Hidden treasures discovered while digging through Frank Moore's huge archives.

Category: Writings (page 1 of 7)

BOUNDARIES KILL

by Frank Moore, January 29, 2002

Boundaries, borders
Are lies of power
They keep people in
They keep people out
They ain’t really there
Only in the sight
Of guard guns and dogs
The lines just ain’t there
You can just keep on walking
Toward me,
Into me

You could keep on walking
Except for their bullets of fear
Define and maintain your boundaries,
They tell us!

That keeps us weak and isolated
That keeps me from you,
Boxed up, bottled up
That keeps the wrong people out
Us protected in abstractions
That keeps our human spirit divided
Keeps Life separate from us
Keeps us warring, scared, hating
Keeps you from me
Keeps us hungry, thirsty, cold
Just owning
Instead of living deep and free.

Skin is not a border
Skin is a sea flowing everywhere
Touching, feeling, unlimited,
Breathing deeply
Giving, taking as one
Experiencing, feeding as one
A thick rich soup
Which can’t be canned or bottled

Healthy skin is thick and flexible
Healthy breath is deep and lusty
Our healthy body does not need
Limiting power,
Doesn’t need to hold in,
To hold back,
To die from not dancing,
Not risking,
Not feeling pain, joy, pleasure
Deeply
Just dying slowly
Within the tight shallow
Owning MY SPACE

And they laugh in the gun towers!

“Scape”, digital painting by Frank Moore, 1998

Life has the potential of both fear and strength

Excerpt from Frank Moore’s book, Cherotic Magic Revised, Chapter 4 “Reality Shaping” (Section 18)


Most people feel the possibility of fear and doubt within an event or situation and believe it is them fearing and doubting. By doing so, they take the fear and doubt onto themselves, making the fear and doubt their own. This transforms, transmutes, the event or situation from just life into a terrible monster of which the person is a victim. Left unchecked, this fear or doubt will leak into the person’s whole personal reality, making parts of herself victims and other parts monsters. But this is not the end of it. Other people become monsters or victims as fear and doubt leaks out from the personal reality into the general reality of the cultural frame. By taking on fear and doubt, by making it her own, the person is taking on the responsibility of the universal doubt and fear. This is because she becomes a transmitter of doubt and fear. She amplifies the doubt and fear in the world. The more she believes doubt and fear is himself, the louder and the wider the broadcast.

Fortunately, this entire process is also true when a person operates from, sees, chooses, and uses the positive, the strength, the power, the freedom in a situation or an event. The student should understand that every situation in life has the potential of both fear and strength, of both doubt and power, of both desire and freedom. This background of potential is always there within life. The choice is always there. In the western modern culture, doubt, fear, and desire are actively promoted because victims are easier to control and manipulate than free humans.

For this reason we will always feel doubt, fear, and desire around us in this society. But we are not responsible for doubt, fear, desire unless we choose to take them on as our own, as us. But once we choose to take these negatives on as our own, to think and act upon them, then we are taking on the guilty responsibility for them not only in our lives, but in the world in general.

But if we brush past the fears, the doubts, and the desires to lustfully take on life as our own, make it our own with all of its strength, power, and freedom, then we assume the responsibility (in all of the senses of that word) for life, strength, power, and freedom. We do this not only for ourselves, but for everyone. The more life, freedom, strength, and power is chosen, the more available these are for everyone.

This has been called the way of the warrior. It is the way of the shaman. But it is also the way of living happily. We have to always push past the ever-present doubt and fear to lustfully join with life, lustfully work with life, working with everything life gives us, including what would look to victims as hardships and sufferings. By doing this, we crack over time the shell of “hardships”, finding these life experiences transformed into deep living blessings.


Artwork by LaBash from Cherotic Magic Revised

Zappa Liking It Wasn’t Enough

From the book HOW TO HANDLE AN ANTHROPOLOGIST: Russell Shuttleworth, PhD interviews shaman/performance artist Frank Moore


