INTRO TO UNILALIA-NISM
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When renowned Bulgarian-French philosopher Julia Kristeva brought into question the presupposed split between subject and object in orthodox linguistic theory, she simultaneously brought into question what sociologist Leslie A. White (1949) called "the essence of all human behavior and civilization": symbolic relationality. Kristeva (1998) argues that "during situations when the social code is in a state of flux: at times of revolt, innovation, or creation", there is a dilution of the subject-object dichotomy, the relationship and boundary between the two becoming less fixed, less determined and more fluid and dynamic. Ultimately, the dilution of this dichotomy is identical to the disintegration of both categories – there is no object without its counterpart: together, they comprise the essential unity that provides the preconditions from which symbolization can be entertained.
Resisting colonization begins in the arena of the symbolic (the domain of sign and syntax) – in reclaiming indigenous agency, Unilalianism pushes for the disintegration of the object as an operating category of reality.
Objectification, bedrock of the colonizer worldview, reveals itself as a strategy of control and domination for only as a collection of interrelating objects can nature [self] be reified and possessed as an item of social utility. It is precisely this possession that characterizes the zeitgeist and failures of hypermodern and contemporary subjectivity at large in regards to constructing any effective alternatives to the colonizer program (defined as the conformation of nature to the taxonomies of a culturally bound imagination) . The systematically reinforced ritual of dividing self from other testifies to the hegemony of the object as an organizing principle of human psychology – in the theater of Unilalian thought, it is precisely this division that is subject to interrogation.
Managed by indigenous artists, The Unilalia Group LLC is an emerging collection of interrelated installations and ventures, organized into an artist firm and interdisciplinary label for the purpose of consolidating our creative assets.
Developed behind closed doors during the mid 2010s by multidisciplinary artist Ellis A. Wilson, Unilalianism is characterized by its emphasis on leveraging acontextuality as a means of subverting the circumscription of consciousness, in particular, and the constraints of symbolic relationality, in general. This is inspired in part by the works, writings, and research done by individuals deemed transformative thinkers, listed in no particular order: Adrian Piper, Guy Debord, Julia Kristeva, Denise Ferreira da Silva, Umar Johnson, John Zerzan, Jean Baudrillard, Assata Shakur, Larry Law, Riane Eisler, Angela Davis, Jane Elliot, Terence McKenna, Robert Anton Wilson, Wolfi Landstreicher, and more. Unilalianism is a philosophy, an art form, a mode of living - it is a way of seeing as much as it is a way of thinking; it's a technique. It offers a remodeling of perception based on the nature of context and its relationship to the object (summarized below).
EACH LAYER IS A DEGREE OF MEDIATION
BETWEEN ONE AND ONESELF.
EACH CIRCLE REPRESENTS A CONTEXT; NAVIGATING BETWEEN THEM IS A FUNDAMENTAL MAXIM OF UNILALIANISM.
WE CALL IT CONTEXT JUMPING.
The domain of physical information - spacetime; physicality; that which is perceived by the sensorium; information accessed via the six senses (the traditional five plus proprioception).
Consciousness of self is bound by the limitations of the body - whoever controls the body will control perception, therefore assuming leverage in the construction of and dissemination of simulated, hyperreal experiences.
Nature as it appears through the lenses of symbolic relationality - here, the object is the organizing principle of perception as symbolization dominates the visual field. The self is exchanged for its symbolic substitution: only in these preconditions can the institution of humanity and the reality it projects be constituted as a category of experience.
Consciousness is constrained by the logics of symbolic relationality, unable to perceive nature devoid of description - the space one occupies following what ecophilosopher John Zerzan (2002) described as our "fall into representation".
The context of the individual is like a virtual reality; this is the individual's frame of reference - one's self image, identity, race, culture, class, assigned social role, gender, religion, habituated rituals, customs, consumption patterns, general beliefs and expectations, etc.
Consciousness is circumscribed within the perimeters of the individual's frame of reference. The observer develops contextual tunnel vision.
The body is a layer of mediation; peel it back and what do you see? How does nature [self] appear from a higher dimensional perspective and how might this help you in understanding who you are irrespective of context?
Perception is decontextualized - akin to theologian Rudolf Otto's numinous; hyperspatiality and its derivatives (the astral realm, dreams, trance and meditative states, psychedelic breakthrough doses, otherwise metaphysical information, etc).
In our current iteration, the majority of our most apparent work occurs in this area of the model - this is our semiotic and post-conceptual installation YNAPMOK. Through this vehicle, we host events and distribute apparel and accessories, building an ecology of symbolic interaction; as a brand, our actions represent indigenous self determination while celebrating the interaction between artists and community members through service and positive engagement.
YNAPMOK is a participatory installation, meaning when someone wears one of our items, they are participating in a larger project – it is designed to be ongoing, progressive, and ever expanding into the wider informational ecology. In consideration of this, we choose to imbed relevant memes in our graphics while simultaneously conducting outreach with other subcultural networks such as @gooniez_pnwgromsquad as a strategy for strengthening community.
In partnership with StandUp For Kids and spearheaded by Carter Wilson, we most recently organized a clothing drive and live installation in the capital of Washington, bringing together talented artists while leveraging our creative assets for the sake of improving the material conditions of homeless youth in the area. Performers included BlkSknn (pictured above), Max Moodie, Erskine, Skully Vega, Carter Wilson, Bry-Sone!, and more.
YNAPMOK is influenced by past art movements like Letterism and collectives like the Situationist Internationale through its adaptation of détournement, a method of "turning expressions of the capitalist system and its media culture against itself" and through its application of marxist theorist and filmmaker Guy Debord's psychogeography, summarized as the "exploration of urban environments that emphasizes playfulness and drifting". As a clothing brand, its motivations lie in outfitting, costuming, and casting a novel and dynamic character into the milieu of public interaction - the Unilalian - an indigenous reinterpretation of the flâneur.
Read more about this installation here: https://issuu.com/elliswilson/docs/the_secret_stairs_001