**As of 5/2/2020, the author knows 0 accounts of practical experience that would legitimize any of the thoughts described here.** But it is known in protactile (PT) American Sign Language (ASL) group conversations of 3 people sitting side by side, there is a fluent ability for the person sitting in the middle to relay signs from the person on one end to the person on the other end, with signing that looks ambidextrous and nearly simultaneous. In a PTASL dialogue, there are many circumstances, with uniquely developed terms called mapping, SASS, demonstration, and tactile imagery, where drawings are made on someone's body to describe witnessed locations, appearances, pressures, textures, and things (see Protactile Priciples by aj granda & Jelica Nuccio or videos from the Deafblind Interpreting National Training & Resource Center). PTASL is now a widely known language in the DeafBlind community that's about 13 years old, although about 3 in 10 DeafBlind interpreters surveyed use it (from the same institution, 2018). It is also noted in that report there are probably about 50,000 DeafBlind Americans.

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the tongue

the lips and suction

the outside fingers

the inside fingers

the composition of maps

the stopping and starting movements

the harmonious and holistic speed adjustment commands

the memory record and recall commands

the vocal vibrations


It is assumed both people in this have their right hand as their dominant or writing hand. This may work in the same way if they're both lefties or ambidextrous.

This activity depends on the principle of tactile message to tactile message dictation in a manner that is as close to synchronized as cognition allows. If POP to POP dictation works fluently, and if the speed, pressure, and location of writing can be appropriately articulated, and be accurately relayed, how may this practice be related or applied to finger motions that don't make text, but an oral stimulation of erogenous areas?

Instead of a message going from the Director's mind, to their right hand, to the Performer's left hand, to their mind, to their right hand, to the Director's left hand, then back to their mind, the message may go from the Director's mind, to both of their hands, to the top of the Performer's head, then, if their hair doesn't complicate reception, to the Performer's mind, to their mouth, to the area of and around the Director's navel, back to the Director's head.

The right index and middle fingers may direct the change of tongue location.
When communicating points of reference or ranges of location across the surface of the scalp with the ear, the tongue directing fingers may maintain a constant location and static pressure.

The Director and Performer may agree on a point of reference on the top of the Director's head, to relate to the Director's navel. Then they may agree on the representation of space. The Director, with their right index finger, from the point of reference, may very slowly illustrate the perimeter around this area on the Performer's head. The Performer would try to follow this path with their tongue. The Director would have their left hand clamping the Performer's ear with their middle finger and thumb as the other fingers are against the scalp. While the ear is clamped, and the Director's right hand remains still, pulling the ear or pushing the performer's head in a certain direction may correct an off track tongue following. If this sense of space, and speed of understanding becomes fluent, the Director may increase the speed of their finger motions.


The thumbnail on the same hand may communicate a point of reference or range of tongue pressure.

The index and middle fingers of the Director's right hand may move together like a tongue, and direct the location and pressure of the tongue of the Performer. More fingers may suggest broader tongue strokes. The harder the Director's fingers press, the harder the tongue may press. Points of reference or a range of the locations of skin contact may be communicated with the ear pulling exercise. To communicate the desired range of tongue pressure, as pressure of the index and middle fingers are constant, the edge of the thumbnail may stroke towards the Performer's nose to increase pressure, or towards the Performer's spine to decrease pressure.

Lips and suction

Communication of change in lip location (near horizontal directions) or suction (vertical finger pressure)

A distance between the Director's index finger and thumb of their left hand may suggest a distance between the Performer's lips. The points of reference and range of location of mouth lip contact across skin may be communicated by the ear pulling exercise. Complication with tongue directions are addressed later.

Communication of point of reference or range of suction

The pressure of these fingers may direct an amount of suction. Points of reference or a range of suction may be communicated by strokes of the ring finger on the same directing hand. As pressure and location of the index finger (or middle finger, to be discussed later) and thumb remain constant, the ring finger stroking one way may increase mouth suction, and vice versa.

