Bookperformance—a term coined by Cy Mirol in 2011 and deliberately written as a single word revealing its unified nature—is how she interprets the evolving text technologies and the inseparable link between a book and its performance, manifesting a distinctive world-view. Practically, it is embodied as creative texts, improvised acts, and visuals and sounds created through resonance. Theoretically, it fosters co-creative acts to enhance understanding of human orientation and textual resonance, connecting individual and societal insights. It narrates a reader’s evolution into an author and showcases the transformation of a manuscript into a book, using narrative techniques and author-reader/audience interaction to encourage co-creation. Embodiment and enactment play a key role here, as the writer’s and reader’s bodies, identities, and multi-sensory experiences become interwoven into the text’s unfolding meaning. Rooted in the concept of “the absolute self” as love’s essence, it emphasizes “we are all one” through shared authority, love, and co-creation, focusing on diversity and transparency.This unity is not theoretical—it is felt, sensed, and embodied in collaborative artistic acts. These ideas are articulated in the 7 universal principles of the Bookperformance Manifest, stemming from Cy's MA research on reception theories and self-referential literary works as artistic performances. She is further developing Bookperformance as a practice-theory in her PhD research in Authorship Studies with a focus on soundscapes of authorship at UGent. Meanwhile, she is also working on her project virtual bodily writings as an artistic and scientific project at UGent.