Term Coining - Tumblr Posts

So... i coined some new terms and posted them on reddit, and they seemed to be useful, so i'm posting them here too!

Here are my new terms !

The first one is Demipronoun, second is Demishe, third is Demihe, fouth is Demithey, and fifth is Demineo! here's what they mean:

Demipronoun : Only using a certain pronoun with people you have a strong connection to

Demishe : Only using she/her with people you have a strong connection to

Demihe : Only using he/him with people you have a strong connection to

Demithey : Only using they/them with people you have a strong connection to

Demineo : Only using one or more sets of neoprene with people you have a strong connection to

COLLECTIVE EXAMPLES:

With most people, you want them to refer to you with they/them, but with people you are close to, you are okay with them referring to you with she/her

I can post the colour explanations if people want!

Considering its pride month yet again, i figured now would be a good time to post the other terms i coined not long after this one! I posted one on reddit but the other two haven't seen the light of day since. here they are! (*^▽^)/★*☆♪

The first is Demiit, second is Demideadname, last is Demichosenname!

Here are the definitions ( ^-^)ノ∠※。.:*:・'°☆

Demiit: Only using it/itself with people you have a strong connection to.

(This one's example is the same as the original set's collective example!)

Demideadname: Only using your deadname with people you have a strong connection to.

(Ex: With most people, you would prefer they call you A, but you're okay with certain people still calling you B.)

Demichosenname: Only using your chosen name with people you have a strong connection to.

(Ex: With most people, you still prefer them calling you B, but with some people, you'd rather they call you A.)

Well, there you have it! (O▽O)b the new and improved demipronoun list! i hope you can find somw of these terms useful for yourself or a friend!

So... i coined some new terms and posted them on reddit, and they seemed to be useful, so i'm posting them here too!

Here are my new terms !

The first one is Demipronoun, second is Demishe, third is Demihe, fouth is Demithey, and fifth is Demineo! here's what they mean:

Demipronoun : Only using a certain pronoun with people you have a strong connection to

Demishe : Only using she/her with people you have a strong connection to

Demihe : Only using he/him with people you have a strong connection to

Demithey : Only using they/them with people you have a strong connection to

Demineo : Only using one or more sets of neoprene with people you have a strong connection to

COLLECTIVE EXAMPLES:

With most people, you want them to refer to you with they/them, but with people you are close to, you are okay with them referring to you with she/her

I can post the colour explanations if people want!

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.

**Thanatomechanophobia** is a specific phobia characterized by an intense fear of machinery that has the potential to cause severe injury or death. Individuals with this phobia experience extreme anxiety or panic when exposed to or even thinking about dangerous mechanical systems, such as elevators, escalators, automatic doors, heavy factory machines, or large construction equipment. Unlike general mechanophobia, which is a fear of all machines, thanatomechanophobia is focused on the perceived lethality and unpredictability of machinery capable of causing fatal accidents.

Key Features:

- **Trigger Objects**: Elevators, escalators, industrial machinery, automatic doors, large construction equipment (e.g., cranes, bulldozers), and other machinery that can inflict physical harm or have the potential to kill.

- **Symptoms**: Rapid heartbeat, dizziness, sweating, shortness of breath, nausea, or an overwhelming urge to escape when near or imagining these machines.

- **Avoidance Behavior**: Individuals may go out of their way to avoid places or situations where such machinery is present, such as taking stairs instead of elevators, avoiding factories or construction sites, or refusing to use automated systems.

- **Root Causes**: The fear may stem from personal trauma (e.g., witnessing or hearing about a fatal machinery-related accident), a heightened sense of vulnerability, or an overactive imagination visualizing worst-case scenarios.

- **Cognitive Patterns**: Thoughts often revolve around the machinery malfunctioning, becoming uncontrollable, or acting unpredictably in ways that result in injury or death.

- **Emotional Impact**: It can lead to a significant disruption in daily life, particularly for those who work in environments with such machinery or must frequently use them.

