The Pyramid & Key, Connection to Universal Structure & Consciousness | Susan Griffith-Jones - Forbidden Knowledge News

Episode Transcript
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Speaker 1 (00:02):
I think it's just going to get weirder and weirder
and weirder, and finally it's going to be so weird
that people are going to have to talk about how
weird it is. Eventually people are going to say, what
the hell is going on. It's not enough to say
it's nuts. You have to explain why it's so nuts.

(00:23):
The invention of artificial life, the cloning of human beings,
possible contact with extraterrestrials, the systems which are in place
to keep the world saying are in utterly inadequate to
the forces that have been unleashed.

Speaker 2 (00:46):
Welcome back to Forbidden Knowledge News. I'm your host Chris Matthew.
Today my guest is Susan Griffith Jones. If you haven't
already seen my films, go check them out. If you have,
check them out again. Doors of Perception is on Amazon,
I'm cult Louisiana's on two b, Roku channel and multiple
other streaming platforms. Check out our website Forbidden Knowledge dot News.

(01:08):
It is the home of the Forbidden Knowledge Network. We
feature some of your favorite podcasts and content creators. We
are booking guests for November. If you have suggestions or
you'd like to be a guest, email me Forbidden Knowledge
Neews at gmail dot com. Today, I want to welcome
Susan Griffith Jones. She is a multidisciplinary artist, author, and
filmmaker whose work explores the symbolism of the pyramid and

(01:33):
its connection to the universal structure and human consciousness. Susan, Welcome.
How you doing.

Speaker 3 (01:40):
I'm great, Thank you so much. Here in the Indian Himalayas.
We're like, I'm not sure exactly where you are.

Speaker 2 (01:46):
You should Colorado.

Speaker 3 (01:49):
Colorado, so you're not quite the furthest distance away from
me in the USA, which is the Pacific coast. But
I'm used to these interviews which happened for me late
at night and for you earlier in the morning. But yeah,
so yeah, it's it's nice. I appreciate you making it.

Speaker 2 (02:08):
I know you're slightly under the weather too, so thank
you so much for being here today. I'm really looking
forward to this. We're going to be discussing your work,
which explores the pyramid as a symbol of the universe
and human consciousness. As I was telling you before, I
really enjoy hearing different perspectives about not only the nature
of these ancient megalithic mysteries, but the nature of reality

(02:31):
itself and how they may connect. I'm veryly looking forward
to hearing more about your work, but this is your
first time on Before we get into this, tell the
audience more about yourself and let them know how they
can find out more about you.

Speaker 3 (02:47):
Well, jumping straight to the point, my website is www
dot pyramid key dot com. That should explain something about
the nature of what I am exploring and have been
exploring the past quarter of a century. Really, what brought
me to the Pyramids not the pyramids per se. It

(03:07):
was actually during the period of time that I was
studying with a very very great Tibetan lama in Nepal,
and I was learning the Vagarayana path of Tibetan Buddhism. Now,
Vayana means the diamond path. So when you say Buddhist,

(03:30):
there are lots of different categories of Buddhism, like if
you say Christian, there are a lot of different categories
of Christian. The Drayana path is a path of non duality.
So you're looking to go beyond this is right, this
is wrong, this is good, this is bad. You're looking
to unify everything in one taste basically. So what happened

(03:54):
to me was, obviously I was introduced to all these
beautiful mendalas and diagrams of the deities and the palaces
of these deities, and they were in these shapes that
what I would see. What I could see was a pyramid.
I mean, there are two dimensional pictures, but if you

(04:16):
kind of put your hand and you pulled out from
the center, it would form a perfect pyramid. Four gates
and four lines like a cross, and it would make
a pyramid. And I didn't think so much of it
at the time, but then I started getting into other
sacred geometry patterns because I was invited to make a

(04:40):
movie about the Lamas, the Tibetan Lamas in Nepal. And
when I was making that movie, I wanted to embed
the meaning that I wanted to explain in the movie
into the movie. So how do I do that? I
designed a shape and then I cross section that shape.

(05:02):
It was actually a three D model. I cross section
that shape and I stretched it across the timeline of
the movie, and I started to embed different parts of
that symbol into the movie in order to the basis

(05:23):
so that the basis of the movie would be what
I wanted to essentially describe in the movie. And the
model that I had made was a pyramid. Why did
I make the pyramid? Actually, I didn't make it because
oh I need to make a pyramid. It wasn't like
that at all. What had happened was when I was

(05:46):
exploring this idea of embedding a symbol into a movie
so that it would be like the essence of the
movie would be be there because of the symbol was
embedded into it. If you see what I mean. I
started by I wanted what I wanted to do. I

(06:06):
tell you, I was studying this path of Vaderiana, which
is this non dual path, and we were looking at
the nature of reality, so absolute reality in the sense
that everything is one, and the relative reality in the senses.
There's you, there's me, there's multiplicity of color and senses

(06:27):
and all these other things that are happening. So how
would I embed this idea of absolute and relative into
my movie? So I thought, Okay, I need to make
a symbol for the absolute, and I need to make
a symbol for the relative. So for the absolute, I
made a circle, and for the relative, I made a square. Again,

(06:49):
I'm just working kind of with logic at the moment.
So I made a circle, and its surrounded by a square,
surrounded by circle, square, circle, square, circle square, And in
the end I couldn't get my pen any further in
the center because there was no more physical space on
the paper. But I knew that this was infinite. It
would gone forever if I had enough space. And then

