of truth → Can appear juvenile or dismissive of depth.
Blue
- Positive: Wisdom, peaceful communication, stability → Commonly calms the mind and increases perceived reliability.
- Neutral: Cool tone, introspective mood, observation → Encourages contemplation and restraint.
- Negative: Emotional repression, detachment, coldness → Risks creating distance or emotional disconnection.
Light Blue
- Positive: Mental clarity, patience, healing tone → Signals relaxation, breath, and minor resolution.
- Neutral: Non-confrontational space, gentle rhythm → Fades into the background as supportive tone.
- Negative: Avoidance, indecision, passive delay → May weaken assertiveness or urgency.
Royal Blue
- Positive: Loyalty, elevated truth, spiritual weight → Evokes dignity and ceremonial presence.
- Neutral: Reserved tone, formal distance → Commands attention without over-stimulation.
- Negative: Rigidity, elitism, judgment → Can project superiority and restriction.
Green
- Positive: Prosperity, growth, healing → Associated with stability, renewal, and optimism.
- Neutral: Organic motion, natural cycle, unfolding → Supports calm progress.
- Negative: Envy, stagnation, material obsession → Can signal possessiveness or inertia.
Yellow
- Positive: Confidence, clarity, intellect → Stimulates mental engagement and cheerfulness.
- Neutral: Curiosity, awareness, alert tone → Draws attention without depth.
- Negative: Arrogance, instability, fragmented thought → May induce restlessness or over-excitement.
Orange
- Positive: Motivation, success, sociability → Sparks creativity, energy, and informal optimism.
- Neutral: Transitional stimulus, active momentum → Bridges attention without anchoring.
- Negative: Impulsiveness, chaos, superficial drive → Can become erratic or overwhelming.
Purple
- Positive: Intuition, mystery, sacred insight → Suggests depth, elevation, and imagination.
- Neutral: Pause for reflection, symbolic ambiguity → Holds tone for inner searching.
- Negative: Bypassing, delusion, false superiority → May disconnect from grounded awareness.
Lavender
- Positive: Gentle intuition, peaceful dreaming → Softens spaces and promotes calm surrender.
- Neutral: Suspension, subtle movement → Supports wide ranging emotional states.
- Negative: Fragility, vagueness, overexposure → Lacks resilience or structure.
Brown
- Positive: Reliability, grounded, kinship with nature → Provides warmth and foundational support.
- Neutral: Earth texture, plain stability → Often overlooked but essential.
- Negative: Inertia, stubbornness, dullness → Can be perceived as stagnant or lifeless.
Gray
- Positive: Integration, spiritual harmony, quiet tone → Offers maturity and resolution.
- Neutral: Ambiguity, transition, pause → Neither distracting nor directive.
- Negative: Hidden conflict, obscurity, indecision → May feel emotionally or ideologically unresolved.
Gold
- Positive: Sacred triumph, clarity of will, exalted solar tone → Implies achievement and elevated resonance.
- Neutral: Prestige, radiant tradition → Adds weight without aggression.
- Negative: Hubris, control obsession, dominance → May signify superiority or unearned authority.
Silver
- Positive: Intuitive attunement, feminine clarity, lunar rhythm → Nourishes emotional sensitivity and subtle perception.
- Neutral: Reflection, internal rhythm → Mirrors thought without directive.
- Negative: Illusion, indirectness, instability → Risks misleading or scattered signal.
Turquoise
- Positive: Creative healing, renewal, emotional flow → Suggests openness and psychological flexibility.
- Neutral: Transitional breath, blended state → Fluid space between moods or phases.
- Negative: Escape behavior, fragmentation, hyper-sensitivity → Can dissolve boundaries or confuse intent.

Neon Colors:

Neon Red
- Meaning: Urgency, passion, raw energy.
- Psychological Impact: Stimulates appetite, alertness, and physical activation.
- Marketing Use: Used to trigger impulse buying, clearance urgency, and appetite stimulation.
- Positive: Motivates action, enhances vitality, activates primal courage.
- Neutral: Signals alertness, initiates movement, holds kinetic charge.
- Negative: Can induce aggression, panic, compulsiveness.
Neon Pink
- Meaning: Playfulness, emotional spark, attraction.
- Psychological Impact: Evokes youthfulness, affection, and sociability.
- Marketing Use: Targets trend-driven audiences, beauty products, and emotional appeal.
- Positive: Encourages emotional openness and lighthearted joy.
- Neutral: Aesthetic pop, trend energy, surface comfort.
- Negative: May feel trivial, immature, or lacking seriousness.
Neon Orange
- Meaning: Creativity, enthusiasm, forward motion.
- Psychological Impact: Sparks engagement and social stimulation.
- Marketing Use: Common in call-to-action buttons, discount tags, and informal branding.
- Positive: Ignites optimism, creative drive, momentum.
- Neutral: Acts as a transition tone, energizing without depth.
- Negative: Can trigger chaos, shallow focus, emotional volatility.
Neon Yellow
- Meaning: Joy, visibility, mental stimulation.
- Psychological Impact: Boosts optimism and cognitive alertness.
- Marketing Use: Used to grab attention in signage, packaging, and youth-oriented products.
- Positive: Brightens mood, stimulates perception, attracts interest.
- Neutral: Attention cue, signaling without emotional depth.
- Negative: Risks causing anxiety, irritation, or over-stimulation.
Neon Green
- Meaning: Vitality, synthetic freshness, renewal..
- Psychological Impact: Implies health and innovation; sometimes artificial.
- Marketing Use: Used in eco-branding, tech interfaces, and gambling environments.
- Positive: Energizes growth, evokes environmental awareness.
- Neutral: Bright tone, novel stimulus, synthetic vitality.
- Negative: Can suggest toxicity, false freshness, overexposure.
Neon Blue
- Meaning: Electric calm, lucid control, digital trust.
- Psychological Impact: Promotes logical clarity and visual stability.
- Marketing Use: Used in tech branding, financial services, and trust-building interfaces.
- Positive: Clarifies thought, invokes cool rationality, builds trust.
- Neutral: Ambient presence, passive clarity, minimal engagement.
- Negative: Can suppress emotion, distance warmth, promote rigidity.
Neon Purple
- Meaning: Mysticism, imagination, symbolic elevation.
- Psychological Impact: Stimulates introspection and artistic depth.
- Marketing Use: Used in luxury branding, creative industries, and spiritual products.
- Positive: Inspires creativity, spiritual vision, symbolic richness.
- Neutral: Holds space for reflection and ambiguity.
- Negative: May mislead into false elevation, distraction, or grandiosity.
Neon Turquoise
- Meaning: Emotional flow, renewal, creative softness.
- Psychological Impact: Encourages openness, fluid expression.
- Marketing Use: Used in wellness branding, lifestyle products, and emotional design.
- Positive: Supports healing, inner expansion, creative reset.
- Neutral: Transitional blend, emotional indifference.
- Negative: Can create fragmentation, hyper-sensitivity, emotional blur.