Session 51, January 27, 2003

Russell: We were talking about the band, getting the band together. We talked a little bit about some of the performances you did.
Frank: Did you watch …
Russell: I completely forgot to check it out! Sorry. I will write a note.
Frank: Tell me about it! Like us!
(Russell talks about all that he has going on right now)
Frank: When the OBR hit, all of the sudden we were going two nights a week and the workshop on Sundays and pairings.
Russell: Yeah, it sounds like you were busy then too. It takes some adjusting.
Frank: Not to mention doing the sessions.
Russell: Yeah, I was tending to grumble that I didn’t have much time before, but sometimes you realize how frivolous you were with your time before when you really start getting busy. And I realized, I was wasting a lot of time before and I didn’t think I was. Suddenly, you’re doing three times as much and you’re still doing it. So anyway, I will look at it next time!
Frank: That was why I did not tell what acts we were doing until we got there.
Russell: If you want to pick up some other aspect that was going on in your life either at that time or some other themes, we could get back to that after I watch it this time. If you don’t want to get into it.
Frank: Not really.
Russell: OK. Then I can just do it in retrospect. I think you’re ready, huh?
Frank: They had to be prepared to do any of the acts.
Russell: And prepared meant what?
Frank: Bring the costumes and props.
Russell: OK.
Frank: I wrote the list of acts the day of the show.
Russell: It was just what you happened to feel would be good that particular time.
Frank: (makes “yes” sound) I kept experimenting with the order and we kept adding new acts all the time. So it never was the same.
Russell: Always something different.
Frank: Debbie painted the backdrop. It was like a carnival show.
Russell: Sounds great.
Frank: It was on one side of the stage and on the back wall but people could see us waiting to go on on the side.
Russell: So people in the audience could see you getting ready to go on. OK. So you were giving them a little bit of backstage view.
Frank: (makes “yes” sound) Like we crips could not use the dressing room.
Russell: Why?
Frank: It was upstairs.
Russell: (laughs) Not accessible.
Frank: So, we changed on the side of the stage. They hosed Hoffman down after his act. (laughs)
Russell: (laughs) Got a little messy.
Frank: On the side of the stage. (laughs)
Russell: So people could see it? (laughs)
Frank: (makes “yes” sounds)
Russell: That was very tantalizing.
Frank: So the show was not just what was on the stage.
Russell: How were your crew about that?
Frank: That is just how it was.
Russell: What about the audience? Did they like it do you think?
Frank: Yes. Because there were a lot of fast changes.
Russell: Oh yeah, OK. So there were changes going on a lot of the time?
Frank: I mean costume changes.
Russell: Yeah, that’s what I meant too. So there were a lot of costume changes going on from what I understand.
Frank: (makes “yes” sound)
Russell: So there would be something going on on stage and somebody changing at the same time sometimes?
Frank: (makes “yes” sound)
Russell: How interesting. Sounds like fun.
Frank: When we got there we only had a half hour to set up and less to tear down.
Russell: Wow. Under time constraints. But you did it.
Frank: Yes.
Russell: So, how long did the performances last for?
Frank: The regular show, one hour.
Russell: That’s a good time.
Frank: The Anniversary show, three hours.
Russell: Three hours! What constitutes the Anniversary show? When did you do the Anniversary show?
Frank: We did it for three, almost four years.
Russell: So each year you’d have one big Anniversary show?
Frank: (makes “yes” sound)
Russell: Wow! What about the last show?
Frank: That was at the Art Institute. The sound did not work.
Russell: When?
Frank: At the Art Institute.
Russell: So how did you handle that?
Frank: People in the audience loved it, but the cast was looking for (laughs) any excuse to kill the show.
Russell: The cast?! That wonderful, dedicated cast?!
Frank: They called me to say why that was it. (laughs)
Russell: What did you say?
Frank: It was hard trying to get them to see what we were doing.
Russell: But didn’t they just love performing?
Frank: They never saw …
Russell: The larger picture?
Frank: (makes “yes” sound) Like they always saw the Mab as a dive.
Russell: And it wasn’t.
Frank: They always saw the show as bad. Just what we did.
Russell: What was their motivation for doing it then?
Frank: A good question.
Russell: (laughs)