(07:10):
I thought, okay, how do I unify the square in
the circle? I mean, this is the ancient hermetic question
of the age, is how do you unify the square
in the circle. At that point, I didn't know even
that there was such a thing as the Hermetic path
that had this whole like really structure diagram of the
circle and the square. I'm just working from intuition here anyway,

(07:34):
So I knew that I needed to somehow unify this
square in this circle. So what I did was I
took my pencil and I marked a corner of one
square to the inner square, to an inner square, to
an inner square, to an inner square, until I made
a spiral. And then when I picked it up from
the center it was a flat piece of paper, it
would just PLoP down like this, I thought, Okay, I'll

(07:56):
just make roughly cut out a couple of cardboard like
collateral triangles, and I just put them as a base
to hold this spiral thing up, and I left it
in my room. It was sitting in the corner of
my room for months, and I'm just imbibing off its
symbol and it looks like a pyramid. And so I

(08:19):
had people coming and going, you know, friends, and they say, hey,
what do you got over there? And I'm like, oh,
it's like, you know, I'm trying to unify this square
and south lond Well, why don't you Why don't you
use copper brass plate and you can make this spiral
with that, And then you could say, with these triangles

(08:40):
that are holding it up, you could use pyre x.
So slowly, slowly, this very roughly cut paper thing started
to become a very intricate model made out of pire
x and copper covered brass plate and other you know,
other materials. Now it became a installation. And then when

(09:02):
I was asked to make the movie about the Lamas,
in order to merge this nature of absolute and relative
reality together, I cut across section through that pyramid and
I stretched it across the timeline and I embedded minute
by minute by minute by minute, the symbol, the shape,
the size of the shape, you know, because it was

(09:24):
a pyramid. It was sort of going like that. So
this part of the movie was the movie was kind
of going like this, and then I divided the movie
up into its segments and anyway, I wrote a whole
book called The Living Pyramid on how I made this
movie by embedding this shape into it. Wh So this

(09:46):
was one of the major things that got me into
the Pyramid because as I was studying how to embed
this shape into the movie, I had to start studying
the nature of the pyramid. Now, the pyramids that were
in the Tibetan mandalas that were hanging around me started
jumping out of the page at me. I said, wow,

(10:08):
they're pyramids. Incredible. And then in two thousand and eight
I took a trip to Egypt and the Sudan. Did
you know that there are many many pyramids in the Sudan.
So all the way down I sort of went all
the way down from say Cairo to Khartoum, visiting these

(10:30):
different sites, different heights, different wits. I wasn't so like
heartfelt into the Egyptian thing yet because everything that I
came across was just too superficial for me. It was
like the blah blah blah of the archaeological world, and
it was like, this is something more than this. Albeit,

(10:53):
But what I did do at that time was that
I really deeply, deeply prayed for a teacher who knew
about the real deal of Egyptian not just the pyramids,
but the meaning of the temple sciences and what they
were doing in the ancient Egyptian world. And ironically I

(11:21):
met him at the Pyramid Global Pyramid Conference in Chicago,
where I was also a speaker in twenty eighteen doctor
Ibraham Karim, who is the founder of biogeometry, and no
better person to explain to me and to answer all
the questions I had on not just the pyramids, but

(11:42):
the really the temple science and the meaning and the
subtle energy and how all the rest of it. So
I don't think that really answers your question broadly, but
it gives you an insight into what sort of kicked
off my interest in the pyramids, because it was a
step by step thing. Then in twenty twelve, I took

(12:05):
I made a trip to South America and to Central America,
and again in twenty sixteen to Central America and really
again going deep into the pyramids there. But what annoys
me about going to these places is that you can
sit there, you can endure it, you can do it
your own thing. But the average information you're getting at
any of these places is so it's somehow wrong. I mean,

(12:28):
it's just such a superficient level explaining.

Speaker 2 (12:32):
They want academia to keep their credibility, so they keep
pushing forward the same old narratives, the stale narratives that
don't make sense with what new researchers are coming up with,
and our history keeps getting older and older. So I
agree some changes need.

Speaker 3 (12:50):
To be made totally. So I was again I went
there with an open mind, and I did my own
research and gleaned from it what I could just by
being there. And again I think it was with the
work of Jose Alguerllez, who you may be familiar with,

(13:11):
and he speaks brilliantly on the nature of time and
how this fits into the pyramids, the structure of the pyramids,
and blah blah blah. So a few authors that I
read subsequently who have helped me to open my mind
to the meaning of the Central American Pyramids. Again, it's

(13:32):
all coming back to the same point. Then I was
invited to make a movie in Bosnia. Now, the Bosnian
Pyramids are something quite different. I know, you can't ask
me what do you mean by different? Very difficult to explain.

Speaker 2 (13:50):
The with doctor Osmanatchik, I think that's how you pronounce
his name at a conference a couple of years ago.
It's very fascinating, but I would love to do more
research into it. I had very limited exposure to that information.

