II. Tongue Location and Pressure

There may be a practice applicable to oral sex by exchanging the thought of Ola's genitals with their slouching belly.

If Ola lies on their back in a comfortable position, Remi's mouth may be above Ola's belly. Ola directs Remi's tongue by drawning from the skin and nails of Ola's right index and middle fingers to Remi's scalp. These fingers stay together. Remi processes these strokes as information to relay, in a similar manner, from the skin of their tongue, then to Ola's belly. They are strokes of 3 dimensional organic art, like playing with mashed potatoes, snow, mud, or wet sand. This art is defined by the pressure, speed, and location of these strokes. They're only enjoyed in the moments of creation before they soon lose their definition in their surroundings. So Remi attempts to relay this illustration from one canvas to another.

How would the relay be accurate? This doesn't matter visually. The path of licking against Ola's belly may be a visual distortion when compared to the path of finger strokes on Remi's scalp. But every place on both canvases may be a proportional distance to nearby points of reference, or landmarks; the vertices or angles of a 3 dimensional path or perimeter.

The origin, or first point of reference, may be mutually defined and understood. This may be easy to remember at Ola's navel, a place of origin, tactually distinct from the surface of their body around it. Ola may tell Remi to put their tongue on Ola's navel by using Ola's right index and middle fingers to apply a certain amount of pressure to a certain place on Remi's scalp. For this to work, from here on, Remi's tongue shouldn't lose contact with the skin of Ola's torso, and Ola's index and middle fingers shouldn't lose contact with Remi's scalp. They're always together.

Where would this certain place on Remi's scalp be? Or what would signify Ola's navel on Remi's scalp? What would create a sense of tactile precision? Maybe box braids, or the distinct angles, hair follicles, and variable hardness of Remi's scalp may be enough. While I'm not sure how Remi's nerves would behave with a predictable pattern of tight braids, cornrows make a coordinate plane on someone's body, like the latitude and longitude of the world. Ola's index fingerprint may feel a valley of hair pulled apart, while the opposite side of their middle finger may feel a lap of two braids. So that place is distinct by Ola's tactile sense, and can be recognized by Ola as a distinct, unique, and significant place as these fingers move across Remi's scalp. Without vision, Ola may make a path that can start and end at almost the same place, and repeat drawing the same path.

This is the first landmark that may be mutually understood. Remi knows the spot on their head that's pressed on with two fingers together directs Remi's tongue to Ola's navel. Remi would feel Ola's navel with Remi's tongue, and Ola's fingers against Remi's scalp, at the same time. And Ola's right middle and index fingers would be on a place, tactually distinct to Ola, on Remi's scalp.

Ola may then move these index and middle fingers across to a second landmark. They may count the number of braids and/or rows their fingers pass over. Then they can recognize a definitive distance between these two landmarks. After Ola stops at the second landmark, Remi's tongue may lick across Ola's belly to where they think Ola is referring to. Ola's belly may not have the same landmarks like their genitals, but some features may work: hair, scarring, how their fat, skin, organs, and muscle are arranged in a certain posture, and piercings, whether they remain above or below their skin, in addition to their navel.

This new place may not be where Ola wanted Remi to lick to, by the distance and direction. A sense of distance and bearing may become mutually understood by defining a second landmark. If this second place does not seem right to Ola, Ola would make a correction.

Ola's fingers stay in the same place on Remi's scalp. After Remi is done moving their tongue, Ola would use their other hand to pull Remi's ear in a certain direction. This pull wouldn't be used to pull Remi's whole head. When Ola is done pulling, Remi would use this information from their ear to lick in a new direction. If this new place where Remi stops moving their tongue is still incorrect to Ola, Ola would pull Remi's ear in a different direction. This process may continue until Remi understands where Ola wants the second landmark to be on their belly. Ear pulling may not be necessary. Perhaps Ola pushing Remi's head would be better than pulling their ear. More landmarks may be defined in this manner. This may be easiest if these landmarks surround an area of Ola's interest.

Then Ola's right index and middle fingers moving across Remi's scalp, or area of interest, would direct disired imminent licks from Remi, or ongoing licks from Remi. The ear pulling or head pushing would only define landmarks if Ola's right index and middle fingers stay in the same place on Remi's scalp. This makes two kinds of direction for Remi's tongue location, tongue pressure, lip location, mouth pressure, penetrating finger location, and penetrating finger pressure: 1) the points of reference, and 2) the disired imminent moves, or moves from an ongoing request.

The pressure from Ola's right index and middle fingers to Remi's scalp would direct Ola's desired imminent pressure from Remi's tongue to Ola's belly. Communicating these points of reference may be like like calibrating a scale that measures weight. Ola may define these values by stroking their right thumb against Remi's scalp, forwards to increase reference pressure, backwards to decrease pressure, as the pressure from Ola's right middle and index fingers against Remi's scalp remains constant and static.