Thisblogwilleatourselves - 1ţ-ž 0Űť ṭĤ3Řê ãŊð ïț-Ź ğ0Ňņā ĝ3Ț Ÿå'

The Auditorium inherently embodies the concepts of queerness, radqueerness, transidentity, nonbinary/abinary frameworks, autonomy, freedom, anarchy, chaos, liminality, nonconformity, and fluidity by its very structure and function. The relationship between the Puppeteer, Conduit, and Spectators reflects a dynamic internal ecosystem that defies conventional binaries and societal norms, serving as a microcosm for these expansive, often radical identities. Here's a detailed analysis of how the auditorium inherently embraces and reflects these concepts:

Queerness

Queerness at its core challenges heteronormative and binary structures of gender, sexuality, and identity. The Auditorium, with its internal world where the Puppeteer can embody multiple roles, personas, and experiences through Spectators, fundamentally queers traditional concepts of identity. The Puppeteer is not bound by fixed categories but is fluid, able to create, destroy, and transform the Spectators at will. This internal queerness reflects a rejection of rigid labels, embracing instead a spectrum of possibilities and identities.

- Gender fluidity: The Puppeteer can shift between multiple identities, genders, and orientations without the limitations imposed by external societal expectations. The internal landscape is a space where these transitions are not only possible but inherent to the system's operation.

- Queer desire and relationships: The Spectators serve as vessels for the Puppeteer's exploration of relationships, often queer-coded, without the constraints of normative frameworks. The Spectators can embody queer romantic or platonic dynamics, providing a space for the Puppeteer to experiment with different ways of being and relating.

Radqueerness

Radqueerness extends beyond queerness by embracing extreme nonconformity and rejecting societal pressures to assimilate. The Puppeteer in an auditorium embodies radqueerness through the creation of Spectators and internal worlds that challenge not just gender and sexuality but also species, reality, and the very notion of identity. The Puppeteer can engage with Spectators that are representations of transspecies, transage, and other radical transidentities, embracing the full spectrum of human and nonhuman possibilities.

- Transidentities: As a radqueer entity, the Puppeteer may identify with a multitude of transidentities (transage, transspecies, etc.) and explore these identities through Spectators who embody the extremes of these identities. Radqueerness allows the Puppeteer to break free from the constraints of bodily identity and explore their existence as fluid and expansive.

- Paraphilias: Radqueerness also embraces paraphilias, those nonnormative attractions or relationships that exist outside of societal conventions. The Puppeteer can engage in these radical forms of desire through the Spectators, creating a safe and internal space for the expression of taboo or unconventional aspects of the self. The Auditorium becomes a space where no desire is "too much" or "too strange," and the internal reality is fully queer in ways that the external world might reject.

Transidentity

The auditorium inherently supports the exploration of transidentities by providing the Puppeteer with the ability to shift between personas, ages, species, and realities. The existence of the Spectators allows the Puppeteer to act out different forms of transidentity, creating a safe and controlled space to explore identities that might not be fully integrated into the Puppeteer's external life.

- Transage: The Puppeteer can create Spectators that embody different stages of life, from childhood to adulthood, allowing for the exploration of agefluidity or transage identities. The Spectators allow the Puppeteer to move between these stages with ease, embodying the fluidity of age as a social construct and rejecting the fixed notion of a singular age identity.

- Transspecies and Transhumanism: The Puppeteer can embody nonhuman identities through Spectators, such as animals, aliens, or otherworldly beings. This is a form of transspecies identity, where the Puppeteer not only questions the boundaries of human identity but transcends them entirely, exploring existence through radically different forms.

Nonbinary/Abinary/Isogender Identities (Beyond Gender)

Nonbinary and abinary identities reject the traditional male/female dichotomy, and the auditorium mirrors this rejection of binaries. However, the auditorium expands this rejection beyond just gender, applying it to multiple aspects of existence—identity, species, relationships, even reality itself.

