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9 point model of bdsm narratives

Narrative as a method for The Project will be defined as such: The Authentic expression of an Intelligent take on Humanity through the Craft of relating events. Specifically, these are Narratives in which Organizing Processes express an Intelligent take on Authentic Kinks which address a Need for Control over Vulnerable Human Experiences through the Craft of Sexualization.

The said purpose of my BDSM Narratives is to treat them stories involving knowledge regarding Organizing Processes with respect to how persons find control over situations which impacted their sexuality. Therefore my stories revolve how feel safe with another person.

A good narrative expresses A Clarified Expression of Kink. This Clarified Expression is an expression which communicates the Thematic Moral of a Pornographic Action in relation to the story. This will follow a model which will be outlined here and explained in much greater depth below.

As stated before, these stories refer to how we feel safe with other persons. To communicate this I am looking at Kink as method of Control, specifically over negative situations which were experienced as Erotic. To achieve Control a person Sexualizes this Erotic Experience with another person. This Sexualization makes use of thinking which justifies the experience which is referred to as The Normative. Applied to a story involving a Kink as a Pornographic Action this becomes a Moral Effect. While a Story has One Pornographic Act, it may be comprised of several Pornographic Actions, therefore a story may have several Moral Effectscorresponding to these Pornographic Actions. How a Pornographic Act summarizes these actions into a principle of Organizing Process is referred to as the Thematic Moral. The relationship between the Thematic Moral and the Normative is referred to as Moral Realism.

This explanation outlines a rather lengthy, but working model of BDSM and a critical vocabulary by which understand it to work. The purpose for outlining this theory is demonstrate practicable understanding of BDSM and how such an understanding might be used to develop ideas towards more expressive scenes and stories. This is not to outline a method of production as it is intended to demonstrate a set of tools which may help us the performers to creatively make use of Kink as an Intelligent Mode of Expression. To improvise fluently this Intelligent Mode of Expression requires a sensibility with respect to Clarified Expressions of Kink.

The goal after any draft is made regarding a scene, or scenario, or story, is to Clarify the Expression of the Kink. By kinks I am referring to how kinks associated with BDSM content and storylines are used, and may be used in different ways to render a more powerful meaning to interactions. The kinds of meanings we are looking for follow a simple pattern. They are experienced in erotic discomfort, and sexualized under a controlled situation. Outlined here is what I look out for when trying to understand how Kinks are being expressed in narratives involving BDSM, and to find ways to add meaning to their expression. The goal is to find how Sexualization Controls feelings encountered from an Erotic Experience.

Simply put Kink is the exploration of Controlled Environments. This Controlled Environment aims at controlling an Erotic Situation, through Sexualization. I developed this dichotomy between Erotica and Sexualization, was proposed by van Anders in the landmark paper outlining Sexual Configurations Theory. Specifically the Erotic may be any experience in which there is sexual arousal whether or not that arousal is wanted or not. By contrast Sexualization refers to the processing of a stimulus so that it may experienced as sexual. There may be some confusion regarding the more common associations of these terms where Erotic is positively contrasted with Sexualization as a more organic set of ideas regarding sexaulity versus a commercially exploitative set of processes. I’m going to ask you to suspend that understanding for now in order to better understand how this model works and may be used to produced consistent results.

To summarize again, Kink is about Controlled Environments, In particular these are Controlled Environmentswhere things which were experienced as an Erotic Situation, which is defined here as a situation where Sexual Arousal was experienced as unwanted in a negative environment of some kind. Sexualization reinterprets the Erotic Situation into one in which the person interpreting the Erotic may experience the pleasure felt in that negative situation, in a context in which they are allowed to feel in control.

The first task in understanding a Kink is to understand the Erotic. The Erotic here means something which may have stimulated sexual arousal, but may not have been something a person would have wanted to be aroused by. These might be things which are scary, shameful, traumatic, terrifying, horrifying, amoral, unethical, or maybe even touched with one’s mortality, and quite possibly fates worse than death. Sometimes we don’t always have a say in what we find sexy.

It’s helpful to hypothesize a situation, or culmination of situations, when we look to see what might have initially been experienced as erotic in relation to a Kink. One way to look at this is to see how the Kink is acted out, what emotions we might be playing with, even such things as whether bondage gives the sense of an inability to properly move a limb, or someone is pegged and left alone naked in a cage. The trappings of BDSM are conceptual maps to feelings, perceptions, attitudes, beliefs, even things we may have been taught as true.