Speaker 3 (14:07):
Yeah, So I met Sam at a conference in India
back in twenty in fact, it was late twenty sixteen,
and he saw the movie that I'd made about the
Tibetan Lamas in their parl and he said, I want
you to come to Bosnia and make me a movie
like that in Bosnia. So essentially what I was going
to do is, first I was going to find out

(14:30):
what's going on in Bosnia. So I listened, what are
people talking about, what are the subject matters coming up?
And then I started to investigate those subjects. Like a
lot of things were very new to me. We were
going off at a very sort of esoteric science level,
like the nature of converting Hertzian wave to longer tunal

(14:51):
and now it's scalar waves, and now it's this and that.
So I had to do a lot of my own
study and research. What I wanted to do was to
again embed all that information into a shape which I
could then stretch across the timeline and make the movie
that contained the essence of the place by virtue of

(15:13):
its shape and symbols. And it took me eight years.
It was not a simple endeavor, but what an education
I went through. So I made the first picture, which
was called The Crystal of Time, and then I tried
to embed that into the movie, but I couldn't. Nothing came,

(15:34):
it didn't work. Then I realized, ah, there's a part
of this Crystal of Time. There's a central golden circle
in the middle of it. I need to go into
that and see what's inside that golden circle. So imagine
I stretched this golden circle out to six feet wide.
This was my lockdown project. By the way, seven thousand circles. Wow,

(15:58):
seven thousand circles went in Fibernacci five ratio proportions through
this golden circle. I mean it was. I mean, it's
tactile stuff. When I make the photocolos art pictures. You
know what I'm saying, picture picture, it's not like a
computer graphic design. It's very tactile. So it's plyboard covered

(16:20):
with a colored piece of cloth, and then these symbols
that are gonna go on it are hard cardboard covered
with cloth. So you imagine I cut out seven thousand circles.
Some were the size of what you get in your
whole punch, and that one I cheated on because I
just clicked them with the whole punch. So from the

(16:43):
whole punch size times one point six one, eight times
one point six one, eight ties one point six one
eight times one point six one until you get the
whole picture. And it went in thirteen levels. It was
actually well thirteen, it was nine, but then there were
four which were inside the smaller circle, so it was
nine plus four in that sense. So then once I'd

(17:06):
made these two pictures, I made the Bosnian movie. Then
fate stepped in the way. It was COVID Couldn't Go.
It was COVID twenty one, still can't go twenty two.
Sam was just opening the site again twenty three, I
was like, I couldn't go. I had something else on
and then last year twenty four I finally went, and

(17:30):
I in between I had made another picture which was
also to do with the Bosnian Pyramids, but it was
slightly moving away to a South American ambient. And I'd
been twice to South America to make this picture. And
it was like the outshape of the Chakana the South

(17:51):
American cross, so that was its external external shape. But
then at the very last minute, it was an amazing thing.
I got my husband to recite ORM and the very
last thing that I needed to do in this picture,

(18:12):
in this movie was to drop the orm into the
center of the movie and ripple it out. So you
have an orm and then timing wise, when you have,
for example, any radio wave or any waveform, will increase
in increments of the cube root of pie. When I
learned this, this stuck with me very very deeply, and

(18:35):
at this point that I was just about to go
and show the movie that i'd made back in twenty twenty,
I was like, there's something else, there's something else, there's
something else. Last minute, I did it, so I got
him to recite ORM in the sound studio in Delhi.
We were literally just picking up his visa to come
to the UK in the British embassy there. We had

(18:55):
to go down for like five days. While we were there,
I said, come on, let's just go for it in
the arm. Let's go to the film studio and just
throw this orm across the movie and I completely transformed it. Wow,
completely transformed it. So what I'm saying, I'm giving you
snippets of information because my work is it moves with

(19:22):
where I am at the time, with what influences are
coming in with I'm sort of moving with my environment
in a way, what's happening and the information that comes
to me.

Speaker 2 (19:37):
Maybe we could get a little bit deeper into how
the pyramid itself connects with consciousness and the universe, and
how the structure of the pyramid can give us insights
into that.

Speaker 3 (19:55):
Well, I lead onto the project that I'm actually doing
at the moment, which is a huge installation. There are
two pyramids set at right angles to each other and
they have an angle. Now, this is something that I
was looking at for looking for for a long time.
What is going to be the angle of my pyramid?
I mean, when you talk about a pyramid, it's going

(20:16):
to be squat Is it going to be taller? Is
it gonna So I finally landed on seventy six point
three four five, And I know that sounds like a
random number, but the Russian pyramids are seventy six point
three four five. Okay, why Russian pyramids? You're like pyramids

(20:38):
in Russia? Are you serious? Yes? You see, during the
time that I was growing up in the UK, in
the nineteen eighties, seventies and eighties, I mean Eastern Europe,
there was a wall between US and Eastern Europe. Eastern
Europe was off the map, Russia was off the map.
We didn't think about Eastern Europe. Europe went as far

(21:00):
as West Germany and Switzerland and Austria and Italy and
then all the rest of it was Eastern Europe. But
what was going on behind the Iron Curtain during that time?
While in Western Europe, researchers academia was completely tied by
this thing that they had to produce the bespoke information

(21:24):
in you know, in their research, and they had to
just sort of copy and repeat, copy and repeat everything
else in the Eastern Bloc, including Bosnia and places they
were exploring the most incredible scientific technology, technology and research

(21:45):
into pyramids and into UFO phenomena. I mean they've even
got like, you know, the Government Department of UFO Contact
Research and this and that in Saint Petersburg and all
of that. So the Russian pyramid is very interesting because
it has a base lantangle of seventy six point three

(22:06):
four five. Now what that does. If you put a ball,
a spherical shaped ball fits exactly from the ground floor
to the sides of the pyramid, and then you decrease
that size by one point six one eight the golden ratio,

(22:29):
these balls will all fit perfectly, perfectly, perfectly, perfectly, perfectly
inside this shape. Now what does that do? That creates
a flow of energy going through the pyramid. Now why
is FI and golden ratio so important. It's so important
because all natural cycles, including our consciousness, come out from

(22:54):
source and go back to sauce using this fire angle.
So this shape of seventy six point three point five
creates a natural flow through it that through resonance. As
a human being, you will get in tune with that
wavelength when you go into its ambient and it will