Frank: They liked to get on stage. Or some did.
Russell: Just liked to ham it up. They didn’t have a sense of the larger picture of what they were doing.
Frank: Ami and Mariah wanted to be rock stars. Diane wanted to be in theater.
Russell: They had aspirations. Did any of them, after the OBR closed, go on to do stuff?
Frank: Ami tried, and years later I ran into her. She said she now knows what I was talking about. She got a technically great band that went nowhere and was not fun.
Russell: She was a member of a band that was technically good, but it wasn’t any fun?
Frank: (makes “yes” sound) So she does real estate.
Russell: You mean sell houses and land stuff. Sounds boring.
Frank: Catherine got into a band as the girl.
Russell: Lead singer?
Frank: You know bands that have the girl just for marketing.
Russell: Yeah.
Frank: We went to see them. It was sad. She tried to sing one of our songs, “Beaver”. But without the context of the OBR
Russell: It didn’t work.
Frank: She got shit from the audience.
Russell: They weren’t expecting it, whereas your audience was.
Frank: Sleazy.
Russell: It was out of the right context. Context is everything.
Frank: Or was all about new, creating a new context.
Russell: About creating a new context.
Frank: (makes “yes” sound)
Russell: OK.
Frank: So when she did not have that context …
Russell: Right. What did she think? Did she know it after she tried it?
Frank: I don’t think she understood.
Russell: That’s a shame. Things can have radically different effects on things.
Frank: Most of them still think it was trash.
Russell: Think of it as trash?
Frank: (makes “yes” sound)
Russell: Do you think it was one of the best things you did now? I get the sense that you enjoyed that.
Frank: On every level.
Russell: Yeah, it worked on every level.
Frank: Most artists would kill to get that fortunate opportunity. We had the Mab to do anything we wanted.
Russell: So you had a venue all of the time.
Frank: Which was one of the three top punk clubs in the country. All the top bands.
Russell: Yeah.
Frank: All the cutting-edge artists.
Russell: Yeah. Prime location.
Frank: Dirk was ready to walk when the owner said we had to go.
Russell: Wow.
Frank: We had people like Zappa say, “Love the show.” (laughs) We had worldwide press.
Russell: So that was pretty much of an impact.
Frank: They said Zappa must have been kidding.
Russell: Who said that?
Frank: The cast. (loud sounds) Robert Fripp liked the band.
Russell: Yeah, well these guys are pretty heavy duty avant-garde musicians. Fripp is definitely out there.
Frank: They did not believe him. (laughs)
Russell: Wow. He’s actually the guy who didn’t lay any wax!
Frank: And I explained it.
Russell: Simple! They were stupid. I have no idea.
Frank: (laughs)
Russell: They had expectations about what constituted good or excellent.
Frank: They thought it was not real theater or music.
Russell: Right. They had expectations about what real theater and music is. So, that’s a shame for them. Because they had a hit and they didn’t realize it.
Frank: So they don’t get it is history.
Russell: Yeah, right. What about Hoffman, was he the same way?
Frank: Like he wanted to be mainstream political.
Russell: You’re talking about him personally?
Frank: (makes “yes” sound) So even though he took his acts with respect, he thought it was something to distance himself from.
Russell: When you say he took his acts with respect, what do you mean by that?
Frank: He was a perfectionist.
Russell: OK. So he wanted to distance himself from his acts?
Frank: From the OBR.
Russell: At the time or later or both?
Frank: During.
Russell: How did he do that?
Frank: Not tell …
Russell: People that he was in it?
Frank: (makes “yes” sound)
Russell: Because he was afraid of being shunned by the mainstream?
Frank: Yeah.
Russell: So he may have been having fun but he did not want to own up to it in case it tarnished his reputation in the mainstream.
Frank: (makes “yes” sound) In the closet.
Russell: (laughs) OK. Did he maintain that throughout … that kind of attitude?
Frank: (makes “yes” sound) Which is silly.
Russell: (laughs) Why?
Frank: Because history … he was one of the first disabled performance artists.
Russell: Does he cop to that now?
Frank: You would know better than me.
Russell: (laughs) I’m just seeing if you would answer. (laughs) I can be sneaky.
Frank: He jumped around on his knees and had big bruises on his knees.
Russell: So he had the war warts. I think he cops to it and looks on it fondly.
Frank: Do you see the history?
