Sacred Geometry

The Primal Signatures

In order to evaluate the truths that divide the ‘written’, absolute essence – or logic of the Word – from the ‘shrouded’, symbolic signatures – or wisdom of the Word – one must begin with historical evidences that mankind has employed in order to define the field(s) of difference between them; that being the relationship of earthbound physical symbols that stem from cosmic or heavenly signatures. By signatures I mean any symbol, fields or arrays, or combined geometric forms that relate to or define the energy/force of spiritual and physical manifestations. In other words, what are the means by which we instill human qualities into higher organic or spiritual designs that in return relate the axiom of Man to his Maker, and vice versa? The vast, open expanse set between these forms in turn create relationships that tend to manifest in the essences of a created ‘entity’ reflecting creation and its eternal Creator.

In the process of creation unfolding — even though we could equally say it is constantly revealing the fundamental nature of ‘something’ already finished, as if the very creative process was awaiting the arrival of slower energies to catch-up to it – we find so many forces interacting in cycles and progressions that one easily becomes lost in all the details. Something other than the forces themselves has to be employed in order to express the imagery/messages in their most simplistic natures. The current, modern-day viewer can inevitably examine the same ‘foreground’ that the ancient artist(s) of that message can be heard and understood. This is an essential construct of space/time, that the illusive measurements we give to the creative process – mostly held in stasis, a static-amnesia if you care – in order to continue the chronicle of Creation.

The only problem that remains is understanding if the message maintains integrity or becomes lost to the essence of ‘forever’ that creation endures in. We have to consider that only the absolute ‘divine’ essence of God, for lack of better definition, is eternal, and that anything other than the absolute exists in a ‘forever’ state, since it was created and only the eternal has always been. The coding of such messages will always seem constant, yet the decoding of the message extends from speculation and self-determination that struggles to know the reality of such ‘voices’ that have been left to forms that merely attempt to relate the enormous structure of some truth in a simple enigmatic symbol. We have hieroglyphs and petro-glyphs, diagrams and sculptures, paintings and the poetic word, musical relationships, and geometric forms that are all “signatures” of the hand of mankind, or any other form of metaphoric symbol (crop-circles?), that attempts to speak from a distant past. And the past is either lost to the dust of time and history or is left to guide the follower on some path of distinction that will inevitably bring one to self-discovery, either for the physical/spiritual self or the divinely conscious Soul.

The past is not what it seems, especially if we recognize the fact that cycles of time and space actually revolve around single points of space/time, only to eventually reach a point that repeats itself within the same cycle, even if that cycle has moved with space/time. Now, I know this subject is beginning to sound very convoluted – and you would be right, it is – but, the playing field of what we are about to consider has to be defined before we can begin to place any of the playing-pieces on the board, or the flatland(s) of spatial dimension. The idea of time is expressed simply when more than one point exists, and one has to move or travel between them – because that takes time. Just as the idea of space takes form when one actually begins to pass between the distances of those points, as they exist somewhere in space.

In considering some of these enigmatic designs we will first define the basics of what we call our understanding of these forms, since they express space/time, viewed as dimension and distance. And as we are only human, it will require an inner sense of understanding to give realism to them at all. This requires that we take a rather diverse leap across a very wide canyon of uncertainty, such that many fall to their imaginative deaths before every reaching the far walls of the divide, and many voices have given their lives to allow others to do just that. Over the thousands of years that have transpired for man in the search for cosmic definition we have the invention of guises that speak in terms of the age of their inception. Thus, Creation has yet to reveal all her secrets, even to those whose share a like mind or state of being with the ancient hands and voices that first dared to look upward — and then attempted to tell the legend of their vision. In the language of Light and Sound there are many forms, but at the root of all forms are the Primal Signatures of their Creator.

The ‘mother’ of all symbols is The Point. This one symbolic relation has been noted to hold the beginning and end of all other relationships applied to sacred form. It has been considered the starting point of all other forms, and the closing statement of many others. Still, it is seen as the one enigmatic signature that cannot be refuted to anything other than the Creative Key, the voice or sound of God that birthed the encompassing essence of force and energy that we call heaven and earth – the universe. And even though both spiritual and physical manifestations are left to coding and encoding processes we can always count on this single entity, the point, to be the voice that contains all essences and all forms – it is, in every sense of the word, the Seed. It can be defined as the unfolding Lotus from the enigmatic, cosmic egg, and also the collapsed field of Final Creation as it returns to its origin. Yet, we can’t move on to any other form without it. As such, it remains the only form that we can say is eternal, that being, without form and without loss to any outside forces; as it is the whole of all of these, in a single Point.

