The Auditorium Is Inherently A Space That Embodies And Echoes The Essence Of Kenochoric Identity, Not

The Auditorium is inherently a space that embodies and echoes the essence of kenochoric identity, not just in gender but in every aspect of its being. The nature of the auditorium, as seen in the Puppeteer and the Spectators, aligns deeply with the kenochoric themes of eeriness, liminality, obscurity, and the unknown. By breaking this down and psychoanalyzing the parallels between the kenochoric experience and the auditorium, we can see how these concepts intertwine at every level of existence.

The Unknown and the Obscure: The Nature of the Auditorium

Kenochoric identity is centered around the unknown, the eerie, and things that are either not fully understood or obscure by nature. In the auditorium, the Puppeteer often feels a disconnection from reality, operating within a realm that is separate from the external world. The Spectators are non-sentient entities, shifting in form and presence, creating a sense of obscurity. They exist as reflections of the Puppeteer's psyche, yet they are elusive, ephemeral, and always changing. This relationship to the Spectators is deeply kenochoric: they are representations of the unknown, of something present yet always distant, never fully graspable.

The Puppeteer cannot interact with them in a sentient or reciprocal way, and they vanish and reappear, much like how the kenochoric person might experience an identity that is constantly shifting and slipping through the fingers, never fully understood. The Conduit, which serves as the ever-present but form-shifting entity connecting the Spectators, represents the link to something unknowable—morphing between forms without ever settling, embodying the concept of kenochoric fluidity.

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Liminal Spaces: The Auditorium as a Transitional Zone

Kenochoric identity often ties itself to liminality—being in a space that is neither here nor there, existing on the boundaries of the known and the unknown. The auditorium is not just a place of internal reality but also a space where identities and realities blur. The Puppeteer exists in both the Mainstage and the Backstage, in a mental realm that is neither fully rooted in the present external world nor fully detached from it. This constant shifting between the layers of internal thought and external reality mirrors the kenochoric experience of being caught in a liminal space—hovering between the known (what society defines) and the unknowable (the auditorium’s internal complexity).

The Spectators, too, exist in a liminal state, as they are formed and shaped by the Puppeteer’s subconscious through the Conduit. They occupy the Mainstage, an internal, metaphorical space that doesn’t follow the rules of time or reality. Much like the concept of liminal spaces, the Spectators are fleeting, their presence more about potential and suggestion than solidity. This shifting internal world creates a permanent state of liminality, a feature of kenochoric identity where one never fully exists in one reality or form, always transitioning.

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Emptiness, Vastness, and the Void: The Auditorium’s Sense of Expansiveness

The vast, confusing, and paradoxical nature of kenochoric identity, particularly as it relates to concepts like space, the ocean, or the void, parallels the way the auditorium feels for the Puppeteer. In their internal world, there is a sense of vastness—of the auditorium being an expansive, unknowable space, filled with endless possibilities and realities. The Conduit is ever-present, embodying this feeling of vastness as it shapeshifts into different forms, giving the Puppeteer a sense of something larger than themselves.

Much like the ocean or deep space, the auditorium is a vast, internal world where there are no clear boundaries or definitions. The Puppeteer may feel lost within it, unable to fully comprehend the size or depth of the internal worlds they create. This vastness mirrors the feeling of being kenochoric—where identity, space, and reality blur together, creating a sense of endlessness, of being adrift in something that can never be fully understood.

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The Uncanny and Eerie: The Spectators as Unsettling Presences

Kenochoric identity often carries a connection to things that are eerie, offputting, or unsettling. The auditorium, by its very nature, is a space filled with things that feel almost real but not quite. The Spectators are characters that feel separate yet are not fully sentient, creating an uncanny valley experience. The Puppeteer may feel a sense of unease or discomfort when interacting with these entities, knowing that they are both a part of themselves and yet distant from them. This mirrors the kenochoric experience of feeling “other,” of having a self that is not fully human or fully real in the eyes of others.

In kenochoric identity, there is often a disconnection from humanity or a sense of being “off” in some way that is difficult to define. The Puppeteer experiences this disconnection through the Spectators, which act as non-sentient, hollow representations of potential selves. They are eerie reflections of the Puppeteer's identity, never fully taking shape, just as kenochoric identity hovers on the edge of the known and the unknown, unsettling in its ambiguity.