Colors trigger neurological and emotional responses that affect mood, memory, and decision-making.

In marketing, they are used to:

Attract attention (e.g. neon tones for urgency or youth)
Shape emotional tone (e.g. blue for trust, red for excitement)
Guide behavior (e.g. green for optimism, black for control)

This dual-layered influence is why color is foundational in persuasion systems—from advertising to political messaging. Additionally, propaganda is not simply “information.” It is information designed to influence behavior or belief, often by bypassing critical thought. It may use truth, partial truth, or outright distortion—but its goal is persuasion, not education.

Propaganda is:

Emotionally charged
Repetitive and symbolic
Designed to reinforce a specific worldview or action

Propaganda is not:

Neutral education
Open-ended inquiry
Balanced presentation of multiple perspectives

Color is a key tool in propaganda because it can anchor emotional responses to symbols, slogans, or ideologies—without requiring verbal explanation.

Why This Matters

Understanding the full spectrum of color influence—positive, neutral, and negative—is essential for anyone working in symbolic systems, marketing, or ritual design. Without this awareness, one risks unintentional manipulation, emotional distortion, or doctrinal misalignment. It also matters because to be a Druan also means not being a wilful drone or mind slave.

COMMON 12 MONTH SYMBOLISM

Basic/Standard European Associations

January: New Year Month

February: Bear Month

March: Swan/Stork Month

April: Snow Crust Month

May: Reindeer Calf Month

June: Acorn Month

July: Hay Month

August: Molt Month

September: Harvest Month

October: Rut Month

November: Hunters Month

December: Yule Month

January: Full Wolf Moon

February: Snow Moon and Polar Bear Month

March: Full Crow and Worm Moon

April: Full Pink Salmon and Egg Moon

May: Full Flower Corn Planting Milk Moon

June: Full Strawberry and Rose Moon

July: The Full Thunder and Buck Moon

August: Full Sturgeon and Green Corn Grain Moon

September: Full Corn and Harvest Moon

October: Full Blood, Hunter’s and Second Harvest Moon

November: Full Frosty, Beaver Trapper's Moon

December: The Full Long Night and Bright, Cold Moon

January: Feasting and Drinking.

February: Enjoying a warm fire.

March: Pruning trees, or digging.

April: Planting, and picking flowers.

May: Hawking, and seeking a spouse.

June: Hay harvest, and storage.

July: Wheat harvest and fence mending

August: Wheat threshing and bread making.

September: Grape harvest and wine making.

October: Plowing and sowing.

November: Gathering acorns and food for pigs.

December: Killing and cooking pings.

TRUE NAMES OF THE SEVEN DAYS OF THE WEEK

It is already well known that most of the given names stem from Latin sources. The fiction is the claim of the associations with Scandinavian sources that do not equate which has resulted is fraudulent inventions that have simply been repeated without validation and where the current names for them actually come from. Despite all this, before hand, as with the 12 months that were only named originally based on the words for each number 1-2, the same was true for each day as 1-7. The following will clarify the facts and while many will oppose this they are factual.

CURRENT

ACTUAL SOURCE

ORIGINAL NUMBER

Sunday:

Monday:

Tuesday:

Wednesday:

Thursday:

Friday:

Saturday:

Sun is from Sunn – Plural Sunn-an

Moon is from Monn –Plural Monn-an

Tues is from Tu-an (Twain) - singular Tu mean Two.

Wednes is also Witnas meaning Witness not Woden which means Woods.

Thurs originally was Thurstan meaning Thirsts/Dry/Parched

Fri simply means Free as in such as Frith meaning Freed or Frithdom for freedom.

Sadan from Sad = Seeding, also Sadar = Sower ( falsely linked to Shatan = “Satan”).

Seventh

First

Second

Third

Fourth

Fifth

Sixth

ADDITIONAL INFORMATION

When examined thoroughly, many terms reveal contexts that were originally applied for entirely different reasons—often driven by distinct motives. A direct search of names and origins typically yields the same recycled assumptions and baseless repetition. However, by tracing the actual forms and meanings provided, one uncovers factual context that contradicts popular claims. It should also be understood that the old sources also tended to combine small words into larger ones. For example, a glove would be called a hand shoe. It's strange but it is a convention of these linguistic roots.