Russell: Yeah. I know what you’re talking about. And I think he glimpses it at this point with respect. But he had a conflict of mainstream/avant-garde, or whatever you want to call it, in him. He walks that tightrope. So sometimes he goes one way or the other too. (laughs) But a lot of people don’t like that kind of thing. And a lot of people don’t even go as far as him. He seems to have or tried to apply some of the stuff you were doing at the time in his life since then, which … that’s good. That there’s still an effect all of those years later. You lived it. That’s you. But he walks that tightrope so, and yet he still gives it its credence, tries to keep it there.
Frank: He banned me from the CP Center.
Russell: (laughs) Why? He thought you had this bad influence? Corrupting?
Frank: (makes “yes” sound) A drama teacher had me show my movie there.
Russell: Fairytales?
Frank: Yes. Did I tell you before?
Russell: Yeah, I think so. But it’s still funny.
Frank: They were adults, most were less disabled than me. But they are warehoused.
Russell: Yeah.
Frank: Most don’t talk.
Russell: I know. I’ve been up there and I’ve seen it. I used to go up there with my friend and we always had the discussion afterwards of how many of them were cognitively impaired and how many of them were just starved and had not been given the opportunity, were just socialized into being that way.
Frank: Exactly.
Russell: Yeah. It’s kind of scary. You come away feeling … it’s sort of a weird, morbid thing.
Frank: When they were watching my movie … (Frank emotes enthusiastically)
Russell: They were responding?
Frank: They were singing.
Russell: (laughs) You got through to them. You broke through to the other side, as Jim Morrison says.
Frank: Afterwards they talked. They wanted to date. They wanted to risk. “My sister don’t want me to get hurt. I don’t care. I am willing to get hurt if that is what it takes.” (screams)
Russell: (laughs) You shook it up, you shook up the old pot.
Frank: Does that sound like mental?
Russell: No.
Frank: The teacher was excited. He did not understand his job. He thought it was to get them into life. (screams) So he invited me back. (laughs)
Russell: So was that when Hoffman stepped in?
Frank: After a few days the teacher called me. The Director said, “No way.” It took a lot to calm the clients back down.
Russell: Oh yeah. And was the director Hoffman?
Frank: Yes. Of course, his ex-wife is in it.
Russell: What do you mean?
Frank: In Fairytales.
Russell: So did you guys ever talk about that later?
Frank: No. I don’t think I have seen him since then.
Russell: When was that?
Frank: I did not see him then.
Russell: Oh, he just sent word.
Frank: The late 1980s.
Russell: He just sent word, he didn’t tell you himself?
Frank: Yes.
Russell: He didn’t want to confront you.
Frank: Dangerous.
Russell: Yeah. He didn’t want to chance anything.
Frank: Give them hope.
Russell: So, what was he doing there? (laughs)
Frank: Warehousing.
Russell: Yeah. It’s always been curious to me. And if I hadn’t encountered some barriers up there, I might have interviewed men from there instead of in the community and had gotten a much different view. Because a lot of the barriers that exist for those … like that’s a barrier right there.
Frank: They are not allowed sex.
Russell: Well, yeah. Every once in a while they will let someone come in and talk about it, but when, with the support of several staff, my study got close, the Director put a stop to it for a couple months until all of this business was taken care of. He wanted to meet with me in a couple months and I didn’t want to hang around for a couple months waiting, so I just went with my other alternative. But I heard from one of the staff members, there was a history there where some staff member had been caught masturbating one of the men there and had gotten fired. And that that was what the history that was there was why they were really wary. (laughs) But, I don’t know the circumstances about that, but I can imagine. That kind of thing is not necessarily taboo to me, but institutions like that have to protect their whatever they’re trying to protect. Their good name, legal shit.
Frank: They are prisons.
Russell: Yeah. But even though a lot of those guys get to go home to group homes, a lot of them, they just come back there the next day. Group homes probably are just as much of a prison because … It’s really kind of a shame that somebody is not brave enough, it’s not necessarily brave enough, but you have to be able to get through the barriers, the gatekeepers yourself, to segue and expose that situation. Someday somebody will.

