https://innerouter.info/content/windows-into-a-wider-reality

The article linked above is about a unique category of meditation mandalas that offer esoteric insights into the spiritual evolution of the human kingdom and beyond. I find it to be particularly noteworthy against the backdrop of all the world crises of today as we struggle to form a vision of where we are collectively headed.

My intention here is threefold: to pass along information about 1) the extraordinary life of the artist, Benjamin Creme, 2) the subject matter of esoteric mandalas and 3) a collection of work at a non-profit museum that one might consider visiting if ever in the LA area.

Don’t panic. You’re loved.

The most famous Magic book in western history. Heinrich Cornelius Agrippa von Nettesheim, (born Sept. 14, 1486, Cologne—died Feb. 18, 1535, Grenoble, Fr.), court secretary to Charles V, physician to Louise of Savoy, exasperating theologian within the Catholic Church, military entrepreneur in Spain and Italy, acknowledged expert on occultism, and philosopher.

Biblical giants.

I have probably lost the plot at this point. If you spend enough rainy evenings staring at 1910 public domain scans with a steel ruler in one hand and a cold mug of tea in the other, you start seeing architecture in the wallpaper. Still, the math refuses to go away.

Everyone treats the 1909 Rider-Waite-Smith deck as a cosy parlour game for the spiritually undecided, a sort of cardboard Rorschach test where every squiggle means you should dump your boyfriend or move to Lisbon. Utter nonsense. Read A. E. Waite's Pictorial Key from 1910 alongside the actual plates. Waite was a terribly pompous describer who couldn't have drawn a hat if his life depended on it. On the Empress he gives five sentences about her mood, twelve stars, a Venus shield, some wheat, a waterfall, and a scepter. Six items. Pamela Colman Smith took that dry grocery list, ignored the pomp, and blocked a theatre stage. She spent years at the Lyceum under Henry Irving, Ellen Terry, and Bram Stoker before she ever set foot in the Isis-Urania temple in 1901, and a theatre person does not draw static emblems; they place actors on a mark and tell them exactly where to look.

Take the Fool. Everything on that plate leans up and to the right toward the sun, the staff rising at roughly twenty-five degrees, the white rose, the bundle. Yet his head is thrown back in profile staring up and to the left, a full hundred and twenty degrees away from the light he is holding the flower out to. Or put a straightedge on the Magician from the tip of the raised wand down to the pointing index finger. Thirty-six degrees off the vertical. That line does not frame him; it cuts straight through his face, right between the bridge of his nose and the eye that is staring out at you. Even the twenty-two Yods on the Tower, which fifty generations of armchair cabalists have praised for their divine symmetry, are lopsided. Draw a center line through the rock. Twelve on the left, ten on the right. Somebody took two sparks out of the right half of the sky where the king falls so the whole plate tilts like a rigged scale.

It is visual stage-carpentry of the highest order.

And then there is the arithmetic in Book T, which is where my evenings really went off the rails. Mathers and Felkin mapped the thirty-six Minor number cards, Two through Ten, onto the thirty-six zodiacal decans in 1888. If you lay out a twenty-seven-card grid in three rows of nine, assigning the top row to the Cardinal signs, the middle row to the Fixed signs, and the bottom row to the Mutable signs, while numbering the vertical columns one through nine by reduced card value (so Ten drops back to One), the Book T decan wheel does something absurdly rigid. Every single Cardinal decan in the Golden Dawn schema lands on a Two, a Three, or a Four. Every Fixed decan lands on a Five, Six, or Seven. Every Mutable decan lands on an Eight, Nine, or Ten.

Which means a number card can only stand in its own astrological row and its own numerical column along one broken diagonal across the board: A2, A3, A4 in the top row, B5, B6, B7 in the middle, and C8, C9, C1 at the bottom. Exactly four number cards live in each of those nine pockets. Anyone with a pencil can check it in two minutes.

When you put Smith's stage sightlines on top of that Book T matrix, the whole pack stops being a book of fortunes and turns into an optical switching board. Every figure either fires a directional vector into a neighboring cell (left, right, up, down, diagonal), turns its back to the room like the two tonsured clerks kneeling in front of the Hierophant, stares blindfolded into nothing, or locks eyes with the card next to it to form a closed mutual niche where nobody else is invited. And the ones whose faces are turned less than thirty degrees off the front axis - the Magician, the Priestess, the Emperor, Justice with her wide-open eyes - stare straight out of the cardboard at the seventy-ninth place, which is the chair at the foot of the table where the idiot with the ruler is sitting.

