‘The Magician’s Jewel’ (2025)

Computer graphic of ‘The Magician’s Jewel’

Where we are now…

In the late Summer of 2025, at the time of writing this updated synopsis of a greater project report that presents ‘The Magician’s Jewel’ section by section in more detail than what is offered herein, having presented a physical model of her visionary installation device, ‘The Magician’s Jewel’ (TMJ) to various groups of people across the world in the Autumn of 2024, while seeking answers as to how to build a prototype of it and inviting experts from various fields to participate in designing a working mechanism of it, Creative Innovative Artist, Susan M. Griffith-Jones is again about to set off to display her brand new 3D graphic design of the structure as a Virtual Tour, to various foreign audiences.

A step-by-step history of the project

Step 1: The idea forms

Having spent many years studying with the Tibetan Masters in Nepal and India, this phase of Susan’s work began with a wish to create “an exhibition” that would combine the art and installation work she had produced to date, along with an exposition of the process of existence described in the ‘Bardol Thodol’ – more commonly known as ‘The Tibetan Book of the Dead’, one of the most precious teachings about life itself from the Tibetan canon of texts that are available to us today.

Many trips across the world ensued for Susan, giving multiple lectures at conferences, holding workshops and retreats for groups worldwide, meeting with designers of exhibition sets and producers of the latest technology regarding AR, VR and headsets, neuroscientists, experts in the field of psychology and the Tibetan Book of the Dead, as well as personally taking courses in different subjects ranging from the Science of Crystals, Biogeometry, Monroe techniques and Somatic Intelligence training.

The aforementioned being just the tip of the iceberg, it was more precisely after completing the first production of her movie about the Bosnian pyramids, ‘Visions of Bosnia’, that in a flash of inspiration Susan saw that both Series I and II of her Photo Collage Art pieces, an entire collection of this genre of her work from the last 19 years, plus her ‘ Circle of Immortality’ art piece, may themselves be the individual parts, or rather components of one whole larger working device.

It was with this realisation that ‘The Magician’s Jewel’ sprung ‘out of the blue’ and onto the page in early 2021, along with this new section of her website entitled, ‘INSTALLATIONS’.

First iteration of a 3D design for ‘The Magician’s Jewel’ – 2021

‘The Magician’s Jewel’ with mirrored image 2021	The Magician’s Jewel’ set upon the floor 2021

To view a Piece-by-Piece assembly of this earlier version of ‘The Magician’s Jewel (2021), please click on the link: https://www.youtube.com/watch?v=y0n7ZgQeWds

Please scroll down this page to read in sequence about the history leading to the manifestation of the current version of ‘The Magician’s Jewel’.

Next iteration of 3D design for ‘The magician’s Jewel – 2025

A Brief Summary of ‘The Magician’s Jewel’

TMJ is a large, exclusive multi-dimensional structure that’s been designed to hold the quintessential, heart essence meaning of the Vajrayana path (the Diamond Way) of Tibetan Buddhism in a symbolically awe-inspiring, immersive and interactive exhibition piece.

Comprising outer and inner parts, carefully measured shapes and angles have been combined to form one magnificent installation that not only holds the symbolic forms and colours of the highest tantric yoga of Tibetan Buddhism, but of many other genres of knowledge too, including Universal Harmonics, the Platonic Solids, Sacred Geometry, Optics, Crystalline structures, Electrical Engineering, Biogeometry and many more.

Describing the processes of Birth, Life, Death and In Between in a lively, visual rendition of Bardo Thodol (The Tibetan Book of the Dead) first exposed by the great Indian saint, Guru Padmasambhava millennia ago, the participant first explores the Bardo of Life in the large park layout surrounding the device and then enters the central installation piece of TMJ to experience the other 5 Bardos; those of Sleep, Meditation, Death, Reality and Becoming.

Inside the heart of the structure, that has been built to resonate its subtle meaning to the beholder, splendid interactive sound and light displays dazzle the participant, who will now ascend a winding spiral travelator while passing through 12 viewing platforms that are large enough to allow people to comfortably move around on, a full chromatic octave of harmonic resonance that leads to a chamber resonating the sound of AUM at its apex.

An inner route ensues in which participants don Augmented and Virtual Reality glasses then follow a pathway through varying chambers and inner spaces of the installation, going through key visualisation processes that are carefully designed to enhance the experience as well as create a multi-dimensional space at the very heart of this installation.