A good way of modelling this is may be through Impediment Schema. Here you might imagine the person struggling against some impediment to accomplish some task. Even when these tasks might take on complex issues such as bigotry, or gender identity, and even rape culture or assault, these may be made a little more concrete by setting them in Impediment Schema. For instance you might imagine a person struggling against bigotry to achieve some status in society.

How the fantasy plays out help begin to show the situation played out or how they learned to respond, or even how they wish they might have responded. I refer to this a the Zoe, which is a term borrowed from a Philosopher by the name of Giorgio Agamben. Briefly, Agamben sees citizenship or belonging, as comprised of certain bodily rights referred to as Bios. It wrong to hurt or kill a person deemed as one’s own, or as belonging to some larger body of laws governed under some system of rights which observes those rights as protected by law. When a person is cast out from society they are reduced to Pure Life or Zoe. Zoe, is not protected by laws, they are raw and exposed to nature.

Now let’s apply this to the earlier example of Impediment Schema. Here the person struggles against bigotry to achieve status in a society. How they respond, whether the fantasy is about them acquiescing submissively or Dominantly vanquishing their enemy gets at my appropriation of the term. Where Agamben sees Zoe as a reduction to Pure Life, I add to that the experience of the Erotic. Zoe, for me and as will be used here is the Situation having been reduced to a state of Felt Vulnerability where Protection was not shared by some Group or Group Members and Arousal was Experienced as Erotic to that Situation.

The Zoe is perhaps best understood as a sometimes amorphous culmination of different eroticized feelings. In this way Zoe, allows us to read both their response to the impediment, as well as whatever moral system is seen lacking in their situation. The purpose the Zoe is to understand the Quality of that Erotic Experience.

As a bridge to process of Sexualization from the Erotic., here is a relatively simplistic criteria which conducive to that interpretation. This roughly breaks down the experience of the Eroticism of the Zoe into Fear, Shame, and Trauma which are correspondingly Sexualized as Kink Activity, Humiliation, and Fetish.

The link between Fear and Kink Activity means that I understand most activities associated in Kink asControlled Expressions of Fear. Kink is about Controlling Your Fear. With respect to the Zoe, this would seem to imply a situation of Fear in which Eroticism was experienced. A more thorough understanding of fear, types of fear, and level of fear further express correlations intuitive to how a Kink might be experienced. This more thorough criteria exceeds the scope of this introduction.Dominant expressions of Fear tend revolve around their controlling something which may be a threat to them or destroying any possibility of threat. This contrasts with submissive expressions which focus on allowing them to express fear in a controlled way.

Humiliation is similarly expressed as a Controlled Expression of Shame. It is important to note that Shame is social emotion of distress aimed at one’s person or at a person. I feel a distinction is made between submissive and Dominant expressions of Shame in that Shame is expressed as an internal distress to a Dominant by a submissive, often conforming to an socially constructed image of reduction to some trait hereafter referred to as a Caricature. The Dominant expressions of Shame tend to cast a person as aCaricature, and thrill in treating them according to the logic of this socially constructed image of reduction.

Shame is related to Guilt. Guilt is an element expressed in Kink however, as more internal. It is often expressed as the motivation for some Kink Activity. This may be demonstrated as the submissive coming to the Dominant because of Guilt, or the Dominant beating the submissive because of Guilt which may or may not be attributed to the submissive.

Trauma, for me, is expressed as Fetish. My use of the word Fetish will differ somewhat from more contemporary ideas of Fetish. A Fetish has some power over the mind or desires of a person. This power is attributed external to the person experiencing the Fetish. The Fetish Object attributed with the Fetishistic Power may furthermore form a composite of different qualities, which may or may not have been incited by the Fetish Object itself. In this sense certain Fetish Objects may be seen as solutions or even stand-ins which encapsulate these different qualities of Fetishistic Power.