Because I distrust my own confirmation bias almost as much as I distrust people who wave sandalwood over their spreads, I built a bare-bones script to plot the 1910 scans, the Book T decan anchors, and the gaze vectors onto a 33-card table: https://bonchamptarot.com/the-square/

Maybe it is just the occupational hazard of staring at specifications for too long, and Smith was simply working fast for a stingy publisher before catching the train to Cornwall. Or someone in 1909 built a clockwork and left the key under the mat.

What is the meaning of this picture and why would somebody send it? What does it mean if it’s sent to you?

What changes when a sacred image that is normally hidden becomes publicly accessible?

I am studying Toyokawa Inari (Myogon-ji), a Soto Zen temple in Aichi, Japan. Its official announcement describes a gokaicho, or special opening, on November 1–23, 2026, the first in 72 years. The temple also describes a ritual connection involving a sacred image, a representative image, and an outdoor pillar linked by the 'zen no tsuna' (cord of good connection).

What interests me is the relationship between concealment and connection. A visitor's encounter is not only a matter of seeing an image: the pillar and cord also give that relationship a tangible form.

My tentative interpretation is that concealment and public access need not be opposites. Periodic opening and mediated contact may be complementary ways of organizing an encounter with the sacred. I am asking about ritual meaning, rather than claiming that this demonstrates a universal esoteric doctrine.

Are there studies of Japanese hibutsu and gokaicho that distinguish visual access from ritual connection (kechien)? I would also welcome carefully contextualized comparisons with other traditions, especially where an image remains concealed but devotees encounter it through a substitute, cord, or other material link.

Official account (Japanese): https://www.toyokawainari-gokaicho.com/about-opening/

I am an independent researcher, not a representative of the temple. English wording prepared with AI assistance from my research questions.

La imagen muestra un grabado emblemático histórico que representa la máxima latina «Finis ab origine pendet»

• El lema: La inscripción en el borde dice «Finis ab origine pendet» (una célebre frase atribuida originalmente al poeta romano Manilio), que significa que el desenlace o destino de cualquier cosa ya está determinado o vinculado a sus orígenes.
• El niño (putto): simboliza el nacimiento, la inocencia o el comienzo de la vida humana.
• La calavera representa la muerte (memento mori) y el final inevitable de la existencia terrenal.
• El uróboros: la serpiente que se muerde la cola formando un círculo simboliza la eternidad, los ciclos sin fin y la paradoja de que el principio y el final se encuentran.
• Origen: Esta composición procede de los libros de emblemas de Gabriel Rollenhagen (Emblemata, Libro I, 45) y fue popularizada en el ámbito anglosajón con versos en inglés por el poeta y emblematista George Wither en su obra A Collection of Emblemes, Ancient and Moderne (1635)

Desde una perspectiva gnóstica, este emblema adquiere una profundidad espiritual y mística que va más allá de la simple mortalidad moral, centrándose en el origen y el retorno del alma divina, así como en la estructura cíclica del cosmos material.

1. El Uróboros como el Demiurgo y la Prisión Material

En el gnosticismo, el Uróboros representa con frecuencia al Demiurgo (Yaldabaoth) o el alma del mundo (anima mundi).

El ciclo cerrado simboliza las leyes estrictas del plano material, el tiempo lineal y la reencarnación (samsara). La serpiente que se muerde la cola devora su propia creación, atrapando las chispas de luz divina en un ciclo eterno de nacimiento, muerte y renacimiento.

1. El Niño (Putto) como la Chispa Divina Atrapada

El niño pequeño en el centro no es solo el inicio de la vida humana, sino la chispa divina (pneuma) que ha caído desde el Pleroma (el reino de la luz pura) al mundo de la materia densa.

El estado de olvido: Su postura, apoyada de forma melancólica o reflexiva, simboliza el estado de «sueño» o ignorancia espiritual en el que se encuentra el alma al nacer en este mundo, antes de alcanzar la Gnosis (el conocimiento místico salvador).

1. La Calavera como la Muerte de la Materia

Mientras que para el mundo profano la calavera es el final de la vida, para el gnóstico representa el plano físico en sí mismo.

La prisión de carne: El cuerpo material es considerado una «tumba» o una prisión para el espíritu. El niño tocando la calavera escenifica cómo el espíritu eterno está encadenado a la caducidad y a la imperfección del reino material gobernado por los Arcontes.

