#hypergraphic writing

[hypergraphistwriter]

[fishing-lesbian-catgirl]

I’ve finally finished my next fic. Enjoy.

[ablackbrick]

Residue

In today’s Geranium Lake Properties comic we have the residue of the summer solstice, which the Inultaru call galynary gusigarra or galynary otmuparyn. In this particular occurrence1 the residue became part of the erratic accumulation, or “snowballing”, of Hypergraphic Object HJW.4415.2 According to Yost’s notes found in both the Paisley Notebook (PN) and the Green Vinyl Bound Sketchbook (GVBS),…

[thinkingimages]

Isidore Isou

Hypergraphie, polylogue 1964 (1988)

Born in Romania in 1925, Isidore Isou arrived in Paris at the end of World War II. He called himself a ‘Lettrist’, a movement of which he was initially the only member. By 1950, the Lettrist group also included Maurice Lemaitre, Jean-Louis Brau, Gil J. Wolman and Francois Dufrene, who were joined by Guy Debord in 1951.1 Lettrism, also known as hypergraphie, and super-écriture, had its theoretical roots in Dada and Surrealism, and called for a renovation of all the arts. The first public manifestation of the new artistic movement took place in January 1946 at the Societes Savantes, where Isou read his sound poems out loud. The next year, Gallimard published his Introduction to a New Poetry and a New Music. From there, in numerous publications that followed in rapid succession, Isou communicated his desire to radically transform society and applied his theories to all areas of art and culture, most notably in poetry, film, painting and political theory. He would eventually publish over 200 books, containing his ‘hypergraphic’ writings, ‘metagraphic’ images, plays, theoretical writings, polemics, wall posters, etc.

In the plastic field, Lettrism is based on the merging of image and word. The plastic use of the letter or sign would not signify anything other than itself, thus transcending traditional conventions of meaning by emphasising the form of the letter over representation. Isou conceived Lettrism as fundamentally different from movements that preceded it, representing a complete shift from figuration and abstraction to the plastic use of the symbol of letters or signs. While Isou acknowledged that some artists associated with the Bauhaus and Cubism, and artists such as Marcel Duchamp, approached qualities of Lettrism, Isou declared that these artists ultimately faltered by subjecting letters to function and burdening them with meaning, rather than granting them independence and allowing them to become pure form. As Isou wrote in 1961: ‘… the important thing was not to introduce letters into painting, but to reduce the whole picture to letters, or rather, to the order of letters.’2

1 One year later in 1952 Guy Debord separated himself from the group and founded L'Internationale lettrisme, and later the Situationist movement. color=“#999999”> 2 Isidore Isou. Le Lettrisme et l’Hypergraphie dans la Peinture et la Sculpture Contemporaines, Poésie Nouvelle, Special Issue 3 (July–August–September 1961), p. 41color=“#999999”>

[tiercelgreen]

Welcome to my Den!

I'm Tiercel aka TiercelGreen, part-time illustrator, full time dragon. Here's where you can find a bit about me and what I do.

🜃 - Basics

Name - Call me Tiercel or Tiercel Green. If we're friends, Just Green!

Pronouns - It/He/They/Storm with no preference for one over the other

Age - Adult

Species - I'm a Dragon. I'm not human, even if my body is perceived as such. I identify as entirely nonhuman.

🜃 - FAQ

What's a Tiercel? - A Male Hawk

Why's your name Tiercel, I thought you were a dragon? My species follows semi-avian behaviors that align partially with hawks. I Am a Tiercel along with my name being Tiercel. It's like naming a human man 'Guy' or a human woman 'Gal'

Why do you write so much? - I'm Hyperlexic/Borderline Hypergraphic and Autistic with strong opinions on stuff

Are you just a dragon? - No, I'm an Enderman, American Bittern and Sunbittern Kith [hearted], and a Selkie Archetrope [Leopard Seal].