Next, we come to The Line, as it can be the dimensional body of the Point or the extension of the same. If viewed through the so called ‘birds-eye’ perspective, it is the depth of the point itself that dimensionally hides the essence of the line; as if the line itself was the concentrate or distillation of the point, which can only be absorbed when seen as point, lest its true nature be so great that no human mind or spirit could ever define or know of it. In this case, the line is the body (point) of a creative force that is held in silence or stasis, always waiting to unfold, always anticipating extension. As viewed from the side, looking along the elongated body of the line from either end, it is giving its essence away, revealing a core that is hidden in every singularity of creation, as if the whole of many things is held in a single thing. If it is standing on end, then the downward view of it defines a ‘stacking’ process hidden behind and within the point itself. Yet, the Line is so much more when found in this state, as in the very process of being revealed it has come to be, manifesting itself as one turns it about, into the ‘sightline’ (pardon the pun) of the viewer who would otherwise be incapable of knowing its presence. It this way, it introduces length of field and design, given the processional continuation of thought and being. It can be considered as the First Cause, or Echo of Creation that is revealed when extension manifests into quantifiable forms and forces. In many ways, it speaks in terms of a ‘beginning’ that has come into play rather than remaining in silent slumber, as a single point, never to be known.

Following our journey, whether regarded as inward or outward, we come to The Squared Line. By this I relate the form of an ‘unclosed’ square, displaying only two sides of its form; viewed as the letter “L”. This is the extension of process that begins to speak in terms of latitude, and we call it physical depth of field, such that we begin to develop the body that is drawn between the spiritual and the physical as it moves into a presence that is attainable from the absolute – which is otherwise unobtainable for any physical form. In the Kabbalah this would be called the extension of the Ain Force falling into Keter, the first sphere or Sephirot in the Tree of Life glyph; another form of grid given to define the reflection of the superlative forms drawn to the supernal or heavenly, and then the physical, or Nether Realms. If we reason this form towards its absolute essence, then the originating point is actually at the root of two lines, extending away from it at 90o to the left or right, and a pyramidal cap is formed. This is actually what we view when we consider the Tree of Life glyph, where Keter extends towards both Chokmah and Binah; to the left and right respectively when the Tree is set within us, rather than before us.

It is here that so many of our earthbound natures begin to fail, as we note the capacity of this spatial form to be defined through arc and angle of inclination and declination; that which seems to rise or increase outward and that which seems to fall or collapse inward. For the likes of certain geometric forefathers, such as Euclid or Pythagoras, we have the emergence of a science that remains esoteric in its natures and continues to redefine our essence even as it confounds us in the process. For we have truly come to realize, in both the extreme large forms of the physical and the most minute or quantum forms of the physical, that we are in constant motion while remaining motionless; that we are expanding as we collapse; that we are built upon forces and energies that inhale and exhale at will, even as it allows self-volition in its presence. Still, how do we define that all the opposites of definition can at all times, in all places, in all forms, be one and the same? And how do we define the meaning from exact angle and path of force?

From the originating motif of the straight line we come to the conjoined line, as we view a single line and regard its end-points as exactly defined and closing the sequence as a single form. Here, as seen in certain Native petroglyphs we have the form of ‘speaking’; the act of communication between two separated points. This then implies the communication of two worlds, as if the ‘above’ is a direct aspect of the ‘below’, and the line itself reflects the passage or conduit of that force or energy. We will later make note of larger geometries where this ‘energy-line’ takes on more defined essences and becomes a near literal ‘voice’ for the form in translating its presence. It is here that one can begin to note the distinction held in spatial form and how it expresses itself into something more tangible or real. This is a ‘flatland’ of geometries, such that all of the essential Primal Signatures are two-dimensional, just as they can be drawn on the surface of any sheet of paper – flat and primordial in their design and essences. The point simply is, as the line is the point ‘speaking’, and in turn, the squared-line ‘shares’ a relationship from the originating point, the male and female essence of ‘speaking’, just as this form creates the ‘heart’ of every sacred form that will manifest from it.

