The purpose of this working is to awaken areas of the subconscious. An ideal medium for this would be enriched dream activity or creative visions. During the working, I use the idea of feeding C’thulu—and feeding ourselves—to nourish dreams and bring subconscious material forward.

Order can come from chaos.

Consider C’thulu as representing chaos, because chaos has a place in the world. R’lyeh, the place where C’thulu dreams, can represent the parts of ourselves that we do not always see. You can give yourself permission to encounter those hidden parts.

Language and Recording

The working was prerecorded to heighten the experience of the sounds and, in particular, to experiment with our new Yuggothic “R’lyeh Dialect” in darkness. I asked Dr. Michael Aquino for permission to use the Yuggothic words listed in Appendix 74 and was granted permission.

I began creating words from that foundation and asked members of the Lodge to help develop others. Once the working had been written in English and translated into the R’lyeh Dialect, it became clear that performing everything effectively in real time would be difficult. Recording technology allowed us to build the experience in advance and explore a language we had only recently begun to use.

Rhythm and Vowel Sounds

The music uses what we called “theta beats”: rhythms at four beats per second intended to support the contemplative and altered-state character of the work. We also used Rosicrucian vowel sounds selected for their traditional meanings. The sounds were sung by William Duke at his natural pitch and performed in altered baritone registers by Sir Gawain and me.

The Location

We performed the working at Lands End on the Pacific Ocean, a place written about by Anton LaVey and Sir Gawain. A similar working could be performed at another location beside the water and beneath the stars.

The working begins with Igatebayboryzohd, the planetary name constructed for May 25, 2003. I developed it phonetically using seed words described in Hermetic Magic by Stephen Flowers so that it would be easier to pronounce while reading.

This arrangement was determined using the Betz sidereal ephemeris. Lady Akeru, Sir Gawain, Dame Patricia, and Sir Otto chant the completed word.

Voices and Performance

I speak the nine angles in Yuggothic while Sir Gawain processes my voice from a woman’s soprano into a man’s baritone. During the working, I visualized the angles of the Seal of Runa in sequence as they were spoken.

Some of the calls of the decans are transliterations or variations of their Egyptian names. These were the constellations rising on May 25, 2003, calculated using Starry Night software. Sir Otto, Dame Patricia, Lady Akeru, and Sir Gawain chant the decans. Fog obscured my view of the stars, but I knew they were there.

The main body of the working is spoken in English by Sir Gawain and simultaneously in Yuggothic by Lady Akeru.

Interactive Elements

The first interactive element is the consumption of salt. We used gray sea salt on brown bread.

The next is to feed C’thulu. We used frozen fish-food capsules placed into small containers beforehand. They did defrost, so prepare accordingly if using them in advance. Each initiate received a container and selected a place from which to throw the food into the water.

Cast and References