🜃 - Where Else To Find Me

Neocities

Pronouns.cc

My Main Tumblr - @translunaryanimus

Important Note!! I am NOT OUT as alterhuman on my main tumblr and would prefer to keep my alterhuman discussions here! However, my main tumblr is an alterhuman friendly space still and you are more than welcome to interact with me there as well.

🜃 - Extras

DNI - Don't have one, won't have one. They don't work. Behave yourselves and be kind and we'll get along just fine.

ASKS - Totally open!

TAGGING - Always Welcome!

INTERACTIONS - Always Alright!

🜃 - My Tags

#rescrawl - Probably my most common tag. houses all my reblogs.

#tiercel's art hoard - sub-tag for art i've reblogged that isn't mine

#tiercel's photography hoard - sub-tag for photographs i've reblogged that aren't mine

#tiercel draws - my art

#tiercel makes - my 3d models, game mods, or non-drawn art

#tiercel takes photos - my photography

#tiercel talks - my incessant yapping

#languagescrawling - my posts in and about languages other than english

#tiercel answers - answers to asks or tagged questions

[tatteredxsails]

I only started RPing on Tumblr in 2020 (I think? Might have been 2019 -- things are a blur), but I've been RPing for something to the tune of 25 years. I've been in a lot of RPCs over the years.

I have always been told that I'm intimidating, which kind of sucks because it keeps people from approaching and playing with me. Sometimes, it has been that I will cough up a wall of text when I'm feeling inspired. Sometimes, it is just my mannerisms and written voice.

I'm Autistic. I happen to be one of those overly formal Autistics when I'm communicating in text, until I'm comfortable... and then I cease to form complete sentences outside of RP. If you meet me in person, I have resting bitch face and can pull off scary dog privilege but I'm really just very anxious and goofy.

I haven't coughed up a wall of text post here in recent times, but I occasionally will write an RP reply that's 1500 - 3000 words. I'm hypergraphic and I'm always writing in one form or another. Occasionally it gets concentrated instead of spread out between all of the RP that I'm doing/my personal writing. There is NEVER any expectation to match length or anything like that. Well. Don't give me a single sentence back, that'd suck.

Anyways. I seem like a dick but I'm just a silly little guy. Don't be afraid to get in my inbox or DMs or interact with my posts.

[liemoonlee]

i really do appreciate those hypergraphic folks who can knock out 2000 words in one sitting but it just took me around a week to write 1700 words and I just realized that I'm scrapping all of it

no work is wasted, etc etc, helps me get into the character's head, but if this is a story about a relationship then the story kind of starts when he actually thinks of her. which he hasn't been.

it is always sad to lose some fun lines but one never knows, maybe i'll find a way to include them somewhere else

[jessicafurseth]

Reading List, Doing My Best edition.

Image: “Clouds” (2019-20) by Anne Rothenstein

*

You Bust Loose From Heaven And Now Your Life Starts* Should you blow up your life? [Miranda July]

Who Gets "Quality" Leisure? [Culture Study by Anne Helen Petersen]

Nobody wants this, but we can't spend another four years feeling like the world is ending - so we're getting sweaty [Avery Stone, The Cut]

"A packer faces three obstacles. There’s contingency: a variety of possible futures must somehow be tamed. There’s consumerism: the junk you own needs to be winnowed into a useful curation. And there’s comfort: we want to be cushioned against transit’s sharp points. Staring down these monsters can be unpleasant. It’s embarrassing to realize that you live in uncertainty despite your hoard of objects, and to admit that you need your blanket. Maybe, if you were someone who could roll with the punches, and who lived a tougher, less acquisitive life, packing would be easier. So there’s actually a fourth obstacle: you." Why Can’t You Pack a Bag? [Joshua Rothman, The New Yorker]

"Hypergraphia is the compulsion to write excessively and without obvious purpose or profit. Hypergraphics tend to exhibit flamboyant penmanship and fill every inch of space on a page. They favor colored inks and CAPITAL LETTERS. They write in response to internal rather than external pressures — so, not to achieve tenure or impress girls." Pregnant With One Child and 295,233 Words [Molly Young, The New York Times]