Step 2: A working draft of the project and computer graphic images emerge

This idea then became a hypothesis that swelled into a greater section-by-section explanation of the piece that Susan wrote and rewrote while assembling the core elements of each of the Photo Collage Art pictures and Art Installation piece together into 3D computer graphic images.

Five Photo Collage Art pieces of Susan Griffith-Jones’ – Series I:

Three Photo Collage Art pieces of Susan Griffith-Jones’ – Series II:

One 3D Art Installation:

‘The Circle of Immortality’

Aspects of each of these individual works of Susan thus merged together into a greater device to contain a fully immersive and interactive experience holding essentially embedded information in symbolic form.

Thus, TMJ is designed to strongly inspire, heartily impact, directly transmit and ultimately connect its beholders to a plethora of Universal Truth, as well as open the space for source energy to beam out from this huge machine from a precise mechanism positioned at its centre that is being efficiently fueled by the very sound, light, motion, shape and charge of the rest of this carefully designed device, along with specific aspects of participation by human participants.

The Threefold Symmetry within ‘The Magician’s Jewel’

TMJ is a unique threefold combination of form (shape), sound (vibration) and charge (light). Comprising a surrounding park-style layout with a structure positioned in the middle, it is inspiringly large enough to both create a sense of awe on first sight, as well as allow participants to comfortably move around on, within its inner passageways and chambers.

These 3 layers, intricately wrapped up one within the other, are displayed in an entire structure that is also perfectly mirrored ‘into the ground’ below it, giving the impression of there being another whole space, which is nevertheless illusory.

While directly experiencing various octaves of harmonic resonance, their symbiotic relationship with appearance and resultant charge, when moving through ‘The Magician’s Jewel’, participants bask in a triple set of resonance designed to re-tune our natural biological energy system into a state of harmony and balance.

Acting in micro-resonance with all 3 layers of our physical body, subtle energy and spiritual consciousness and in macro-resonance with the environment surrounding us, here a symmetry of 9 octaves of harmonic resonance and 9 layers of mirror-image nested Platonic solids hold the energy of the structure in a way that allows a process of phase conjugate implosion of charge to occur at the heart of this installation, causing a reversal of entropy.

Like a trefoil knot holding perpetual spin, an infinite compression of these 3 layers of charge, sound and form (light) self-perpetuates around a centre that contains an ultimate field of unified potential, the union of these 3 varying fields of energy, collated into one.

Rhythm of ‘Bardo Thodol’ (TBOD) within ‘The Magician’s Jewel’

Following the stage-by-stage process of existence described in ‘Bardo Thodol’ (The Tibetan Book of the Dead – TBOD) of the great Indian saint, Guru Padmasambhava and using Augmented and Virtual Reality to enhance the experience, participants meet challenges at each stage of its outer, inner and secret sections, passing through labyrinths and crossing hurdles, finally reaching a simulation of the very heart essence of our being at its centre.

Summary of stages mentioned in Tibetan Book of the Dead

1/ Bardo of Life – the period of time between birth and meeting a cause that will lead to death.

The Bardo of Life encompasses 2 other aspects:

Bardo of Sleep
Bardo of Meditation

2/ Bardo of Dying – the period of time it takes for the physical elements of the body and mental attributes to dissolve into…

3/ Bardo of Reality – the ground nature of Existence

4/ Bardo of Becoming – the period of time to take on the mental attributes and physical body until birth (reverse of Bardo of Dying)

…bringing you back in a circular way to:

1/ Bardo of Life…

Bare outline of Harmonics within TMJ

‘The Magician’s Jewel’ = 1 whole keynote representing existence.

Operating within octave scale harmonics, four keynotes ‘open out’ into 3 octaves, having 7 notes each, the 8th of the preceding octave being the 1st of next.

Each of the 3 octaves has active, passive and neutral aspects, creating 9 octaves in total.

Rhythm of Bardo Thodol (TBOD)

The 4 parts of ‘The Magician’s Jewel’

‘The Magician’s Jewel’ contains 4 sections; Outer, Inner, Secret and Heart essence that nevertheless merge as 1 whole Conscious Installation Device.