For example, consider the following reconstructed terms:

Time and Measurement:
- Day = Dag
- Week = Wik/Wic
- Night = Naht
- Sunrise = Sunn Risan
- Sunset = Sunn Sidan
- Time = Timan,
- Tide = Tidan (hours)
- Minute = Huil (moment)
- Second = Luttil Huil (little moment)
- Month = Monath, Year = Iar
World and Elements:
- Heaven = Heave-on (lifted up)
- Star = Ster (Stars = Stera/Steran)
- Shooting Star = Skiotaster
- Meteor Shower = Sterregan (Star Rain)
- Meteorite = Fallanster (Falling Star)
- Comet = Taglster (tail star)
- Planet = Wadanster (plural Wadansteran) wandering star(s)
- Earth = Aerd (akin to -gard)
- World = Warold
- Hell = Hel (linked to Hal, Heli, Holi, Hol)
- Sky = Scio
- Sea = Seo
- Rainbow: Scurboga (shower bow)
- Water = Watar
- Wind = Wend
- Fire = Fyr
- Lightning = Lihtanan
- Thunder = Thunar
- Land = Lond
- Yard = Gard
- Ground = Grund
- Cloud = Clud (from clod, replacing wolkan)
- Ice = Is
- Rain = Regan
- Snow = Sno
- Light = Liht
- Dark = Dirk
- Shadow = Skado (also skad for shade)
- Bright = Berht (also linked to birth, bird, burd)
- Shine = Scin
- Gleam = Glim/Glam
- Tree = Tri (also three, triu = trees, trien trine/triad)
- Root = Rot, Rod = Rood
- Rowan = Roan, Roun (source of Rune, meaning red/ruddy, akin to ruad) as in Rountree (Rowan Tree)
- Blood = Blôd (related to blot, bled, and bless)
  - Blessing = Blod-sian (blood + sign = marked with blood)
Directions:
- North = Nord
- Northeast = Nordast
- East = Ast
- Southeast = Suthast
- South = Suth
- Southwest = Suthuast
- West = Uast
- Northwest = Norduast
Counting:
- One = An
- Two = Tuan
- Three = Dri
- Four = Fiyur
- Five = Fyf
- Six = Seks
- Seven = Syfen
- Eight = Aht
- Nine = Nyun
- Ten = Tian
- Eleven = Anlyfan
- Twelve = Tualyf
- Thirteen = Dritian
- Fourteen = Fiyurtian
- Fifteen = Fyftian
- Sixteen = Sekstian
- Seventeen = Syfentian
- Eighteen = Ahttian
- Nineteen = Nyuntian
- Twenty = Tuan-tig
- Hundred = Hunterod
- Thousand = Thusand

Terms for million, billion, trillion vary by region and dialect, even within English-related languages and more modern additions to counting systems from these elder, and more limited ones, though they are historical. Also as can be gathered, many words we still use in English that have not changed much, if at all, even though some were not persevered in written form but survived in related linguistic expressions. For example, the word bolt is the same as it was in Old Saxon. The word you, however was spelled in some cases as iu as out is spelled ut. Then you have some words where the 'g' in the center is silent or pronounced as an h, replaced by an h, or remains silent with forms such as gh or ghe. These are finer details even many linguists forget. Even cc is often mistaken as ck when its pronounced as ch while the single c is pronounced as a single k or the singular sound of ck. Vocally they are still largely pronounced the same with more of a dialectical accent varience. Something to remember when it comes to comprehding such things in better detail.

666 IS NOT AN "EVIL" NUMBER BUT IS A MEASURING SYSTEM

The Sequence of 1-36 = 666 by adding the next number from 1- 36:

1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17+18+19+20+21+

22+23+24+25+26+27+28+29+30+31+312+33+34+35+36 = 666.

There is nothing "evil" about this and those who equate it as such are extraordinarily ignorant to say the least. All the same, the alignments are the same as this example that adds the segments for the 12 months often associated with hours of light. Another 12 are often associated with dark. However, to be technical, its actually 11 for light, 11 for dark and two representing sunrise and sunset as the "twilight hours" of transition.

However, when we double this as 24 hours rather than 12 we have 36 x 2 =72. It also means we then apply 666 x 2 = 1,332. This is how ‘72’ is associated with a single day and also ‘720°’ within a circle as another expression of the same basic concepts comes into play which is seldom taught to anyone though it is an essential factor of creating calendars and measuring the concepts of time and space. What we have here with the measure of 72 is essentially two circles, each being 360° x 2 = 720°.

We it comes to the concept of decans, each decan represents one of the 12 main segments in a circle. This again brings us to a simple calculation of 3 x 12 = 36. The association is then aligned to the 360° of a circle. These sub sets of 3 is that each 1 are called decans = 10 and 10 x 3 = 30. 30 x 12 = 360° of a whole circle, and of course we can then use 1 decan as 10 and divide it by 360 as 360/10 = 36. In this we are measuring each of these 12 as 30 day long months, We can also see that the cross quartered segments also equates to 9 each. 9 x 4 = 36, and 36/4 = 9. 360° / 4 = 90°.

Here's an example to consider these sets of 10:

First Decan = 0-9.59°
Second Decan = 10-19.59°
Third Decan = 20-29.59°

Eventually we will end up at 35.59° rounded to 360° using these measuring methods.

This example here shows a basic chart and concept of how 3 primary segments are also divided in alignment with 12 month alignments, and how these divide to each set having three decan subsets. The opening in association with the North, Southeast and Southwest is based on the layout of the Goseck Circle in Saxony-Anhalt, Germany. It is estimated it was constructed around 4900 BC.

Its often called Woodhenge as the main material used in its original construction of barrier walls and so named more or less for the much later Stonehenge in Wiltshire, England, built in several stages between roughly 3100 BC and 1600 BC. Its interesting this also aligns with the much older known three main holiday observances that would have only been defined as Wintar (Winter), Lentar (Spring) and Sumar (Summer).