My Breast Reduction From Hell [Katie Heaney, The Cut]

How Jonathan Franzen Learned to Write a Franzen Novel [Adam Moss, Vulture]

Men Texting With Men, struggling [Matthew Schnipper, The Atlantic]

Let’s Put The Pagan Back In Christmas TL;DR go outside [Nell Frizzell, Vogue]

In praise of Old Lady Clubbing [Gaby Hinsliff, The Guardian]

Bang the World [Nathan Adrian West, The Baffler]

"With older media, the friction of the interface provided some space for reflection and hierarchizing significance. What was on the front pages or what led the news bulletins was what we heeded most. Music had to be sought out and didn’t come with an infinite stream of more. Digitization has become a “universal solvent” for all information, fed to the same device on the same platform with a convenience and ease that becomes a curse. We have evolved to seek, says Carr, but with the internet, there is no natural curb to that desire, and never any sense of satiation. Reality can’t compete with the internet’s steady diet of novelty and shallow, ephemeral rewards." The Case for Kicking the Stone [Philip Ball, Los Angeles Review of Books]

[cruddyborderlandstheories]

Gearbox is hiring so I took a look at the stuff available. They want people who are knowledgeable about borderlands specifically for their game system design and Hey. Hey. I'm right here. I'm right here please. Please. Hit me up. Also u need someone working with databases??? Hyng my masters thesis is on databases and I could infodump about relational databases and how to decide on the best structure for a database with the least amount of information loss by generating a lattice of specific structures based on hypergraphs to you all night so hyyyng I love you pls hire me. Deductive databases are my true love though let's talk me and you about them and their applications over a glass of wine or something I dunno I don't drink and also I'm great at talking and writing I swear listen to me verbalise Right Now wow amazing I'm great at it. You wanna see my undergrad final project for making a database to help generate dnd enemies on a map you can Design??? I did it because I didn't feel like worrying about balancing my homebrew game's enemies and combat bc I had other things to really worry about (see we are so similar already <3). it's beautifully hideous cuz I didn't know how to use qt but it's a testament to my love for sqlite so let's fucking goooooooooo

[ninthfeather]

Tell me about the arknight fic please!

Thank youuuuu

So this WIP is called “past the bright facade, layers of rust,” and it’s possibly gonna be a series.

Ok for anyone who doesn’t know, Arknights is a Chinese tower defense gacha mobile game made by Yostar & Hypergraph. I generally dislike gacha games on principle bc of the gambling elements but reading the wiki for this one got me through a decently bad health flareup, and also it’s pretty free-to-play friendly. You absolutely do not need to pay any money to enjoy this game. That said, obligatory disclaimer: gacha games are really dangerous if you have any tendency toward gambling addiction, so be careful.

Arknights has a lot of lore, and I’m struggling to sum it up--if anyone wants a primer though I’m happy to write one, seriously, but I think it needs to be its own post. Long story short, the plot engages a lot with disability, discrimination, and the ways societal forces shape people’s perspectives and options in life. However, a lot of it is very clumsy, particularly the disability stuff (if there is more than one disabled person involved in writing the story I will eat a shoe), and the portrayal of resistance movements is...well, part of it is ‘this is a videogame and we need someone to fight’ and part of it is probably the devs being based in China, so making the anti-authority faction too sympathetic is a no-go.

So, with that as background, I’m planning a series, and I have two short fics written right now. One is focused on the player character, Doctor, who canonically lost their memory of anything prior to the game after being woken from cryogenic sleep in the middle of a warzone. The game’s implied that they were quite different before their amnesia than they are as the player character, and I wanted to mess around with that.

An excerpt: 

Over the course of their time at Rhodes Island, Doctor had heard...whispers, about the person they’d been. Not flattering ones. About a person without a heart, who treated subordinates like chess pieces. They wanted to dismiss them as baseless gossip.

Watching this tape made that impossible.