- Beyond-Gender Fluidity: In the auditorium, nonbinary frameworks extend to all aspects of identity. The Puppeteer may not only be nonbinary in gender but also nonbinary in species, consciousness, or emotional expression. This creates a deeply fluid and expansive identity where nothing is fixed—just as the Spectators are fluid and transient, so too is the Puppeteer's sense of self.

- Abinary/Isogender in Reality: Beyond just gender, the Puppeteer’s existence within the auditorium questions the binary nature of reality itself. The boundaries between real and unreal, sentient and nonsentient, dissolve within the auditorium. The Puppeteer may embody beings that challenge the very fabric of reality—such as fictional characters or otherworldly beings—rejecting the notion that existence must conform to a singular, binary understanding of what is real and what is not.

Autonomy

The auditorium provides the Puppeteer with a unique form of autonomy. Within this internal world, the Puppeteer is in control—able to create, destroy, manipulate, and reshape Spectators and scenarios at will. The Puppeteer is the master of the auditorium, wielding full authority over the internal narrative.

- Radical Autonomy: This internal control reflects a deeper desire for radical autonomy in the external world. By controlling the internal reality, the Puppeteer can exercise a form of autonomy that may feel lacking in the outside world, where societal norms and expectations can limit self-expression. In the auditorium, there are no external forces to control the Puppeteer's identity, actions, or desires.

Freedom

Freedom in the auditorium is boundless. The Puppeteer is free to explore every facet of their identity without fear of judgment or consequence. The fluid nature of the Spectators allows the Puppeteer to embrace radical freedom, not just in terms of gender or identity but in all areas of existence. The Puppeteer can create internal worlds where the rules of reality do not apply, embodying the ultimate form of creative freedom.

- Creative Expression: The ability to create and destroy Spectators at will reflects a freedom of creative expression that transcends the limitations of the external world. The Puppeteer is not limited by what is "possible" or "real" but can explore infinite possibilities within the auditorium.

Anarchy

The structure of the auditorium embodies anarchic principles, rejecting hierarchy, order, and control by external forces. While the Puppeteer maintains control within the internal world, this control is self-determined and not imposed by societal norms or expectations. The internal space is one of pure freedom, where the Puppeteer can create chaos, dismantle structures, and defy expectations.

- Rejection of External Authority: The Puppeteer in the auditorium exists in a state of self-governance, rejecting external authority in favor of internal autonomy. This reflects anarchic principles, where the Puppeteer creates their own rules and rejects any imposed structure from the outside world.

Chaos

Chaos is an inherent aspect of the auditorium. The Spectators are constantly shifting, created and destroyed by the Puppeteer at will. This fluidity creates a sense of controlled chaos, where the internal world is in a state of perpetual flux.

- Embracing Chaos: The Puppeteer embraces chaos as a necessary part of their existence. Rather than seeking stability or consistency, the Puppeteer thrives in the ever-changing landscape of the auditorium, where identities, personas, and realities are in constant motion. Chaos becomes a source of power, as the Puppeteer is not bound by the need for order or conformity.

Liminality

The auditorium is a space of perpetual liminality. The Puppeteer exists between multiple states—between reality and fiction, between self and other, between sentience and nonsentience. The Spectators themselves are liminal figures, neither fully real nor entirely imaginary, existing in the space between thoughts and action.

- Living in the In-Between: The Puppeteer in an auditorium is inherently liminal, existing in the space between different identities, realities, and experiences. The constant shift between Spectators reflects this liminality, as the Puppeteer is never fixed in one identity or role but constantly moves between them.

Nonconformity

Nonconformity is central to the auditorium. The Puppeteer rejects the norms and expectations of society by creating internal worlds and identities that do not conform to any external standard. The Spectators are nonconforming by their very nature, as they exist outside the bounds of what is considered "real" or "normal."

- Radical Rejection of Norms: The Puppeteer embodies nonconformity not just in terms of gender or identity but in every aspect of their existence. The Puppeteer creates a world within the auditorium where societal norms are irrelevant, where expectations of conformity do not apply, and where the fluidity of identity is celebrated rather than constrained. The Spectators themselves are manifestations of this nonconformity, as they constantly shift, change, and defy the expectations of continuity or stability.