One can also see how there would be 9 decans if one were to divide the 1-36 segments as part of the cross-quartered sections which can again be confirmed simply by calculating 9 x 4 = 36. Sch would be very useful for measuring the seasons and paying attention how Eco-systems change with the turning of these cycles throughout the year.

The so called Magic Square of the Sun

The more common concept of divisions and often exaggerated mystical gibberish that becomes layered on top of this is that indeed you take the sequence of the numbers of 1-36 and arrange them so that all rows and columns equal 111 so that each row totals 666 and each column also equals 666. However, the fact that you have row and columns counted the actual total is not 666 but rather 1,332. You can then use the same sequence of 1 + 3 + 3 + 2 = 9. However. This is ignoring the two angles which each also equal 111 or 111 x 2 = 222. So, we have to use the same method consistently and add 222 + 1332 = 1,554. We can then apply the same process of 1 + 5 + 5 + 4 = 15, which then brings us back as 1 + 5 = 6. A visual example is provided below for greater clarification.

The so called Magic Square of the Sun

20-Part Harmonic Wheel

This wheel divides the 360° circle into 20 equal segments of 18 degrees each. The key “in-between” points on this wheel include:

18, 54, 90, 126, 162, 198, 234, 270, 306, 342, 378, 414, 450, 486, 522, 558, 594, 630, 666, 702

These are not standard harmonic anchors (which are divisible by 36), but they sit between them and often exhibit unique mathematical properties.

Tangent Identity: The numbers 54, 126, and 234 all share the same tangent value (ignoring sign), approximately ±3.077683537. This is also the tangent of 666, confirming its placement as an “in-between” harmonic.
Positional Context: 666 lies directly between 648 and 684, both of which are standard harmonic numbers divisible by 36. This makes 666 a midpoint in the 18° arc between two anchors.
Numerical Rearrangement: Many in-between numbers can be restructured into standard harmonic forms:
- 126 → 1260 (by appending a zero)
- 234 → 2304 (by inserting a zero)
- 432, 234, 324 show rotational symmetry and digit inversion.
Divisibility by Nine: All in-between numbers listed above are divisible by 9 and their digits sum to 9 or a multiple of 9. This reinforces their harmonic alignment with base-9 numerical systems.
Divisibility by Four: Every number in this sequence is also divisible by 4.5, and many are divisible by 18, which itself is divisible by 4.5. More directly:
- 360 ÷ 4 = 90 → the full circle divides into four quadrants of 90°
- Each 90° quadrant contains five 18° segments
- Therefore, the 20-part wheel divides cleanly into four quadrants, each containing five harmonic points.

6-Part Harmonic Wheel

This wheel divides the circle into 60-degree segments, producing the sequence:

60, 120, 180, 240, 300, 360

These points align with geometric structures such as:

Hexagon: Six equal sides, each spanning 60°
Hexagram: Six points, each aligned with the 60° divisions

These forms fit precisely within the 6-part wheel and reinforce the harmonic structure of numerical design.

Summary of Structural Logic

360° ÷ 20 = 18° per segment → defines the 20-part wheel
360° ÷ 6 = 60° per segment → defines the 6-part harmonic wheel
360° ÷ 4 = 90° per quadrant → confirms fourfold symmetry
Tangents of key numbers (e.g., 54, 126, 234, 666) match precisely
Rearranged digits and zero insertions yield valid harmonic numbers
All in-between numbers are divisible by 9 and maintain digit-sum symmetry
The entire structure divides cleanly into four quadrants, six sectors, and twenty points

This framework supports literal measurement, harmonic mapping, and quadrant-based analysis. Knowing these facts also is the basis behind how ancient people sorted out and measured the concepts of space and time in relation to the cycles of nature which allowed for the establishment of civilizations and recognizing the divine expressed in and through nature and its geometry, the very same foundations of our concepts of the One and Three.

It should also be noted that it cannot be considered mere coincidence that 6-Part Harmonic Wheel happens to also be aligned with the concept of the 6 primary dimensionless cosmological constants that make our reality possible regardless who slow or rapid it may or may not be pending one's perspective. The very fact these measurements are not arbitrary demonstrates they do not occur by blind chance, coincidence or dumb luck. The foolish assumption is to conclude it is tied to our own existence rather than our existence is tied to them.

N, the ratio of the electromagnetic force to the gravitational force between a pair of protons, is approximately 1036. If it were significantly smaller, only a small and short-lived universe could exist.
Epsilon ε, a measure of the nuclear efficiency of fusion from hydrogen to helium, is 0.007: when four nucleons fuse into helium, 0.007 (0.7%) of their mass is converted to energy. The value of ε is in part determined by the strength of the strong nuclear force. If ε were 0.006, a proton could not bond to a neutron, and only hydrogen could exist, and complex chemistry would be impossible. If it were above 0.008, no hydrogen would exist, as all the hydrogen would have been fused shortly after Inflation (the Big Bag) commenced though it’s also possible substantial hydrogen remains as long as the strong force coupling constant increases by less than about 50%.
Omega Ω, commonly known as the density parameter, is the relative importance of gravity and expansion energy in the universe. It is the ratio of the mass density of the universe to the "critical density" and is approximately 1. If gravity were too strong compared with dark energy and the initial cosmic expansion rate, the universe would have collapsed before life could have evolved. If gravity were too weak, no stars would have formed.
Lambda Λ, describes the ratio of the density of so called ‘dark energy’ to the critical energy density of the universe, given certain reasonable assumptions such as that dark energy density is a constant. In terms of Planck units, and as a natural dimensionless value, Λ is on the order of 10−122. This is so small that it has no significant effect on cosmic structures that are smaller than a billion light-years across. A slightly larger value of the cosmological constant would have caused space to expand rapidly enough that stars and other astronomical structures would not be able to form.
Q, the ratio of the gravitational energy required to pull a large galaxy apart to the energy equivalent of its mass, is around 10−5. If it is too small, no stars can form. If it is too large, no stars can survive because the universe is too violent.
D, the number of spatial dimensions in space-time, is 3; specifically width, length and depth, often expressed as three planes along their own X, Y and Z axes vital to motion.

