YNAPMOK™ is an ongoing semiotic installation which currently takes on the form of a small clothing boutique and lifestyle brand based in Washington state with satellites stationed in California and New York – as a part of the Unilalia Group, it represents a more tactile application of Unilalianism (in contrast to our sound division which represents the auditory application) as psychonautic praxis.To understand the motivations and theoretical underpinnings behind this, readers must first understand a central tenet of Unilalian philosophy: the artifice, that of which takes on a definition unique to this particular context.
Unilalianism defines the artifice as being synonymous, albeit only in principle, to Guy Debord's (1967) spectacle in the sense that both bring into focus a critical remodeling of the same phenomenon: consensus reality – while the spectacle generally prioritizes the visual dimension of this dynamic, the artifice expands upon this while simultaneously emphasizing its spatial connotations. To be brief, think of consensus reality as a closed artificial habitat composed of language, humans running about like children at a neighborhood park and then consider Leslie A. White's (1949) contention regarding "the symbol as the basic unit of all human behavior and civilization". Domestic life occurs within the boundaries of the artifice and is thus directed by symbolic and cultural cues as the logics of sociality become indistinguishable from the conventions of theater, performance, and film – it is precisely this direction that reflects and makes more coherent the colonization of consciousness through the manufacture of artificial rituals and false associations that are designed to mystify and manipulate one's imagination of selfhood. The spontaneity and fluidity of authentic life is lost as daily experience becomes more and more scripted by the momentum of abstract social categories, definitions, and specialized roles which correspond to rigid cultural expectations. In the context of the artifice, culture becomes akin to choreography as theatrical devices like set design, casting, and costumes functionally transcend the realm of drama into the domain of social organization, taking on an economic, political, and alchemical form.
When put together, the various channels through which one's social role [identity] is signified represents a frequency of information exchange that is concerned with the presentation [performance] of the status quo. Signification, as a visual process, reinforces the compartmentalization of the sensorium into five senses by prioritizing sight as the primary medium of information exchange – here, symbolization becomes indispensable to the craft of articulating reality; it is the code from which artificiality is made manifest. Unilalianism intends to subvert this frequency through the vehicle of its interrelated installations, one of which is YNAPMOK™. Call it improvisation, but in the context of revolutionary self theory – the intersection of radical subjectivity, psychonautics, semiotics, and performance art provides the preconditions from which the malleability of what is real may be entertained.
The symbol is the building block of the artifice, a linguistic structure whose architecture conforms to the binary grammar of representation – nature [authenticity] sits in the passenger seat as its symbolic substitution takes the wheel.
Guy Debord (au centre), lors d'une réunion de l'internationale
In regards to YNAPMOK™, the symbolic function of costumes, the theatrical property of objects, and their corresponding relationships to the consciousness of public space is of paramount concern; hence, the motivations behind its establishment as something as innocuous as a clothing brand – publicly approachable and ready to be assimilated, the face of a small DIY clothing line is one vehicle (of several) through which the Unilalian agenda begins to embed itself within the cultural vocabulary of popular consciousness.
The logic behind this installation is similar to that of détournement, a French technique developed by the Letterist International and later used by the Situationists – like culture jamming, its purpose is to use the machinery of the artifice against itself by leveraging the power of symbolization as a means of constructing reality in opposition to the dominant social convention. While its motivations may seem baroque and perhaps sprained by youthful naiveté, skeptics and critics alike are encouraged to take note of the footprints left behind by YNAPMOK™' since its conception, that of which can be traced back to Seattle, Washington as early as 2016.