These two commands of location and pressure could instruct the lips to clamp a certain part of the skin. As pressure is applied with these digits, the Director's left hand palm may also apply some pressure, then they may lift their index finger and thumb from the scalp, directing clamping and pulling skin with the lips until palm pressure stops. The amount of skin pulling may be directed by the amount of palm pressure.

When the Director's middle finger and thumb are used, this may imply teeth are against the skin of the Performer as lips still have some sucking role. To distinguish the feel between the middle and index fingers, a nut or seed shell may be ground or cut, drilled, and tied onto the fingertip.

Outside fingers

This may still be applied to many parts of the Director's body, but now it's discussed in the context around a vagina.

The Director may use their feet on the back of the Performer to direct them to move their own fingers against the Director's body, like rub or spread parts of the outer or inner labial lips, pull up or rub in circular motions the skin above the Director's clitoral hood, or clamp and rub the clitoral shaft. Directions adjusting location and pressure ranges and points of reference may be made with the Director's own hands asserting to the Performer's hands.

Inside fingers

There are two parts of the inner surface area of the vaginal hole. Think of two flexible rectangles that cover two parts of the inside this hole. The rectangles' length are determined by how far a finger can penetrate. Points on the center of each rectangle width are directly below the urethra hole and clitoris and are in line with these spots and the butthole. So, from the perspective of someone laying flat on their back or belly, looking at a vagina, one rectangle is centered around the top of the vaginal hole, the other is centered around the bottom. This makes two "map" perimeters to be illustrated on the Performer's scalp to communicate the range and points of reference of where someone's fingers are and should go against the inside surface of this flexible hole. So the ear pulling exercise may be used here too, although the Director's hand may also just be directly assertive to the Performer's hand since their head doesn't need to be in the way. Going from one rectangle to the other while the Director is defining each perimeter may be made by a tongue stop-and-start command that is described later.

These directions are made with the Director's right hand ring and pinky fingers. The harder the Director's fingers press, the harder the Performer's fingers could push in a direction perpendicular to the inside surface of the vagina.

The range and point of reference of pressure with this command may be communicated by the middle joint and knuckle of the thumb simultaneously stroking forwards or backwards as ring and pinky finger pressure remain constant.

The point of contact of the Director's ring and pinky fingers to the Performer's head may suggest how curled the Performer's fingers are. The whole fingerprints of the ring and pinky fingers against the scalp would imply straight fingers against the hole, fingernails may imply fingernails against the hole, and the end finger joints bent and against the scalp may imply the end finger joints bent and against the shaft. The range of directing this metric may be self explanatory this way, so the directing fingers and the performing fingers would curl the same way because they're the same things: fingers. If the distances between the wires on the finger are never consecutively the same, this may help.

If the performer isn't bald, it may be important to cover either the index and middle fingers or ring and pinky fingers of the directing hand with some material of a different texture, hardness, friction, and/or heat retention, so the feel of them stroking the scalp can be more easily distinguished from the other fingers. A two-fingered cotton or wool knit glove may work if the Performer has short hair. If they have longer hair, a wrapped wire design tied on the tips of these fingers may also work.

Composition of maps

If tongue and lip directions are made simultaneously, the fingers of one hand may obstruct the directions of the fingers of the other hand if they are used with the same "map", so the ear clamping step may be desired for both lip and tongue directions to establish 2 "maps". Therefore tongue directions with fingers applied to one part of the scalp, and lip directions with fingers applied to a different part of the scalp, may be referring to the same specific point on the Director's body.

Stopping and starting movements

Stopping commands would be distinct instructions. All the parts of the Performer's body that directs a certain function may quickly tap the Performer's body at the same time to stop that function's pattern or tempo. Two examples:

1)All six contact points of the ring and pinky fingers of the right hand, and the points under those knuckles, on the fingerprint side, quickly pressing the Performer's head at the same time would stop penetrating finger contact.