In nature, we find patterns, designs and structures from the most minuscule particles, to expressions of life discernible by human eyes, to the greater cosmos. These inevitably follow geometrical archetypes, which reveal to us the nature of each form and its resonances. It is this principle of oneness underlying all geometry that permeates the architecture of all form in its myriad diversity that far exceeds the necessity of time that would be required to allow for such incomprehensibly diverse expressions of such complexities, from the smallest of scales to the largest that we are ever able to observe in some form of visible perception demonstrates continuously. Just because we may not entirely understand it all does not make it all untrue.

THE BASIS OF THE NUMBER 22 AND MORE

This example is certainly more complex in associations. However, once you understand the basics it becomes much easier to understand how such things are variously represented and reflected in various ways throughout many "sacred and holy" concepts.

The ventral point surrunded by six points = 7 which is a direct connection in 2D form of a hexagon and tetrahedron, but also a cube depending on the angle one is looking at the structure. This is often expressed as well as the Divine Body of God and his 7-fold spirit. The triangulation representing the main season directions of Winter, Spring and Summer as they are called in modern times is also aligned with the three Goddesses and the principles of sacred geometry and their spherical Divine Bodies. These are often linked with elemental concepts of Fire, Wind and Water in some systems as "mother elements" emerging from the "father spirit of light" that in turn creates the order and harmonies of the universe. 7 + 3 = 10. This then connects to the combined Solar-Lunar measurements of the 12 months of the year with the previous associations. 10 + 12 = 22. 22 is tied often to the Phoenician Alphabet.

Around this structure of 22 there is also the alignment of 9 primary segments as shown by color coding them in different shades wherein these in turn also have 8 subsections each. 9 x 8 also equals 72 which ties into the previous connections. Some may associate these "9" with expressions of the One God and Three Goddesses, which in so doing the math changes as 9 x 4 = 36 and the One God associated with 7 and the Goddesses with 3 as a combined number of 10 it also becomes 36 x 10 =360 for a complete cycle. Incidentally we can connect 9 with the evolution of life that eventually results in us as a species by a scientifically organized system of:

Prebiotic Age — Before life existed, Earth was a chemical crucible. Organic molecules formed through abiotic processes, setting the stage for life.
Microbial Age — Life began with simple, single-celled organisms like prokaryotes. This age dominated for billions of years, with bacteria and archaea shaping Earth’s atmosphere and ecosystems.
Oxygenation Age — Photosynthetic microbes triggered the Great Oxidation Event, flooding the atmosphere with oxygen and causing the first mass extinction of anaerobic life.
Eukaryotic Age — Complex cells with nuclei emerged, allowing for greater specialization and the development of multicellular life.
Cambrian Age — The Cambrian Explosion saw a rapid diversification of life forms, including the first animals with hard shells and complex body plans.
Vertebrate Age — Fish, amphibians, reptiles, and eventually mammals evolved. This age includes the colonization of land and the rise of spinal structures.
Dinosaur Age — Dominated by large reptiles, this age spanned the Mesozoic Era and ended with the Cretaceous-Paleogene extinction event.
Mammalian Age — After the fall of the dinosaurs, mammals diversified and became dominant. This age includes the rise of primates and early hominids.
Human Age — Homo sapiens emerged, developed language, tools, agriculture, and technology. This age is marked by cultural evolution, global impact, and the Anthropocene.

The Connections of 72 and 216:

The number 216 is not mystical fluff—it’s a literal match to the Moon’s diameter in miles and appears in geometric and astronomical frameworks that model planetary relationships. Its cubic nature and harmonic ties to 360-degree systems make it a recurring figure in lunar science, especially when mapping Earth-Moon dynamics.

If we then take into consideration the number 72, this is often applied as 72 triplets or 72 x 3 = 216.
We can also reverse this as sequence 2 +1+ 6 = 9.
When we consider these as with other features we find many connections with the Moon we have several known basic estimations reoccur. 6 x 6 x 6 equals 216.
When we calculate 216 x 10 = 2160, we have the Moon’s average diameter which is approximately 2,160 miles.
Each of the 12 signs of the 12 months are also applied with an average age of 2160 years which is also 2160 x 12 = 25,920 completed axial procession cycle of the Earth.
In Mathematics 216 = 6³, making it a representation of a perfect cube.
It’s also the sum of three cubes: 33+43+53=2163^3 + 4^3 + 5^3 = 216, which appears in geometric modeling of spherical bodies like the Moon.
2160 appears as a harmonic of 21600, the number of arc-minutes in a circle.
If we divide a circle by 12 signs and apply the degrees at each of the 12 points, they equate as:
- 36°
- 72°
- 90°
- 108°
- 144°
- 180°
- 216°
- 252°
- 270°
- 288°
- 324°
- 360°
Full revolutions produce the same numbers with factors of ten =
- 360°
- 720°
- 900°
- 1080°
- 1440°
- 1800°
- 2160°
- 2520°
- 2700°
- 2880°
- 3240°
- 3600°
The pattern keeps repeating on a base-ten system, so, for example, 144,000 is 400 times around the "Wheel." Each section is divided into 6 parts, for a total of 60 marks. The top and bottom points of the "Wheel" have a zero tangent. The other eight points have the same four tangents listed by Carl, two if you do not consider plus and minus signs.

More connections with 7 and 13

While many will tend to apply other associations with these factors, we can also demonstrate additional connections which also link with concepts of the Lunar/Solar Calendar. Some of which are already known and other ones not as readily recognized when the number values are brought up. So let us proceed to break these down.