The relation to Trauma to Fetish, I see as being in the magical properties over the person’s mind and desires. In this sense the Fetish Object may or may not have any relation to the situation of Erotic Trauma experienced in the Zoe. The Fetish Object may in fact be a convenient target and repository for magical properties. These magical properties over a person in relation to a Zoe as an expression of the Erotic will be the definition given here as Fetishitic Power. The experience of Fetishistic Power is often experienced as an Erotic Interruption to one’s personal life, and may take on obsessive and maladaptive dimensions. How Trauma is experienced by a person tend to match experiences of these Erotic Interruption. The Erotic Interruption will be triggered somehow, and they will might be forced to relive some even. Somehow theF etishistic Power or the Fetish Object haunts their minds, they cannot think of anything else. This power may even have control over their actions, and they may feel compelled to do something relevant only to the logic attributed to the Fetish Object. The Fetishsitic Power may even be transformative, turning the afflicted person to behave differently or even become a different person entirely.

The second task is to understand how control is made through Sexualization.This a rather complex process which is better understood with the person you are experiencing this with. While I will be using a Dom or sub in the singular here, I personally believe it is more accurate to assess these factors as interpersonal and even intersubjective. In this way we account for how a Kink is experienced, shared, and interpreted from one person to another.

The first thing to look out for are Solutions involving Conservative Morality. These solutions take on three basic binaries. They are Authority & Subversion, Loyalty & Betrayal, Sanctity & Degradation. The solutions performed by either the Dominant or submissive will take one or more of these binaries, and may even match binaries depending on the circumstance. For instance a Dominant may want to Degrade a submissive to assert their Authority, or a Dominant wants their submissive to demonstrate Loyalty and Authority, and the submissive acquiesces to their demands to demonstrate Loyalty to their Authority.

The Normative refers to what the underlying reason why these morals are deemed appropriate. The Normative names a sociological concept known as Sovereignty, or the Legitimacy of Violence. Basically the Normative is the reason given as to why they are just in expressing violence or the reason given as to why violence is being enacted upon them. These reasons might range from Ethical, such as ‘How we treat others’, as in I’m punishing you because you were rude to me, to the Antisocial, as in ‘I’m punishing you because it makes me happy.’ Conversely the Normative may be articulated by the submissive as Ethical, ‘I’ve been naughty.’ to dealing with Self Image, ‘I am less than you, and that’s why it’s okay to hurt me.’. The key to the Normative is that it doesn’t actually have to be moral, or even sane. It just needs to be the reason why. The Normative refers to the process of control as it relates to Sexualization. Later a concept will be introduced called the Moral Effect, which is related to the Normative except that it applies to the world of the Story and used to impart a Theme of Organizing Processes. In this sense the Normative helps Control the Erotic by developing into a Theme related to Organizing Processes. In this sense the Normative compliments the Zoe as an act of mitigating the erotic loss of control experienced in the Zoe.

Next we have Control. If Conservative Morality is demonstrated under a Normative, Control then is about how Control is offered over Eroticized Impediment. How the fantasy is either overpowered by the impediment or conversely overpowers the impediment casts a reflection as to how Control is achieved. This is expressed through a vocabulary of Kink. This is where it starts getting complicated, and it helps to have your own resources about power, suffering, marking, etc. To begin with I use an updated. And for me useful, version of Alison and Santilla’s original criteria for BDSM.

This updated criteria is comprised of:

While I wont go into these in further depth, I will say that this is the top of the iceberg. I also use a criteria of Objectification, various aspects of Rape Culture, social functions of Punishments, social functions of Ritual, cognitive models of Suffering, methods of psychological Manipulation, various stages of Ownership and claiming as Property, etc. The purpose in listing various lists of interpretations is maybe to show that this in not only to demonstrate the rather stoic task of organizing human cruelty and malice, but also to show that each of these criteria have their own meanings, e.g. Rape Culture means how a person’s body, agency, and boundaries are culturally explained as lacking any agency other than as an object of desire, anger, and malice. The various degrees and manifestations of Rape Culture further elaborate with greater precision how such explanatory power manifests and what it says about how this culture is said to operate. For instance catcalls deny the person’s ability to move about in peace without being reminded that they are seen as an object of lust.

A brief caveat before continuing, BDSM is not abuse. While situations do occur in BDSM which turn out to be abusive, BDSM is based on consent and mutual respect. This respect and consent belongs to to the aforementioned Controlled Environment where this Control over the Erotic may be explored in greater depth.

