Manifesto


 

THE  OBJECT:PARADISE  MANIFESTO 




  1. OBJECT:PARADISE IS THE INDUCTIVE SEDUCTION OF THE OBJECTIVE MOMENT

  2. USE THE LANGUAGE THAT THE PERFORMER AND AUDIENCE CREATE IN THAT MOMENT

  3. CONTEXT IS COTEXT

  4. MEDIATE THE THOUGHT AND THE BEAT

  5. EVERYTHING IS PART OF THE PERFORMANCE

  6. THE AUDIENCE IS THE POET

  7. DETHRONE, THEN DEMOTE THE POET WHO CAME KNOWING

  8. ELIMINATE THE EGO

  9. DEPLATFORM THE STAGE 

  10. ORCHESTRATE THE CHAOS

  11. LANGUAGE EXISTS ONLY IN A SINGLE MOMENT, THAT MOMENT

  12. DOWN WITH DENOTATION

  13. INTERACT THE REACTION

  14. CELEBRATE THE PARTY THAT LANGUAGE IS

  15. THE BEST WORDS IN THE BEST ORDER DOES NOT EXIST

  16. LET ALL PLANS GO WRONG

  17. DEMONETIZE LANGUAGE

  18. DEDOOM THE WRONG NOTES

  19. EMBRACE MISCOMMUNICATION

  20. PROMOTE THE CONTEXT FOR THE SUBJECTIVE WORLD TO BE EXPERIENCED IN THE OBJECTIVE MOMENT





The only thing that is constant is time, a single moment where something happens. OBJECT:PARADISE is concerned with how language exists in that singular moment--not in how the language existed before or after that happening--so that a new shared form of understanding can occur.

We must release language from its illocutionary intention and foster a space where it can exist at its locutionary form. To do this, we must erase the ego and ease the restraints that existing in a social moment bring with a performer-audience happening. We want not to provide, but to encourage a context for the subjective world to be experienced in the objective moment.

We want to create a context where all persons in the moment can produce meaning. It is at this moment, when people are encouraged to be involved in the objective moment, where their subjective perspective is both allowed and celebrated, when OBJECT:PARADISE can be achieved.





What is the objective moment?


Along with the only factual thing, time, comes space and our perceptive responses to it. It is often that at poetry readings there is a prescriptive space--meaning that the attendees of the event have prescriptive roles they must fulfill in order for the reading to achieve its purpose: the poet stands before an audience (often in a turtleneck), and the audience listens (often with their hands crossed on their knee). If this act is not fulfilled, then one of two reasons are likely given:


  • The audience is not up to par with the language level of the poet

  • The poet is not up to par with the language level of the audience.


In both incidences, language is the enemy. This raises the core question, “is there a perfect poetic language, a language which embodies the correct amount of ambiguity and directness to be deemed poetic verse?”, but the answer is simple if we view language from a social perspective i.e. language is not biological. There is no one best word nor best order of the best words, only social perception and trends that make language knowable or hip.

So if language can’t be objectively qualified as good or bad, then what would make it poetic in the first place? What would send chills down the spine and raise the hairs of our moles? We will argue that meaning is derived from context: time and space. This is clear when we think about our language choices; why is it that we can read the same poem at both a wedding and a funeral? Did the speaker really see two paths diverged in a wood? And what does that choice mean when taking a hand in marriage or taking a hand in the casket?

It is only evident that because language relies on context to give it meaning, then poetry should as well. At poetry performances, the audience and the poet--which, according to this argument, we shouldn’t be making such distinctions--share only one thing: that moment, which constitutes time, space, and the language before them.



How do we celebrate a shared moment?


To celebrate a shared moment is to open up our senses to everything occurring in that moment: sound, action, language, and physical space. Again, the poetry reading at the wedding and at the funeral taste differently.

With some orchestrated performances of sound, action, and language, unorchestrated happenings begin to be blurred--the man spilling an entire pint on his crotch: is that part of the performance? Of course it is. It must be; it has to be.

It is when everyone who is part of that moment begins to ask themselves these questions we can see a true rejection of the “poet” providing meaning, but the moment itself--and all of its chaos--providing meaning. It is when this happens, we know we have provided a context for the subjective world to be experienced in the objective moment.


︎ Special thanks to Sasha Honigman & Jan Černy for photos for our manifesto graphics.
︎ Special thanks to Zuzana Wrona for helping us build our digital identity.

/ OBJECT:PARADISE IS THE INDUCTIVE SEDUCTION OF THE OBJECTIVE MOMENT / USE THE LANGUAGE THAT THE PERFORMER AND AUDIENCE CREATE IN THAT MOMENT / CONTEXT IS COTEXT / EVERYTHING IS PART OF THE PERFORMANCE / THE AUDIENCE IS THE POET / DETHRONE, THEN DEMOTE THE POET WHO CAME KNOWING / ELIMINATE THE EGO / DEPLATFORM THE STAGE / ORCHESTRATE THE CHAOS / LANGUAGE EXISTS ONLY IN A SINGLE MOMENT, THAT MOMENT /  DOWN WITH DENOTATION /  CELEBRATE THE PARTY THAT LANGUAGE IS / THE BEST WORDS IN THE BEST ORDER DOES NOT EXIST / LET ALL PLANS GO WRONG / DEMONETIZE LANGUAGE / EMBRACE MISCOMMUNICATION /  PROMOTE THE CONTEXT FOR THE SUBJECTIVE WORLD TO BE EXPERIENCED IN THE OBJECTIVE MOMENT