7 = 7 days a week.
7 x 4 = 28 in a lunar month.
28 x 13 lunar months = 364 lunar days a year and tradition added an extra day.
The extra day was broken down to 6 hours x 4 quarters = 24 hours.
A complete cycle of the moon is composed of 19 years called the Metonic cycle.
The Metonic cycle spans 6,939.6 days—or more precisely, 6,939 days, 14 hours, and 26 minutes, rounded to 7,000 days.

THE PENTAGRAM IS ANOTHER SYMBOL FALSELY CONNECTED TO "EVIL"

Hidden Circle Structure

In a regular pentagram, each of the five outer points forms an angle measuring 36 degrees. Most observers only count these five endpoints, arriving at the number 5. However, the pentagram also contains five internal intersections—where lines cross—bringing the total to 10 distinct points. Most will only count the end points to arrive at the number 5. However, you also count the intersections which are 5 more points for a total of 10. 10/30 = 3, representing decans or 3 sets of 10 degrees in a circle segmented by 12 and 12 = 3. Also 5 points x 36 degrees is 180. 180 represent half of a circle. With 10 points counted, it hides the geometry for a complete circle.

Another way is create a circle and subdivide it into 12 primary sections and in turn divide those into segments of 3 and then divide each of those 3 segments into 10 subsections. This in turn also equates to the same concept of 10/30 = 3, representing decans or 3 sets of 10 degrees in a circle segmented by 12 and 12 = 3. Also 5 points x 36 degrees is 180 as 10 points x 36 = 360 for a whole circle which also has its clear connections with the various measurements of the seasons and the concepts of time based on those measurements; such as 60 seconds in a minute, 60 minutes in an hour, and 24 or 12 x 2 hours in a day which equals 1,440 minutes a day which also equals 86,400 seconds in a day. However, one can divide 360 / 5 = 72. In a pentagon, the side acts as the base for an isosceles triangle, resulting in base angles of 72° each, along with an apex angle of 36°. Therefore, each interior angle of this inner pentagon measures 108º.

Dividing these 10 points by 30 gives 10 ÷ 30 = 1⁄3, which corresponds to three sets of 10 degrees—a reference to decans, or 10-degree segments used in ancient astronomical systems. These decans divide the 360° circle into 36 parts, often grouped into 12 signs × 3 decans each = 36 decans.

Also note:

5 points × 36 degrees = 180 degrees, which represents half of a circle.
When all 10 points are considered, the structure implies a hidden geometry that completes the full 360° circle.

This dual-layered design—visible endpoints and hidden intersections—reveals a complete circular framework embedded within the pentagram. It encodes both visible symmetry and underlying harmonic segmentation.

When constructing a regular pentagon:

The full circle is divided into 5 equal parts
360° ÷ 5 = 72°, which is the central angle between each vertex
Each side of the pentagon forms the base of an isosceles triangle
- Base angles = 72°
- Apex angle = 36°
The interior angle of the pentagon (between adjacent sides) is:
- 108°, derived from the formula:

Interior angle=(n−2)×180°n=3×180°5=108°\text{Interior angle} = \frac{(n - 2) \times 180°}{n} = \frac{3 \times 180°}{5} = 108°

Time Measurement

The same circular logic applies to timekeeping:

60 seconds in a minute
60 minutes in an hour
24 hours in a day = 1,440 minutes
1,440 minutes × 60 seconds = 86,400 seconds per day

These values are all divisible by 12, 36, 72, and 360, reinforcing the harmonic structure embedded in both geometry and temporal systems. Additionally the upright or inverted forms are entirely irrelevant to these mathematical features, however, most also get their positions wrong in their associations as the inverted is often associate with birth into this life, while it is the upright associated with death and the afterlife. Alternatively the inverted is associated with summoning and the upright with banishment. However, that is merely one base set of concepts which also tends to take away from the natural mathematics.

Let us also consider this. The circle of the year is divided into four segments. Each is at 90º angles. Half is 180º which x 2 = 360º of a whole circle which then divided by 10 simply from removing the 0 again links to 36. There are 13 months composed of 28 days in a lunar calendar of 4 weeks x 7 days. There are 52 weeks in a lunar year of 364, 13 weeks x 4 weeks = 52 weeks x 7days. 7 x 52 = 364, 3 + 6 + 4 = 13 which is 1+3 or the One and Three which equals 4. No more and no less.

It is also no accident that we can break the pentagram apart into 3 irregular triangles and achieve a true pyramid shape that is stable and would naturally be a much longer lasting and enduring structure. The upper two points could also be aligned to specific star clusters in the night time sky, and even the for can be applied as a half moon form for the triangle with a V rod form super imposed upon it. Additionally we have alignments with like the Golden Spiral better known as the Fibonacci sequence, which is a series of numbers where each number is the sum of the two preceding ones. It starts like this:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, …

The recursive formula is:

F(n) = F(n−1) + F(n−2) with F(0) = 0, F(1) = 1F(n) = F(n-1) + F(n-2) \quad \text{with} \quad F(0) = 0, \ F(1) = 1

Each term grows rapidly, and the ratio between consecutive terms approaches the golden ratio (≈ 1.618) as the sequence progresses. These have their applications in various science fields, including the research and study of nature, as well as a few other things that most tend to be unaware of. These are:

Biology: Leaf arrangements, seed spirals (like sunflowers), and pine-cones often follow Fibonacci patterns.
Computer Science: Used in algorithms, data structures (e.g., Fibonacci heaps), and recursive problem solving.
Mathematics: Appears in combinatorics, number theory, and geometry.
Finance: Fibonacci retracement levels are used in technical analysis of stock prices.