Script refers to some expression of emotions, attitudes, roles, or behaviors in reaction to Control over theImpediment Schema. Specifically Script is defined as the Controlled Expression of Sexualized Feelings encountered from an Erotic Experience. Are they a tough man in pain? Are they a sex kitten who coos at being spanked? Are they crying? Do they express some narrative or cultural idea regarding how some class of persons are supposed to react? Script is related to the Normative in that it often compliments its logic, but differs in that the Normative is a position, and a Script may be a range of ideas, feelings, or emotions, personified by the person articulating the Kink. In this sense a Script is more related to the Erotic, in that it offers a sense of personal definition over the Erotic experience.

The final two items useful to the interpretation of BDSM are Sexualization and Attachment. Sexualizationrefers what codes or sexuality are being used in the expression of the above criteria. Simply put, sexy things may range from person to person. For instance some people are attracted to particular body types and gender expressions, others might find certain feelings more sexually enticing, still others may be very turned on by some item of clothing or fetishized aspect of a person’s body. Sexualization extends to how sexuality is being expressed from one person to another, what codes they might be using. Sometimes codes don’t alway compliment each other. For instance one person more enticed by a particular physical feature may not match up to how another person is expressing their sexuality in a more sensory kind of way where they wear something which holds their body in such a way which makes them feel sexual.

Attachment refers to how the persons express intimate bonding between one another. A person may be dismissive of another person, where another person may express fear of abandonment and surrender. Sometimes secure attachment styles will be demonstrated between Dominant and submissive. Attachment is like script but focuses on expressions of intimacy, if there are any, and in what ways this intimacy is shared and expressed between persons.

Given the broad palette painted here with which we may perceive the many possible meanings, it is more reasonable a task to paint the interactions we perceive with colors we find meaningful to their interpretation. A single response may even elicit a full rainbow of ideas. What is important however, is not to try and achieve a totalizing vision of what is happening, nor pursue such a an effort. Instead, color these them slowly with the things you recognize. It is more useful to have a small constellation than to strive for a fully painted portrait.

Evaluative Elements are those elements notated with such meanings Once an idea has been written down or a scenario or scene outlined, these elements will be identified to help clarify the Expression of the Kink

We move from theory to a little more practicable action now. A Pornographic Act here refers to what’s actually going to sell. A Pornographic Act may be comprised of several Pronographic Actions. It’s the setpiece of what is being shot. Kinks and how they play out are a form of Pornographic Action. While there may be several Kink used at once, they culminate in a Pornographic Act. Both as a matter of ethics and aesthetic requirement, Pornographic Actions will be planned and discussed. The purpose in discussing them here is to see them as units of meaning.

The defining quality of a Pornographic Act or Action is a simplified statement which follows it as Clarified Expression of Kink. Specifically what is sought after here is the Moral Effect achieved by a Kink when used by a person.

The breakdown of a Pornographic Act into Actions with their own respective meaning will conform to a method of Thematic Design referred to as the Ingolf Method. Named after the composer Ingolf Dahl who first proposed it, this method works as follows, An Agent uses a Dramatic Prop or Action to achieve an Effect upon a Beneficiary. The Pornographic Action works similarly, an Agent uses some Kink or Assortment of Kinks.

As stated earlier this is a Thematic Device, and while Themes will be discussed in greater detail later, the Pornographic Action is used here to express an idea. Specifically this idea is a kind of Mora Effect. As a Moral Effect it may in fact widely deviate from conventionally accepted morals or even healthy emotions and well-being. Because a Kink is a controlled environment, this Moral Effect may be experienced in a controlled manner through the expression of the Pornographic Action. The Moral Effect is related to the Normative in that it is the expression of the Normative in the world of the story.

An example of this breakdown as related to Kink might be a Pegging, as in ‘The Dom (Agent) uses the Dildo (Prop / Kink) to bring Respect (Moral/ Effect) upon the sub (Beneficiary). Conversely, a sub (Agent) uses a whipping (Prop / Kink) to express love (Moral/ Effect) to a Dom (Beneficiary).

Themes for me refers to either the ideas relating to how some task was carried out or achieved, or a repetition of associations found throughout the duration of a text. A key feature to my narratives is that they reflect real circumstances and be practical to those circumstances in way that is mature shows the language of Kink as intelligent. This might be thought of as ‘the moral of the story’, but in a mature way that is yields insights. My stories are meant to convey Sexuality as Intelligence.