This person who was and wasn’t them made choices that were tactically sound, but ignored the safety of the people under their command. They used their subordinates’ skills without holding back, but didn’t consider their safety at all. The recording didn’t actually show someone being killed by Doctor’s strategies, but looking at the way they fought, it must’ve happened.

The thought disgusted them.

The other fic focuses on Phantom and Deepcolor, two of the “operators” (gacha characters) who fight as part of the paramilitary branch of the pharmaceutical company you all work for, because that’s a thing. Both characters have somewhat sketchy backstories that involve the same region of the world--one of them says he belonged to a theatre troupe before he became an assassin but no one can verify it, and the other one almost certainly made up her college credentials. I thought it might be fun to speculate that they were members of the same group. 

An excerpt: 

His voice was still familiar, but she could hear its new, unsettling undertones, along with an odd resonance around its edges. Even so, it was still beautiful.

She smiled at him. “I thought we could catch up.”

He startled, and started to say her name.

She held a finger to her lips and caught his gaze. “It’s Deepcolor, now.”

“I see,” he said. “They’ve decided to call me Phantom.” 

She giggled. “That’s a little on-the-nose, don’t you think?” 

Future plans for this series include more stuff with Doctor’s identity issues, some digging into the fact that a lot of the operators are canonically really young (no, really, there’s no canon ages but some of them were recently in middle school) and therefore child soldiers, some examination of how sketchy the idea of a paramilitary pharmaceutical company is in the first place, and also some stuff focusing on the characters with textually explicit disabilities and their relationships with them. 

wip ask game!

[bettsfic]

(and i feel bad now putting this on you because it's not your problem, i'm just stressed and alone and trying to get a different perspective maybe)

How do you (and everyone else, or so it seems) write so much faster than me?! (I'm using your Hunger Games fic as my gauge.)

(sorry, i put your asks in the wrong order.)

i probably shouldn’t be honest about this, but writing is all i’ve got. i can’t work full time. i have friends, but only one who lives nearby. i’m close with my family, but i don’t get to see them much because pandemic. i don’t have hobbies or other interests. no spouse or kids. 

what i do have is a major imbalance of energy. all the energy i would devote to things like a primary partnership, a solid social life, making a family, or a conventional career, i turn to writing and its adjacent activities (teaching and reading, namely).

moreover i strongly suspect i’m hypergraphic, which i’m hesitant to admit, but the signs are there. before i started writing fiction, i wrote nonsense. just random-ass words in a certain order i found pleasant. and they happened in these intense, nearly physically painful bursts every few weeks or so. all this tension built up and i ignored it, believing i was a businessperson, not creative at all, and i had nothing to say. and i felt like i was going to die if i didn’t just fill a page with meaningless drivel. then once i did, i felt better for a while, until it all built up again. i don’t know what it’s like to not be driven to write every minute of every day. sometimes i even wake up in the middle of the night and hear a different part of my brain writing, as if it never went to sleep. like this little kid in my head is just bored telling herself stories until something interesting happens. which is a jarring and surreal experience. 

as soon as i started writing daily, that tension completely disappeared. every single thing in my life that is not writing feels like an interruption from writing (with the exception of teaching). i’ve never had to sit down and make myself write; i’ve only had to tear myself away from writing in order to do necessary things like eat, sleep, and interact with my loved ones. i’m so deep in my own head, i rarely come up for air. 

i love my life. i’m as close to happy as i think i can get despite being drastically under-medicated. but i would be lying if i said i didn’t wish to find a bit more balance. i write about 400k a year, but i’d happily write only a fraction of that if it meant i could have a healthy relationship, kids, and a good job i found fulfilling. 

[thearistocratsblog]

What is Lettrism?

Lettrism is a multi-disciplinary creative movement born in Paris in 1946 under the guiding force of Isidore Isou. The movement soon expanded by attracting numerous creative people, such as Gabriel Pomerand, Maurice Lemaître, Gil J Wolman… (and over the years, many others joined for particular periods or specific contributions). Lettrism systematically took on all the fields of knowledge, principally in the arts (Poetry, Painting, Novel, Cinema, Photography…) but also in the social sciences (Economics, Law, Psychology…) and natural sciences (Chemistry, Medicine,…).