All these things began with 1 and 3 as a total of 4 with the direct connection to expressions of the True Divine Unity of the One God and Three Goddesses reflected through the mathematics of nature and the universe without being confused or reduced to mere symbolic abstractions there in. We can also consider the many ways we can arrive at the number 4 itself. Incidentally there are only 14 valid ways to achieve 4 from 0-4. 4 itself would be called in mathematics the identity or identifier.

0 + 4 = 4
4 + 0 = 4
4 − 0 = 4
1 + 1 + 1 + 1 = 4
1 + 1 + 2 = 4
2 + 1 + 1 = 4
2 + 2 = 4
1 + 3 = 4
3 + 1 = 4
1 × 4 = 4
4 × 1 = 4
2 × 2 = 4
2² = 4
4¹ = 4

We can then consider this as itself being a sequence by counting the total numbers of ways to reach 4 in valid mathematics when we apply 14 options as 1+ 4 = 5 which connects us back to the pentagram or five fold structure. Additionally we can count the end points of the 5 pointed star and its points of intersection for an additional as 5 x 2 = 10. We can count the center but can only count it once so we end up with 10 + 1 = 11. If we then superimpose a pentagram as the inversion of the other so we have a start form known as a decagram we have the 10 x 2 = 20 but can count the center as 1 for a total of 21. That is unless we count the center as 2 representing the point of unity so we once again return to the earlier expression of 22 creating the tie in.

(The most common but seldom mentioned reason such things are not taught generally isn't because they are untrue, but rather because such knowledge counters many other claims consistently and as such to keep true knowledge suppressed, it is discouraged as evil on one hand and exaggerated beyond recognition by occultists on the other).

THE TRUTH ABOUT THE SWASTIKA AND EQUAL ARMED CROSS

Some earlier, older examples also tended to use what have come to be called swastikas (sua-stika, combining sua ‘sway,’ which is proven by such as swayed from suad, swung from suong, swang from suang and swing from sueng, + the word stika also spelled as stiku and stikan meaning sticks and therefore based on lines akin to straight sticks), a word suggestive of motion such as rotation. It does not mean things like auspicious or lucky, etc. and not racist, though many racists will hijack all sort of things and corrupt their far more ancient and natural associations and expressions. So in that there is no reason to allow such associations to stand.

Additionally, while some claim or state these are also "Solar Wheels" they do not actually clarify when that is the case, at least not precisely and how their directions are actually connected (and the angles don't matter as many claim out of intentional imposed decades of misapplied association because of less than a decade of usage by one particular regime that utilized it with other nonsensical connections and a lot of later historical imposed imposed paranoia and immediate false associations). In any cause they are represented here properly.

TURNING SEASONS

PRIME DIRECTIONS

TURNING HOURS

Its simple enough to sort out how this can be aligned with the Sun since all one has to do is face North, for example, and which the pattern of the alignment of the rising and setting sun to figure out the association with the turning hours, but also over the course o the year observe the rotation of the seasons themselves through these cycles and where the Sun is positioned and its path outlined. many simple do not give our collective human ancestors enough credit to have sorted these things out simply by paying attention to the world around them and how such knowledge improved survival during the seasons in diverse climates.

SERPENT AND CROSS

One of the often misrepresented or misapplied symbols, this is actually a solar and seasonal symbol. The points represent the Sun itself at the North/Winter and South/Summer Solstices and East/Spring and West/Fall Equinoxes. The top point would be the direction of the South/Summer (When the Sun appears largest) and the bottom point the direction of North/Winter (when the Sun appears smallest). The Equal points on either side are for the equinoxes (when the Sun appears to be in its mid-size at these two points of the year). The Cross, also called the Tree, represents the world.

As to the Serpent, it represents the apparent path of the Sun that creates an elongated figure 8 shape when marked at a point in the sky at the same time throughout the year. The point where the line crosses itself as the intersection of the opposing loops us when the equinoxes occur. It is known as the Analemma of the Sun, however, the Moon also follows a similar path in the sky (depending on what location of the global hemisphere you are viewing from). It is caused by the Earth's wobble effect. In some examples of this kind of symbolism, the serpent may be given horns curved in a way to suggest the moon. Sometimes 'S' shaped Double Spirals represent this process.

Associated symbolism

Because of these cyclical observations and applied symbolism, this Cross and Serpent where the cross is often represented in gold and the serpent in silver but with gold eyes and horns, or the reverse applied depending the source, it has an extremely ancient association naturally with the concepts of birth, death and resurrection/renewal. If one sees a rod with three different sized spheres where one is large on one end, one is small on the other, and there is a midsummer size in the center, it represented the Three Faces of the Sun and may or many not have a serpent like design looped or spiraled around it.

Shedding skin = visible rebirth

One of the strongest roots is biological. Snakes periodically shed their skin, emerging glossy and renewed. To early cultures, this looked like:

Death of the old body
Re-emergence into life

This made the serpent a living emblem of cyclical renewal, long before abstract philosophy existed.

Earth-dwelling = liminal power

Snakes live close to or within the ground, which many cultures associated with:

Graves
The underworld
Ancestral realms

On the other hand Snakes also come out to warm themselves in the light of the Sun as well as to discard old skins they have outgrown. Additionally, the earth is also where seeds sprout. So the serpent becomes a threshold creature—moving between:

Death ↔ life
Below ↔ above
End ↔ beginning
Past ↔ present (and in some cases a potential future)

Eternal cycles and self-renewal

The serpent often represents time and eternity, especially when biting its own tail. This image expresses:

Destruction feeding creation
Death generating rebirth
The universe renewing itself endlessly

Knowledge that kills and awakens

Serpents are also linked to forbidden or transformative knowledge. In many traditions, awakening brings:

Loss of innocence (a kind of death)
Expanded awareness (a kind of rebirth)

This is why serpents appear in initiation and healing rites, and resurrection myths—not as villains, but as catalysts.