Outer Layer:

The park that surrounds the central structure introduces the concept of the universal mathematical symbol Pi (22/7) and represents the Bardo of Life
The circumference of the mirror at the base of the structure and a chamber inside the mirror (underneath it) represents the Bardo of Sleep.
A moving travelator, twisting around its central axis 12 times as an octave of harmonic resonance of semitones…

Inner layer:

…that culminates in an AUM chamber positioned at its apex represents the Bardo of Meditation.
Pi is embedded into the inner tricolour structure, whose 22 sides of its shapes interact with 7 resounding notes of AUM, creating a framework of light and sound.
The 5 elements (form)/mental aspects (sound) spin (charge) clockwise at the base of the line of 8 crystals and central part, forming ‘The Divine Vajra’, whose body spans the central axis and holds the traditional symbolism of a Tibetan master’s ritual Dorje/Vajra instrument.
Interacting with other aspects of the structure, ‘The Divine Vajra’ creates a vertical Standing Columnar Wave with the carefully designed park surrounding the central structure forming its partner Solitron Wave horizontal grid at ninety degrees to itself.

Secret Layer:

Two Fibonacci spirals, one black representing the Bardo of Dyingand one white representing the Bardo of Becoming respectively lead into and out of a dodeca-icosahedron shape, which is the central shape of the structure.
Augmented Reality digital displays in a game like format take place inside these 2 Fibonacci spirals.

Heart Essence Layer:

At the very heart of this installation is a carefully designed inner space in the shape of a dodeca-icoshedron, representing the Bardo of Reality.
Virtual Reality digital displays take place inside this central zone.

Top down view of the heart essence of ‘The Magician’s Jewel’

An outline of the Working Mechanism of ‘The Magician’s Jewel’

In addition to experiencing the process of existence through following the various stages mentioned in TBOD, as a wholly assembled piece, ‘The Magician’s Jewel’ may be classed as a Conscious Installation Device, a genre that Susan has been developing over these past years.

Along with carefully designed aspects of light and sound, in order to produce the necessary effects to create a device of such capacity, the structure of ‘The Magician’s Jewel’ is largely made of metals and precious stones that contain the highest levels of conductivity and piezoelectric capacity.

Naturally functioning through its carefully designed angled pyramid shape containing many other nested shapes that all together cause an interaction with both the Earth’s own electrical field as well as that of the human, clockwise and counter-clockwise movements of its internal shapes create standing columnar waves (SCW), vortices that naturally restore balance to the Earth’s electromagnetic grid that is being disrupted by the increased use of electrical items and Wifi in our age of technology.

These SCWs then spread across its park-like structure at a horizontal level via Solitron waves and connect to the whirling forms at its outermost reaches, so that the entire installation is ‘alive’.

In addition to this, a process of electrical phase conjugation imploding through carefully contrived shapes and angles, spiral movements converging at a central point creates neg-entropic energy that is exacerbated through the effect of an infinite fractal motion caused by the continual interaction of the different layers of compression of light, sound and charge.

Thus, returning a harmoniously conducive condition of extreme benefit for the bio-energetic structure of human and other living organisms, our Earth and the atmosphere, this device may cause biological life forms that come into contact with it to receive healing on multi-layers, as well as to re-ionise hundreds of miles of atmosphere around it.

Especially required in our homes and cities these days, where harmful waves of subtle energy pervade the space of our environment due to an excess of electrical items and Wifi being used, this huge device is designed to constantly clean up the electro-smog within a large radius of it that is currently so detrimental to the health of all biological creatures, without causing any damage to electrical circuits or machines.

Throughout the interactive sections that participants follow when traversing ‘The Magician’s Jewel’, they will be prompted to use focus of attention to centre and encouraged to consciously move through varying states of existence according to the Bardo Thodol (Tibetan Book of the Dead).

The resulting implosive charge experienced in the minds of participants may thus convert harmful emotions into states of higher mental qualities, which will be both quantifiably and qualitatively measured with biofeedback technology attached to a headset and corresponding images appearing through/within the AR (Augmented Reality) and VR (Virtual Reality) glasses of the participants.

Step 3: Building a 3D model of TMJ

After many months of working with only computer generated images of ‘The Magician’s Jewel’, describing it verbally to various people, then writing down the meaning in a summarised form from a longer written working draft, Susan then designed and made a 3D model of TMJ using basic household materials such as wood, cardboard, craft paints, aluminium sheet, paper and matchsticks.