2)All of the Performer's finger movements against the Director's body surface may be stopped with all contact points on the bottom of both of the Director's feet quickly pressed on top of the Performer's body at the same time, at their hips, their butt, their kidneys, their thighs, half on butt, half on hip, wherever it's possible with their position. Stopping all of this finger contact of one hand may be made in the same way by the foot on the same side of both spines as the hand of concern.

All physical contact may be stopped instantly with all contact points on the palm sides of both of the Director's hands quickly pressed on the Performer's head at the same time.

All these stop commands would hopefully just need one distinct quick press, because another tap in the same way may be used to resume the pattern that was last directed to stop.

Harmonious and holistic speed adjustment commands

There could also be commands to quicken or slow multiple different movements working together at different speeds almost simultaneously, like one player out of a band of three improvising musicians that never played together before, playing songs they've never played together before. One of them may change the tempo, and the other two, only from the notice of this former player changing tempo, follow.

Things to note with the above picture:

The right index and middle fingernails are pulled together,

as the broad side of all 8 fingernails

of both hands are all stroking the Performer's scalp from it's top to their ears or the opposite direction

as all the fingernails of the left hand are pulled apart,

and as the right ring and pinky fingernails are pulled apart from eachother and the middle fingernail on that hand.

This means the speed of the change of the


location and pressure change pattern tempo

would slow or quicken to the speed of the stroke of both hands

and the tempo of the pattern of changes of the locations and pressures of the lips

and penetrating fingers

harmoniously change with respect to the movement of the tongue.

The speed of the stroke of the fingernails directing the tongue location and pressure, the lip location and pressure, or the penetrating finger location and pressure, pulled together, would direct the speed of the location change of that action, while the other 2 of these 3 actions that may have been active remain harmonious with the 1 former action. The fingers that direct the 2 dependent actions would be pulled away from eachother and the 1 dominant action during this command. Fingernails going from the top of the scalp towards the ears may imply slowing speeds. Fingernails going from the ears to the top of the scap may imply accelerating speeds. This could make (3 different actions to respect)(2 directions of speed change)=6 different commands, while following one of these commands may be easier said than done, if it's even possible. Who knows until they try? Like the rest of this stuff, it may take practice.

When fingerprints from the other side of the hands make scalp contact instead of the broad side of the fingernails, this may just refer to the change in the location of the tongue, lips, and penetrating fingers, while pressure from these 3 parts of the Performer's body pulsate at the prior tempo or timing. This doubles the number of different possible commands from 6 to 12, while it's unknown if that would render 12 different actions.

When fingernail tips make scalp contact instead of the fingerprints, this may just refer to the change in the pressure tempo of the tongue, lips, and penetrating fingers, while the location from these 3 parts of the Performer's body move at the prior tempo or timing. This does not change pressure magnitude, but pressure timing. This brings the number of commands from 12 to 18, while it's unknown if that would render 6 more actions.

In the above case,

The right middle and index fingers are not making contact with the scalp,

as the right hand ring and pinky fingers and all the left hand fingers make contact with the scalp at the fingernail tips,

as these tips stroke towards from the top of the scalp to the ears or the opposite direction,

as the right ring and pinky fingers are pulled together,

as the fingernail tips of the left hand are pulled apart.

This means:

The tongue does not take this command.

The tempo of a pressure change pattern

slows or accelerates

from the penetrating fingers at the speed of the Director's 6 finger strokes

and the tempo of the mouth suction change of pressure pattern changes harmoniously with respect to the new tempo of the penetrating fingers.

An omission of scalp contact from a certain group of fingers would not direct any change from the system that takes orders from it. This multiplies the number of different possible commands to 54 (3 groups of omissions)(18 commands), while it's unknown how many of those would practically make a successful or accurate following by the Performer.