(23:19):
quote unquote put you in a perfect state of mind.
It will bring you back. I mean you may already
be there, but it will at least align you or
bring you back into resonance with that fire ratio pattern,
so you will easily be able to glide up the
scale or down the scale. If you want to materialize,

(23:40):
or if you want to demateialize, or what you want
to do, you can use that spiral to well, you
don't even have to do anything. It just happens to
you because it happens through resonance. I think, Okay, if
you're really blocked and you're like I don't believe this stuff,
and no, no, no, then there might be some difficulty

(24:01):
in the resonance because you've got some kind of blocking
method around you. But to the average person who's like, okay,
what's going on in here, through resonance, you're going to
get aligned with this. The other thing which is very
interesting is this project that I'm doing. It's called the
Magician's Duel. Actually this I was telling you. These two
pyramids set an ninety degree angle to each other with

(24:22):
the spiral on top. It's like a much larger and
much more elaborate form of what I had made back
in Nepal in the two thousands that time, because all
of the pictures that I made during this period, during
the last twenty five years, the key symbols of all

(24:43):
those shapes are inside this installation that I'm making now,
the Magician's Duel, Wow, and the Magician's Duel is also
an expose of the Tibetan Book of the Dead. Now
you're talking about consciousness. Now, A lot of people have
a hard time with the Tibetan Book of the Dead
because it is really coded so deeply in symbols and

(25:08):
meanings and this and that. It's difficult. It's a difficult read.
You can't just sort of pick it up and have
a lighthearted read of it. But the point, the essence
of the Tibetan Book of the Dead is coming back
to this point. We are just pure consciousness. Whether you
want to call it awareness, or you want to call
it God or whatever you want to call it, those

(25:31):
names are also symbols for that one space that we
are all essentially attached to or attached it's not quite
the right word, but you know what I mean. We
are essentially coming from. So in this in this structure
that I'm making, I have made chambers and virtual reality

(25:53):
and augmented reality programs that will bring you to that consciousness,
to that understanding of the Tibetan Book of the Dead.
So we start off with the essential state, but then
we are going to also go through the other six

(26:13):
different states that the Tibetan Book of the Dead talks about.
It talks about say the Bardow of sleep. Yeah, and
if you can stay aware in your sleep. There's a
lot of talk about lucid dreaming these days. This is
lucid dreaming. Basically, if you can stay aware in your sleep,
then after death, so in the bard there's also a
Bardou of death, you will also your consciousness will also

(26:37):
stay aware at that time as well. So there's a
kind of training that one goes through with the bard
or total the Tibetan Book of the Dead, is to
remain in your state of awareness so that no matter
what happens to you, it's only an exterior you know,
an exterior situation it's occurring to you, it's not having

(27:02):
any reality to it in the sense that it's all
coming from your essential nature. So if you bring yourself
back to that essential nature. So somebody's shouting rude words
at you. You know, you can sort of stay in
your center, not like, oh, you know, trying to say quiet.

(27:25):
You say, that's just a you know, essential thing. So
the other thing that's very important here, and I want
to mention it because something very important in the er
on a path of Tibetan Buddhism is guru yoga. And no, that
doesn't mean worshiping yoguru like or guru Guru Guru. It's
the inner guru, the secret guru, secret guru, which is

(27:47):
the awareness itself. So this is what I'm also coming
back to when I say that I am kind of
doing what happens because I'm relying on information to becoming
to me from that in a guru. Now, how do
we trust the voice of the inner guru? How do
we know it's not the inner devil? Right right? You know?

(28:12):
But then we're falling into duality if we start to say, oh,
it's the voice of the devil or it's the voice
of the it's the voice of the good side and
the bad side. But anyway, I'm getting off the off
the mark here. Really, you asked the question about consciousness
and how consciousness fits into the pyramid well, there's also

(28:36):
another thing in a pyramid, any pyramid there are, there's
a first dimension state in the second dimension state. So
let's say the base of your pyramid is here and
the apex is here. In between, you'll have a round
about the third of the way up and two thirds

(28:57):
of the way up there'll be the first dimensioned second dimension,
and the third dimension is the apex every pyramid. So
you can do a very very easy thing with a
straight rule and a set square and you can like
make the marks go in to find where the center
of the pyramid is. Now, that's a place of like

(29:20):
to the power of ten energy. So you've got to
be careful when you're building a pyramid not to put
something there that might be detrimental to people going into it,
or it may blow you across the room. Say so,

(29:42):
So it happened to somebody back in the seventies, a
very lovely researcher called Les Brown, and he describes in
his video he may called the physics of crystals. Actually,
so he made a pyramid and he hung these hung this.
He wanted to kind of connect the apex to the

(30:03):
ground to make energy in the floor. Yeah, so he
hung this He got up on a ladder and he
hung this. He made this steel thing that stuck to
no no. He called it oven wire. It was more
like sort of copper or whatever. And he'd fixed it
up on the apex. Then he came down and he
came off the ladder, but he'd already fixed He knew

(30:26):
it had to be organic. So he fixed this string
of wool to the end of this wire, and he
jumped off the end of the ladder and he grounded
he was holding the wool. He grounded that wool and
that length with his own body, and he was thrown

(30:49):
thirty feet across the room because that came directly through
those key points in the pyramids. Wow, so you know,
we're talking about consciousness, we're talking about energy, we're talking
about other things here. I do believe that in the

(31:12):
ancient times, the Great Pyramid of Gezer was used as
an initiation.

