The HermAphroditic ChAOrder of the SILVER DUSK Presents...

The GLOBAL VISSUDHA (Throat) CHAKRA WORKING

Great Pyramid, Giza, and Saqqara,
Nov (Samhain) full moon 2006

{Photos on this page (except where otherwise noted) by Lerry}

PART III -Evening Rites:
Abu Sir Pyramids and Dome Temple at Abu Sir village.

We'd made it clear now that actually going in not just standing at the gateway or nearby was what we were paying to do, so one of the guards picked up a big rock and -after adjusting the padlock's angle for the most effective onslaught- began to smash it violently against it, while another guard pointed a torch-beam at the operation. I was surprised how easy it was, about 6 blows later the padlock fell away and the metal gate swung open. We gave our thanks, they grinned and walked off with Nasser as we walked in, ten souls alone at last in one of the Abu Sir Pyramids.

It felt really different from the other pyramids we'd been in, and when we reached the first chamber we immediately saw why: the flicker of tiny candles light revealed a mass of boulders and stones, apparently hewn with irregularity unless they had already been broken down, filling most of the space in a most haphazard way.
We were bunched in the corner looking at this chaos of edges and angles and realizing that despite appearing quite a solid structure from outside this pyramid hadcollapsed in on itself, possibly during looting missions which had destabilized it. No wonder it wasn't open to the public, and no wonder they'd been a bit reticent to leave us here now- it didn't really look that safe.

Nevertheless, we were here with a purpose and intended to fulfil it.
There didn't seem much room in this first space for our ritual, so with some trepidation we continued in deeper, down another passageway, from which we each squeezed through a small aperture and emerged into another chamber with a bit more room to move.

The space above us here was even more precarious-looking however - a huge squared boulder was jutting down at an awkward diagonal, poised above our heads and wedged in place by several smaller stones that had apparently averted its full descent. The idea of extensive loud chanting in here did seem insecure, yet there was a kind of beauty in the possible danger also, the consideration of the power of our Words and sounds in the realms of physical consequence. I made a few cautious testing tones and nothing seemed to stir or tremble.

We lit about seven candles and passed them around as we each found our little niches in the chaotic and irregular setting, some perched higher on rocks, some standing twixt boulders or nestled in clefts, others seated on the flattest surfaces they could find. We set up the candles in various nooks and crevices and in their dim flickering began, tentatively at first, to chant the chakra tones up the octave, raising the energy once more up our spines. As our fragile-looking environment failed to shudder or stir, we became more confident that it was settled quite firmly into its current configuration, and our voices and spirits swelled.

We filled the small space with our powerful waves of harmonic sound, which resonated also outwards through cracks and tunnels. On the EEEEE tone of the throat chakra when we reached it we again lingered for quite some time, longer now than in Giza. We continued it until we could scarcely go on, until the built-up waves of it threatened to overwhelm and we finally lapsed into a deep and serene silence. As this descended I extinguished all the candles within reach, and others followed suit with those nearby so that an all-pervasive darkness now accompanied the silence.


It was from this profound void that we slowly began the process of finding our Words of Power...

Our method was Glossolalia, or 'speaking in tongues': to make random sounds for 40 minutes or so, any kind of sounds from the sung to the shrieked to spoken to murmured, until somehow this spontaneous sonic expression coalesced into something powerful, a moment from which we could distil a key, a vibration which would enable us to later re-tap the gnosis. The idea was not to think consciously -especially at first- about what we were saying or sounding, but to allow the subconscious stream to burble up from our back-brains into our throats.
It was quite an incredible experience to do this with 9 others, alone together in the wyrd resonances of a pitch-black semi-collapsed pyramid interior. The vocal explorations of each of us were encouraged and inspired by those of others, but with enough anonymity in the dark with the sound bouncing around that there was no inhibition.
Our voices made sounds distinctly individual, then meshed and merged into collective harmonics before individuating again in new strangeness, overtones and undertones dipping and weaving around each other in an incredible interplay of dynamic sound.
The full range of sonic expression was explored, and more also no doubt than most of us had done before, encouraged by the experiments of others to wander further into realms of abstraction.
You would think that such an experiment- ten very individualistic mystics and mages freeform sounding in the dark together for 40 minutes- would be just a rampant cacophony -that discord would be prevalent and the collective result mostly jarring on the ears.
Quite to the contrary, despite the extremity of some of the vocal expressions being explored, there was an over-riding harmony which wyrdly prevailed- a subconscious awareness of the sounds and spaces of others that stopped anyone from dominating or obscuring the sonic melee for too long. I think because of all the work we had done together in the previous five days, particularly with sound and vibration, this awareness remained on a deep level, and there were surprising harmonies between us even as we differentiated radically.
There was even an awareness of space- sometimes after dramatic annunciations in alien tongues or primal utterances, the utterer of this would lapse into silence or something very minimal, so that at times only one or two voices continued. The collective soundscape therefore rose and fell, thinned and thickened with its own unpremeditated natural dynamics.