First model of ‘The Magician’s Jewel’ – 2023

The main aim in building this 5ft tall model of ‘The Magician’s Jewel’ has been to:

refine an understanding of how this piece may actually be assembled as a larger Installation,
highlight the potential proportions for each of its main shapes,
find out the distance at which the shapes should be placed from one another,
understand the various angles of their positioning,
measure the amount of source energy present from the combination of shapes, angles used, etc…
discover a more precise workable trail that participants will follow around the structure,
get a deeper understanding of how the mechanism of the installation will actually work as an active device,
investigate which materials may be suitable for a prototype of the actual device,
contact those who have the skills to assist in its construction process.

Step 4: Giving an Introductory Talk about ‘The Magician’s Jewel’ to FMBR organisation based in the Bay Area, California, USA

On 25th February 2024, Susan gave an online introductory talk about ‘The Magician’s Jewel’ to FMBR Organisation.

Step 5: To build a prototype of ‘The Magician’s Jewel’

Now Susan intends to create an actual prototype of ‘The Magician’s Jewel’, a working device that doubles up as a physical installation piece falling under the category of Conscious Installation Devices (CID).

The Magician’s Jewel as a Conscious Installation Device

While visiting Serbia’s capital, Belgrade in order to receive her award for the second edition of her movie on the Bosnian pyramids, Tunnel Vision, Eye of Eternity – FILM that won ‘Best Documentary film’ at the SILK FILM FESTIVAL 2024, Susan was invited to give a presentation of her model of ‘The Magician’s Jewel’ to among others, scientists and media experts, Professor V. Abramovic, Goran Marjanovic and Goran Dordevic at the brand new Tesla TV studios in the city.

Then soon after that, having already giving an online talk for members of the FMBR organisation located in The Bay Area, California, USA in February 2024, Susan held an in-person workshop on 14^th September 2024, in Mountain View, California that was also hosted by FMBR (Foundation for Mind-Being Research).

At the event, along with topics including logistical issues around building such an installation, Susan and the participants discussed how to proceed with building a small, functional, working prototype of ‘The Magician’s Jewel’, the most pertinent subject being which materials, including precious stones, metals and other natural items, may be used for this purpose.

To achieve such a prototype, aspects that are being keenly investigated include:

identifying which metals and other organic products such as wood, glass (for the mirror), precious stones etc… will make up the structure of ‘The Magician’s Jewel’ so that it may contain the highest levels of conductivity, piezoelectric capacity and connection to Source, resulting in combined aspects of light, sound and charge producing a working device in the manner envisaged, whilst retaining an appealing design.
further understanding how the unified mechanism of the polarised pair of ‘Tunnel Vision, Eye of Eternity’ and ‘The Divine Vajra’ that contains the infinite toroidal field that comes from the picture ‘Diamond Lens, Doorway to Infinity’ may work together within ‘The Magician’s Jewel’ so that the entire installation is ‘alive’.
how this union of ‘Tunnel Vision, Eye of Eternity’ and ‘The Divine Vajra’ may cause a dynamic that produces a Standing Columnar Wave (SCW) to be positioned up the axis of the structure and how this may work together with a Solitron wave that may exist horizontally across its base within which the 4 whirling circular forms (the Bliss whorls) at its outermost reaches play a definite part.
how this SCW/Solitron grid may naturally and beneficially interact with the Earth’s electromagnetic grid, whose subtle energy is being more and more harmfully impacted by ‘Electro-smog’ that is the result of the increased use of electrical items and Wifi in our current age of technology, thus restoring it to balance, whilst not affecting our usage of electricity and the Internet.
how to effectively re-harmonise the subtle energy of the atmosphere around it, thus creating a conducive condition of extreme benefit for the bio-energetic structure of human and other living organisms, our Earth and the atmosphere, whereby just coming into contact with it, we may receive healing on multiple sheathes of our subtle and physical bodies, as well as re-ionise miles of atmosphere around it without causing any damage to electrical circuits or machines.
thinking about where on Earth this device may be set up upon the planetary grid, so as to maximise its benefit.
designing a more defined passageway for participants to interactively traverse ‘The Magician’s Jewel’, while they are being consciously guided through varying states of existence cited in the Bardo Thodol (Tibetan Book of the Dead), and how their focus of attention during each section may be potentially harnessed as a way to both interact with and thus aid in the operation of the overall device, thus making it a Conscious Installation Device, a genre that Susan has been developing over these past years.
understanding how a process of electrical phase conjugation may occur through implosion to source at its very centre, due to carefully contrived energy functions taking place thanks to carefully fitted together shapes, angles and toroidal fields occurring within its structure, and bringing its different aspects of light, sound and charge towards its centre where a spiral, vortex movement will take place, creating neg-entropic energy.
to investigate how the line of crystals within ‘The Divine Vajra’ along the midline axis of ‘The Magician’s Jewel’ that at a different ‘fractal’ level represents the subtle energy level of human beings, and how this may aid in activating the ‘crystal’ light body of any biological creature, including humans, who come into contact with it, or near it, through resonant tuning.
understanding the precise structure of the Icosa-Dodeca-Icosa residing at its centre and the other shapes within it, that form the heart of the system of ‘The Magician’s Jewel’.
how ‘Diamond Lens, Doorway to Infinity’, embedded inside ‘The Divine Vajra’, is an archetypal mechanistic clock pulsing in resonant micro-macro relation with the whole of existence; from sub-atomic behaviour to the whole Universe and how ‘Tunnel Vision, Eye of Eternity’ is also a clock that runs in tune with the rhythm of 13:20 that was followed by the Central American community of the Mayans.
how the 3 infinite fractal toroidal fields may function as working mechanisms to build the lifeforce of ‘The Magician’s Jewel’.
in particular how the mechanism of the central infinite fractal toroidal field, containing all the necessary information in its dodeca-icosa-cube-tetrahedron-octahedron aspects that are reflected as a physical shell in the outer octahedron-tetrahedron-cube-icosa-dodeca aspects, may symbolise what ‘electrically speaking’ breaks free from the physical shell at the death of our physical bodies.

