**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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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?
The first concept may be applied to follatio if the Director's urethra would be closer to the Performer's tongue than their hard palate, like if the Performer would be on their knees or similar positions. The Director's writing hand and the Performer's hand would be on one of the Director's thighs. The palm side of the Performer's fingers would be extended and against the thigh's surface, except for the middle finger that would be raised. The Director's hand would softly clamp the Performer's middle finger between the middle sections of the Director's middle and ring fingers.
[Figure 40: view like above image but looking squarely at long side of Performer's middle finger, at the side where the joint skin creases are most shallow. no contact with Director's thumb. arrows pointing closer to Performer's head and closer to Director's head from Performer's clamping fingers along plane of Performer's middle finger. Also arrows pointing squarely up and down to Performer's middle finger at the spot where the finger is clamped. Figure 41: view looking squarely at long side of Director's penis, at side where the frenulum is along the lower edge of the diameter, and through like half of Performer's head to see it in Performer's mouth. Lips but no tongue on penis. arrows pointing towards back of Performer's mouth and base of Director's penis, from Performer's lips, along plane of Director's penis. also arrows pointing from Performer's lips squarely to penis, along plane perpendicular to penis shaft.]
[Figure 42: close up at angle near what could look down Performer's earhole. Penis in mouth like figure 41. Director grips hair of Performer. arrows pointing closer to back of Performer's head and closer to Director's abdomen from Director's gripping fist, along plane of Director's penis. Figure 43: same arrow directions, perspective, and positioning as Figure 42, but Performer has hair too short to grip, so Director clamps sphenoid/ethnoid plates near Performer's eyebrows to push and pull. Arrows still point from Director's hand on same plane outwards.]
The Director may direct the location of the lips along the penis with the location of the clamp on the middle finger. The range or point of reference with this variable may be communicated by pulling the Performer's hair or as the sphenoids/ethnoids are clamped and pulled as the location of the Director's fingers on the Performer's middle finger is constant.
[Figure 44: same perspective and positioning as Figure 42, except the Director's pinky finger applies pressure to the Performer's scalp above their ear at the Director's fingerprint. arrows pointing up and down from this point of contact.]
The strength of the finger clamp suggests the strength of sucking. The range or point of reference with this variable may be communicated by the Director stroking with the pinky finger of their nonwriting hand up or down against the Performer's scalp at the Director's fingerprint above the Performer's ear as finger-clamping pressure is constant.
[Figure 45: same positioning and perspective as Figure 40, but now the Director's thumb is against the tip of the Performer's middle finger. double headed arrow pointing across and along end of middle finger to down both adjacent sides of finger. Figure 46: same positioning and perspective as Figure 41, but now tongue is against the tip of penis like thumb was against the tip in figure 40. double headed arrow pointing across and along end of penis to down both adjacent sides of penis.]
The Director may direct the motion of the tongue against the penis with the Director's thumb against the Performer's middle finger. The orientation of the tongue and the degree around the shaft may not need communications of range because the tongue and lip directions may use the same scale of depth and the shaft makes a full circle.
[Figure 47: same perspective and positioning as Figure 42, except the Director's thumbnail applies pressure to the Performer's scalp above their ear. arrows pointing up and down from this point of contact.]
The range of tongue pressure may be communicated by the Director stroking their nonwriting hand thumbnail up or down above the Performer's ear as the Director's writing hand thumb pressure remains constant.
[Figure 48: top view of top image, with arrows suggesting movement of wrist on axis near parallel to direction of view. Figure 49: top view of penis in mouth, with all of Director's hips in view, and arrows suggesting twisting of Performer's neck on axis near parallel to direction of view. Translucent arm and hand of Director pushing Performer's left sphenoid one direction like arrow. Another translucent arm and hand of Director, on same side of Director as former translucent arm and hand, pushing Performer's right sphenoid the opposite direction like arrow.]
Where the Performer's middle finger points, or at what angle the finger clamp is made, suggests where the stimulated penis is pointing. The range and point of reference of the degree where the Performer twists their neck may be adjusted by the Director's nonwriting hand pushing the sphenoids, as finger clamping orientation is constant.
[Figure 50: same positioning and perspective as figure 45, but without those arrows, and with arrows suggesting movement of wrist on axis near parallel to direction of view. Figure 51: like figure 41 but no bodies have transparent parts, without those arrows, and with arrows suggesting nodding of Performer's neck. translucent arms and hands of Director make tilting positions described below.]
For up/down tilt points of reference and range communication, as the Director's finger clamp orientation is constant, they may use the nonwriting hand thumb to push the ear down as that pinky pulls the jaw up, and use that middle finger to push the bottom of the Performer's occipital as that pinky pushes near under the hinge of the Performer's jaw to tilt the Performer's head down.
These concepts my be used for a 69ing position as well:
[Figure 52: Director's dominant hand and Performer's reading hand in same kind of directing position, but Performer's hand makes pointing gesture with index finger and fist instead of middle finger. This is as these two are 69ing. Frame is big enough to display both sets of shoulders and elbows of communicating hands. Hammock holds Director's body on top to a certain level.]
[Figure 53: Same position and angle of perspective as Figure 52. but close up of Performer sucking Director's penis.]
[Figure 54: top view of hammock layout, with translucent body superimposed. similar to hammocks with fixed width spars on both sides, but instead of one wide sheet connecting the two spars, there are two sheets of textile that cross over eachother once like an "X". the end of each sheet is bunched and tied with large overhand knot of the same sheet. a lark's head knot of different cordage engages these knots, and the other ends of the cordage are fastened to a carabiner that may engage the fixed width spars at different widths. There may be sub figures of this superimposed to the side to display the details of the different connecting points. so the "X" of the hammock may be adjusted by how much it sags, and how narrow the "X" is, to accomodate holding up different body shapes and behaviors. The body is held up from the hips to the shoulders, and the two sheets intersect between the ribs and navel of the body.]