The full range of vocal expression was explored, from primal and bestial growling, purrring, shrieking and grunting, to the most melifluous cultured and yet distinctly otherworldly careful annunciations and the most subtle high-pitched wavering harmonics. Sounds teetered and veered from childlike and innocently curious to crazed and purgative, from blissfully serene to simply unplaceable. Sometimes there would be great collective currents, when a certain vibration, sonic flavour or emotive wave would sweep us all up in a temporal unity, other times we would be at extreme contrast with each other, yet even then there was some strange harmony and awareness retained twixt most disparate simultaneous expressions.

I remember when Tristram found what he later affirmed was his Word -or rather phrase- of Power, its resonance was so infectiously blissful that I found myself repeating it several times on the other side of the chamber, unsure at the time of its source.

Some of the sounds that grew from the vibrations between the voices were most magical, sounds that were not of or from one being but created b e t w e e n the individual expressions merging.
There were times too when it seemed there were far more of us than those who were physically present, and others later expressed this too. Whole orchestras of chanting and wailing voices sometimes seemed to seep into our peripheries, perhaps those who were tuning into our ritual from afar, performing glossolalia to find their own Words that night from different physical locations around the planet, and perhaps also ancient spirits joining us?
Sometimes our sound would morph and slide into a kind of morass or slipperiness that defied definition for a while, like the Sound was a thing unto itself and we were just going along for the ride; then focus would shift back in and we would we wielding it precisely, decisively.

Truly it was a beautiful thing, probably the most wondrous collective expression of vocal range and power that I have experienced. Despite the fact that only a few of us involved were officially musicians, I'm sure if we'd recorded it all it would have made a fantastic CD without even any editing. The power of collective will, of fully opened
Vissudha Chakras, and of unity in diversity, were so strongly evident.
It felt at times as if we were scrolling, especially towards the end, through various ancient languages, sounds and syllables that coalesced through cultures, scanning for sonic seeds to find our personal keys.


The emphasis for me and it seemed from discussion later for most of us was of course upon the sounds, and indeed I don't remember having any visions or other sensory experiences the whole time, so immersed was I in sound. However there were some who did experience visuals and other sensations and in particular those of Dorryn seem well worth mentioning here, in the way they relate to the timing of our working on Samhain, the Celtic Sabbat when the veils are thinnest twixt the realms of the living and the dead, and also of course the prevalence of mortuary celebrations by the Ancient Egyptians as a culture, albeit in my opinion as an equal and affirming celebration of life itself. On the Qabbalistic Tree of Life the Vissudha throat chakra is usually related to Daath, the 'non-sephiroth' or Abyss, and it seemed indeed that it was this we were traversing that night, our sound bridging great voids in the dark night to find the wyrd light beyond, and bring back our Words there-from.



For Dorryn (left) this void was quite visual, and seemed to go forever on and on. When first the room was plunged into blackness as the sounds began he saw serpents, patterned with diamond shapes, so vividly that he actually wondered for a moment if they were really there. He also later described seeing skulls, stacked one upon the other, rows and rows and rows of them going down down infinitely down into a seemingly bottomless pit, a vast chasm of death. Perhaps these were the Ancestors, the Samhain spirits, the vast pile of selves who have preceded our present incarnations, from way back in Ancient Egyptian times or even earlier?...
From this ever-receding abyss of columns of skulls finally a female spirit emerged, suddenly, dancing out in light-form, and it felt so good that without thought he embraced this spirit and took it into himself; only later considering that perhaps it was that of the child he and Yoka have recently begun to incarnate? It was precisely at this point of communion with the spirit that light returned to the chamber.