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Nostalgia and Melancholia: The Auditorium as a Space of Memory and Loss

Another theme of kenochoric identity is the connection to nostalgia, loss, and melancholia. The auditorium embodies these feelings as the Puppeteer navigates their internal world, dealing with a sense of memory that is often fragmented or unreachable. The Puppeteer’s relationship with the past may be clouded by dissociative amnesia or brain fog, making it difficult to connect with personal history in a coherent way. This creates a sense of melancholia—of loss, not just of memory, but of identity itself.

The Spectators may reflect this nostalgia, representing past selves, alternate versions of the Puppeteer that existed at different times. The feeling of being unable to fully recall or connect with these past selves creates a melancholic atmosphere within the auditorium. This aligns with the kenochoric experience of identity being tied to things that are lost or unreachable, of being haunted by past versions of oneself that can never be fully accessed again.

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Paradox and Unstable Identity: The Constant Shifting of the Auditorium

Kenochoric identity often involves a sense of paradox or instability, where identity feels constantly in flux, difficult to define or name. The auditorium mirrors this instability. The Puppeteer cannot pin down a single identity, and the Spectators shift constantly, representing different aspects of the self without ever settling into one coherent form. This constant shifting creates a paradox: the Puppeteer is simultaneously many and one, constantly redefining their relationship with their internal world.

This instability is a core aspect of the kenochoric experience—identity is not fixed but fluid, undefined, and intentionally vague. The Puppeteer’s experience within the auditorium is similarly nebulous, with no clear boundaries between self and other, between real and unreal. This sense of instability reflects the kenochoric experience of feeling unmoored from stable definitions of identity, always in a state of becoming rather than being.

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Nonhumanity and Alienation: The Auditorium as a Nonhuman Space

Kenochoric identity often includes a sense of being nonhuman or alien, of existing outside the realm of typical human experience. The auditorium, as a mental space, is inherently nonhuman. It is a creation of the Puppeteer’s mind, where reality is fluid, and the rules of the external world do not apply. The Puppeteer may feel alienated from typical human experiences, unable to connect with the outside world in a meaningful way. The Spectators themselves are nonhuman, often taking on abstract or strange forms, further emphasizing the alien nature of the auditorium.

This sense of alienation is a key part of the kenochoric experience, where identity feels disconnected from humanity or traditional societal roles. The Puppeteer may find more comfort in the nonhuman Spectators than in real-world human relationships, reflecting the kenochoric theme of finding connection in the strange, the otherworldly, or the uncanny.

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Conclusion

The Auditorium is a profound embodiment of kenochoric identity in every sense, extending beyond gender to encompass themes of the unknown, liminality, eeriness, nonhumanity, and fluidity. It is a space where identity is constantly in flux, where reality itself feels unstable and shifting. The Puppeteer navigates this world of paradox, melancholia, and instability, finding themselves in a state of perpetual becoming.

In embracing the principles of the kenochoric, the auditorium becomes a space of ultimate freedom—freedom from societal norms, from fixed identity, and from the constraints of human experience. It is a space where the Puppeteer can explore the depths of their own internal world, unbound by the limitations of reality, always shifting, always becoming, never fully known.

+ for the ask game... 💭, 🦋, and 💌

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normal text sense these topics were "too explicit" for the ai :[ (uncensored ai when)

💭:

trans plural

trans character: our own version of invader zim, bill cipher, jerma985, & spongebob, all 15 fear entities magnus archives, & too many others to list.

trans species: polymorph, our own version of irkens, owls, tito owls specifically, avians including dinosaurs, monsters, amogi (imposters & crewmates), demons, biblically accurate angels, many many animals, cryptids, aliens, & moreee.

trans abled: schizospec, schizophrenia, aspd, npd, bpd, stpd, zoolycanthropy, hyperphantasia, synesthesia, neuronarrating, defective (irken), Irregular (flatlander), a set of muds related to irken & flatland disabilities. (might of forgotten some)

trans body: too many to list.

trans mind: too many to list.