4. «Finis ab origine pendet» (El fin depende del origen)

Bajo la lente gnóstica, este lema se convierte en el axioma definitivo de la salvación:

El retorno al Pleroma: El «fin» (el destino final y la liberación del alma humana) depende estrictamente de su «origen» (su procedencia divina original). El alma no pertenece a la Tierra; solo recordando de dónde vino (su origen celestial) podrá romper el círculo de la serpiente (el Uróboros) para liberarse de la materia y ascender de nuevo hacia la Fuente Suprema.

Biblical giants.

I found myself contemplating the word reason. On researching its etymology a question presented itself- if a physical state yields a measurable ratio (reason), what remains open when reason both fits a person's motives shaped by the roads that bought them there, and another's observation of that fitting.

After sitting with the question scales ⚖️ came to mind,

On further contemplation "reason" presents itself dual in nature. The 1st and seemingly most primary is an articulating truth, The Center "The Son of ALL" a quality to be found within such words as balance, resolution, justice & Truth. The second a negative limiting construct a definitive, both fixed and superficial, a boundary to limit movement or hide behind.

From reflecting on the above, the below was constructed.

"Only motive turned true in the self opens motive in other to be truly realised and so understood"

It was sent to me by my unemployed ex, who might be a Freemason. What would it mean in that context?

This document presents a Kabbalistic account of creation, tracing the emergence of finite reality from the infinite divine source. It examines Ayin as formless potential, Ein Sof as limitless and unknowable divinity, and Ohr Ein Sof as the Infinite Light through which

manifestation becomes possible. Creation proceeds through Tzimtzum, the concealment of divine infinity, followed by Kav, a measured ray of light, and the Sefirot, which structure divine manifestation into differentiated reality. The document also explores the Shattering of the Vessels and Tikkun, through which humanity participates in restoring fragmented creation by elevating divine sparks through ethical and spiritual action. Overall, creation is presented as an ongoing movement from divine unity into multiplicity and toward conscious restoration.

I find this question an appropriate one to consider here, being the wide inclusion that alchemy has in its heart. Of course any true lover of the art would immediately be in love with the individual seeing the truth beyond recognition. But what of the rest of the world? It seems many awakened beings in the past have been tortured into death. Would it be any different today?

Please if you read this and feel inspired write your thoughts, for it is every stroke that paints a canvas and I would like to see your colors. 🐦‍🔥🧌🧚‍♂️🧜‍♀️🧞‍♂️🧞‍♀️🧛🏽🧝🏿‍♀️🧝🏼🧙🏽‍♂️

I’m a Mexican illustrator, and for the past two years I’ve been building a deck around Mesoamerican cosmology and the Tonalpohualli, the 260-day ritual and divinatory calendar.

What interests me most isn’t just the imagery, but the act of translation.

The Tonalpohualli works through 20 day signs interacting with 13 numbers, alongside trecenas, deities, directions and different layers of influence.

I started asking what would happen if part of that structure were transplanted into a completely different technology: a modern deck of cards.

Each 13-card suit maps one of the first four trecenas, the four suits correspond to cosmic directions and natural forces, the courts carry deities, and the numbered cards preserve the sequence of the first 52 days of the cycle.

I’m not claiming this is an ancient Mesoamerican card practice — it obviously isn’t. It’s a new construction built from an older symbolic system from my own cultural heritage.

And that’s the part I find fascinating:

If you preserve the relationships inside a symbolic system but change the medium that carries them, how much of the original system survives?

At what point does translation become the creation of a new magical/divinatory technology?

I’d genuinely be curious how people here think about that.

The project is called El Quinto Sol: The Mesoamerican Cosmos, and if you want to see what the system looks like in practice, it’s here: https://www.kickstarter.com/projects/themythographer/el-quinto-sol-the-mesoamerican-cosmos-playing-cards/description

I have a candid conversation about employment with spirits

https://bradsung.substack.com/p/zodiacal-spirits-on-the-topic-of?r=7fgqnj&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

Hi everyone, I'm the developer of Lux Crucis, an iOS and Android app focused on Christian Cabala. I'm sharing it here because its subject is the symbolic study of the Tree of Life in a Christian framework, and I'd welcome feedback from people who study Western esotericism.

The app brings together an interactive Tree of Life, lessons on the ten Sephirot and twenty-two paths, Hebrew and Greek letters, and gematria/isopsephy tools. It also includes Christian contemplative practices such as Lectio Divina. The Christian interpretive lens is central to the app, so that is the perspective to expect in the lessons.