Giselle experienced visuals and other sensations which were totally entwined with her sound, with her Word when she found it - a 'Word' which has remained difficult to express in a written form, as it is a primal sonic: It is the sound of the Sistrum, that Ancient Egyptian sacred musical instrument used by Hathor and Bast and their priestesses- a collection of small cymbals which rattle against one another in an egg shaped abyss within the hand-held wooden frame. For Giselle the sound of the sistrum became all-enveloping, its metallic shimmer expressed and created the entire play of form, the dance of creation which the pleasure-goddesses who wield it represent. Thus the great Hand of Hathor being synonymous with the yoni of the Goddess holding the staff or lingam of the sistrum which was symbolic of the axis of the pole star- an exquisite representation of the tantric union of the Yoni-Lingam.
The sistrum's cymbals -with their simple circular pattern with a central point- were like cells or molecules vibrating in resonance, and from them swirled the serpentine strands of DNA, primary essence of life itself. This pattern repeated itself from molecular microcosms to bodily kundalini to cosmic macrocosms, the cymbals of the sistrum activating the cellular waters and re-linking us to the Nile and the star-beings. She perceived this as an activation of that which is latent within us, seeded by the Followers of Horus. For months no words or text or utterances could adequately convey a glimpse of this pure primordial sound. This metallic sound was accompanied by long gutteral Gyoto-monk like chants whose voices unreeled cosmic scrolls of enigmatic glyphs from Tibetan prayer- wheels; interesting that Tibet should feature in the symphony with its link via the Global Crown Chakra at Mt Kailash.
The all-encompassing DNA matrix she saw as a diamond-like pattern around these points, similar to the diamond patterns upon the serpents Dorryn saw. I drew this connection later, via the Mayan pyramid of Kukulcan/Quetzalcoatl in Mexico, where on the equinoxes (one being my birthday, the other Giselle's) the very specific patterns of sunlight down the edge of the step pyramid creates the body of the feathered serpent, whose great stone head is placed deliberately at the bottom of this- seven diamond shapes which represent the seven powers of Kukulcan, the chakras...
It was quite a wonderful affirmation in the next few days after the culmination of the working when email reports from translocal participants in other parts of the world began to come in, and several members of the Horus-Maat Lodge had experienced distinctly the metallic sound of the sistrum, its cosmic shimmering vibrations astrally accompanying their glossolalia.

I remember one point in the shifting sound-scape quite distinctly, when a huge crescendo of vibrant and immense sound had collectively welled up, surged, everyone wide open pouring it out; then everything ebbing and dissipating and softening and sinking almost as if with deliberation into a natural silence for a moment.
From these depths then came the subtle sound of droplets of water, someone's tongue and cheek resonating in the dark. Another gurbled in the corner in response, drips of sounds hung and dropped seemingly from above, then we were all doing it -driplets and droplets of liquid sound resounding around the space- but not as a waterfall, rather spaciously and carefully, forming oblique patterns of abstraction and reformation; and it remained on this quiet and very meditative level for quite some time before gradually building up again into the final cascades of sonic discovery. It was at this nexus that we found ourselves also sprinkled with physical water, Tristram deciding to spray it rather refreshingly through the sweaty confines of the dark space. Thus a powerful presence of the combined energies of water and sound, which have been flooding the world in the last few years through the astounding research of Dr Emoto, who has documented the effect of sound and intent upon frozen water particles.

Eventually, and precisely at the time I felt ready to return to the chakra tones anyway, Tor declared the distinctly English word, 'Time' having checked it due to awareness of the waiting guards who would want more baksheesh if we lingered too long. Being so recognizably comprehensible, this Word sufficiently broke the spell with some laughter, as I began to tone the EEEE tone of Vissudha once again.
One by one everyone joined in, and this felt incredible: After all the disparate individual expressions for so long, to all be making the one single sound together again!
As one by one the candles were relit, suffusing the space once more with a dim flickering glow, we continued the EEEE tone for a while then up to the mmm of the Ajna, the Nnngg of the Bindu, tongues touching palates to circulate the energy, and finally exploding into the high OOOOOOh tone of our Crown Chakras which were by now wide open. This felt like pure bliss; no separation between us and anything else.

Back to the low 'Ohhh' tone of the base chakra then, touching the ground and thanking its spirits and guardians, we began to make our way out of the pyramid.


You would expect after this intense submersion in absolute darkness and pure sound, our return to the outside world to be dramatic, but it was even more so than expected due to a powerful unexpected surprise from the heavens above as we emerged:



{Photo (right) by Tor}

The full moon was directly above the pyramid, and Her considerable glow after the darkness drew our attention upwards, to see Her white majesty above the glowing shadowy hulk of the pyramid. A round of gasps rippled through our ranks. A huge and perfect circle of light had formed around the moon, so vast that She was as a mere dot at the centre of this great white ring, shining spectacularly in the night. It was so like the iris of some great cosmic eye that it was hard not to have the uncanny feeling our rituals were being Watched.