Lettrism is a new philosophy of creativity and aims to transform society by a creative method –  “La Créatique / Creatics” – and by a new understanding of the branches of knowledge – Kladology. The writing and symbols used in Lettrist works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract. In Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the today often favored all-in-one. The happening as a creation is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

Even today, the movement continues to produce numerous creations as well as propose areas for reflection.

This movement was named Lettrism because in its historic phase it was first of all involved in upsetting poetry, which was judged to be exhausted when it was conveyed by words and concepts. Poetic Lettrism clearly and systematically for the first time (after a few hints, for example, by Dada) proposed a new conception of poetry entirely reduced to the letter, thus eliminating all semantics. The use of new letters, symbolized by the letters of the ancient Greek alphabet, and then by numbers on the scores of this music-poetry, calls on all the sounds that a human body can produce, integrated into a sort of super-score, anticipating the later movements of sound poetry and performance art. Lettrist poetry is also music, but without instruments and rejecting its secular concept, the notion of pitch. Thus Lettrist music-poetry requires a certain flatness while introducing original sound and noise combinations.

In the same way, Lettrism latched onto other art and produced an impressive number of visual works using letters as the exclusive compositional element. To avoid any confusion, one must understand that Lettrism is not a language and thus the writing and symbols used in these works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract.

Lettrism thus requires rigorous critical judgment: for instance a foreigner who speaks and is not understood, is not an unknown Lettrist poet, and any writing, even if framed and exhibited, is just a manuscript and cannot be called a work of art.

Besides, the absolute systematizing of Lettrist practice, combining numerous works by several artists with a wide range of visual art personalities, is clearly different from the sporadic use of written forms, as seen before Lettrism and much more since the appearance of the Lettrist movement.

Lettrist visual art quickly added to its palette all the signs of all past, present, as well as invented cultures, overthrowing the meaning that naturally distinguishes it from calligraphy. For more clarity and because letters become only one element of this super-writing, this section would be called Hypergraphics. Thus, the majority of Lettrist painting is really Hypergraphics, an art of signs that is truly prophetic in our society full of pictograms, logos and other graffiti.

But the true importance of Lettrism is to simultaneously attack all the fields of knowledge and artistic expression, for example cinema, photography, theatre, dance, and also economics, mathematics, chemistry, law, theology. Lettrism, unless seen in its totality, which is the only way to grasp its true dimensions, is thus an artistic and intellectual upheaval of great significance, and the precursor of numerous developments in society.

Isou, who created the founding concepts within which the members of the group would carve out their own places, insisted for example on the amplifying and chiseling (or deconstructing) periods of each art, where after being raised up and constructed, it is reduced and eventually destroys itself, before being reborn in a Lettrist form (e.g. painting reborn in Hypergraphic form). Thus in cinema, which Isou overthrew once and for all with his film Le Traité de bave et d’éternté / Treatise on Venom and Eternity (1951), begins the phase of chiseling film when Isou destroys the concept of the classical image by using scraps of film found in trash bins, scratching graffiti on these images to make them unrecognizable. He goes even further in radically disassociating the sound and the image, viewed as two totally independent channels, discrépant or discrete (like later works in music by John Cage and in dance by Merce Cunningham, for example).

In 1956 Isou went beyond this art of the letter and the sign by creating imaginary or infinitesimal art (also called esthapéïrisme / esthaperism), which allows one to imagine a work that would be conceived in the mind, starting from a concrete sign, whether poetic, cinematic, or pictorial. It is the conceptual art par excellence and one of the most productive fields opened up by Isou. In 1960, Isou added the supertemporal framework, which calls on spectators or listeners to participate in working on an art work, which is constantly renewed and goes beyond the finite time-frame of a classical art proposition.

