BOOKPERFORMANCE MANIFEST

11.11.11

  1. The book, here and now, with author and reader, across sounds and silence, is a performance. Bookperformance is a naked, fixed and textual body that is holding life unfolding. When movement is impossible for a fixed body, turning the impossible into the possible requires attempting the weird-absurd. One is called to cultivate attuned intelligence and courage to embrace the life-force carried by the weird of the absurd. Only then does the good-reader intuitively unfold through these seven nuanced layers converging into one.
  1. Readership is an evolution. Authorship is a revolution. Evolution infuses sonic transparency into semantic translation within revolution. In this entwinement, while evolution is a reflective construction, revolution is a reflexive deconstruction. The prerequisite of the two is the self: the absolute self.
  1. To be or not to be is a matter of consciousness. This situational field, apart from being its very self, engages the corresponding actional fields: to narrate or not to narrate, to read or not to read, to understand or not to understand. To understand or not to understand means to enjoy or not to enjoy, not as synonyms but as homonyms: just like the sounds made when meaning and joy arise together while transcending through the other.
  1. To be realistic is a matter of choice, whereas to be truthful remains essential. To imagine is a matter of preference, yet to fictionalize remains a necessity. The objective is to (co)create a truthful-fiction, which affirms the weird-absurd through the potential absence of all that is present within Virtual&Tangible
  1. The protagonized reader’s experience of fictionalization not only corresponds to the fictionalized reader’s experience of protagonization, but is even its equivalent. This dynamic is embodied as Author&Reader  and Reader&Author, becoming complementary axes of a multi-sensory orientation. In both cases, the one who can turn the impossible into the possible is the intra-conscious-reader . No one except the intra-conscious reader could (or should) recognize who the intra-conscious-reader is.
  1. Creativity is an orphaned phenomenon born through orchestration of affection and attention. How, when and why it occurs determines the first and only condition of how, when and why Bookperformance is activated. This activation temporarily manifests through the Body&Sound&Light&Eye, on pages and stages of life, where an embodied resonance unravels and invokes expressive presence.
  1. Love, here and now, between the reader and the author, is not an extended fact but is embedded in the text. This love merges the act of reading with the act of writing. In this love, spaces are filled in with imaginings. Within this love, the negations are hidden. It is an impossible possibility to deduce a fixed-meaning (!) from this love. This love may be enacted in various ways. Such diversity renders the author authentic and the reader individualistic.

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* “Bookperformance Manifest” (2011) © written by Çiğdem Mirol’s, is the conceptual outcome of her MA thesis, published as the closing scene of her MyFace Bookperformance (2012 TR, 2014 EN), and foregrounds her PhD thesis, extending the conceptual stance of Bookperformance, as practice-theory, through a process of reciprocality in knowledge-making: realization on stages and its reflection back upon the pages of life.