"unilalia" is a koān.
"unilalia" is a rebus.
"unilalia" is a secret.
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The human narrative has arrived at an eschatological moment in the historical process, a transition colored by the crippling anxiety of civilizational suicide wherein life ultimately finds itself restrained by the boundaries of its own dis-play, held hostage aboard the crashing train of symbolic relationality. Considering Leslie White’s (1949) contention regarding the symbol as “the basic unit of all human behavior and civilization”, those who have assumed a monopoly in the construction and management of the symbolic domain wield the understanding that within the theater of representation, the universe is no more than a symbolic construct wherein the disempowered and ignorant public finds itself subjugated to the will of the semiotically proficient monopolists.
A concept album by Carter Wilson
Carter Wilson takes another step in his artistry by designing an entire canonical springboard which acts as the prologue to his on-going installation series, “It’s Not Even Raining”.
Enter EBOLGWONS, a dimension controlled by an artificial intelligence program called The Weatherman. A non-linear allegory for psychological liberation, this album finds the subject doing whatever it takes to refuse The Weatherman’s forecast and free himself. Eventually he finds his voice and exclaims “it’s not even raining”, a magical phrase that changes the weather of his psyche for good.
“The Weatherman” is a celebration of self-empowerment. Embracing the notion of alchemical ascension while rejecting the deification of manufactured consensual reality, Carter Wilson guides us through an escape from time. As he shatters the glass dome of limitation, he realizes the importance of his power as a creator and how to access it at will. Ready to burst into authentic experience, Carter Wilson prepares to fly away, leaving behind everything that was holding him back.
@Nastpodcast: "New interview with returning guest @itsnotevenraining. Carter was one of my very first guests and friends I made when I first created this podcast. Back when the podcast was "HHHNAST". Our first interview was over a year and a half ago, we both have grown so much since then. It was very exciting to reconnect and talk about his new project, "The Weatherman". This was the second interview done in-person with @gzradio. Make sure to check out the youtube video and stream the album!"
ACTORS to take part in feature film about NPC's.
Must be prepared to lick shit up off the floor, join the hive mind,
persecute nonconformists, report wrongthink, worship influencers, surrender privacy,
and submit to authority. Independent and critical thinking will not be tolerated.
please apply to box No. 300. The Stage.
The symbolic order displays and brings into focus a synthetic and fictional reality, a conceptualization of a linear and successive universe which is comprised of fixed objects to be acted upon, measured, and possessed by a separate and self-determining subject. Larry Law (2007) comments on this display, writing that “even at its most liberal, it reveals a view of the world which has been objectified to such an extent that a subjective view of the world is incomprehensible to it”. Individual experience is generalized as subjectivity is marginalized by the expansive empire of the display; all movement is stagnated as consciousness finds itself anchored by the profound weight of an exacerbated objectivity. Those of us who are familiar with the Situationist movement recognize this phenomenon as an extension of the spectacle, what Guy Debord (1967) described as a “social relation between people that is mediated by images”.
Here, reality is replaced by a selection of specialized mediations to be displayed to a shepherded assembly of alienated spectators via the hands of a disguised predator, for representation not only substitutes reality; it produces it and it this very productivity which testifies to the inherently deceptive and manipulative nature of the dominant social system.
While lecturing about the taxonomy of illusion, Terence McKenna (1993) summarizes this by concluding that “there is no reality. There are only people who know this and people who don’t know this and are therefore being manipulated by the people who do know it! [audience laughter]”. This is the game of civilization and the very essence of linguistic warfare. At every turn, individuals find themselves under subtle attack by the perfected dissemination of psychological pathogens and weaponized disinformation coupled with the ceaseless production of memetic reaffirmations and propaganda that coax us into becoming sedated consumers and idle spectators of a reality which is shown to us rather than created by us — beneath the disguise of civil society lies an ecology of compliance bred from a politics of coercion, a means of social control made manifest by the specialized sciences of domination, applied psychology, cybernetics and semiotics.
IF YOU'VE FOUND THIS WEBSITE, THEN YOU MAY HAVE ASKED YOURSELF THE QUESTION: WHAT IS THE MATRIX?
The name Unilalia is a portmanteau, combining the Latin "unus" [one] with the ancient Greek "laliá" [tongue, speech] – using Jewish gematria, it equals 300, out of sheer happenstance, a number which bears great significance.
Below is the most accurate biblical analysis of 300 originally found here.
The first time the number 300 is found in the Old Testament is in Genesis 5:22.
And Enoch walked with God after he begat Methuselah three hundred years, and begat sons and daughters: And all the days of Enoch were three hundred sixty and five years: And Enoch walked with God: and he was not; for God took him.
Three hundred is the number of years between the birth of Methuselah and the translation of Enoch to heaven without dying. Methuselah is a name that means 'His Death Shall Bring'. Notice that in Genesis 5:22 there are two things connected to the number 300.
1. The death of Methuselah as a harbinger of the coming flood
2. Enoch translated to heaven without dying
The next time the number 300 occurs in Scripture is in Genesis 6:15. The number 300 comes to Noah from the mouth of God.
And this is the fashion which thou shalt make it of: The length of the ark shall be three hundred cubits, the breadth of it fifty cubits, and the height of it thirty cubits.
The number 300 is the length in cubits of Noah’s ark. It is connected with the previous verse found in Genesis 5:22 in ways most people do not realize. In Genesis 5, as we just learned, Enoch is given 300 more years on earth before he is “taken up” to be with God without going through death. His son’s name is a prophecy that connects the flood with the death of Methuselah. Methuselah means, “His death shall bring.” If you do the math, you discover that Methuselah died just weeks before the Lord brought the flood on the earth. In Genesis 6, the number 300 is not a period of time but the length of the ark that will save Noah and his family. Notice that all the verses that reveal the number 300 are connected with death and supernatural victory over death.
In Genesis 6 the reference to the number 300 has to do with a divinely appointed instrument of salvation that is made of wood. Notice that the number 300 is also associated with two other numbers. Those numbers are ל (thirty) and נ (fifty). Noah’s ark was a divinely appointed instrument of salvation made of wood whose dimension intentionally direct us to the three concepts found in three numbers.
ש– Victory over Death – Resurrection (300)
ל– Blood Sacrifice (30)
נ– Grace multiplied by Ordinal Perfection = Jubilee! (50)
Numerology aside, the initiated learn that Unilalia refers to a destination located at 37°49'25.3"N 122°10'42.9"W. They learn that Unilalia is an allegory, an encoded metaphor and roadmap to disclosure.