In that thought alone we have to allow creation to be what it will be, even though we are in the process of bending its rules with every breath, every thought, as it is committed to action and with every ‘cause/effect’ wave that results from casting the illusive rock into an enigmatic, cosmic pool of creation. So ponder this for the moment; consider every Soul and every form of spirit, seen or unseen, that has ever been cast into manifestation as having their presence begin in this cosmic form, casting their ‘cosmic-stone’ into a pool of extreme magnitude and structure; and we thus have the immortal being born from the eternal force. We have the male and female state of energy, and every relationship thereof, locking the creative pattern in place. And form this expansive, infinite ‘heart’ form, we begin to watch the Creative Sequence unfold in forces that are rooted in chaos as much as they are order; for we will eventually come to realize that extreme order expresses itself through the ‘unseen’ and ‘seen’ chaotic streams of ‘inward’ and ‘outward’ extraction. And thusly, Creation unfolds in waves and pin-point accuracy of every signature and condition in every region that we can refer to as Heaven; the essence of the divine found in the smallest atomic state and the largest cosmic event.

To continue the journey, we have come to the true essence of the physical, that being the fixed form of The Square itself. On first note, we have to consider that just by extending the ‘squared line’ into what we call height – that being the first step into physical dimension whereas the previous forms define the spiritual dimension – we enter a realm that introduces all the following forms as purely being on this side of creation; the slower, manifested physical forms of force and energy. Where the point is ‘birth’ of spirit by spirit, the line is ‘life’ (essence) of spirit extending on the same plane that it is formed from – and has as yet to present any real form of dimension that can be truly called physical, until we arrive here, where ‘height’ takes command. Even though the form of the square can be two-dimensional by definition, as drawn on paper, what we actually have is the ability to stand things upright, and then engage the same process as given to the point, where actual depth/height of field can begin to evolve and rise above the flatland of ‘thought’ and become something beyond the mindful and cognizant. It thus becomes reflective, formulated from a pattern that was and is deliberate and premeditated; and we call it ‘real’.

In many ways, we now have the exaggerated conundrum that modern day physics has planted in our coarse brains, that everything we witness is an ‘illusion’, and that there is more non-reality than reality. It is here that we must consider the ‘mirror’ set in Creation, as it is presents a twofold guise in its purpose. First, it is capable of allowing the God-force to create without destroying its own creation in the process, due to its over-powering state of being. As we can stand before a mirror, we are the absolute essence of the reflection held in the glass that is capable of existing very well without actually being a part of us. Thus, this so called state of ‘illusion’ is more so the ‘reflection’ of the absolute creation and it is allowed to expand and contract, exhale and inhale, be and not-be, all within the same essence of the Reflection. It is here that we can appreciate the sense of ‘amnesia’ that we enter into this world under, as it protects us from the absolute essence and unfathomable energetic state of the spiritual when it enters the physical. But, we are roaming too far from the ‘sacred-heart’ with this topic, so we must return to the rest of the primordial flatland first, grasp its truths, and then rise above the contour of the valley before we climb into the foothills of  sacred form. When we begin this journey, we are alone and without semblance, until we reach an energetic state that the ‘brain’ can understand. As we move on this will become apparent, for the divine pool, once penetrated by the divine stone, will be stirred in waves that we can witness and consider as real, even though their reflection is all we can ever actually know. In this way, creation can begin its course, for we have yet to be given life by it.

The implied third-dimension remains in this ‘flatland’ that has yet to arise or extend from the Supernal Fires of the Heavenly, as the absolute Superlative Nature lies far beyond our grasp, deep within the Point itself. And the realms of the physical – for what we would call the ‘real’ – begin to reflect from the previous essences into the tangible essences, and we have the visible being drawn out of the invisible. When the Square enters the same ‘state’ of unfolding we find many other forms that extend with it. The point inevitably becomes a Circle, and the line becomes the Rectangle, as they are given the same rules that relate to the squared-line as it extends – unfolding in the ‘mirror’ at 90o to form an opposite side that links that generates the Square. Still, the square itself becomes the Cube, as the extension process unfolds, reflects, and substantiates itself, as the entire process explodes into a flowering guise of forms that carry relative signatures of force and energy form the singularity that birthed them. And at the greatest extent of all the Primal Signatures can they be placed within the ‘square’, including the Circle, as if the form itself is once again the singularity of form and force so anciently viewed as the Point. And we are back where we began…

