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TECHNICAL MEMORANDUM

FROM Dominic Hasler TO: A.R. Bordon ABOUT: Sounds and the adrenorgasmic moment DATE: 2 April 2010-04-09/101099123 April 2 Regarding the term "adrenorgasm," I coined it because the peak moment induced by the soung string / tetragrammaton / song of creation felt an awful lot like an orgasm to me -- or more like the immediate aftermath of an orgasm, where the pleasurable sensation is relaxed and steady, not climaxing. At this point, the burst of will or pulse of intention to create (iccha shakti) exudes from the midsection / solar plexus region, and this feels much like an adrenaline peak when, for instance, someone slams a door loudly while you are meditating in an otherwise silent hall. But when this peak compounds with the song of the cells entraining the creation of the object by the template beheld, it feels like an orgasmic peak, a kundalini jolt. If you've ever had that "charged" feeling right before or after a lightning strike in extreme close proximity to you (less than 1 mile distance), that's what this adrenorgasm feels like. There is no sexual activity involved in this process. April 3 Something I thought was worth asking you about... The tetragrammaton we've discussed before... often spelled out YHWH or YHVH. This is a different sound string than the original tetragrammaton you specified for me long ago -- YHYW (or YHYV). Was this intentional, or an accident? Did you mean YHVH? I'm referring to this, back in October of '08:

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me: so it's y w y h or is it y h v h? A.R.: yhwh... Also note, in the monograph: "We will disclose here, however, that the tetragrammaton most used by us in connection to VEEOM research as described here is a sequence of 554.322 Hz -- 417.441 to 432.615 Hz -- 392.119 to 396.542 Hz -- 417.441 to 432.615 Hz. This is the standard file, which is also converted into Ra frequencies. Both are available from the authors, see Note 14." The mp3 file I've sent you and also Mr. Smith was the Ra conversion of Solfeggio frequencies 528 (Yod) -- 417 (Heh) -- 528 (Yod) -- 396 (Vav). Even though it is a sort of permutation of Y H W H, I should note that this tetragrammaton worked and works for me in the production of LEOM (and MPO, for that matter). I have not experimented with the Y H W H tetragrammaton yet in production of LEOM, but I have used it for MPO with success. It is not surprising to me that the permutation above is valid. I say this because of what is taught in these mystery societies these days, at least the ones descended out of Egypt either in practice or lineage (or both) --- certain offshoots of the Freemasons, the Golden Dawn, the Rosicrucians, etc. Once you go through initiation, one of the things you discover is that these so-called "Divine Names" are really vibrational formulae to invoke different currents of supernal energy, and that the "names" are more like codes or keys than actual names of anyone or anything. I imagine the tall ones must have adopted names based off these strings as another means of maintaining docility by associating themselves with the power of "God" in the human subservients. Note how the lulu priests were taught: by faith in "us" and by our Name you can do wonders. The faith aspect buttresses the mindlessness and selflessness of the MPO act, I think -- by calling upon the "power of the Gods" the miracle is performed by the Gods (rather than by the natural subquantum mechanics involved in the product-moment), and all the priest has to worry himself with is maintaining good favor and complicit devotion to them. It is not a question to the priest of whether or not he can or cannot do the act, because in his heart and mind he knows it is not him who does it. Anyway, we (initiates of the outer order of the Golden Dawn) were told that this codified sound-letter-word system was a security measure put in place in the old days -- the idea being that if an uninitiated individual ever got a hold of these texts they wouldn't be able to do anything with them, as they wouldn't understand that the key words are not really names to merely be uttered during an incantation, but are sequences of sounds intoned in a very specific manner. This is common knowledge across most Western mystery traditions, not just the Golden Dawn. Obviously, this is just one level of the veil for the "outer circle" of initiates -- the inner circles (or maybe more like the inner inner circles) are the ones taught the "secret of the sacred sound," as you once put it. Not just a security measure, it appears to also be another way they instituted and maintained the hierarchy and pecking order; by enabling the inner circle to be more powerful than the outer circle, and enabling the outer circle to be more powerful than the "swine" to which "we are not to throw pearls", the uninitiated from which "we must keep hermetically sealed all dealings of the secret society."