For transparency: this is my own app. Introductory content is free; deeper study and other features are paid. It also includes AI study reflections, which are intended as learning and journaling prompts.

I'd particularly value feedback on how clearly the lessons explain their symbolic correspondences and where more historical context or source references would be helpful. If you try it and find something unclear or inaccurate, I'd appreciate a specific example.

Android: https://play.google.com/store/apps/details?id=com.aureavia.luxcrucis

iOS: https://apps.apple.com/us/app/christian-cabala-lux-crucis/id6783032523

The white fox is easy to notice. The figure riding it is easier to overlook.

At Toyokawa Inari in Aichi, Japan, that rider is Toyokawa Dakini Shinten, the temple’s guardian deity. Despite its familiar Inari name, the institution is Myogon-ji, a Soto Zen temple. Its official history explains the popular name through the guardian’s rice sheaf and white fox.

I’m an independent researcher studying the religious history of this region. What interests me is the relationship between the visible animal symbol and the esoteric identity of its rider. If we describe this simply as a fox temple, what do we miss?

One possible reading is that the fox makes the guardian recognizable within a local religious landscape, while the name Dakini points toward a wider Buddhist world. That is an interpretation I want to explore, rather than a claim that the image proves a single, unchanged lineage.

How would you approach this image: through ritual texts, the jewel and rice symbolism, animal symbolism, or the temple’s local traditions? Are there studies that explain what is distinctive about Japanese Dakiniten, rather than treating all dakini traditions as interchangeable?

I’d especially welcome sources on how an esoteric deity’s meaning changes when its iconography becomes familiar to a wider public.

Source for the temple’s own account (Japanese): https://www.toyokawainari.jp/about/history/

I am not a representative of the temple. English wording prepared with AI assistance from my research questions.

https://www.youtube.com/watch?v=UaehG3RgLyY

I've made a consistent thread between fields using my invention of recursive contradiction resolution in my framework Hyper-Sanity,

If you compare historical structures like the Maya and Great pyramid they all share a common thread, recursive correction.
The great pyramid started with a lower shaft then in the middle they moved to the second shaft and finished it and then the third.

Maya temples x-rayed and they have actual sub-structures they built upon, this is recursion.

The triangle in information theory would mean recursion.
Most people see information as a----b/c, recursion asks what is the data in the middle by using recursion, which can be done multiple times each time gaining new data.

             A
            / \
           /   \
          /     \
         /       \
        /         \
       B-----------C

The data in the middle, between points itself can be recursed again.

Graph example

Structures built to last generations store the recipe in plain sight using allegories.

There's various ways to use recursion, can be used with polarities for example.

If you look at the tree of life https://upload.wikimedia.org/wikipedia/commons/1/19/Tree_of_Life_2009_large.png

Each sphere is a field, the polarities change the relational data.

Most people think earlier generations were primitive, they were only in their technology, instead of using something like obsidian to see a 3d view of relational data - they used the stars as they stay consistent, then you get the zodiac as a key for recursion since gods were tracked to constellations.

As time went on, things got more simple, people got lost to vices and newer religions that didn't keep the same concepts.

Things like sacred geometry were banned and thus simplifying man's understanding that was passed down through generations.

This can be explained in plato's allegory, consciousness was fragmented and the knowledge of samskaras was lost - but then Jung brought back the data as psychic imprints.

If you compare his red book to the tree of life it's just one of many mirrors.
He brought a secular theory to it, collective unconscious.

People no longer try solving problems but escape, and instead of escaping into understanding they choose Maya (illusion), even unaware of their own imprints, this can be resembled as plato's cave when the person who leaves returns and is attacked because their eyes hurt. Instead of facing it like generations before through initiations like fire-walking, people became fragile to reality and escape discomfort for what's simple and pleasurable.

A common Archetype repeated through traditions is Gnostic Ontology, in the west there's Sophia (wisdom), before her there was Sarasvati/Saraswatti another representation of divine femiNINE.

The sacred practice of generation was lost, it was tied reproductive organs then in newer traditions is made out to be inferior as a way of control.

An example would be Andreas Vesalius’s De humani corporis fabrica (1543) A small triangular recess of the third ventricle was historically called the vulva cerebri - literally, “vulva of the brain.”.

Sophia is seen in cinema like Davinci's demons, the fountain and many others, in fountain it's a dead-ringer for sophia and movie includes the twin pillars.