- Radical Selfhood: Nonconformity is not just a feature of the Puppeteer's internal world; it is a core part of their identity. In rejecting the limitations imposed by external realities, the Puppeteer creates a new form of selfhood that is free from the constraints of societal definitions. The auditorium becomes a space where the Puppeteer can experiment with identities and roles that would be impossible to explore in the external world, defying the norms of gender, age, species, and reality itself.

Fluidity

Fluidity is the essence of the auditorium's internal structure. The Puppeteer does not exist in a fixed state but moves fluidly between identities, experiences, and perspectives. The Spectators embody this fluidity as well, shifting forms, personalities, and roles depending on the Puppeteer's needs or desires. This constant motion reflects a deeper philosophical commitment to the idea that identity is not static but dynamic and ever-changing.

- Internal Fluidity: The Puppeteer's fluid identity allows them to explore different aspects of themselves without the constraints of a single, fixed self. The Spectators are extensions of this fluidity, serving as reflections of the Puppeteer's shifting internal landscape. At any given moment, the Puppeteer may embody multiple identities through the Spectators, each of which reflects a different facet of their experience.

- External Fluidity: While the auditorium is an internal construct, it also informs the Puppeteer's relationship to the external world. The ability to move fluidly between identities within the auditorium translates to a flexible approach to identity in the external world. The Puppeteer may shift between names, pronouns, and personas depending on the context, embodying the fluid nature of selfhood that the auditorium inherently supports.

---

Conclusion

The Auditorium is a profound reflection of the Puppeteer's relationship to queerness, autonomy, anarchy, chaos, and fluidity. By existing in a space where identity, reality, and selfhood are constantly in flux, the Puppeteer embraces a radical rejection of societal norms and expectations. The internal world of the auditorium is a microcosm of freedom, where the Puppeteer has full control over their reality, relationships, and identity.

In this space, the Puppeteer can embody transidentities, queer desires, and fluid forms of selfhood without fear of judgment or constraint. The Spectators are essential to this process, serving as both manifestations of the Puppeteer's internal world and as tools for the exploration of identity. In embracing the principles of radical nonconformity, autonomy, and fluidity, the Auditorium becomes a powerful space for self-expression and transformation.

At its core, the Auditorium is a dynamic, ever-shifting world that challenges the boundaries between real and unreal, sentient and nonsentient, self and other. It is a space where the Puppeteer can embody the ultimate freedom of existence, liberated from the constraints of external realities and free to explore the infinite possibilities of identity, desire, and selfhood.

a hot dry wind

Auditorium: A Comprehensive Breakdown

An Auditorium refers to a unique internal framework used to describe a mindspace where there is one primary sapient being, known as the Puppeteer, and multiple non-sentient entities, called Spectators, who interact among themselves but not directly with the Puppeteer. Despite their lack of true autonomy or sentience, the Spectators feel very real to the Puppeteer, contributing to a complex dynamic where the Puppeteer can both control them and remain distinct from them.

The Auditorium exists as a metaphorical structure, where the mind is conceived as a kind of theater or performance space, blending aspects of performance, observation, and internal fragmentation. This framework provides a way for individuals to experience aspects of plurality, even though the Spectators themselves are not fully autonomous or sentient beings like headmates in other plural systems.

The Auditorium structure is distinct from systems of plurality where separate alters or headmates front or switch control of the body. In an Auditorium, the Puppeteer is the only one who interacts with the external world, while the Spectators exist solely as part of the internal world, created and maintained by the Puppeteer’s mind.

Key Terms and Concepts in an Auditorium

1. Puppeteer:

- The Puppeteer is the primary, fully sapient entity in the Auditorium. It is the one in control of all the Spectators and interacts directly with the outside world. Unlike in systems of plurality where multiple headmates can take control or switch, in an Auditorium, only the Puppeteer fronts.

- The Puppeteer does not converse with the Spectators directly. Instead, the Spectators are manipulated through a combination of imaginative control and indirect interactions. Despite the separation, the Puppeteer often experiences the Spectators as vivid, almost tangible parts of its mind.