Before we move too far there is yet one other form that is the ‘sister’ to the circle, that being the Half-Circle. This remains a rather illusive form though, as it has few implications and they imply pure essences that are strictly stated as presenting the ‘above’ formal declaration held in Creation. For instance, the Halo, or ‘crown’ that is viewed in so many romantic period paintings is drawn from more tribal relationships that suggest a form of divinity. As with the Peruvian sun god, Inti, drawn as a collective series of partial or broken circular rings that are connected by a line to a full circle drawn directly below it, this is the extension of what is formed ‘above’ being brought into ‘below’. Here we find the ‘rayed’ form of the half- or quartered- circle that symbolizes the God force of the Solar Logos as it descends downward to earthbound natures. From the sacred side of the cosmic-coin this motif is ancient in design and not fully understood, yet its presence in certain forms contains energies that we can say are divine, and far from superficial. In considering all the above forms we begin to enter realms that explode into greater dimensional forms, imparting structure and intensity by ‘speaking’ in terms of existence held in theosophies and sciences that have endured time.

These include all the horizontal/flat forms as we define them. The Squared Circle, when square and circle are given equal areas and superimposed, represent the fusion between spirit and matter, defining a force of ‘harmony’ that balances the opposites into a quantifiable simplicity of ‘sameness’. This form is seen in many ancient temples and city structures across the world as a global cosmology that relates Man, or more so the Human Soul, bringing heaven down onto/into the Earth, or the cosmological reflection of The Eden. The Vesica Piscis, as the overlapping of two equal circles, to the convergence of their outer edge to the others center, reveals a compounded area betwixt them; an eye shaped oval. It is the implied essence of ‘as above – so below’, as the conjoined force of spirit and matter. This form is given the association of The Christ personification and the Piscean Age that is influenced by it. It carries the gematric number of 2368, equated to Christ, and is employed in Gothic architecture, distinctive of the ‘Ogive’ arch.

We further reach the boundaries of the Equilateral Triangle, defined from the root form of the ‘vesica piscis’, where zenith and nadir centers are drawn, thus birthing all the regular or primal forms of sacred geometry. Here is where the ‘triadic’ nature of all forms is first visible, as the triangle implies the trinity of spirit and matter, and where the physical body of the human form draws its essence and power from; for at the core of the triangle, the Point is once again birthed in repeated form and force. This in turn divides the form into similar ‘reflective’ forms, and a process of unfolding branches begins. This is the form of first stage “Completion”, even as all stages of completion are of this same single action found in the First Cause of Creation. It is an icon of strength and stability, found in so many other symbols in religion, science and commerce. As a Triadic form, set with the primary colors of the visible light spectrum, it produces the polarities of an enigmatic ‘third’ presence; the balance of all opposites engaged in spirit and matter. It is therefore, in many ways, the formation of ‘thought given to action’, the related essence of cause and effect when it is called upon every time creation blinks; the breathing motion of God inhaling and exhaling spirit, manifested into lesser spirit or matter.

When this ‘triadic’ form is reflected, or turned upside down and overlapped on itself, we have the recognizable form of the Star of David, unfolding in signatures of ‘hexagonal’ forms that extend the ‘divine-mothering’ forces of the original form; thus, it is constant and perpetual. The birthing of this form always implies the seventh form, as was given to the Circle, such that the Hidden Spirit of creation is always rooted in the seen/unseen qualities of all things. For example, it is the hexagram that can be drawn six times, rotated 60o of itself, that will always produce a seventh form inside the group. This can not be said of any other form, simplistic or compound in its geometries. This form thus has been set in so many sacred forms that the Kabbalah and most of its ‘gematric’ forms are drawn from this source. The sacredness of this signature is so global that it is found in every corner of existence known to man, regardless of religion or creed – and for all we know, incalculable cosmic forms beyond our earthly realm. This in turn is used in defining forces/ energies rooted in earthbound edifices that knowingly or seemingly reflect outward forms, astronomical or otherwise.