By moral what is meant is Organizing Processes. Therefore when some idea is associated with a task that had been carried out, or some repetition of associations is distributed during the duration of the story, it is referring to organizing process or lack thereof. This process is entirely based upon the Berlin Wisdom Paradigm. The Berlin Wisdom Paradigm is a relatively recent development in Humanistic Psychology aimed at defining the multiple expressions of human wisdom through common patterns and applied to how regarding how to realistically deal with a situation. Specifically, Wisdom is referred to as an Expertise regarding how to deal with these situations.

Applied to the earlier discussion regarding the Clarified Expression of Kink, this might look at a few different things on either the Erotic or Sexualization segments of a Kink. Specifically this refers to the Erotic Situation and the lead up to that situation. For Sexualization this refers to what a person needs to feel in control of a situation. To rephrase this then is to say that the Moral of the story regards some level of Expertise or lack thereof regarding Organizing Principles belonging to either what led up to a negative situation, or what makes them feel in control over it.

The ‘Moral as of the story is written out as a Statement of Organizing Processes. ’There are three basicStatements of Organizing Processes, and they are Life Planning, Life Management, and Life Review. These are like the sentences. There are three kinds of sentences, and these sentences are made up of some combination of five words.

These three Organizing Processes are expressed in their own way by one or some combination of five criteria. These five criteria are: Rich Factual Knowledge; Rich Procedural Knowledge; Lifespan Contextualism; Relativism; Uncertainty.

The process outlined here will hereafter be referred to as the Thematic Moral. To review, this follows a trajectory from the Normative to the Moral Effect to the Thematic Moral. Specifically the Normative is the reason which legitimizes the use of violence as a process of Control. Sexualization in a Kink. The Moral Effect refers to the idea which a Pornographic Action expresses, specifically it is the Normative brought from lab to the factory floor. The Moral

Finally, these Organizing Processes are unique to each character, and should be expressed uniquely to by the performers through the medium of their character.

The goal of the Storyline might be thought of strict set of rules to avoid confusion. While this section as whole is concerned only with the writing of Porn, the The Characters Arc will be addressed here as way to add resonance to the Porn from the position of the Characters Arc. These rules act more as a guideline for ‘Happy Accidents’.

Storyline refers to three features, they are Diegetic Level, Feel, and Relationship. the first is the Diegetic Level of a story and a story’s cohesion to that level and its rules, e.g. the fictitious couple serial may feature breaks in the fourth wall, whereas the the ‘content’ made by the fictitious couple which may has its own stylistic logic. As a general rule one level may not appropriate the stylistic conventions of another level in that the stylistic conventions of each respective level function in different ways. The stylistic conventions and their purpose will further outlined below.

The reason to avoid these mixups of conventions corresponding to their associated level is to avoid ambiguity and confusion with respect to what these levels are intended to communicate. Before proceeding on, there is one stylistic device which purposefully breaches diegetic levels to make a meaningful statement, this is referred to as Metalepsis. Specifically Metalepsis refers to any element belonging to one level appearing in another. Metalepsis will be discussed in greater detail later as well as its communicative function.

Feel, is the word which will be used from now on to the Stylistic Conventions of a given level. By Feel I mean they communicate something without having to express it outright. The two levels have two different Feelsbecause the communicate two different ideas.

The topmost level, that of the Fictitious Couple, has a feel of genuine emotion feelings and romance and humor, but is primarily communicated through conventions of Distancing and Defamliarization. This level is referred to as the Metafictional Level. The Lower Level is the level in which Porn is crafted. It comprises the dimension of the Storyworld which communicates Sexuality as Intelligence and reverberates it through its very Fictionality.

Simply put the storytelling level of the Fictitious Couple, works to convey the various levels of fiction at work in trying to relate something genuine about the performers involved. Because the characters are created and workshopped by the Performers themselves, the Performers are bringing parts of their own lives, and the stories they could tell, or have been told to the fictional world in which they are creating a story.

This level may be referred to as the Metafictional Level, as it uses fantastical elements and interruptions in the suspension of disbelief to convey the levels of fiction at work regarding not simply their performance, but also our expectations of characters, romantic conventions, the influence of media on the perceptions of lived realities, political narratives which seemingly alienate the persons whom they are said to represent, histories, and even trauma. The Metafictional Level is concerned with what is Real.

Because this is Porn more or less nested in a Love Story, the implicit question in treating it as Metafiction is a take on the trope of True Love. In asking this question the characters

The other purpose of the Metafictional Level is to form Metafictional Commentary. This refers to one of the functions of of Metafiction to make a Comment.