- The Puppeteer can be seen as the “central consciousness” of the Auditorium, responsible for creating and erasing Spectators and for maintaining the flow of the internal dynamic.

2. Spectators:

- Spectators are non-sentient entities or characters within the Auditorium. They do not possess independent thoughts, autonomy, or sentience but often feel quite real to the Puppeteer.

- The Spectators are created by the Puppeteer’s imagination, and while they exist, they can interact with each other within the Mainstage of the Auditorium. However, they do not directly interact with the Puppeteer in a meaningful, reciprocal way. They are ephemeral, capable of being wiped away, changed, or reset at any time.

- The Spectators are central to the Puppeteer’s internal experience, providing a sense of company, entertainment, or mental engagement, but without the autonomy associated with traditional headmates in a plural system. They exist as mental constructs, shaped by the Puppeteer’s emotions, thoughts, and imagination.

3. Conduit:

- The Conduit represents a non-sentient entity or energy within the Auditorium that manifests as the Spectators. While the Spectators are characters or forms, the Conduit is the underlying mechanism or force that creates and sustains them.

- The Conduit has no mind of its own and does not possess independent thoughts. However, it serves as the vessel through which the Spectators are brought into being. It is an extension of the Puppeteer’s imagination, often visualized as a “blob” or amorphous entity that can take on various forms at the Puppeteer’s will.

- The Conduit is always present, even when the Spectators are not actively engaged. It provides the baseline sensation of not being entirely alone, serving as the foundation for the mental activity within the Auditorium.

4. Mainstage:

- The Mainstage is the mental space where the Spectators exist and interact. It is not a literal location but a conceptual area within the mind where the internal performances take place.

- The Mainstage is where the action happens in the Auditorium. It is where the Spectators come to life, even if only temporarily. The Spectators may be imagined as actors or characters on this mental stage, playing out scenes, conversations, or actions within the Puppeteer’s mind. These actions are influenced by the Puppeteer’s control, but the Spectators can also engage with one another in ways that seem spontaneous or unscripted.

- While the Spectators exist in the Mainstage, the Puppeteer remains in the Backstage, observing, controlling, or altering the scene as needed.

5. Backstage:

- The Backstage is the conceptual area of the Auditorium where the Puppeteer and Conduit reside. It is the internal, non-physical space where the Puppeteer exerts control over the Spectators and orchestrates the internal dynamics.

- Just like the Mainstage, the Backstage is not a real physical location but a metaphorical place representing the internal workings of the mind. While the Spectators are “performing” on the Mainstage, the Backstage represents the cognitive processes behind their creation, manipulation, and eventual dissolution.

- The Puppeteer remains distinct from the Mainstage, controlling the Spectators indirectly and keeping the Conduit in place to generate new internal scenarios.

6. Act/Acting:

- Acting refers to the Puppeteer’s active engagement with the Spectators. This can involve creating new Spectators, guiding their interactions, or manipulating their behaviors on the Mainstage.

- When the Puppeteer is Acting, it is more directly involved in shaping the internal scenarios, as opposed to passively observing. Acting represents a more conscious, deliberate role in managing the internal narrative and the Spectators within it.

- Acting is less about passively watching and more about directing the internal performance. The Puppeteer may influence the emotions, actions, or dialogue of the Spectators through this active role.

7. Evocation:

- Evocation refers to the Puppeteer’s ability to imagine and create the feelings, personalities, and reactions of the Spectators. While these qualities are often limited, they provide a sense of depth to the internal experience.

- The Puppeteer can evoke certain emotional states or narrative scenarios through the Spectators, using them as tools to explore specific ideas, emotions, or internal dialogues. These evoked feelings may not fully mirror the Puppeteer’s own emotions but represent a more limited and controlled aspect of them.

- The ability to evoke complex scenarios within the Auditorium is central to the Puppeteer’s creative control, allowing for varied and rich internal experiences even though the Spectators are not fully sentient.