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This isn't the only cryptography present in the old manuals; there are instances that call for certain ridiculous ingredients that are codes for far more simpler things, e.g. the "blood of an infant" or the "blood of a virgin" usually is code for either orgasm or the actual seminal fluid, maybe both. One example is the ritualized protocols of King Solomon (outlined in the Clavis Salomonis, the Key of Solomon). If you read the common translations you find dozens of names CAPITALIZED and riddled throughout the various incantations / conjurations / evocations. An uninitiate would therefore assume that YHWH is to be spoken like a regular name (difficult without vowels, of course). An outer circle initiate would be taught that YHWH is to be vibrated separately, each letter intoned in Hebrew with the so-called Great Voice. An inner circle initiate, I'm assuming, are the ones taught which letters match which sounds in the overall systemized technology that those not from here taught us way back. Here is something interesting: the Great Voice when done correctly is supposed to sound similar to Tibetan harmonic chanting, Tuva throat singing and Gregorian overtone chanting, while also engaging the psychophysiology through induced sensorial imagery and conceptual interface. The sheer density of Divine Names extant within the Solomonic grimoires alone is a testament to how intricately the SAMs have developed their sound engineering technology. Of course, in Ancient Egypt, the entire system of heka magic is derived from their sound technology. Even if they did not transmit all of their knowledge in this regard, it is plainly obvious. Here's an example from the Key of Solomon: This is an ineffable experiment if you desire to enjoy a lover in a dream. Before beginning the conjuration on behalf of the one you wish to dream of, (operating in the hour mentioned in the second book), observe that the sky is clear. It may help to stand in your chamber looking into the sky, at the stars and the Moon, and humbly say in your heart: . : . AGLA, IOD, HE, VAU, HE, IAH, IAH, IAH, VA, VA, VA, IAH, IAH, HANISTAROD, ADONAY, ELOHENO, VEHANIGLOD LANU, ULBANENO, GAALGOLAM, O Lord, holy and all-powerful Father who created all, and knows the hearts of men and women, I beseech you through your most sacred names mentioned above to illuminate the heart and mind of N., so that she may love me as much as I love her, and that she may be ready to do my will. And furthermore, as this present image lies with me, may N. feel that she lies in sweet embrace with me in a dream. The first line is an interesting sound string, and broken into substrings. A.G.L.A. Y.H.W.H. Y.H.Y.H.Y.H. W.H.W.H.W.H Y.H.Y.H It gets trickier. Some of the tetragrammata and divine names are actually notarikons, similar to Hebrew acronyms. AGLA is an ostensible example, which stands for the phrase "Ateh Gibor Le'Olahm Adonai," which comes from the Shemoneh Esrah and translates something like "Thou art mighty forever my Lord." AMEN is supposedly another one, derived from the phrase "Adonai Melekh Na'Amon," --- 'My Lord, Faithful King." Each of these phrases, not only having verbal-conceptual associations, can also be broken down into much longer sound strings of their own. Whether or not these produce any specific or remarkable sonobioelectrogravitic effects is something that stands for experimentation. If notarikon is a viable means of abbreviating sound strings to cumulatively achieve such effects then I must say this technology is quite a fascinating one and has me curious yellow. I'd be

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interested in knowing the mechanics behind notarikon, whether the additive abbreviation is an effect of the notarikon itself or whether the notarikon string acts as a psychophysiologic "trigger" (like a mnemonic) for ones biology to agglutinate the corresponding SBEG migration as part of the overall algorithm.... or maybe something else altogether. The rest of the names are words extrapolated from tetragrammata and other strings (ADONAY = A.D.N.Y.) So what are your thoughts on all this? Have you experimented with any permutations of the YHVH tetragrammaton? Do you suppose all of these different strings are additively used to induce a variety of different SBEG migrational effects? By the way, I have as of recent taken to throat / overtone singing a la Tuva singers. I've gotten quite decent at it, at least for these purposes, and have noticed that throat humming the sound string (vocalizing two harmonics of the sound simultaneously) induces the cells to sing the creation song much quicker (and more intensely) than normal humming. The overtone sound reminds me of a bird singing, and I'm wondering if this was the origin of the so-called "Green Language" or "Language of the Birds" legend. Actually, while I throat sing I feel like a "human-bird." D.H.