One of the other fundamental dimensions of the movement is economics, with Isou’s Traité d’Economie Nucléaire /Treatise on Nuclear Economics, and his first prophetic political manifesto Le soulèvement de la Jeunesse / Youth Uprising, of which the first volume appeared in 1949. On the occasion of this publication Isou and Lemaître met, a momentous meeting that started a mutually enhancing relationship. Indeed, these two will be practically the only consistent members of the group or more accurately, of the groups, in view of their constant metamorphoses over sixty years. Their vision of transforming society led Lemaître to present his candidacy for the Legislature in 1967, and Isou in 1993. Still today, Lemaître sends out manifestos attempting to promote the innovative concepts that seek to be an alternative to Marxist or capitalist models, based on a society basically involving the notions of creation and innovation.

If Isidore Isou created Lettrism in 1946, launching this movement through a journal with the provocative title La Dictature Lettriste / The Lettrist Dictatorship, he was joined by various first class creators such as Gabriel Pomerand, nicknamed the archangel of Lettrism, who became a Lettrist activist and wrote some of its most emblematic Lettrist pages. His hypergraphic novel (originally called a metagraph) Saint-Ghetto des prêts / Saint Ghetto of the Loans, his oil paintings, and his Symphonie en K / Symphony in K are part of the basis of Lettrist esthetics. And whereas Pomerand soon left the Lettrist group, Maurice Lemaître was the one who faithfully stood shoulder to shoulder with Isou. Author of a prolific canon that is detailed in the other pages of this site, Lemaître clearly became the major Lettrist film-maker as well as the greatest photographer of the movement. He has been a prolific writer, but his acute sense of polemic would lead him to a public isolation that was the lot of all the Lettrists during their lives. This public isolation and misunderstanding is now progressively overcome by high quality exhibitions and catalogs, showing the true contributions of this group, not in a confusing or partial manner, but by an enlightened and well-documented choice.

The history of this group is naturally plural and the numerous strong personalities that pass through it are like so many currents, more or less in relationships with Isou’s initial ideas. Pomerand and Lemaître, like later on Jacques Spacagna, Roland Sabatier, Broutin or François Poyet and Jean-Pierre Gillard … represent some of the exciting possibilities of the Isouian line, even though sometimes upsetting it. At the same time, other no less important Lettrists, starting with Gil J Wolman, adopt a more divergent view, both using and challenging the new Lettrist concepts. Nevertheless, and this is the case for Wolman and his megapneumies (deep breath poetry), his film L’Anticoncept / The Anticoncept, his Lettrist paintings and even some of his scotch tape art, they would also write some essential pages in a movement that would be diminished without their participation.

As for François Dufrêne, he would concentrate on Lettrist poetry (and also film) while  Jean-Louis Brau would be involved in everything. The case of Guy Debord remains rather amusing and marginal in the sense that, dazzled by Isou in 1951, he joined the Lettrist gang only for a year, but a year during which he would make his major film, Hurlements en faveur de Sade / Shouts in Favor of Sade, before going on to found a Lettrist International (1952-1957) with Wolman and Brau; this movement would be the antechamber to the future Situationist International that would permit him to become this French National Treasure* that still is often the first gateway to Lettrism.

The complexity and longevity of Lettrism make it a difficult subject to grasp; it claims to be a completely different species from other groups of its time or even of the past. For example, the infinitesimal makes it similar to what the Fluxus movement would develop later, even though it is opposed to it. In Fluxus art and life are mixed together, while for Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the all-in-one. The happening is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

If one thinks of the ultimate goal of Lettrism: “la société paradisiaque concrete,” the concrete paradisiac society, a sort of heaven on Earth: a world made up of creators, a world where contrary to the anarchical “Neither God nor master,” a person must change into “All Gods, all Masters”, then one understands better the gulf that has been dug out between the Lettrists, the most radical and innovative group of the second half of the twentieth century, and a society that seems in a hurry to consummate its loss, incapable of recognizing the still living creators.