8. Enter/Entering:

- Entering refers to the moment when new Spectators appear on the Mainstage. The process of Entering can be seen as the arrival of a new character, emotion, or mental entity into the internal performance.

- Enter happens when the Puppeteer commands the Conduit to form a new Spectator or a group of Spectators. This process can be controlled by the Puppeteer’s conscious mind or occur somewhat spontaneously, depending on the emotional state or mental scenario at play.

9. Exit/Exited:

- Exiting refers to the removal or dissolution of Spectators from the Mainstage. The Puppeteer can command the Spectators to leave or vanish once they have served their purpose in the internal narrative.

- When a Spectator is Exited, it is wiped away, often as quickly as it appeared. This emphasizes the ephemerality of the Spectators, who are never permanent fixtures in the mind and are subject to the Puppeteer’s will.

10. Reset/Resetting:

- Resetting refers to the process of wiping away the memories or experiences of the current Spectators and returning them to a blank state. This can either be a full reset, erasing all experiences, or a partial reset, where only certain aspects (like recent memories or emotions) are cleared.

- Resetting allows the Puppeteer to start fresh with a new internal narrative or scenario, providing flexibility in how the internal mindspace is managed.

11. Chop/Chopping:

- Chopping is a more granular form of Resetting, where the Puppeteer erases very small, specific aspects of the Spectators’ experience. This can include erasing a sound, action, or piece of dialogue from the internal scene.

- Chopping gives the Puppeteer precise control over the internal experience, allowing for fine-tuning of the narrative or interaction on the Mainstage.

12. Veil/Veiling:

- Veiling refers to the act of hiding or projecting certain things to the Spectators. The Puppeteer can choose to conceal certain aspects of the internal experience from the Spectators, or conversely, project an altered reality to them.

- This might involve hiding emotions, like pain, or making the Spectators perceive the Puppeteer as a different entity. Veiling provides the Puppeteer with additional control over what the Spectators perceive or how they react.

13. Fourth Wall:

- The Fourth Wall refers to the barrier that exists between the Spectators and the Puppeteer. Breaking the Fourth Wall can destabilize the internal dynamic, leading to the erasure or Resetting of the Spectators. The Fourth Wall serves as a conceptual boundary between the Puppeteer’s internal world and the imagined scenarios playing out on the Mainstage.

- Breaking the Fourth Wall is when something from the real world or the Puppeteer's conscious awareness becomes too overt for the Spectators to maintain their roles. This could lead to an internal collapse of the imagined narrative, causing confusion or forcing the Spectators to be Exited, Reset, or Chopped.

- The Fourth Wall maintains the separation between the Puppeteer’s direct consciousness and the play-like, imaginative interactions of the Spectators, ensuring that the internal performance can continue without disruption from too much awareness of reality.

Auditorium vs. Traditional Plurality

The Auditorium differs significantly from traditional plurality or systems with autonomous headmates. Whereas in a plural system, individual headmates may have distinct thoughts, feelings, and independent agency, in an Auditorium, the Spectators are creations of the Puppeteer and remain under its full control. The Puppeteer is the sole sapient being in this structure, while the Spectators function more like echoes or puppets, with no true autonomy.

This structure allows for internal multiplicity without fully experiencing what a plural system does, making the Auditorium a unique configuration for people who experience internal fragmentation but not plurality in the traditional sense.

Conclusion: The Fluidity of Identity and the Auditorium

The Auditorium serves as a flexible internal structure for those who experience multiplicity without traditional plurality. It allows for a sense of internal performance, fragmentation, and controlled narrative while maintaining a single sapient entity, the Puppeteer, at the center. For us and others like it, the Auditorium offers a space where different selves, aspects, or characters can be explored without fully forming separate autonomous entities like in traditional plural systems.

Through terms like Spectators, Conduit, and Mainstage, the Auditorium provides a way to conceptualize how different parts of the self can be imagined, performed, and manipulated within the mind. This concept highlights the fluidity of identity, where fragmentation can exist alongside unity, and where internal company can be experienced without the full autonomy of a plural system.

fairyclub