For Giselle it was especially significant in that the glyph formed above was a reiteration of the recurring patterns she had seen within the darkness of the pyramid- the point within the circle as the sistrum cymbal and all its symbolic resonances throughout the universe.



As we dispersed into the darkness amidst the silhouettes and shadows, Giselle and Yoka suddenly discovered an immense stone slab laying in ruin and covered in the familiar stars of our Goddess Nuit and pressed their bodies upon her.

This slab, as was later discovered, once formed a ceiling upheld by the lotus pillars, as this night ten more 'stars' fell astounded through sound-space and back unto earth.


We wended our way back along the narrow track through the silent shadowy dunes, laughing and sighing, joined by the guards and Nasser who slipped wraithlike down from their position on a nearby hill. They seemed to be marvelling at the spectacle also.


We passed once more through the two great lotus pillars, reaching up to the lunar luminescence above, and radiating our silent thanks as we looked back, boarded Nasser's car and headed back to the village.

PART IV - COMPLETION and RESULTS

It was getting late now and it had been a long day, so without further breaks or ado we returned straight to the dome temple at Abu Sir village to complete our ritual.

Not everyone had consolidated a Word of Power as yet, and this would not have been expected. While some had come right out with Words or whole utterances in the pyramid which immediately just felt right and complete, others needed to gestate meaning and distil various transmissions into their essence. Some had strings of sounds and words which now needed to be contracted into comprehension, to find the most direct distillations as keys to re-access states and channels we had opened in the pyramid.


{Photo (right) by Tor}

To aid this distillation process, Giselle wrapped each initiate to incubate their Word, a part of the

After the working Dorryn began to work upon a game (right), chalking a pictograph of serpent and vulture on the roof next to the dome temple, using white and black pebbles placed upon this 'board' to represent the eggs of each. While the process is as yet incomplete, he expressed that the game would resolve the dualities inherent rather than bring them into competition.
This is incredibly intuitive -showing how much the working opened our psyches to ancient currents there- as Dorryn consciously knew nothing about the Vulture and the Serpent as symbols of Upper and Lower Egypt: the headdresses of the pharaohs had vulture or cobra uraeus -known as Nekhbet and Wedjat- figures emerging from third eyes on their headdresses, and when in later dynasties upper and lower Egypt were united, pharaohs such as Tutankhamen wore both of them combined.

The other primary symbols of Upper and Lower Egypt are the Lotus and the Papyrus, and there is a fantastic sculpture in the Cairo Museum of Horus and Set entwining these plants together, with a placard explaining that these Gods here represent the forces of Order and Chaos; so this union seems rather relevant to our HermAphroditic ChAOrder of the Silver Dusk.

It seems to me this symbolism also relates to Ptah and Sekhmet, who is often depicted carrying a papyrus-plant staff. Perhaps this is to receive the creative Word from Ptah -which manifests as their scribe-child Nefertum or Imhotep- while Sekhmet as Kundalini which opens the lotuses or chakras of Ptah's body (including Vissudha in a reciprocal circular relationship of creative essence).
Tristram also tapped into the currents of Upper and Lower Egypt uniting in his transmission from Imhotep, the Child of this union. It was wonderful to discover then that although in modern times it was considered to be further north, to the Ancient Egyptians Lower and Upper Egypt actually met there at Memphis and Saqqara, where we were performing the workings and receiving these transmissions, and where Ptah, Sekhmet and Imhotep were the holy triad.

Pictures I began in Saqqara of Ptah, Sekhmet and Nefertum expressing some of these ideas I have now completed and animated :

Ptah as the original architect and patron of arts and crafts is here conflated with the Greco-Roman smith-God Hephaestus/Vulcan and related Watcher Tubal Cain, with the Djed pillar of stability at the bottom as the cosmic forge. The potter's wheel upon which Ptah crafted humanity is here also the Wheel of Fate, the TAROTA representing the cyclicity of life and death, connected with the other wheels and cogs of cosmic architecture, and Ptah Himself emerges from it in self-creation. Above is the Ka (right-angled arms heiroglyph) forming the angles of the pyramid and the stars of the belt of Orion in the loops of the caduceus-like Eternity heiroglyph.