Treatment:

Thanatomechanophobia, like other specific phobias, can be treated using methods such as cognitive-behavioral therapy (CBT), exposure therapy, or anxiety management techniques. Understanding and confronting the irrational aspects of the fear is key to reducing its impact.

This phobia is distinct in its focus on the potential for fatal accidents, making it more specific and intense compared to general fears of technology or automation.

**Fearsion / -rsion**: A New Lexicon for Specific Fears

**Definition**:

“**Fearsion**” or the suffix “**-rsion**” is a term used to describe a distinct, specific fear that is more intense than general anxiety but not as overwhelming or disruptive as a clinical phobia. It represents a middle ground between common fears and phobias, acknowledging a heightened sensitivity or aversion to particular stimuli without reaching the threshold of severe or irrational fear associated with phobias.

Characteristics of Fearsion:

1. **Intensity**: Fearsions are stronger than normal discomfort but do not induce panic attacks or severe avoidance behavior. They may cause unease, elevated anxiety, or a desire to avoid the trigger, but not to the point of disrupting daily life.

2. **Specificity**: Unlike generalized fear or anxiety, a fearsion is always tied to a particular object, situation, or concept. Examples include heights, darkness, drowning, or dangerous machinery.

3. **Manageability**: People with a fearsion can often confront their fear with some discomfort, but they may prefer to avoid it when possible. Unlike phobias, confronting a fearsion typically does not lead to a full-blown panic response.

4. **Terminology**: The term is constructed by combining the root word that defines the fear’s focus (e.g., *thanato-* for death, *acrophobia-* for heights) with the suffix “-rsion” (derived from *aversion*), creating terms such as:

- *Thanatorsion* for a specific fear of death.

- *Acrorsion* for a specific fear of heights.

- *Arachnorsion* for a specific fear of spiders.

5. **Differentiation from Phobia**: Fearsions do not meet the clinical criteria for a phobia. They are less intrusive and cause less impairment in everyday activities. This differentiation allows individuals to express their specific fears without conflating them with more severe anxiety disorders.

Use Cases:

- **Self-Identification**: People who recognize a strong, specific fear but do not experience debilitating anxiety can use “fearsion” as a way to articulate their experience more precisely.

- **Psychological Discussion**: Therapists and individuals can use the term to discuss nuanced fears without mislabeling them as phobias, helping to identify treatment needs more accurately.

- **Everyday Conversation**: The term provides a comfortable and non-clinical way for people to discuss their fears without the stigma or implications of having a psychological disorder.

Examples:

- **Thanatomechanorsion**: A specific fear of dangerous machinery that could cause death, characterized by discomfort and cautious avoidance without the full-on panic of a phobia.

- **Claustrorsion**: A specific fear of confined spaces, causing anxiety or avoidance without reaching the point of intense distress seen in claustrophobia.

- **Bathorsion**: A specific fear of deep water, resulting in unease around deep pools or the ocean, but not necessarily preventing the person from swimming or being near water.

Advantages of the Term:

- **Precision**: Helps differentiate between normal fears, moderate aversions, and debilitating phobias.

- **Stigma Reduction**: Provides a way to acknowledge fears without labeling them as disorders.

- **Personalization**: Allows individuals to define their experiences in a way that resonates with them, offering a sense of validation and clarity.

Conclusion:

“**Fearsion**” and the suffix “**-rsion**” serve as valuable additions to the vocabulary of fear, offering a nuanced way to describe specific fears that go beyond typical discomfort but do not fit the severity of a phobia. They provide clarity, reduce stigma, and help people express their experiences more accurately.

**Thanatomechanorsion: Specific Fear of Deadly Machinery**

**Definition**:

*Thanatomechanorsion* is a specific and heightened fear of machinery or mechanical systems that possess the potential to cause severe injury or death. This fear is focused on the perceived dangers and lethality of certain mechanical devices, such as elevators, escalators, automatic doors, industrial machinery, or large construction equipment. Unlike a phobia, which involves intense and often irrational fear, *thanatomechanorsion* is characterized by a marked aversion and unease around these types of machines, without necessarily disrupting daily life.