Memory record and recall commands

There may also be memory recalling functions like those buttons on a calculator, to recall older movements of multiple different actions moving simultaneously together in certain ways at certain speeds. For example, a certain pattern and tempo of movement of the lips and tongue may be directed. The Director lifts their fingers off the Performer's head while the pattern continues. The Director presses their thumbprint on a certain area of the Performer's forehead at a certain instant, starting a desired loop or pattern to memorize. The same area is pressed again to close the loop. Then they move onto different oral play. When the Director presses their thumbnail tip vertically on that area, this may imply the Performer resumes that pattern from the instant the Director's thumbprint was initially pressed in that area, while stopping any actions directed after such a recording was requested. A horizontal thumbnail tip press may request a composite that doesn't interrupt any actions directed after such a recording was requested. A vertical thumbnail tip press twice in the same area consecutively may imply starting and stopping the action. A horizontal thumbnail tip press twice in the same area consecutively may imply starting and stopping the action. A thumbnail and middle thumb joint being pressed at the same instant on the same area may request recording over the last recording. There may be 3 different areas for 3 different loops to have memorized.

Vocal vibrations

These directions may be independent of stop and start commands, the memory commands, and multiple action speed adjustment commands. When a pinky is laid against a head on the side where the two different joint creases of the fingernail and fingerprint side are most shallow, so points all along the length of the finger are applying uniform pressure to the scalp, this may command a humming at a certain octave and volume while the performer is breathing out. When the Director's finger stops this pressure, the humming stops. This command would stop all suction while pinky pressure is applied, but this humming makes the vibrations resonate in the performer's teeth and lips where the force would be relatively strongly taken by the Director. The Director's ring finger applied in the same way, minus the base segment of the finger for practical reasons, may direct suction humming, which can still work with other mouth movements, but the vibrations are much weaker as they resonate mostly in the back of the Performer's throat.

[Figure 39-1: Bird's eye view of Director standing, hugging, and humming on the neck of the Performer, who is also on their feet. Outer edge, like the face of a karate chop, of whole length of Director's pinky laid across scalp of Performer in area like what's blue here. The Director's lips are on the Performer's right side of their neck, while the Director's right pinky is on the Performer's left side of their scalp. This area on the scalp may be sectioned and displayed like the frets on a guitar, long enough for an octave. Each key may be labeled.]

[Figure 39-2: four columns, three rows. the bottom row could be the keys of much of a keyboard, scaled so each octave would take up the space of a whole column. the middle row would illustrate the Director's hand positions for each octave of exhaling hum: the pinky laid across a scalp taking up the space of one column, the same thing but with the ring finger lapping the pinky and the ring finger tip also making scalp contact for the next column, the same as the prior image but adding the middle finger for the third column, and the same as the prior image but adding the index finger for the final column. the top row would illustrate the Director's hand positions of each octave of sucking hum: pretty much the same thing as the middle row, except there is nothing in the first column, and the next three columns have the ring finger on the bottom with the pinky finger sticking out].

Octaves may be communicated by the number of different fingertips on the Director's same hand that contact the scalp with the pinky at the same time. The most fingertips at once against the scalp may imply the highest or lowest octave. Just the ring or pinky finger laid completely across the scalp as formerly described would be the other end of the range. The pinky would still not be active during sucking instructions as it is not known if 4 or 5 different octaves could possibly resonate in these circumstances.

The range or keys for reference may be communicated as some speakers may have the protective layer on the front of them removed, exposing the part of them that vibrate the most; the series of round parts on some old boomboxes that would play CD's. The Performer would place their fingers on one speaker, the Director would place their left hand fingers on the other speaker. Both speakers would be a part of the same stereo system. The Director may place their lips on any part of the Performer's body that works for both of them. As a melody is played through the speakers, the Director may hum this melody against the Performer's skin, and the Performer's head may be used like the face of a guitar neck to communicate where different notes would be commanded. A demonstration of understanding and memory could be made if the Performer and Director switched roles, and the music would be turned off.

If the desire of any sex toy acting with or replacing any of these actions is coaxed, the Director may just assert the thing between them and the Performer at any instant, because they do not have the same texture, friction, heat capacity, and hardness as flesh. This may not always suggest to the Performer that the Director is totally done with their services, as there may be synergy with the Performer's actions and something like a clitoral hood surrounding vibrator or a penetrative device.