SEATTLE ATELIER NAME TAKEN BY WHITE NATIONALISTS
The connection between the classical ateliers, Nazis and big tech. Is anyone surprised?
LINK TO THE STORY (Oct. 16, 2024) https://www.theguardian.com/world/2024/oct/16/revealed-international-race-science-network-secretly-funded-by-us-tech-boss
“What is white identity?”
CONRU
Link to the story: https://bylinetimes.com/2025/02/27/trumps-war-on-woke-and-dei-incubated-by-a-nazi-eugenics-foundation/
https://en.wikipedia.org/wiki/Human_Diversity_Foundation
(Aporia Magazine)
https://www.aporiamagazine.com/p/what-historical-event-should-all
Violent Opposition to Free Speech
Complete Hope Not Hate Investigation
American Renaissance
Center for Immigration Studies
Note: After having given so much time and effort to Gage Academy of Art in Seattle I am, once again, deeply disappointed by how corrupt they are.
They’re happily staffing this school founded in my stolen business name from the classical ateliers at Gage. It is obvious that they hoped this partnership would erase me and my work. That is a life in art to them. That is what they teach their students to do. I have seen people sent to me to pretend to want to study with me and then attack me and be rewarded at Gage.
Stefano Catalani did that. Director of the Museum of Northwest Art now, then he was gladly enacting an institutionalized policy of trying to hurt Michael Lane at Gage in order to please his uppers.
The website and email of Gage was on my Google business listing for years then also and he wouldn’t have it changed. I had to have the police make him do that.
This publication was entirely made possible by a “generous grant” from Andrew Conru
From: “Why Ideology and not Science Dominates Debate on Ethnicity and Race in the Modern World” by Simon Webb
'Within a few thousand years, the blink of an eye, compared with the time scale to which past changes had been measured, the hybrids had become transformed into what was almost a new species. The difference between this emergent breed and those which had gone before was breath-taking. Looking at Illustration 21, we can see the sort of art produced by the Homo sapiens before they left Africa. These are nothing more than doodles, consisting of scratches which signify little other than a vague awareness of the concept of symmetry. In what will one day become Europe, the Neanderthals who lived there before the coming of the hybrids were also producing nothing more than similar random scratches and the occasional pattern of straight lines on the wall of a cave. Within a few years of the arrival of what we might as well call Homo sapiens + in Europe, works of art like that seen in Illustration 22 were being crafted. It is obvious that whoever made this strange object was quite simply on a different intellectual plane from those who had gone before. For one thing, this figure, known as the lion man, is representative, rather than merely decorative. It is meant to portray something. Not only that, it is meant to show us something not in the real world, but a figure which existed only in the mind of the creator. Neither he, or she, had ever seen a man with the head of a lion; it had been imagined and then the pure thought had somehow been made manifest for all to see. This achievement, showing in solid form an image which had been conjured up in another person’s mind, showed the immeasurable gulf which separated Homo sapiens + from their ancestors.” (Page 385- 386, The Equalitarian Dogma, Simon Webb, 2021).