This wit of Metafictional Commentary is contrasted on the Metafictional Level, with Unscripted Expressions of Affection and Intimacy, or most often dialogue. Dialogue plays an important factor in on the Metafictional Level because it is so often valued as real. Even when it may take the tone of intelligent argument it is never itself treated as a fiction. The dichotomy here is the connection and communication between persons is sometimes the only things is actually real in a situation where stories inform almost every aspect of our lives. In this sense the Metafictional Level is concerned with what is real in the lives of the characters.

By contrast the Content Level of the storyworld is never interrupted. Partly because it’s actually intended to function as porn, and metafictional commentary would likely negate the intended effects which porn is supposed to elicit. Immersion is the principle here. Whereas conventions of storytelling and genres are flouted in the Metafictional Level, they are treated as belonging to the fabric of the story being told. This is because it is a world of exuberance. This world is unconcerned with discerning what is real, because everything is real.

Everything, even the most fictional elements, are reflections to a Truth. This is a Truth is too big for the for the story itself. It’s as if this the story is a person and that person doesn’t care if you don’t see them as real. The things we might recognize as Fictions don’t care if we see them as Fictional, because they’re not concerned with trying to make you believe. Their value isn’t in your determination of their reality, their value comes in seeing why they are there in the first place.

The said purpose of my BDSM Narratives is to treat them as stories involving knowledge regardingOrganizing Processes with respect to how persons find control over situations which impacted their sexuality. If the Metafictional Level is world where we are constantly trying to discern what is fact from fiction so that we can be happy. The Fable sees the fiction around it, and how it is used to make us believe in things we believe might make us happy. It sees fictional devices as a kind rhetoric used to convince us about where we might happiness. If the story were its own person it would take this rhetoric and uses it for itself. It would say ‘Fantasy is a kind of truth, and sometimes it is more true than the things we are taught to be true’. The purpose of Fictionality is demonstrate Autonomy.

If all the stories told are about how persons learn to feel safe with another person or persons, then the Fablerewrites what we learned into something true for us. The Fable says these rewritten stories are the world. Even if it uses something Fictional, is uses it in a way to connect with another person. Fictional devices are an opposition to intimacy, connection, and the various elements which make up a happy and sustaining relationship, but tools for it.

The stories reflect the rhetoric and the fiction of world around them. It may use many elements including porn conventions, conventions related to BDSM, romantic novel convention, novelistic or even fairy tale conventions, elements of Magical Realism, voiceovers, stories taking place in fictional settings, fictional elements appearing within the diegesis of historical pieces, stories involving magic, fantastic, or uncanny elements.

Stories on this level are treated as their own realities where the fictionality of their existence as stories serves to reinforce these conventions as a valid form of knowledge. Fictionality is used to communicate both a reflection of the world in which these fictional stories are set as well as get at a concept referred to asMutuality, in which Anthropologist Ellen Dissanayake as the origins of art found in ‘making special’. In this sense stories express Craft.

Furthermore this as a place that is ‘made special’ for the experience of stories, take control over their sexuality over situations with people they have found a safe place with. In this sense all the workings of the narrative function to iterate and reiterate the concept sexuality expressed as the process in which people are allowed to organize their intimacies, and in that sense work to convey the moral. This morality is less that of moral convention than it is Moral Realism. This level is referred to as the Fable. The design of the Fable may be said to communicate a ‘moral’ message.

Stories which were said to have been filmed without metafictional elements on the Metafictional Level, as inRelationship Stories, Serials, or One Offs, have their unique quality unique to this Level. It takes the rules from the Metafictional Level and applies them to the world of the Fable. It is a form of Metalepsis, as one diegetic level finds itself in another diegetic level. It will not be referred to as Metalepsis however, as I want to clarify the usage of Metalepsis as it pertains to creating stories which impact the Fictional Relationship.

Relationship Stories, Serials, or One Offs belong to a rule in the Metafictional Level in which everything expressed as intimate is real. These stories then are ‘real’. The Fictionality then is in Poronographic Act. It comes in how they play, and interact. Even if it’s intense, and violent, and cathartic, the Fictionality is in the how they get at what is real about their interaction. Specifically, they are filming their ‘actual relationship and sex lives’, they chose whatever dynamic they’re expressing, and in actuality they can just walk away from one another. They are living out a fantasy as an expression of things true to them.

