International Extraterrestrial Electronic Music Consortium

By
Willard G. Van De Bogart
Sound transmissions were created from two sacred mountains one in North America and the
other in South America by sound artists Zigo Rayopineal from Argentina and Willard Van De
Bogart from California. Both sound artists were trying to communicate with extraterrestrials
using their electronic sounds. Two original compositions were first recorded at the two
mountains and then mixed in a studio to provide the first intercontinental communication to
extraterrestrials.
Another composer from Argentina, Sebastiano de Fillipi, I have been in communication with
since 1976. In March of 2022 I saw him give a lecture at the opening of the Archives of the
Impossible at Rice University in Houston, Texas. Sebastiano had a profound encounter with
extraterrestrials at Mt. Uritorco with a chorus of sounds heard coming from the top of Mt.
Uritorco signaling the existence of these off planet beings.
I was first introduced to electronic music in the early 70’s by Mort Subotnick. In April of 2010
the iPAD was introduced by Steven Jobs at the Mosconi Center in San Francisco. In 2011, I
began using the IOS platform on the iPAD for playing synthesizer apps like I used to play before
they became digitized. My own experience with extraterrestrials took place many occasions over
a lifetime. The iPAD, however, allowed me to travel to remote locations and create sounds in
nature, which eventually led to my developing sounds that would help me communicate with
extraterrestrials. Xenolinguistics became a serious interest area and I began to incorporate many
different sounds from nature, sonification of celestial bodies, sounds of protein structures, and
novel voice expressions using phonemes derived from many language around the world.
What happened next as a result of taking the synthesizers to mountain tops and deserts were the
appearance and the experience of unknown objects in the sky and the sounds of voices in my
head as if being communicated to telepathically. But stranger phenomenon also took place by
making sounds in the Joshua Tree National Park in Southern California amongst the large rocky
landscape. The electronic sounds seemed to dissolve the rocks and everything else surrounding
me. The rocky landscape blended with everything else and it was as if I were in a river of nature
where everything seemed to be flowing like water.
At another time in Clark Valley in the Anza Borrego Desert, also in Southern California, a very
large dark shape appeared out of the corner of my right eye and instantly flew in front of me and
disappeared over the Santa Rosa Mountains. I quickly tried to sketch this object which seemed to
have portals and lights on the edges. After going to remote areas many times there always
seemed to occur some strange anomaly which I attributed to the sounds that were being made
with the electronic synthesizers.
It was through a mutual friend, Marcelo Miranda, that I meet Zigo Rayopineal in Argentina.
After hearing about the experiences Sebastiano de Phillpi had at Mt. Uritorco I knew I had to
meet someone who was familiar with Mt. Uritorco. By good fortune I met, Zigo, who was also
an electronic musician and had recorded his music while on Mt. Uritorco similar to my recording
my electronic music on Mt. Shasta. As a result of mixing our two recordings in Zigo’s studio in
Buenos Aries, it became apparent the sounds we created independently could not be audibly
separated when mixed, but were unified in all respects of their tonality, rhythm and overall style.
I immediately recalled my own understanding of this unified field of intelligence the
extraterrestrials operate in and how Edgar Mitchell mentioned phase conjugation of sound in his
theory of a holographic universe.
Out of this realization of combining electronic music for extraterrestrial communication I
decided a larger effort should be sought with other electronic musicians from around the world
who were also trying to communicate with extraterrestrials. I envisioned a global xenolinguistic
effort made from electronic sounds calling it, the International Extraterrestrial Electronic Music
Consortium. By making electronic sounds it would be a way to give the extraterrestrials a
platform to communicate their thoughts through the electronic music to other humans on the
planet. As radio telescopes are trying to receive signals from extraterrestrials the consortium
would be making sounds that already had embedded within its tonal structure a way for the
extraterrestrials to communicate with us on earth by leaving messages within our sounds. As the
consortium made its sounds available for others to listen to we would be providing a conduit for
extraterrestrial to share messages on a planetary level. The Extraterrestrial Electronic Music
Consortium would act as global telepathic music transmission platform for the extraterrestrials
through the consortium’s electronic music. The extraterrestrials would be able to use the
consortium’s sounds to communicate their messages from their own culture thus enabling us on
earth to reach a needed evolutionary assist for saving our planet. If you are an electronic
musician who is specifically composing sounds to communicate with extraterrestrials please
send you mp3 files to: