True Singularity – Kaylasa’s Reflections

By NESIA Core Team Historian, Kaylasa Giselle, Based on my True Singularity Series.


Leonardo Da Vinci’s “Vitruvian Man”, representing the Adam Kadmon geometry of Creation

The following is a series that concepts that came to me after hearing to Maia’s True Singularity series. Thoth explains: “The Adonai Kodesh leads common intelligence within the cellular experience to nest within an envelope of inter species mind.” WHAT DOES THIS MEAN? That the Adonai Kodesh brings the vibration codes within our cells to a New Mind, that is, a new dimensional quality in an ascended realm. Next, Thoth explains the connection between the Adonai Kodesh and the Adam Kadmon: “The most ancient appropriate spelling of KODESH would be KADESH. Thus, ADONAI KADESH and ADAM KADMON both contain AD-KA in the first two letters of each word. This is significant, as the AD-KA, IN THE ANGELIC FIRE LANGUAGE, WHEN TRANSLATED INTO HUMAN VOCABLES, IS THE SOLAR WORD, OR THE SPARK, THE LOST WORD OF THE ELOHIM OR LIGHT CHARGE THAT IS NECESSARY FOR THE RESTORATION OF THE ADAM KADMON ORIGINAL LIGHT GEOMETRIES IN HUMANITY”.


As I read/hear this Thothian concept, I Kaylasa, am reminded of my own reflections regarding the Tetagrammaton and of Bill Bueheler’s talk about the 9 versus 5 harmonics/light geometries in Creation, connecting them to the Oritronic (fallen) vs. the Metatronic (ascended) universes, and the Solarian vs. the Nephilimic races. Here is what Bill writes: “Energetically I’m thinking that the Christos’ Mysteries would correlate with the high “Onata” range or “Metatronic”, using “9” as it’s number (Anti-Matter field), while the lower “Elisaphane” range of Humanity (Matter or Orotronic field) uses the “5” harmonic (….) The other two levels in the Abacus would be the Nephilim and Solarian Light Races”.

**You can see, indeed, this message encoded in Da Vinci’s “Vitruvian Man”, (in which you see a 5-pointed star/fallen man spinning, moving, becoming something else….a 9-pointed star or ascended Solarian!!!). Which is the REAL answer to the Riddle of the Sphinx: “What is the creature that walks on four legs in the morning, two legs at noon and three in the evening?” 4 + 2 + 3 = 9, the master number, the Vitruvian. Also, 9 is the result of 3+1+1+4…. which coincidentally, is the meridian where the Great Pyramid (or Temple of the Lion) is located, the beginning of the Mayan Calendar, and the year in which the first modern Egyptian Dynasty began!!! So the Riddle of the Sphinx and the Vitruvian, which represent the passage from the 5-based geometry to a 9-based geometry in humanity are, in reality, AN ENCODED MATHEMATICAL FORMULA AND A GENETIC STRUCTURE AS WELL.

**Why a genetic structure? Because apparently, according to recent works on genetics, the human DNA structure discovered by Watson and Greek is wrong because it does not consider the pentatonic geometry necessary for its codons (blocks) to respect the Phi (Golden Number) proportion. So according to the latest discoveries, our DNA is a double helix conformed by codons (blocks) with a pentagonal structure, which naturally creates the Phi Geometrics we see everywhere else in nature. Furthermore, each DNA helix must be conformed by ten regular pentagons orientated about a decagon. The figures below exemplifies that structure:

The full explanation of the mathematical method used to get to these figures can be found here:

Now, coming back to the Adonai Kadesh and the Lost Word of  Creation: This Lost Word would represent, precisely, a Lost Geometry, which is the original light geometry of humanity as Thoth explains. This  is the reason the Tetragrammaton or Pentagram is used both as the basis of our music (which indicates the vibration of matter in our “fallen” universe), and as a spiritual symbol of an ascended human being. In other words, THE AD-KA IS THE LIVING TETRAGRAMMATON, EXPRESSED THROUGH 5-BASED GENETIC STRUCTURE THAT BECOMES THE 9-BASED GENETIC STRUCTURE (WHEN IT ROTATES, AND THIS ROTATION IS WHAT THE SWASTIKA SYMBOLIZES). SO THE AD-KA/TETRAGRMMATON IS THE LOST WORD OF CREATION THAT TRANSFORMS THE 5 INTO A 9, THAT IS THE FALLEN MAN INTO A SOLARIAN, AND THE ORIGINAL FOUNTAIN OF ETERNAL LIFE.

This makes me, Kaylasa, think of the Scarab Seal I found the other day, related to the Abracadabra, and that connects this Lost Word or Tetragrammaton to the Sacred Word beheld by Ra, the magic that according to Egyptian mythology,  Isis learned and that allowed her to resurrect Osiris (resurrect the Adam Kadmon, literally!!!! The restoration of the light geometrics of Fallen Humanity):

“The real secret of magic is that the world is made of words, and that if you know the words that the world is made of, you can make of it whatever you wish.” ~ Terrance McKenna. In the picture, a winged scarab magic seal. The scarab was one of the forms of god Ra in ancient Egypt.

I, Kaylasa, see ABRA-KAD-ABRA as a sequence of 3 codes, a central node and two side codes that are a mirror, one of the other. MATTER AND ANTI-MATTER. And I can also read the 3 Millenniums here, the 3 Universes. The Mother Universe or Attasic Universe symbolized in KAD or KADMON (BECAUSE IN THE ATTASIC THE GEOMETRY OF THE ADAM KADMON STILL EXISTS INTACT, IN ITS ASCENDED STATE), and this also connected to the figure of the Kaduceus or Caduceus, in the sense that the Mother Universe or the Attasic Universe is the central staff of the Caduceus, and the 2 wings in the sides are the little “universe sons”:  the “positive-matter universe” and the “negative-antimatter universe”. So the Caduceus represents the Fall from Grace but also the Return to Grace.  EACH LETTER OF THE ABRA-CAD-ABRA ALSO REPRESENTS A DIFFERENT SUBSTANCE OR GENETIC MARKER, SO ABRACADABRA IS ALSO A REPRESENTATION OF THE GENETIC CODE WE’RE TALKING ABOUT. THE FIRST ABRA REPRESENTS THE ORIGINAL LIGHT GEOMETRY Of HUMANITY IN AN UNFALLEN STATE, AND THE SECOND ABRA IS A REVERSAL OF THE FIRST ONE, THE REVERSAL OF THE FALL FROM GRACE.  

Maia: According to my Thoth connection, Kaylasa is pretty much spot on with all she theorizes in this article. The Thothic Finger points to further elucidation in reviewing AKU’RA: Tetractys and the Isotropic Vector.

Also Kaylasa’s article on the Tetragrammaton.

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