Susan then participated in Dan Winter’s 4^th International Conference on the Science and Alchemy of Consciousness and gave a presentation of ‘The Magician’s Jewel’ to himself, Patrick Botte and others assembled there, on 23^rd September 2024.

Then immediately afterwards, at the Biogeometry Special Topics class that was held in Fort Lauderdale, Florida, USA, Susan gave a presentation of ‘The Magician’s Jewel’ to a group of Biogeometry students, on 30^th September 2024.

After returning to India, Susan gave a presentation of ‘The Magician’s Jewel’ at Swami Vivekananda and Nikola Tesla Historic World Energy Conference, on 30^th November 2024.

And during the teachings of Daoist Healing Arts, ‘Stone Medicine for the Soul: Harmonising Emotions in Classical Chinese Medicine’, at Tuscon, Arizona, USA, Susan gave a presentation of TMJ to Jeffrey Yuen, on 7^th February 2025.

Short Clips from presentations of ‘The Magician’s Jewel’ around the world – Autumn 2024

Second model of ‘The Magician’s Jewel’ at different events

Due to the fact that Susan was travelling across the globe to show the second model at various events, the golden spiral that winds around the whole of the pyramidal structure from base to apex has been truncated so as to both fit in the suitcase and also allow participants to see inside the structure.

Images of Second Model of The Magician’s Jewel’, 2024

the larger external pieces are made of strips of framing wood; outer 4-based pyramidal frame, inner 4-based pyramidal frame, large based triangle pointing upwards, smaller based triangle pointing downwards and cube.
the smaller external pieces making up the icosa-dodeca-icosa, inner cube, inner triangles and inner octahedron are made of matchsticks.
inside of the structure, at its base lies the outline shape of ‘Two Keys, One Lock’ made from metal pieces that have been painted with the relevant colours.
the crystals are made with metal that has been bent into octagonal shapes.
the five lights curling around the lower and upper three crystals that sit on the axis, are strips of plastic covered wire that have been relevantly coloured.
the 2 (1 x black and 1 x white) Fibonacci spirals leading into and out of the centre, are made of strips of plastic covered wire that have been relevantly coloured.
the large spiral around the structure is made of hard cardboard painted with a golden colour.

Note: still need to find a way to add a symbolic representation of the 3 toroidal fields to the model.

Step 6: New 3D Computer Graphic Images and a 3D Virtual Tour of ‘The Magician’s Jewel’ emerge in 2025

Based on information and suggestions she’d picked up at the various conferences and presentations she’s displayed the model of ‘The Magician’s Jewel’ at, in 2024, Susan took a bold step to look deeper into the angles and energy that could flow through its internal space.