The coiled serpent of kundalini/shakti/sekhem in the Sekhmet picture merges with the wings of Ptah-TubulCain-Azazel to form the Feathered Serpent.
The staves of Lotus (Chakra - through which Sekhmet as Kundalini writhes) and Papyrus (Parchment- to receive the creative Word of Ptah) which the God and Goddess bear align -representing the union of upper and lower Egypt at Memphis-Saqqara.
This begets Nefertum-Imhotep, the divine silent Scribe emerging from the black akashic egg in the womblike lotus loop of the ankh of life.


SA SEKHEM SAHU

When Giselle read of how to the ancients this uniting of upper and lower Egypt also symbolized the union of Above and Below, of stellar and telluric (earthly) realms- I realized a further understanding of the union of bindu (back of the head- cerebellum or subconscious) and ajna (front of the head- cerebrum or conscious mind) as represented by the Wedjat and Udjet (left and right eye of Horus or Atum, as the sun and the moon) or Wedjat and Nekhbet, as I had channelled years ago in 'Liber Pennae-Ultim-Atum'. As the primary axis of serpent and bird (vulture for the Egyptians, condor for the Incans, quetzal bird for the Mayans and Aztecs...) which together form the winged or feathered serpent of risen kundalini (the outspread wings of illumination when the serpent rises)...

The Mayans called this feather serpent Kukulcan (Aztec name Quetzalcoatl) and it was His diamond patterns that I recognized in the drawings Giselle made of her visions in the pyramid.





Alex, Lerry and I returned to this pyramid in the daytime several days after the full moon we spent therein, and although it was still officially closed to the public the guards recognizing us simply showed us around -the resident archaeologist even pointing out significant features for our edification.


Just how significant for me I doubt he suspected, for how wyrd it was to now actually see in daylight the site of our night rites, and discover its history:





Before reaching the pyramid itself we were shown around the mastabas (tombs) nearby. In faint traces of turquoise paintwork over a doorway, I was startled to make out the exact pattern Giselle had envisioned in the dark pyramid, the diamond DNA patterns with dots within their matrix:




The two great pillars we had walked between were now revealed in full detail, and rather than just being lotuses, their tops were actually formed of sculpted ostrich plumes, representing -as I confirmed with the archaeologist- the Goddess Maat, ancient Neter of Truth.

Near them were the great blocks of stone be-speckled with large stars carved in relief. This we were told had been the ceiling (the stars representing the Sky-Goddess Nuit) the pillars had once upheld, in a temple leading to the pyramid's entrance.
Our guide pointed out the large engraven cartouche of the Pharaoh who had built the temple and the unfinished (internally collapsed) pyramid beyond, the three hieroglyphs forming his name: SaHuRe.

Strange image-impressions began to form in my mind, and an oddly overwhelming sense of familiarity brought about by a sudden awareness of wyrd synchronicities.
'As in Sa and Hu, the two sons of Re/Ra who sprang from His Blood when Ra cut his penis?' I asked the archaeologist, who seemed quite knowledgeable about Ancient Egyptian mythology. He raised his eyebrow that I would know such a relatively obscure thing, and nodded affirmation.
I reeled. In Mexico in the Mayan tradition I had performed a penile blood-letting ritual atop the pyramid of Kukulcan/Quetzalcoatl, the pyramid that forms the diamond patterns of the serpent powers- the patterns on the nearby mastaba- on the equinox, which is when (being my birthday) I had performed the bloodletting ritual. A few weeks later- after being attuned to Sekhem in Portland- I was initiated to the AdiNath tantric tradition in Seattle and given the name RaHuNath, which although Hindu in origin I discovered could also be related to Ra and to Hu, who is one of the sons of the blood of the phallus of Ra; amazed that another Sun-God besides Kukulcan had done such a similar act of sacrificial creation, and awed at yet another link between ancient Egyptian and Mayan cultures and mythologies.

Now here I was at the pyramid of SaHuRe, where we had inadvertently been led to perform the final sequence of our ritual.

And one of these two blood-born sons- Hu, is the Ancient Egyptian God of the power of the Magic Word!


I felt quite overwhelmed, even wondering if I had once been the pharaoh Sahure and called back to complete my work here; or if with my rites I had just tapped into some kind of astral slipstream of cross-cultural connectivity?