Key Characteristics:

1. **Focus on Lethal Potential**: The fear is tied specifically to the dangerous or fatal potential of these machines, rather than a general discomfort around all mechanical devices. This fear arises from the knowledge that a malfunction, accident, or misstep involving these machines could result in severe harm or death.

2. **Trigger Examples**:

- Large factory machines, such as conveyor belts, metal presses, or cutting machinery.

- Construction equipment like cranes, bulldozers, and forklifts.

- Moving mechanical systems like escalators, elevators, and automated walkways.

- Automatic doors with high-speed motion or heavy mechanisms.

3. **Emotional and Physical Reactions**: Individuals with *thanatomechanorsion* may experience:

- Anxiety or dread when standing near or using dangerous machinery.

- Increased heart rate, muscle tension, or lightheadedness when the fear is triggered.

- An urge to maintain a safe distance, hesitation to approach, or feeling the need to be hyper-aware around these devices.

4. **Avoidance and Behavior**:

- People with *thanatomechanorsion* might avoid environments where these machines are prevalent, such as factories or construction sites, but can typically navigate other daily activities without severe disruption.

- They may prefer taking stairs over using elevators or walking around construction areas rather than through them.

5. **Cognitive Patterns**:

- Thoughts may revolve around the potential for accidents, such as being trapped, crushed, cut, or dragged by a machine’s mechanisms.

- Vivid mental imagery of worst-case scenarios, even when knowing the risk is low, might be a common experience.

6. **Origin and Development**:

- The fear might stem from a personal or vicarious experience, such as witnessing or hearing about a machinery-related accident.

- It can also develop from a general sense of vulnerability or lack of control around these devices due to their size, complexity, and power.

Impact and Management:

- **Impact**: While *thanatomechanorsion* can cause discomfort and caution around dangerous machinery, it typically does not reach the level of debilitating avoidance seen in phobias. However, in certain professions or situations, the fear may pose challenges.

- **Management**: Techniques like exposure therapy, gradual desensitization, and cognitive-behavioral approaches can help individuals with *thanatomechanorsion* build confidence and reduce anxiety around these machines.

Distinction from Phobia:

- *Thanatomechanorsion* differs from a phobia like *thanatomechanophobia* in that the fear, while strong and specific, does not escalate to panic or cause severe avoidance behaviors that disrupt the person's life significantly. Instead, it represents a conscious aversion and anxiety that may influence choices and behavior without overwhelming them.

Use in Context:

*Thanatomechanorsion* is a useful term for individuals who have an aversion to dangerous machinery but do not experience extreme anxiety or dysfunction. It acknowledges the fear’s specific focus and intensity while maintaining a clear boundary between general aversion and clinical phobia.

Example Sentences:

1. "Our *thanatomechanorsion* keeps us wary around heavy factory machinery, but we can still work near them as long as we keep our distance."

2. "Voy has a specific *thanatomechanorsion* for automatic doors after witnessing a severe accident, but voy doesn’t panic—voy’s just extremely cautious."

3. "Because of its *thanatomechanorsion*, it prefers taking the stairs even if it’s more tiring, but it can use elevators in an emergency."

Summary:

*Thanatomechanorsion* provides a precise way to articulate a specific fear of potentially deadly machinery that is more intense than general discomfort but not as overwhelming as a phobia. It highlights the balance between aversion and manageability, allowing individuals to describe their fear experience accurately without overemphasizing its severity.

Ludusiac + Ludusian

Coining inspired by the Greek love type Ludus, that represents playful, flirty and "superficial" (in amatonormative lens) love.

A term for aromantics who identify as non-monogamous and desire/seek non-romantic, "casual" relationships with multiple people; they may or may not identify as polyamorous.

Ludusiac is for sex-favorable folks who desire engaging with sexual activities with their partner(s), and Ludusian is for sex-repulsed folks who don't. Sex-neutral or folks that fluctuate between the two may use whichever they like! Add-on: you can say you are in a Ludusiac relationship with someone and in a Ludusian relationship with another, as they are not necessarialy identities on their own!

I made this with aroallos in mind, but anyone who relates can use it!