Then in preparation for the 6^th Global Pyramid Conference, Chicago 26^th-28^th September 2025, at which Susan will be presenting a Talk about ‘The Magician’s Jewel’ as well as a Workshop during which a Virtual Walk-through of an updated version of the installation in 3D computer graphics, will be inaugurated, Susan decided to go deeper into the actual structural layout of the device.

Knowing that it was the necessary step to advance, she started by studying the third of her Photo Collage Art pieces, ‘Tunnel Vision, Eye of Eternity’ as she realised that this was a complete, 2D representation of the 3D model that already contained some of its more precise dimensional values. All she needed to do was to lift the picture off its 3D flat surface, by pulling it out from its central point so to speak, to form it into the pyramidal structures that ‘The Magician’s Jewel’ is displaying in 3D.

‘Tunnel Vision, Eye of Eternity’

One of the major questions that had come up in the presentations she made at various conferences and to different groups during the Autumn of 2024, was the question of the angle that the 4 sides of the square pyramids would rise up to at their axis.

During this same period, Susan then came across the work of Charlie Zeise of Stargate Pyramids, where she learned about the significance of the angle 76.345 that is most famously coined as the ‘Russian pyramid angle’, but has nevertheless been used in countless numbers of architectural designs of the most famous places of worship, spanning all religions, spread across the globe. Since she had already been focussing on the angle of 72 degrees, which is also an angle favoured by ‘Russian pyramids’, this felt like the right way to go ahead.

Then while continuing to study her third Photo Collage Art piece of Series II, ‘Tunnel Vision, Eye of Eternity’, she subsequently found this very same angle of 76.345 was already clearly, yet unintentionally embedded into the picture, as the overlay of the 4 silver wings, with path-like pentagonal steps glittering across the abyss between the circumference and the very centre of the image. This perfect simultaneity left her no doubt that she had now stumbled upon the correct angle for the slant of the sides of the 4 corners of the square base of her pyramids, to their apexes.

But she then made another key decision that also changes this design from its earlier iteration in the 3D graphic model of 2021, and that was:

a/ to not put the smaller Pyramid (blue) directly inside the larger Grey one whereby their 4 corners would be aligned with each other, but place them at 90-degree angles to each other, so that when lines are ruled from corner to corner of the resultant shape made by the base of the pyramids to each other, an 8-sided shape is created.

The 4 corners of the Blue and Grey pyramids are placed at 90-degrees to each other

From her basic knowledge of Biogeometry, Susan knows that this shape can create rotational symmetry that naturally opens a portal for source energy to have access to the subtle space around it.

Along with the Chakana shaped base upon which the 2 pyramids stand, the outline shape that their relation to each other makes here below, creates ‘rotational symmetry’ that naturally opens a portal for source energy to pour into the subtle space around it.

8-sided shape emerges when 4 corners of both pyramids are joined together into 1 shape

For more information on how the Chakana shape influenced the emerging of the internal design, please go to the link here

Slant angle of 76.345 that creates a natural flow of Golden Phi proportion throughout the pyramid

7 stacked balls reducing in Golden Phi ratio proportions of diameter size to fit inside the pyramid with slant angle 76.345

b/ Based on her first picture of Series II Photo Collage Art – ‘Crystal of Time’ not uniformly symmetrical as it had been before, but based on a Phi Ratio scaling that creates a natural flow of energetic harmony, in resonance with that of the Earth and all natural phenomena, so that the items situated along the lower part of the axis are larger and taller and the same are proportionally much smaller, at the apex.

2D boundary Shapes inside the ‘Tunnel Vision, Eye of Eternity’, marking the various levels of Golden Phi Ratio scaling here, which will determine the placement of objects along the axis.

The lower and upper parts of the axis are proportionally sized according to each level that is determined by the balls decreasing in Golden ratio proportion of diameter.

Piece-by piece assembly of the latest 3D design graphic version of ‘The Magician’s Jewel

More of the latest information that Susan has gleaned from her recent upgrade to this new design of ‘The Magician’s Jewel’ will be explained by her at the Up and Coming, 6^th Global Pyramid Conference 2025 – (then click on the sub-heading ‘EVENTS’), in both a 90-minute Talk and then in a 2-hr designated Workshop regarding the installation.

Disclaimer: What is mentioned above is a working hypothesis. Susan is not an expert per se in any of these fields, but has nevertheless done extensive research to interpret her vision of a working mechanism that now needs to be defined through dialogue with those who have professional knowledge of the relevant subjects required to safely and effectively build TMJ.