Healing through poison

Serpents can kill swiftly and silently. This dual capacity—life renewed vs life taken—made them natural symbols of:

Mortality
The boundary between life and death
The suddenness of fate

Because death often arrives unseen, the serpent became its perfect image. However, even venom contributes to the paradox. Many ancient medical traditions used snake venom in medicine, reinforcing the idea that:

What kills can also heal.

That logic still survives in medical symbolism today.

Error of Androgyny Association

Serpents appear for the most part to be androgynous or sexless so they are also often associated with resistance to classification as well as bridging boundaries and perceived (erroneously) as living paradoxes. Becoming further removed from the solar/lunar/seasonal associations, much of the errors and lack of awareness of the actual biology of serpents and their distinct genders and processes of reproduction had resulted in the additional following associations:

They move without legs neither walking nor crawling
They live above and below ground and traverse the light and dark
They shed their skin so they are always both old and new

Because of this, many cultures treated the serpent as neither–nor, which naturally extended to male/female polarity. A being that crosses boundaries easily also crosses sexual duality. This was and is further taken into the concepts of serpents assumed to be (which is known to not be true):

Self-generating and Self-consuming
Self-renewing (this being a cause for ancient beliefs serpents are generally immortal) and eternal

Alchemy: serpent as unified masculine–feminine

In Western alchemy, the serpent often represents the prima materia, the raw substance before it is split into opposites (heavily associated with concepts of Gnosticism). Alchemical texts frequently describe this state as:

Masculine and feminine combined
Sun and moon united
King and queen in one body

The serpent, because it renews itself and encloses itself, became the perfect emblem of this pre-dual unity. This ascent symbolizes:

The merging of masculine (active) and feminine (receptive)
The return to a unified, awakened state
Transcendence of gendered identity altogether

A Birth Defect as Justification

Here, androgyny means integration, not neutrality. Because of a known fact that 1 in every 100,000 snake births a result of an incomplete embryonic split end up producing two headed snakes, such two headed snakes were often represented as proof and embodiment of this symbolism. Thus, when such are represented with or without multiple heads, they become symbols of divinity in association with the concepts of:

Creation without loss
Power without division
Wisdom beyond polarity

Mystical and Occult Nonsense in Psychology

In depth occult and mystical based psychology, the serpent often appears in dreams during periods of integration—when unconscious (traditionally “feminine”) and conscious (“masculine”) aspects of the psyche begin to unite. Thus:

Androgyny = psychic completeness
Serpent = the force that makes that union possible

Form these same psychological driven nonsense is where we get the neurological fiction that the right hemisphere of the brain with characteristics stereo-typically considered "female," such as creativity, intuition, and emotion, while the left was considered "male," logical, and analytical as a basis of other garbage behind "gender identity" opposed to gender reality. In any case, the serpent often symbolizes androgyny because it represents life before it splits into opposites in various occult mystical rhetoric—a state where masculine and feminine, death and life, creation and destruction exist as one continuous process.

Twin Serpents Symbolism of Sky and Sea

In these traditions that are less often mentions, and all but forgotten even in many academic circles, the serpent does not symbolize androgyny, but cosmic generation through distinct yet complementary male and female principles, whose union gives rise to the world itself.

Not all cultures read serpents as androgynous

Not every ancient culture projected androgyny onto serpents. Many traditions carefully observed serpents breeding and clearly distinguished:

One serpent as male
One serpent as female

Rather than collapsing sexual difference, these cultures affirmed polarity as real, meaningful, and generative.

The serpent egg as primordial origin

In these traditions, the foundational symbol is not the single androgynous serpent, but the serpent egg. The egg represents:

Original being
Undivided potential
The source from which differentiation begins

From this egg emerge twin serpents, already distinct in sex and function.

Twin serpents: differentiation, not fusion

The twin serpents that emerge from the primordial egg are:

One male
One female

Their power lies not in sameness, but in complementarity. They entwine not to erase difference, but to activate creation through polarity.

Sky serpent and earth–water serpent

The two serpents are often cosmologically distinguished:

The Sky Serpent
- Associated with air, height, light
- Often winged
- Linked to transcendence, motion, and ordering forces
The Earth–Water Serpent
- Grounded, unwinged
- Associated with soil, rivers, seas, and fertility
- Linked to substance, gestation, and nourishment

These are not symbolic abstractions, but cosmic roles.

Creation through union, not self-generation

Creation does not arise from a self-contained being, but from relationship. Through the entwining of:

Serpent of the Air (Sky)
Serpent of the Water (Earth/Sea)

Procreation occurs, producing:

The earth itself
All life upon it
All life within it

The world is thus the offspring of their union.

One of the Sky, one of the Sea (Sometimes also of the Earth Surface and Subsurface Underworld)

This cosmology preserves a crucial insight:

Life emerges not from androgynous sameness, but from differentiated forces held in balance and harmony.

“One of the Sky and one of the Sea” expresses:

Sexual distinction
Elemental polarity
Creative reciprocity

Without collapsing into a single, undifferentiated principle. As to when or how the "egg" these serpentine creators emerge from came into being, the most basic sense in these ancient examples is it spontaneously formed in nothingness and often represented as an obsidian egg or sphere that hatches and with the emergence of the serpents, light, elements and life came forth as debris of this "First Time" or "First State of Being from Non-Being."

It should also be noted that such serpents may be representatives as in messengers of omens of particular cultural lore for other deities and even ancestors but all expresses the reality that serpents are among and often the most powerful of ancient beings in ancient lore as indifferent as nature itself, as friend, as foe, and even as tricksters that embody bipolar ambiguity.