What does this mean? This is what it doesn’t mean. It doesn’t mean that Aftercare needs to be always be shown, or that the Thematic Moral is dropped like an Aesop at the end of each of these. It doesn’t mean that they explain everything they are doing as relevant to the Arc. That would violate Authenticity. What it does mean is that it shows the Fictionality is demonstrated as BDSM through the Pornographic Act. BDSM is a fiction made by these two characters which is conducive to their needs. This is a good segue to the next section as these scenes are being to form the closest bonds between the Metafictional Level an the Fable.

When planning out these scenes, it will be important to discuss how Pornographic Acts will be used by thePerformers as Characters to express their own needs. The framework thus laid out will help in this capacity. In a way these are instructional and should more personal. BDSM is used almost didactically so that the viewer can make these connections for themselves.

Relationship refers to the way in which elements from the Metafiction reflect the Fable. Specifically it works to convey two ideas, on the most mundane level that there is a connection between the the two levels, and on the most grandiose level that the border separating these these two levels is not as stable as may have previously been thought. This former is used to draw similarities between the levels, whereas the latter is used to point to a crisis in the Metafictional Level.

Most of the time the Relationship will be found by Accident as the Performers navigate both levels. It’s just bound to happen honestly, and I’d prefer that it remain Accidental to the process as that would be indicative for me as Authenticity.

When Relationships are found, and prior to filming, they can be used by the Performers to blend the levels together, immerse the audience, and even make comment. When some narrative element of the Fable enters into the Metafictional it is referred to as a Metalepsis.

The Metalepsis primarily serves to add gravitas, callback, or humor. When used as gravitas it expresses some idea learned from the Fable has been brought back with them into the Metafictional Level. When it works as a callback it is often used to convey either a sense of joy at having had such an intimate scene and works like a happy memory, or may be used as a stand in when one of the lovers is misses the other lover from their life and is using the callback to use that happy memory for comfort. Finally when it acts as a humorous element it may be used as an obstruction to achieve some task in the ‘real world’ and so serves to make fun of how hard it can be sometimes to compartmentalize the two worlds.

When a Metalepsis is used as a bad omen it will follow a trajectory to the Crisis and Climax of the overarching narrative. This threat will gradually grow until the boundaries between the two worlds have split and elements of the Fable consistently appear in the world of the Metafiction. It is important to note the stylistic rule which states that if the elements of the Fable enter the world of the Metafiction, they become subject to the rules of the Metafiction. In this sense the fictionality of the Fable multiplies in terms of perceived artificiality. This is used to indicate that what was real in a shared fantasy has no meaning in this new world where it was cast.

The eventual corrosion of the boundaries between the two levels serves to convey the distortion between real and unreal. No longer can the characters tell what is real or not between the things they shared and the reality in which narratives are put in place over dialogue. The catastrophe occurs when the both theMetafictional Narratives spill out and the Fable becomes more commonplace in place of actual dialogue. I feel this is a good metaphor for grieving the end of a relationship.

When a Metalepsis is used as a Performative Self-Awareness in which the Performers acts as the Character performing a character on a set nested in the Metafictional Level, this is referred to as Theatrical Communication. This should be used very sparingly as it takes a lot of planning, and can even reinforce some negative ideas which this project is really aimed at dispelling.

A great example of this comes from the Pyramus and Thisbe scene as acted out by Rude Mechanicals in Midsummer Night’s Dream. It’s a scene of enormous comic relief when performed well. The purpose of this form of Metalepsis is to make comment on Performance, or Scripts, or Tropes. It’s a way in which the characters point to themselves as performers in performing other characters and make a comment about it.

This can also be used dramatically, and if used at all, should only be used once, because I feel it can be damaging. This is when Theatrical Communication is used to express how a character feels like the role they played in a negative way and makes a comment about it relevant to the Fictitious Relationship. While I am very cautious of using Metalepsis in this way, I would like to keep this option open because it’s a great way to express the hurt of being Kinkshamed.

Narrative as a method for The Project will be defined as such: The Authentic expression of an Intelligent take on Humanity through the Craft of relating events.

Specifically, these are Narratives in which Organizing Processes express an Intelligent take on AuthenticKinks which address a Need for Control over Vulnerable Human Experiences through the Craft of Sexualization.

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