The SketchUp Residency

Virtually all civilizations have taken part in blood sacrifice. Some blood sacrifices are performed to gain favour in the eyes of some deity, thus "ensuring" good luck/fortune (or some other bullshit). Some are done as punishment, thus restoring the balance of good & evil in the universe. There is another reason: the extraction and collection of: The satanic elites are not human; they are addicted to human blood and flesh. They are addicted to violence, money, and power. It has been said that elite satanists torture and abuse their victims to create adrenaline in their blood, which is then ingested or removed from the spinal column as adrenochrome. This youth.elixir, which has many health benefits and psychoactive properties is now readily available on the market.

One can easily become tangled in the interrelationship of censorship, conspiracies theories and the inception of what is now known as the ‘post-truth’ digital media landscape we collectively inhabit.

 

Natalie Lambert has been investigating the monopoly the mainstream media has on controlling the narrative frame of politico-cultural discourse, and how the Internet threatens to route around it. This finds us swimming in meta-level issues surrounding acts of appropriation in the age of Internet culture, freeze-framing moments of mimetic replication, through the physical manifestation and calcification of content, conjured out of the liminal-flux of the digital-ether.

 

We are asphyxiated by the onslaught of informational content - power lies with the institutions which frame and narrate our collective subconscious response to it. People are captured and processed by complex systems, their orientations controlled via the curation of incentive structures. The question is, what does this mean in relation to questions of individual and collective agency?

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Pantomime politics have shown that an individual and collective sense of agency can be easily massaged and manipulated algorithmically. Paradoxically, in our increasingly interconnected world, we are more atomised – more disconnected from one another – than ever before. Reality is increasingly abstracted and occluded in a ‘post-truth’ paradigm, in which the subject is kept in a constant state of distraction, assaulted by stimuli but not equipped with the informational cognitive frame to decode it effectively.

Natalie Lambert wishes to address such uncomfortable truths in her work, to explore the roles we play as both individuals and collectives, in the systems we inhabit and operate within, to highlight contradictions in our belief systems and provoke the unravelling of truth. To destabilise the technologies we have integrated into our everyday lives by playfully manipulating the ‘promiscuous circulation of images’ in continual, disposable circulation.

She occupies a role situated on the boarder of architect / curator / facilitator within her practice, establishing a framework of constraints and then observing, mapping and charting the patterns of agency which emerge from within it. Her desire is to explore the fertile creative territory that exists on the boundary of these multifaceted disciplines through an interdisciplinary and socially engaged practice.