SEATTLE ATELIER NAME TAKEN BY WHITE NATIONALISTS
A very real connection between the classical ateliers of Seattle, Nazis and big tech. Is anyone surprised?
Andrew Conru who is partnered with Figure Ground Art Advisors and Gage Academy of Art conspired to take my business name (Seattle Atelier). I opened my classroom 11 years ago and Gage Academy of Art has done everything it can to close me down.
LINK TO THE STORY (Oct. 16, 2024)://www.theguardian.com/world/2024/oct/16/revealed-international-race-science-network-secretly-funded-by-us-tech-boss
“What is white identity?”
CONRU
https://en.wikipedia.org/wiki/Human_Diversity_Foundation
Complete Hope Not Hate Investigation
How a Nazi organization is structured today, with emphasis equally divided between pseudo-science and media, arts and culture. (From HOPE not hate)
Link to POCIT: People of Color in Tech article (above)
Examples of Neo-Nazi Violent Opposition to Free Speech 100% Connected to Andrew Conru.
The pioneer fund was established in 1937 in Nazi Germany. It actually became the Human Diversity Fund through private investments made by Andrew Conru.
They are the same.
Pioneer Fund
https://en.wikipedia.org/wiki/Pioneer_Fund
Link to American Renaissance
Link to Aporia Magazine
https://www.aporiamagazine.com/p/what-historical-event-should-all
Link to Center for Immigration Studies website
Note: After having given much time and effort as a teacher and volunteer to Gage Academy of Art in Seattle I am, once again, disappointed by how corrupt they are.
They’re staffing this school founded in my stolen business name from the classical ateliers at Gage and it is obvious that they hoped this partnership would permanently close me down and erase my work.
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).
From the frontispiece of the book:





















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