Speaker 2 (31:16):
I was just about to ask, you were talking about
the angles of the different pyramids and the different locations,
would you say that each of these pyramids has different
purposes depending on the angle and the location of it,
different energetic or consciousness activation purposes.

Speaker 3 (31:37):
And I think it was a mastermind plan which was
understood by whoever was putting these everywhere at that time.
I mean what the pyramids also do to us is
they awaken us. They awaken questions in our minds, like
why the hell are they like hundreds of pyramids, pyramids

(32:00):
in the middle of the Mexican, Guatemalan, Honduras, you know, jungle.
What were they doing with these pyramids?

Speaker 2 (32:10):
You know?

Speaker 3 (32:11):
It opens questions in our mind and where are these
people now? You know, and then all these like steps
for there are plenty of pyramids in the southwest USA.
There are pyramids, you know. There are a lot of
places where we like, really there's a pyramid there in
the Grand Canaries, in the UK, in France, in Spain,

(32:32):
in Italy, in Sardinia, in Africa. You know, these are
not pyramids. When we think of pyramids, we think of Gezer.
But there are pyramids everywhere. You just have to listen
to one of Samuel's Montgage's talks and he'll show you
pictures of these pyramids everywhere. You know, they just discovered
this massive pyramid Gurung, I think in Indonesia. I haven't

(32:59):
been to it, but I've heard about it. Massive absolutely
again in the jungle in the in the undergrowth, So
why all these exactly? It's like, you know, I think
from my research that the pyramid has a function of

(33:20):
stabilizing the earth on its all, one of it's one
of them. The properties of the pyramid is to stabilize
because they are positioned on key lanine crossings. And you know,

(33:41):
we think Earth keeps on going round and round and
round and round at the same plate pace and at
the same in the same space, but things happen to
get us off the path sometimes.

Speaker 2 (33:52):
Do you have any thoughts on the recent underground scans
that have been taken under the Geezer Pyramid, the massive
structures that supposedly go down deep under the earth. Have
you any thoughts about some of these discoveries that they're making.

Speaker 3 (34:12):
Well, I do know that the two fellows who made
the lead a scan and who discovered this are going
to be at the Global Pyramid Conference next week where
I shall also be talking. Yeah, I shall also be
speaking at the Global Pyramid Conference about my large structure
that I've just described to you, the Magician's Duel that

(34:33):
I'm making. They're going to be there, so I'm hoping
to get more information and more detailed information about it.
The only thing I've heard about it so far is
from doctor Karim from biogeometry, who said that he has
been getting a huge amount of emails about it from
all over the world, and according to him, he thinks

(34:57):
that they may have picked up on the energy structures
rather than a physical structure. Really but wow, I don't know.
I have no knowledge whether they're physical, whether they're energetic.
I'm only listening to the conversations that are going on

(35:20):
around I will learn more next week, for sure.

Speaker 2 (35:24):
Have you done any research to possible connections with the
different megalithic structures found near pyramid sites like obelisks? Is
there any connection that you were able to see?

Speaker 3 (35:39):
They're resonators. I mean these obelisks again are placed on
sacred points. Okay, what is a sacred point in the ground?
Below a sacred point, often you have water crossings, deep
deep water crossings, and where the water crosses, it creates
a vortex and that text is coming up to the

(36:01):
ground carrying this energy. So if you put something on
there that has say like quartz in it or granite
granite has you know, then it will carry that energy
through it. And again by shape and by angle you
can you can express that energy into the environment around.

(36:24):
So really, what it's what these structures are doing are
they are amplifying, They are using what's already there, and
they are amplifying and giving harmony to the environment around.
So for example, even a statue like these pharaohs, a
statue of saying, you know one of the pharaohs, he

(36:45):
would be standing in such a position. And again with
the resonance of the human body, we can do it.
Even say, look in biogeometry, we can use this artists
model and by putting say an arm up and an

(37:06):
arm down, and a leg forward and a leg to
the leg back, you can create a certain energetic structure.
A certain energy will be coming off that structure, and
you will resonate it because you resonate with it because
you have a human body.

Speaker 2 (37:26):
So do you think that connects with the Egyptian postures
in the hieroglyphics that are pictured.

Speaker 3 (37:33):
Exactly, not just the postures, but the angles that are used.
The angles give off energy. You see in birometry we
learn that, I mean, certain angles are going to open
the space to that source. We were talking about awareness,

(37:55):
about God, about consciousness. You know certain angles just by
verse of opening the space boom it comes in. A
wrong angle can give you real disharmony, and a right
angle can give you the whole space can be cleansed

(38:17):
by the correct angle. So a lot of the tools
we're using in the biogeometry are using dials. So you
have a polarized dial, and you'll fix the polarizer and
then you'll open the angle. Open the angle and you'll
use your pendulum, and as soon as the pendulum test
starts to turn, you'll know the energy is there. Then
you fix the angle there, then you know the energy

(38:37):
is coming in. The pendulum gives you eyes and ears
to the entire subtle energy wrong.

Speaker 2 (38:48):
So whenever you are visiting these sites, you bring a
pendulum with you to measure the energy flow.