* Artist’s archives cannot leave France

-Frédéric Acquaviva

[ablackbrick]

All the Lies You Told Today

All the Lies You Told Today

Almost every Geranium Lake Properties comic Yost submitted for publication came with a black-and-white or grayscale version, unless the original artwork was limited to black ink on white paper. Sometimes, as in this example, I prefer the black-and-white over the color version. Label written in pencil on the back of the artwork for this GLP panel: “Hypergraphic Object Epsilon Utah, inside…

[bella-black-lestrange-riddle]

Can’t relate to this! I have clinical hypergraphia. Mine would have to say, “If you’re reading this, know that 16,000 written words in one day is more than enough.” I would KILL for some writer’s block, just for a little while. What does it even feel like? What is it like to not NEED to write thousands of words a day? I have no schema for this, even as someone who gets Bipolar Depressive episodes.

If you're reading this...

go write three sentences on your current writing project.

[tiercelgreen]

hi there!!

I was wondering if you could offer some advice , its totally fine if you don't feel comfortable , if so ignore this!

I recently figured out that I am a dragon and I know for a fact that I am fully aquatic , possibly solitary ,very very large in size and had an eel like body with short legs much like an eastern dragon . I saw some of your posts and I was wondering how you figured out so much about the culture of your species , that you lived in a pod , etc ?Because I would love to figure out some of these things about myself too ! Again answer only if you are comfortable with it.

Hello! Thank you for the ask. I'd like to begin with noting that the reason I know so much about my species is because I routinely experience both my life back with my pod as well as my life here on earth in tandem with one another via my dreams (i've referenced this as a wolfwalkers situation before, which is similar but not a perfect comparison, as I do not view myself or body on earth to be human either.) As for how i'm able to share so much, I frequently do a lot of looking in and back at previous behaviors and actions i've taken even prior to fully realizing my species, and compare it to ways I feel now, how I act, and what I naturally gravitate towards. I know that I am a picture speaker because I gravitate towards illustration and I am a pagan. I know that my species lives in pods because I both see my pod when I go to sleep, but I also experience a need to be around people I consider friends and family. I know we have four sexes because I always felt like I sat on the periphery human understandings of sex and gender, and my specific gender presentation and dysphoria aligned with what felt like a batch of four. I took these feelings and wrote and extrapolated on them until I finally figured out what was at the root causing them. It's a very confusing process to constantly crossreference yourself, and when I do write a lot of my long paragraphs I frequently feel as though I'm just 'making it up' even though I'm just reciting and writing down how I feel/what I experience. If you are the only member of your species that you know of, it can feel a LOT like you're just 'making it up' as you go along and write down what you know and feel. Also, please do not feel pressured to know nearly as much about your species as I do mine. I enjoy the thorough deep dives into my species that I do because one of my primary special interests is speculative biology, and my species has odd enough biology that it could be considered speculative from a human standpoint. It gives me a chance to write and record and get down into the tiny details of how we function. The same thing for our culture. I find human cultures to be extremely fascinating, as well as my own, and so I do 'research' by writing ad nauseum about my own culture. [It's also worth noting that I am borderline hypergraphic, meaning I write excessively, and I do have to trim down a lot of my posts before I put them here. There is absolutely no pressure to write as much as I do about my species for yours.] Thirdly- I've been 'awakened' for 15+ years, and even if I spent a lot of that time being confused about my species, it was definitely a lot of time to gather and record information in a way my 'writes research papers for fun' autistic brain could understand and process later. [Autistic here referring to my autism diagnosis/my being autistic]. I'm aware this answer was a lot of rambling. TL:DR - It's not a perfect process and i've sort of wolfwalkered and research papered my way into knowing this much over my 15+ years of being 'awakened'. No pressure to know as much as I do, and it's gonna be a very very different system from me to you. Best of luck!

[loadedmemory]

Note from the wizard behind the curtain.

I am hypergraphic.  This means I have a constant need to write something.  My brain is 24/7 must write.  Please don’t think I expect anyone else to write as much or as fast as I do.  I am only prolific because my brain will not let me stop writing, like, ever.  

Ever.

Until medication makes me fall over.  Good night.