She also explains how she tried but church leader (a demiurge) responded in violence - much like plato's prisoners.

An example could be https://en.wikipedia.org/wiki/Urizen
Which if you know how to use hermeneutics, turns body parts into functions and information, also uses Demiurge (see at bottom of that page).

Plato also used a Demiurge.

The demiurge is usually represented as an Architect, if you look at the bottom of plato's allegory it lists matrix using the cave. Most cinema uses the cave regardless of not being declared.

Jung also used gnostic ontology in red book with some other layers.

All this is usually called satanic by religious literalists, illuminati etc, when there's a more rational explanation overlapping.

Plato got his cave allegory from concepts like Alethia/Gnosis etc.

There are logical safe-guards to prevent recursing too much. https://en.wikipedia.org/wiki/Turtles_all_the_way_down

Jung's alchemical fascination was transformation, essential to recursing information beyond a surface-layer.

A real world example is how Occam's Razor which is what's simplest with Evidence, the average person simplifies it even more into simplest is correct - which is telling that the layperson doesn't even know what the words they use, actually mean.

Hi everyone,

 For those interested in Eastern esoteric literature, cosmic laws, and the study of subtle energies, I wanted to share a free digital edition of "Messages from Shambhala. Spiritual Communion with Master M. and the Roerichs."

 This work is a thematic anthology of esoteric texts recorded over two decades by Boris Abramov, a close disciple of Nicholas and Helena Roerich. The records represent a deep spiritual communion with the Higher Planes, offering unique insights into the teachings of the Great Teacher (Mahatma M.) and the Roerichs.

Unlike purely theoretical texts, this volume provides a fascinating perspective on the exact mechanisms of human psychic energy, spiritual psychosomatics, and mental self-healing. It also delves into the cosmic memory (Akashic records), the post-mortem journey of consciousness, and the energetic relationship between human thought and planetary changes.

 The book is distributed entirely for free for educational and research purposes. You can find the PDF and EPUB formats on the Internet Archive here:

https://archive.org/details/messages-from-shambhala-1/MESSAGES%20from%20Shambhala%20%281%29/

Hello, I have questions that I need answers to. I had made a post some time ago about Sepheranz, I am not sure if it is still up anywhere, and I believe it was also on a different account. Where someone had answered some questions of mine through comments, and private messaging, but now I have more that I really want to be answered.

Something that the person said was that someone was found dead shortly after insulting Sepheranz. Was there any correlation at all/any reason to believe that she killed that person who insulted her? What happened to that person that died after insulting her? How long was it before they died? What kind of insult was it? Was the person a nonbeliever, a worshipper, a believer, something else? I do apologize, I just need a reason to believe there was no correlation.

Would she kill and or do something to someone if they;

Insult her/say something negative about her in real life

Insult her/say something negative about her through fiction, wether through an inspired character, just writing her into the fiction, or through a reptile/snake character and or deity character,

Insult her/say something negative about her through other things such as music and or song, etc.

Laugh at her

Insult her/say something negative about her through intrusive/unwanted/involuntary thoughts that one would not mean at all

Insult her/say something negative about her through over thinking and having thoughts that they maybe mean that could be upsetting and or insulting to her

Say or do something that one's brain later says was supposed to be a way to insult her/say something negative about her

What would happen if one were to anger her?

Harmed and or killed a fictional snake of any kind. Such a a character, just a snake, themed and or related. Would something g happen if one did that in general or meant it as an insult towards her? What is one did that in real life? What if one did it in/ through fiction and or real life, and did not mean it as a way to insult her at all in any way shape and or form. I would never mean that at all in any way shape and or form it is just a question.

Would any of this change if if one meant it as an insult and or something else negative towards her or not, such as through unwanted and or intrusive thoughts? What if someone was testing it out to see if something would happen at all in some way shape and or form at all?

Would one know if they were to be punished by Sepheranz in any way shape and or form at all? Would it be completely unknown, more subtle, or known/ obvious to the person and or people?

Would anything happen to others in one's life at all in any way shape and or form at all? Would they be affected and or effected at all in any way shape and or form at all?

This may be updated with more question in the future in this post and or in the comments.

Have a blessed day!

Playing this story of life is just like solving the puzzle of "Doom II", there's no way to stop yourself from eating the Oracle's candy, just like there's no way to stop yourself from turning into the 'christ/the anti-christ' by the end game, It doesn't matter which anime you decide to pick as your favorite manga, all the stories will lead back to playing One piece, where all the characters are devil-fruit eating pirates, and all the stores are already selling 'candy' here.