Speaker 3 (38:57):
Latterly, yes, no, I say latterly. I've been studying biodrometry
now since twenty nineteen, so I mean I'm not, you know,
the greatest expert. I've been through the various levels, and
actually in October I'll be doing my Associate Practitioner level,
which is the highest level. But I don't consider myself

(39:20):
very accomplished. I try my best, I think. I don't
want to always rely on a pendulum. I do like
to use my own intuition as well. Maybe I can
verify with the pendulum. I mean, we intuition can sometimes

(39:42):
be knocked off track because of I don't know something
that's going on in your life, or there's a bit
of bother going and it's not quite pure in that sense.
But I do find and I've learned to trust more
and more as I've gone on with my work and
making my pictures and my designs and other things. Sometimes

(40:03):
it totally doesn't make sense what I'm doing. It's like really,
but anyway, I said, okay, I'll just do it. I'll
do it, And then like three years later, like this
seventy six point three four five thing I made my
tunnel vision, I Have Eternity. That's the third picture that
I told you I had dropped this ormond and I

(40:24):
rippled it out in the movie. The picture was called
Tunnel Vision. I Have Eternity, And two trips to South
America and studying with the Shamans there and all the
rest of it. Finally I realized that this is the
template of my big installation, that all the information's in there.
I don't need to look anywhere else. And then simultaneously,

(40:48):
because you know how things happen when you start to
get into the field and you start to put things
into the field, it just comes to you. I'm watching
a video and this guy is explaining this seventy six
point three four fellow called Charlie's ice from Stargate Pyramids,
and I'm like, that looks like the shape that's inside

(41:09):
my picture. So I take a protract at the next
you know, when I have a chance, and sure enough,
embedded into my picture is the seventy six point three
four five. I'm like, bingo, now I have my angle.
So three years earlier, I had already embedded it in
there without really knowing why, but then the explanation came later.

(41:32):
So that's what I mean. I have learned to trust
what's happening at the time, even though it may seem
like we're a little bit like this, and just do it,
and just do it, and you know it's all right.
You can always erase it in the end, you can
always just thrown away and start again. It doesn't matter.
You know, we're sew into this being perfect and everything

(41:53):
has to be correct. And it's like, okay, margin of error,
it doesn't matter. So yeah, I think that how I
found the angles, a lot of it has been through intuition.
And yes, especially now that I'm coming to a point

(42:13):
where I'm starting to build my structure and I'm looking
at all the different angles, my pendulum will be coming
out a lot more because I want to check that
each of the angles that I'm embedding into this structure
are emanating this source energy. So when you go in it,
you're just going to be like, oh wow, I feel good.

Speaker 2 (42:33):
I feel really Now for a moment, I want to
go back to the Bosnian Pyramids in your perspective, What
are the major differences between these and other pyramids around
the world.

Speaker 3 (42:47):
Well, the first point is that it's actually quite difficult
to study these pyramids because a lot of it is
private land. So some's organization has tried to purchase as
much of the land they can on the various pyramids,
but it's not so easy because the guys who own

(43:09):
the other land realize that this might be becoming quite
valuable now, so local politics blah blah blah blah blah,
all of this, it's not so easy to get access
to them so sad. For example, the temple the Pyramid
of the Sun, which is the largest and it's three
times the size of the Gezer Pyramid. Wow, three times

(43:33):
it's huge. But you know he's purchased a bit of
land on one side of it, and he's dug down
and they've found that there's concrete and now this concrete
twelve thousand years old concrete that has been that is

(43:53):
more that is stronger than any concrete we can produce today,
the very best German concrete. Say, it's still not as
strong as this concrete. They carbondated it because they found
a leaf inside it. Actually, sorry, I am sorry. They

(44:14):
carbondated What am I talking about? Twelve thousand They carbondated
it to over thirty thousand years old? Yeah, yeah, yeah, sorry,
twelve thousands coming from somewhere else. I just got mixed
up there. Yeah, they're over thirty thousand years old.

Speaker 2 (44:28):
That is incredible.

Speaker 3 (44:30):
Yeah, And so there's a lot of this. So they
can only work in places where they can get access to,
which means they can't completely uncover it and make it
look like a PYRAODI.

Speaker 2 (44:43):
From what I understand just looking at the area, it's
almost impossible to tell that it would be a pyramid there.

Speaker 3 (44:49):
Right, it's all forest, it's agricultural land, it's other things,
you know. But they've tried their best to uncover what
they can to say, and some hearts is just like
a few meters this way, a few meters this way. Hey,
there are some stones on the ground here kind of thing.
But really where they've done the major research has been
in the energy and the energy work that they've done there,

(45:16):
I mean scientific energy work. They've been taking measurements at
the tops of the pyramid, at the side here and there,
and here and there and even beyond, like above the pyramid,
because the energy gets stronger the higher you go above
the pyramids. So I mean, the scientific measurements are phenomenal, phenomenal.

(45:38):
What they've been discovering there, it's like how does this
even exist? But then you see you've got a lot
of people working against them, like, oh, this is all rubbish,
and it's just you know, they're like a bunch of
this and that, and it's all fake and he's only
doing it for prestige and blah blah blah blah. You know,
you get an awful lot of jealousy especially when you

(45:59):
get some carbon dated at thirty thousand years old, then
it like just shoves the rest of history into the dustbin.
At that point, it's like, hang on a minute, how
can you have something that old and we've got a
record of it. In our history humans were like you know,
running around in caves thousand five thousand BC. How could

(46:23):
they possibly have built some highly technological structure how many
years back?

Speaker 2 (46:30):
So do you have any thoughts about who are what
the builders really were. I've heard theories from everything to
aliens that humans had spiritual influence and helped to produce this,
or it was just very advanced humans back in that
time period. Any thoughts about that?

Speaker 3 (46:54):
Do you know what? I have thought about this a lot,
a lot lot, and I still cannot find an answer
to it. I've spoken about it with friends from there,
and could be this, could be that, could be this
could be that. But this is the million dollar question
of the Bosnian Pyramids. Who, why, what for? What is it?