It is the natural division of the Circle into six equal parts that produces the signature of the hexagon, in like manner for the hexagram. Its qualities can then be noted as being balanced in both earthbound and astral signatures. The hexagon is ruled by 6×60o triangles that reflect the solar number of 666 in gematria. Still, this is not given to the fundamentalist Christian view as being the Devil’s License Plate (“Secrets In The Fields”, pp180, Freddy Silva), as its uniqueness is so profound that attempting to define it in this opening study would be too vast for its pages. Still, the extension of the divided circle will produce a seventh hidden circle, and as this can be said to be similar to the hexagon in rotation it is not the same as the circle is considered to be formless and separate of all other polygonal sided forms, such as the hexagon. More of this will come to light as the study continues into more detailed energetic states that are derived from exploded forms of these Primal Signatures; for this runs a course from hypo- (flat) to hyper- (exploded) cubes that contain the essences of spiritual and physical creation.

In like manner, the Pentagram is then extrapolated, or extended from the convergence of three circles drawn with outer edges merging at opposed centers. And from the vertices of the form one can inwardly define the vertices of the pentagram, as both are associated with the human physical form, viewed most definitively in Leonardo DaVinci’s diagram of Man, relating proportion found in the human body. It is here then that we begin to take note of the sacred forms and their relationship to the earthly quality, even as it is drawn and extended from the singularity of Creation at the deepest level. In comparison, the natures of what we define as heavenly or cosmic have immediate reflection in the earthbound essences of matter and the physical realms. There is no real division then between these worlds, and yet, the partition is wide and hidden in details of dimensional structure, essence of force, and direct or indirect energy, that are related to sacred geometries and their extensions.

We move on to the Tetrahedron, or four-sided pyramid. Being one of the most eccentric of all alchemical and Hermetical forms, this geometry reflects the absolute binding essence of spirit into matter. The three prime alchemical forms of salt, sulfur, and mercury are set to the base of the form, as the apex is the Godhead breathing force into presence, exposing the systematic unfolding of its life giving quality. In other schools of thought this is the form of water, fire, and air – even as the Holy Trinity – that is brought into form from a single superlative force in Divine Light; being the full presence of a spectrum that encompasses all forces. This in turn begins to relate structures of number; sight and sound, as in the musical scales; and geometric harmonies that will be discussed later.

The Grid Square then enters the scene, as the flatland we previously viewed is now measured in all three facets of length, width and depth. As the grid remains two dimensional as it is drawn, the more intriguing form will be when it is ‘exploded’, or raised upright, formulating spatial depth. In the physical aspect we generally find the grid in a squared form, but when we step into more esoteric states we will consider forms that are drawn in more Kabbalistic terms that function at greater scales than just the square. Still, this form remains firmly rooted in Hermetic studies in order to estimate physical and philosophical measurements that are earthbound and drawn ‘below’ cosmic order. Here we set a squared section within a circle that defines the cosmic realm of God, as the square is set to balance the physical aspects set ‘within/without’ the spiritual aspects. The esoteric nature of this reflects the embodiment of spirit to soul to flesh, and then binds these realms to the creation of the Maker found in Man, as it is man that rules over the Nether Kingdoms in lieu of the Creator; thus ‘flatland’ is embedded within a cosmically ‘exploded’ state.

As there are just so many forms that suggest this ‘binding’ of the above-to-below nature is it any wonder that sacred sciences have so eluded and enticed mankind over the ages?  All of these forms become more convoluted in the more entrenched dimensions, along with the signatures and conditions set by the form, and by the time one extends into the more esoteric forms the translation inevitably becomes weak and unstable, or it intensifies and stabilizes; but both of these states reflect the natures of the other – presenting a sense of balance that only the divine aspects of them can express. One has to consider the uniqueness of sacred forms as being deliberate and fixed in their extent, or the resulting structure(s) of the form become indefinite and lose integrity. It is here that a fixed set of numbers will begin to rule over the extent of these forms and keep their sacred definitions at bay. As human beings, we have a tendency to excessively ‘program’ our presence, and thus confusion rules the day. What we must consider is that regardless of our definition of God, or any other supreme facilitator, sacred forms are self-contained in their boundaries, less the voice that would speak from within become more of a shouting mania rather than remain the quiet, if not silent, voice of reason.