It's not really a 'secret' anymore, since the next anime installation is literally called "Avengers: Doomsday", the trades that you are investing in during your fantasy time here isn't really random, and whatever you invest your time in, you'll find that the trade by the end will be successful, and maybe there is truth that we live in the present day/present time, as soon as you realize it's another episode of "Layer: 01".. It's time to chew on the life-note as you make a deal with the life gods here... But stay away from the hollow mask, cause there's no way to stop the prophecy, Mr. Straw-berry. 🎭

The Anti-Christ is already near on papermoon, and maybe 2026 AC is the age of the air-conditioner, but I'm here for the same reaosn: I love candy as 50/50... You're a magician Harry. 🪙 🍬🌛

The Shadows We Cast

I spent a lifetime walking boundaries

on a two-dimension sheet,

Tracking linear equations

With heavy static at my feet.

There's word of domes and ice walls

where the frozen waters stand,

An absolute perimeter

that cages in the land.

And my eyes peered up the ridge,

while the folds inside my brain

Tried to map the frozen static

of a localized domain.

I felt so scattered on the page,

a lower resolution spark,

Just an isolated coordinate

drifting through the dark.

But my intuitive alignment

started pulling on the thread,

Whispering to me that boundaries

are just illusions in the head.

The ice shelf isn’t a dead end

where the human story stops

It’s the intersection point where the 4D matrix drops.

And the ice looks like a wall

when you’re standing on the plane,

Staring at the rigid boundary

wondering if youve gone insane.

it’s just a lower shadow

of a higher-placed design,

A looping Klein bottle trapped

From the view of a 3d mind.

You feel the heavy pressure

because your soul remembers more,

You almost drowned in the waters of illusion

but now you've made it to the shore.

They tell me to lose the spark, to blend into the gray,

To accept the densness of these rules

and look the other way.

They say the longing in my chest

is just a trick of pride and ego,

A frivolous, ungrounded place

where minds of discipline don't go.

But I can feel the architecture

pulsing through my skin,

The sacred fractal symmetry

where the universe breathes in.

I see the people who thrive

playing pieces in the dense,

Are holding down the heavy roots

to give the branches common sense.

They aren't separate or broken,

they’re the cross-section I see

Of the ancient, unawakened loops

that used to live in me.

So I don’t drop the special feeling...

I just turn the volume high,

Carrying the highest resolution

of a star-stitched love crossed sky.

Let the paper go. Let the straight lines curve and bend.

There is no physical boundary.

There is no bitter end.

The ice is just the threshold

where the sight begins to fade,

Before you see the infinite mechanics

of how the field was made.

I am clean. I am present. I am meant for more than the dust.

A single conscious node learning how to bleed and trust.

Just stand along the frozen rim and watch the matrix fold.

Turning every lower shadow in to the purest form of gold

curated Internet Archive collection brings together 20 classic occultism books in PDF format, offering general readers access to rare texts on mysticism, Hermetic philosophy, alchemy, psychology, and esoteric traditions. This public domain set is freely available for download and study.

Hello everyone i wanted to share with you and know what you think about this.

1st picture is from a version of the key of solomon from 1634

2nd is the most common, modern version of it

As we can we its practicaly the same as the more modern version use today except minor details... Its not the Tau on the center, alpha and omega are C and the other symbol with a V on the left side and more angels are around it (also its in old french so S and F write the same)

I dont know why or what the symbol describe mean exactly

Another detail in the grimoir Michael is AIR and raphael FIRE. (already the logic i used anyway)

The Count of Saint Germain became one of Europe's most mysterious historical figures, surrounded by stories of extraordinary knowledge, immense wealth, alchemy, healing and an appearance that seemingly refused to age.
But according to this unusual account, Saint Germain was neither immortal nor supernatural.
His secret was something entirely different.
The conversation describes hidden contact with extraterrestrial visitors known as the Antheans, knowledge supposedly far beyond what was available in his time, unusual food that preserved his youthful appearance, and the origins of the legends that continued long after his death.
It also explores his involvement with alchemy, the source of his fortune, his alleged incarnations, and how later followers may have transformed his story into something very different from what he actually taught.
The voices you hear are Al generated to protect the privacy of those involved. The actual conversations took place years ago in South America among expats connected to a well known international organization.

https://youtu.be/xPaYeYBBbDo?is=izlwq5F3YaRCYOBX