(47:18):
You know, some people say that there are ships under
the ground there waiting for.

Speaker 2 (47:21):
Well, even the pyramids and geezer, It's still one of
the biggest mysteries how it was constructed. We still can't
reproduce it. Many of the pyramids around the world that
you were discussing, we have trouble even coming close to reproducing.
So the question then becomes how did we do it? Then?
Did we have assistance? Was there something else?

Speaker 3 (47:44):
Well, it should be that we get some idea from
this that there was some highly technological, technologically advanced civilization
at that point. Yes, whether it's extraterrestrial, whether it's human

(48:04):
or what something and someone or some group of people
made something so precise. Those angles are not arbitrary. They
are so precise. The height, the shape, the length, the width,
the rooms inside, it's all perfectly. You see, I was
telling you before, there are these power points inside pyramids.

(48:26):
You know, why do they put the king's chamber where
they put the king's chamber? Why the queen's chamber where
the queen's chamber goes At that point in the pyramid,
the energy is maxim right, you know, So this was
not done just by chance. This was not like, oh,
you know, a nice place of burial for the king

(48:48):
kind of fact.

Speaker 2 (48:48):
Were there any locations around the planet that you were
unaware completely that there were pyramids and you discovered that
lo and behold they exist there.

Speaker 3 (49:00):
The UK where I'm from. Interesting. So we have a
lot of stone circles and sort of druid things across
the UK. And it was after I did a photo exhibition,
an exhibition of my photocolloge art in London in twenty
sixteen that a lady, a German lady, who attended my exhibition.

(49:23):
She said, she told me about this lay line that
crosses from southwest England to the eastern part and it
goes through all these points. Now you know, I'd lived
in this area the whole of my life well up
to a certain point, and I hadn't I hadn't gotten
any clue about this. So I said to her, look,
it was December. I said, look, let's put our Wellington

(49:44):
boots on and our coats and let's go out there
and find these stone circles. So we did. We drove
down to the southwest of England and we started following
these stone circles and these places along this lay line.
One point one anyway, So coming to one of the sites, Avebury,
which has a beautiful set of stone circles, there's also

(50:08):
this mound there that is a pyramid. Officially it's a pyramid.
And and I think this was sort of at the
same time that I was, you know, doing my work
in Bosnia, so I was getting information from there. And
then yeah, Sam had said, yeah, there are pyramids in

(50:28):
the UK. I'm like, really, I never knew about that,
and I grew up there and anyway, so I went
to this, went to this one pyramid there. I was
like wow. And then you start to notice more because
not all pyramids are, say, looking like the Pyramid of Geezer.
They might be conical shaped, they might be stepped like

(50:49):
in Central Asia, or they might be taller and thinner, like,
for example, the study that this fellow Charlie's Ice from
Stargate Pyramid has done. I told you I watched his video,
which is what caught my attention to the seventy six
point three four nine angle. He has made a book.

(51:12):
He's written a book, but it's got a lot of
pictures in it of temples, architectural buildings and other things
across the entire world that all have, like the steeples
on our churches and cathedrals, and the towers and turrets
on castles, and the minaret tops and this and that

(51:34):
that and in the far East, and in India, and
in the Europe and in the everywhere.

Speaker 2 (51:39):
In the United States, we even have the mounds across
North and South America. Speculated that it's possibly been built
long before what we understand is the Native Americans. I
had guessed that even possibly connected some of the mound
builders to pre Atlantean civilizations. They may have been the

(52:01):
precursors to the pyramid builders. So it's fascinating how this
shows up across the planet.

Speaker 3 (52:10):
Everywhere, and I think you hit the nail on the head.
This is a civilization that's existed and been destroyed, and
we've started from the ground up again and we're just
getting back to where we were then to our detriment
or not is the question, because we do know what
or we think we know what happened in the last

(52:33):
great civilization, the Lanteans and the Lemurians that you know,
they destroyed themselves basically from the technology that they had discovered,
or destroyed themselves or somebody else destroyed them. But it
was like a you know, it fueled this war rather
than you know, a beneficial right scenario for everybody. And

(52:57):
that's where we should be heading towards that because we
can with these structures, with angles, with shape, with all
these different things, we can create a very harmonious environment
for everybody to live with the You know, you asked
me again about the pyramids. Why did I get interested

(53:18):
in the pyramids? Well, when I was making that very
first pyramid, in order to embed it into that movie
I was making in their parlor in the two thousands,
I was actually using different shapes. So I used a
circle because in Vaderiana, in the Tibetan buddhista diamond path,

(53:41):
the elements are associated with different colors and different shapes.
So the circle is white and is water, and there's
this bowl shape which is green and is the air.
The triangle is red and it's fire, and the what
did I say, water, fire, air, and the earth is

(54:04):
a square and it's yellow, and the space is blue.
And when you work with these colors and these shapes,
you will make a pyramid. All these shapes are inside
the pyramid. Wow. So what I'd actually done with that
first pyramid I made, I'd called it the Circle of

(54:25):
Immortality because the last thing I added to that pyramid
was around mirror. And what that did was it created
Now I have an octahedron. We had a pyramid, but
now we've got a mirror, which creates an optahedron, because
it's creating the same thing in the ground. Albeit illusory

(54:46):
in our material existence, the mirror. What happens inside the
mirror is real. The mirror is like our consciousness, right,
And although it's empty, there's nothing really there and deada

(55:09):
da da dub. When you put something in front of
that mirror, it's really there, and when you take it away,
it becomes empty again. So the pyramid structure is also
a way to describe the nature of the five elements.