Flags and coining by me! Credit is appreciated, but not needed.

Glowillowic — A gender that feels like a willow tree that has a kind of glowing aura! It may also feel as if you’re drawn to it, like you can’t keep your eyes away from it

(coined by me, description by @kokkomii <3)

We saw the term "Cassgender" and we haven't found any for cassgender and androgyne individuals, so we've coined one here. The term is called "Cassandrogyne". - Dr. Gears (Image ID: A flag with four stripes. The top flag is black, the one below it is a beige/desaturated yellow, the third is purple, and the last is a desaturated light blue colour. End ID)

Cassoutherine flag. Definition: Cassoutherine is a term under the cassgender umbrella, where one's gender is outherine in nature, but considers their gender to be unimportant. (Image ID: A flag with four stripes. The top stripe is black, the one under that is a desaturated yellow/beige colour, the third stripe is a desaturated orange, and the last is a light blue-ish grey colour. End ID)

Cassaporine flag. Definition: Cassaporine is a term under the cassgender umbrella where one has a gender that is aporine in nature, but doesn't feel their gender is important. Note: Not sure how I feel about the flag, it feels too similar to the cassgender flag but I can't find any other colours that fit well. Maybe someone else could make a better flag if they wanted. (Image ID: A flag with four stripes, the top one being black, the one below it beige, the third stripe is a dark green with hints of yellow, and the fourth stripe is a light grey/blue-ish grey. End ID)

(CW Bright colours!!) Isosexual. Isosexual is a sexuality that doesn't feel gay or straight for any reason, it feels like something else entirely. It can be something inbetween or completely unrelated, as long as the attraction doesn't feel strictly gay or straight. Name based off of isogender. Originally coined on discord. We didn't see anything that describes this type of attraction so we made a term for it. Not meant to count as a recoin as this was made before we knew about any terms. Name can be changed, we don't care. (Image ID: A flag with 7 stripes. The top stripe is a light red-ish orange, the stripe below that is a slightly less red orange, the third stripe is light yellow. The middle stripe is completely white, while the other three stripes are the same yellow, orange and red-ish orange. End ID)

Embarrassing when you ask a bunch of coining blogs to add you to the pinglist and there's a spelling mistake in the copy-paste message 🧍🧍🧍😭

// -✨

; ID: a rectangular flag with equal-width stripes, colours going in the top-to-bottom order: light purple, blue, soft white, dusty pink, mint green. :ID end

- - >

★◝ ; Attractioflux ( at-trackt-tio-flux )

; derived from " Attractio " meaning Attraction in Latin, and " Flux " meaning to shift or change.

coined by Marz or Tumblr user @thatonegaybrit

on May 26th, 2024

⌒⌒✶⏖ >_<

; Attractioflux ,, is an orientation characterized by a change in attraction that corresponds with changes in one's own gender identity. Unlike other labels such as abrosexual or novosexual, individuals who identify as attractioflux experience shifts in their preferences primarily when their gender identity changes. ( sometimes it just changes without ones gender changing, other times ones gender changes and their orientation doesn't ) This orientation is especially relevant for genderfluid individuals or those with otherwise fluid and/or fluctuating gender identities.

; for example, when an individual feels more masculine, they might be more attracted to men or prefer non-binary individuals, etc. Whereas when they're feeling more feminine, they may feel attraction only to demiboys or even experiencing little to no attraction to anyone .. ! Or they might feel attraction to people regardless of gender when they're feeling more neutral / non-binary in some way ! While some Attractioflux individuals attraction to other genders can still be present despite shifts, there is still always a noticeable change in preference !

; ( or whatever combinations, as it varies person-to-person and change-to-change ... This can also include differences in sexual, romantic and platonic attraction !! )

[Neon speaking] Decided to coin a gender term because I couldn't find one that fit part of my experience!

Swimdraconic is a gender that relates to how it feels to be a draconic being while swimming. It can relate to the feeling of water on one's scales, how the action of swimming feels in one's draconic body, or any other variation of experiencing being in the water while being draconic, be it in a calm pond or strong currents in the ocean.