As we move on we will now consider the forms in a hyper-dimensional state; that being the exploded essence we gain when we extend the forms within a three-dimensional stratum. The primary state of form would be one of stable, yet static, non-moving semblance. In other words, they can only be expressed in diagrams and remain persuasive in their translation as explicit drawings. Yet the world we know is far from static and stable at any level, and force and form have to be given the same relationships that the physical realms have within the cosmic or more supernal realms. That being that they are in constant motion and extend in proportions that move outward as far as they reach inward, in which case, the above statement of having a stable view of things begins to fade away.

It is the intent of Spin that we disapprove of, simply because it confounds the physical brain, and all representations of form and force become illusionary and chaotic. Still, it is the spirit of these forms and forces that are designed to speak to the soul or spiritual mind, and therefore cannot be restricted to any one state of existence – such that the Mind speaks more so of the soul than the brain, for the brain is merely physical and nothing more. As all things explode from the microcosmic outwardly towards the macrocosmic we have the deep inward nature of the ‘unseen’ stepping into the ‘seen’ and it is the very of energy manifesting matter that brings the entire internal/external design into view. Again, we are confounded when we find that the internal world of this explosion is hollow and without any real essence to it, and we begin to ponder the ideal of being set in a creation that is far more illusion than reality. This is why I prefer the term ‘reflection’, since the idea of complete illusion is too illusive to me!! It would stand to reason these things as existing more so in a multi-dimensional, multi-gauged state of being, even we are many times forced to slow them down in order to be defined or rationalized. And if everything is merely an illusion, then God has done nothing more than set Creation in facets of deception and forgery, and that leaves us without sum and substance. That would not be divine ‘wisdom’ at all; it would be futility and vanity. And God, for whatever you understand Him to be, is either lying to you or offering you Truth. The choice, of course, is yours.

Spin is the resulting action of giving creation scale and presence, as a static extension is worthless and more than just hollow – it just can’t exist. And it is here that we must pause in our journey as we consider what this will imply as we tarry further. As certain other sacred forms attempt to relate this creative action into form we find ages of civilization that has given it its best shot at defining motion in a static state. Thus, the Tantric state of energy that defines so much of the ancient world in motion is now beginning to change. The divine nature that is expressed in dreamscapes, psychic or mystical imagery, canonized or Gnostic scripture, tribal and ancient philosophies, and hundreds of global practices, eventually expresses and contains levels of Sacred Design. And in such light, we come to realize that fields and arrays, or any energetic manifestation that comes with sacred form, and the translation of those forms, present levels of tension and restraint in their state of spin since it is ‘conscious’ and projecting itself into cosmic order.

Eventually, the manifestations of cosmic order and chaos meld into a single state of divine extension. This is a difficult paradigm to grasp, as it denies our sense of reason – but reason is not all its cut up to be. In many ways, the Human archetype is designed to withstand the ambiguity of the spiritual and physical realms, such that it is through it that both contrive balance, as if it is the ‘intent’ of divine creation in the first place. The only distillation of the creative process is that it can in fact stabilize itself within itself, and thus Life is allowed to unfold in synchronization to it. The reality of creation is absolutely worthless unless there is some reality to it being recognized, and possible, even worshiped. It is akin to the expression that ‘if a tree falls in the woods, and there is no one there to hear it, does it make a sound’? According to the laws of physics, it has to, as the very act of it striking the ground will produce sound waves that radiate regardless of it being heard. Still, what would it mean to any creator that things just happen for no rhyme or reason? Any song or play, poem or dance, is pointless if it has no witness to seeing, hearing or experience of its being. And even though God could perpetually dance or sing to himself, it makes more sense to share the experience, and to bring a portion of the cosmic self closer to home in the process.

We discover a greater essence of being in a world that is far from motionless or without definition when we consider the ideals set by Sacred Geometry. And as this study is more than what we may first recognize, we will have to open the mental-shoebox more and more in order to grasp the implications of such designs. We do not gain anything in invariable models, any more than we do when energy or motion becomes overwhelming or chaotic. Existence is set and fixed in a ‘presence’, where the very presence implies more than one can fathom, and the details will always remain fantastic in their natures.

Otherwise, the Divine would not be superlative…


One Response to Sacred Geometry

  1. Wohh exactly what I was searching for, thank you for posting.

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