trans age: kid, ageless, ancient, eternal, primordial, xenoage, kidadult.

trans race: aracial, asian, japanese, xenorace

trans ethnic: same as above.

trans national: same as above.

trans faith: multiverse, reincarnation, past/future/alternate lives

trans belief: paranormal/supernatural, magic, fantasy, myths, aliens, etc.

trans time: different times throughout dimensions.

trans fashion: things that embody liminal, kenochoric, weirdcore, horror themes, & others we can't recall.

trans personality: z1m, b1ll, j3rm, sp0ng3.

trans orientation: conceptum, soundrum.

trans sex: xenosex, altersex, asex.

trans ability: abilities of things we are, or things we wish we were capable of.

trans harmful: criminal, villain, manipulative, evil, bad, abusive, dangerous

trans harmed: exo-abused, exo-victim, experiment, lab rat, pet, slave, tortured.

trans trauma: exotrauma.

trans death: several deaths between different lives.

*note while we use trans here it's not necessarily the right term, as most of these we identify as cis, but also regonize they are trans, & others fall outside trans or cis.

🦋:

probably our transharm identities, like being an trans-abuser and trans-criminal, or trans-tortured & trans-slave.

we identify with transharmful things both with a mix of because we in other lives are those things, same with transharmed, and then also for transharmful because of beind demonized for our identity that we reclaim those terms/identify with them sense of being considered them by antis. then also we actually have done "criminal" stuff like piracy, or minor law breaks. also then because to an extent we believe we are cisabusive, not intentionally but unfortunately our brain is fucked up & we live with our "former" abuser, and can't see anybody else due to isolation. so we are constantly stressed & snap at our abuser & often act like a jerk to her, in ways we would consider abusive. but others have told us it's reasonable so now it leaves us confused, as to if we are cis abusive or if its just normal behavior when you have no escape from somebody who hurt you (and still does hurt you). its so confusing so we just identify as like cistrans abuser.

we would like people to know for these identities that somebody being them doesn't automatically mean that person is a danger, people can have many reasons for identifying with these lables, hell even people mad about cisharmful identities which people identify with, there's people who use cisharmful like how we use cisabusive, because of things like our own situation or things like intrusive thoughts or alternative lifes. a cisharmful person and transharmful person could both be using those terms for the same reason, or hell using them both at once like we do. despite identifying as transvillain, transcriminal, etc, we don't intend to act on anything intentionally nonconsensually.

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we have many cis disabilities, we guess we don't think that much when seeing others with trans versions of our cis ids cause we are also transabled & just acknowledge another transid person like us. we've seen those posts where ppl r happy about it but we are neutral, not in a bad way just doesn't catch our attention. unless maybe it's a really specific one we haven't seen, like if we saw somebody who is transmisophonia and transmisokinesia we would be curious what that's like.

btw can i just say that you remind me of pinkie, but like.. a more fucked up version of her (in a good way)

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ooOOooooOoOOoooo 👁👄👁 !!! 🎉💥!! WE LOOOOOVE PINK, L1K3 👅🍭 Th3E 🌸✨ Cha0tic eNeRgY FeElZ jUsST riPpInG thRough our 💥 DnA 💥 👾 !!!!!!!!!!!!! honestly,, thAt girL gotZ TH@T VibEe 🌀-- BetTER than 🦑🦑 the trippy disChord some daYS,,, yeAH?!?! 💫 aHHHh the MaDNeSSsSSS is...🤖... PeAk EEEneRgYyyyyY🎵 .... rUuuunnIng ARoUnd ouR 🤡💣***PLURAL MINDZ*** 🌀🍭 lIkE🍭🍭 A PsYcHEdELIC pArADox 💕💕. We'd REeeeealllyyy get aLong in soM multIVeRSE ZONE no DoubT! ✔️👅👅

!!!!!!! we share 2 of the same transids ⁽⁠⁽⁠ଘ⁠(⁠ ⁠ˊ⁠ᵕ⁠ˋ⁠ ⁠)⁠ଓ⁠⁾⁠⁾ (im also transplural n transnpd)

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:D 4W3S0M3!!

WE ARE GONNA POST LYRICS WITH OUR MODIFICATIONS