A few days later the experience formulated into this verse:

Throughout our time in Egypt Giselle remained obsessed with the Blue Lotus, a mildly psychoactive plant which the Ancients drank as a sacramental tea. They can be seen in much of the Temple Art, beautiful in their blueness, often being offered by consorts to pharaohs and queens. Their scent alone in the pool outside the Cairo Museum was intoxicating.
Oddly, it was only after leaving Egypt that the obvious connection clicked:
The Lotus is the traditional symbol of the Chakra, and in the application of the colour spectrum to these seven energy centres, the Throat Chakra is Blue!

And now a vain attempt to write of what cannot be spoken- of what cannot even be breathed...

The deeper 'Word' that I found is beyond utterance, ironic in that Vissudha is all about sound and vibration. Yet it is precisely its relationship with sound that gives this Word-essence its power.

Egypt is a noisy place. Yes there are vast stretches of empty desert, but the areas of dense population surrounding the fertile Nile where we worked are very busy and very loud. Cairo is insanely dense, and while it is full of life and culture and wonder it only takes a few days in there for one to crave space on every level- respite from the bombardment of the senses, clear air to breathe (Cairo is the most polluted city in the World), and an absence of sound to hear oneself think. So getting out to the Abu Sir village on the edge of the desert was a relief for everyone involved in our rituals after arriving there. Yet even there, Cairo -only forty minutes' drive away if the traffic is relatively un-congested (rare)- looms like a huge grey spectre on the horizon, its fumes wafting out over the thriving tourist mecca of nearby Giza and lingering even in the village. The village is rural, yet also full of loud noise- the man selling water from the back of his truck driving around shouting through his megaphone twice a day, the gaggles of screaming children, and the thrice a day (dawn, noon, dusk) blaring of the mosques. The latter is an especially odd phenomenon, as its purpose is religious, yet while the semi-sung wavering incantations of prayer are mostly quite beautiful in their execution, most of the speakers used are turned up beyond their capacity for clarity causing a distortion which in its regularity becomes quite an invasive vibration, especially with many different mosques audible within any given vicinity all blaring out of synch with each other in a pious cacophony. And then on the holy day of Friday it would go on for hours and hours. I admire the devotion but surely almighty Allah could hear even a whisper?

And so it was that the Great Sphinx itself, following up on the enigmatic messages received a few weeks earlier from Hir Greek cousin the Sphinga at Delphi, whispered to us Hir timeless secrets amidst the irreverent babble of camera-toting tourists and the shrill blast of guards signalling closing time with harsh whistles. Nay, S/He did not even whisper, and yet Hir communication was so much more potent than the din and ruckus around us.

I have worked for some years with the Word of Power aha, discovering in it ever more layers of meaning and resonance. For it is a Word of both revealing (the lightning flash of realization- AHA!) and of concealing (the secret- aha...) and much more besides (aha).
But primarily it is the sound of the breath itself, the inhalation (ah) and the exhalation (ha) of life itself. Similarly the Hindus consider the Word or Mantra Samha to express this breath and prana, and the 'unspeakable' Hebrew Name of God YHVH is said (!) to be such because it is not spoken, rather breathed.

That is why I write that this elusive Word is not only beyond speech, but also beyond breath. If performing kumbukka pranayama, it is the equivalent of the kumbukka itself, the holding of breath, the pause b e t w e e n the breaths, the ineffable space between inhalation and exhalation, between inspiration and expiration. It is Not, and it is the fourth power of the Sphinx.


Yes sound and vibration are essential, but their true Power lies in when to use them, and when not to.
Magickal Words used inappropriately or in the wrong context lose their power, whereas the ineffable will always remain enigmatic. As with all spells and spell-ing, right timing and right placement is essential.

This current of realization was not one only I experienced (rather than merely conceived) but was shared by several during the Working: Giselle also had strong impressions from the Sphinx, (which she calls 'the Unuttterable Ones') regarding the 'enigmatic presence' of their silence, and Yoka expressed that she felt her true Word throughout most of the ritual process was mere silence, only eventually being filled with something more vocalizable.


And so even after seeing the infamous Stele of Revealing in Cairo Museum (from which I heard another Word, still mysteriously meaningless to me as yet: supetapet) which though now placed elsewhere still retains its original number tag of 666, I still seek the Stele of Concealing which I first felt to look for in the Mayan temples of Mexico.
It remains elusive; and while Ra Hoor Khuit rages on, Hoor Par Kraat holds his finger to His lips... ... ...