(55:29):
You see the elements built. Like I was describing before,
You've got a fuber nacis spiral going up. It's coming
out of source and it's going back to source. Imagine
you start with just consciousness. Now, when consciousness moves, that's
the air element. But when it moves, it creates friction fire,

(55:52):
and then the fire melts the potential, which is the earth,
which is already there, and what you get is the
dripping the water. The nectar of life is dripping out
of that. So this is the progression of the elements
in the Tan trick cycle of the highest expression of

(56:13):
Tibetan Buddhism. Soment this element thing, it creates to material
and it dissolves back to emptiness again. So again we're
talking about the mirror. The mirror is the base, and
then upon that comes, it arises and dissolves. The nature
of the five elements is really something that I studied deeply, deeply.

(56:36):
In fact, I've got a book called The Pyramid Spiral
Dance of the Five Elements. I talked about the Living Pyramid.
That's another book, but this one Pyramid Spiral Dance of
the Five Elements. So an entire one hundred and something
sixty pages or whatever, I describe this process of the elements.
If you can be bothered to go into that thing
in such detail, then it's all.

Speaker 2 (56:56):
That this is fascinating work. Susan. For the last few
minutes that we have, I know you were talking about
an upcoming event and project that you'll be presenting. Tell
us a little bit about that and any closing thoughts
that you have for this evening.

Speaker 3 (57:11):
Well, The Magician's Duel is a culmination of twenty five
years of my work because I have put everything into it,
not haphazardly. It fitted in like you know perfectly. So
it's as if I was working towards this structure for
the last twenty five years. So all the influences I've
had from the Tibetan lamas and living in Nepal and

(57:34):
living in India, traveling to Bosnia so many times, just
South America, to these other pyramids, to all these things
and many more that I haven't told you have had
an influence on my work and how I am expressing it.
So everything has gone into this installation piece, the Magician's Duel.

(57:55):
So not only does it describe through, I'm going to
walk people through. In fact, there'll be a virtual tour
at a workshop I'm holding at the Global Pyramid Conference
in Chicago next week. There'll be a virtual tour through
the structure, which I've built in three D graphic design

(58:15):
sense of how we move through the different stages of
consciousness according to the Debdan Book of the Dead, and
how you know this works there and how you get
from A to B and then the virtual reality and
all these things. So I'm going to be describing this whole, yeah,
the whole situation that I've been you know, telling you

(58:39):
about till now, this process of consciousness. You know, why
should we be so bothered with consciousness? Well, everything that
happens to us is because of consciousness. That's it. If
we start with the route, then we can root out

(59:00):
bad things in our life the good things. Again, we're
getting falling into duality here, but you know, everything starts
with consciousness. It starts with the mirror, it starts with
the space, and then from that comes the movement of
the mind to create different emotions, different thoughts, different elevated

(59:22):
and do you.

Speaker 2 (59:23):
See your work and the work of others that focus
on the more metaphysical elements of these megalithic sites are
having an impact on academia in a positive way, meaning
they may want to update some of their information because

(59:45):
of the profound information that the independent researchers are coming
out with.

Speaker 3 (59:51):
No way but two different, two different camps here. You
are either a proper researcher or you're some kind of
knocking You know, the nutcases can go off into every
realm they want to, and you know, it's far more
fun to be in the nutcase side. You can let

(01:00:12):
your mind wander, you could like what you know, what
could this be? What could this be? And you know
Honestly speaking, at this stage, the academic world is so
locked inside its traditional rooms. I don't think they're gonna
be able even to get to where even you know,

(01:00:34):
the nutcases like me and others around the Bosnian Pyramids,
you know, we say what could it be? And we
go off into all sorts of things, even we can't
fathom what it could be, even going off into all
sorts of dimensions, we cannot fathom what it could be.
I don't think we've got it yet. I don't think
we've landed on the solution yet. I don't think we

(01:00:55):
know yet, and I don't think we should know yet.

Speaker 2 (01:00:59):
I agree, I think there's some things that we may
not be ready for yet. But with the work of
people like yourself, we're getting a little closer every day
to this. Susan, thank you so much. This was fantastic.
Before you go, remind the audience how to find out
more about you. Website links all the good stuff.

Speaker 3 (01:01:20):
Well, the website is pyramidkey dot com as in k
ey pyramidkey dot com. And yeah, on my website or
my books, my films, everything's there. My research into the
photocolloge art pictures, my exhibition pieces, installations installations. You see,

(01:01:43):
they're not just pretty art pictures there. I'm also calling
them conscious installation devices. That's something we haven't talked about,
coming back to consciousness again. So I want these installations
to be running on their own energy. Okay, running on
their own energy means you put a human in there,

(01:02:04):
and you make a human walk in a certain pattern,
like I do. At the base of my structure. I
have the humans go around in a hobby dance style,
because a hobby dance, which creates the rain, creates a
standing columnar wave, and a standing columna wave is already
putting you into a phenomenal state of consciousness. At that point, you.

Speaker 2 (01:02:33):
Know, yes, this is fascinating. I will have the links
in the description easily accessible for the audience so they
can check out your pictures, find out more about you. Susan.
Thank you again. I'd definitely love to talk again in
the future. Much more we could get into. And until
next time, everyone, have an excellent evening. We will talk
again tomorrow. We'll see y'all there.

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The Pyramid & Key, Connection to Universal Structure & Consciousness | Susan Griffith-Jones

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