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Credit Card Morality

As published in Frankly Speaking: A Collection of Essays, Writings & Rants by Frank Moore. Excerpted from Cherotic Magic Revised by Frank Moore, July 1998.

Do to others as you would want to be done to you. Treat people as yourself. Love your neighbor, your enemy, others as yourself. You will reap what you sow. The law of karma. These are all nice abstractions with the loopholes of individualistic choice and time built into them. That is, they secretly imply that there is a choice about seeing the other as separate from yourself, from your personal body…imply that there is a karmic credit card on which you can in effect charge “wrong” action to be paid, with a certain rate of interest, in either good works or suffering at a later date. This creates a judging, an evaluating, a choosing, a questioning whether a “wrong” action is worth the charge on the credit card, how it affects your credit rating. Worst yet, it, like the bank’s Mastercard, tends to hide the real costs of the “wrong” actions, hiding it within the easy payment plan, hiding the wide-ranging resulting effects of the “wrong” actions.

“Wrong” actions are different both from mistakes and from “bad” action in a morality system. Mistakes are learning tools within life’s evolution. Mistakes are vital, unavoidable, and vulnerable because true mistakes are the result of creative risk-taking. A “mistake” that is repeated over and over is not a mistake at all, but a “wrong” action. A wrong action is an action which harms, does not promote life-affirmations…it is in fact a life-denial, broadcasting life-denials. Morality is an itemized list from the moral visa card…a list of all the possible sins and the form of payment required for each sin. But nowhere on this list is there any mention of the real results, both personal and dynamic, of the so-called sin.

This moral/karmic easy payment plan is one of the main means by which the life-denying power-combine abstracts us out of the direct involving experience of life. It puts the results outside of the personal present into an impersonal future. It puts the “payment” result of a sin outside of the personal present into both an impersonal past and impersonal future…that is, in a moral system of payment. You are paying for past sins in the future. This is fragmenting the reality of experience. A credit card makes it much harder to experience the reality of buying something because it fragments the exchange, the relationship, between two people. There is no exchange of what/who you are in the present. So it is very much harder to feel, experience, the real worth or result of the buying experience. It is much harder to feel, experience who you really are. So you spend more than you would if it had been a physical exchange, a physical relationship, between you and another person. Moreover, the medium of the exchange, money, has been abstracted into unreality, put outside the personal reality. This makes spending casually a matter of course. Creating this casualness is a main reason for credit cards, poker chips, and sins.

But the abstraction does not end at the purchase experience. Without the context of the relationship of exchange, the actual experience of the result of the exchange…for example, the concert which the ticket is for…takes on an unreality to it. Moreover, when it comes time to pay, the experience of the concert has long ago happened, faded into the past. The payment is no longer a personal physical involvement in the actual experience of the concert. The payment is now an involvement with the abstraction, the power system, of the credit card. This involvement with the abstraction is the concept of duty, “should” duty. Because the experience of the concert has been long ago made over into an abstraction before payment time, it is difficult to feel the real effect of the concert. So you dutifully, casually pay the credit card bill.

This basic credit card dynamic is at the root of all moral systems. All moral systems are systems of power, of abstraction, of fragmentation. A moral system contains a framework of shoulds, should nots, taboos. This moral framework is substituted for the direct experience of life. The reasons for the shoulds, should nots, and taboos are not revealed or explained. Love thy neighbor. Thou shall not kill. But there is not a real sense of why. This is true of the modern anti-moral systems of “going with the flow” and “do your own thing”…these anti-moral systems are just moral systems dressed up in mirrors. The should/taboo framework is a con for power.

A saint takes on a moral system so completely that he becomes the social system. Living within a moral framework as a saint does limits the personal ability to shape reality, hence transferring this ability in the form of power to the abstract social structure.

But a life of a saint is not the real goal of any moral system. If everybody lived as saints, the power that was thus generated would not be anywhere near enough to keep an abstract structure in existence. This is why real saints are always in a very tiny minority or a false myth. Saints are decoy models projected in front of people by the abstract power structure.

The real goal of any moral system is personal failure. This type of failure is different from the failure within evolution or creativity. It is the failure of a victim or a loser. A moral system is set up to be almost impossible, if not in fact impossible, for humans to live within. At the heart of the con of morality is to convince the people that they should do what they are not empowered to do. Convince them by creating a system of rewards and punishments which is based on the fragmentation of time into past and future. Once a person is plugged into this reward/punishment system, he stops shaping his actions by the concrete experience of the results, both linear and nonlinear, of his actions. Instead, he starts focusing on the rewards and punishments within the moral system…starts focusing on the past and/or future…starts doing/not doing based on the promised reward/punishment. This abstracts the person out of the direct present experience of his life action and its resulting effects. This abstraction is the root cause of personal casualness. Once he is thus abstracted out of the direct experience, he can be sold whatever prepackaged pictures of reality that the abstract power structures issue, will pay whatever price for forgiveness, protection, for a piece of power (no matter how small). In this way, the person is convinced by the power structure that he needs it, needs to belong to it, to conform to its prepackaged deck of pictures of reality.

Our modern social world is made up of the combine of moral systems. Each power system…be it political, religious, social, economical, or sexual…issues its own deck of reality pictures and moral credit cards. This moral combine includes power systems that we do not usually think of as moral systems. What I am thinking of are the systems of romance, glamour, and education. A moral system is a system that abstracts reality into mental pictures into the past/future.

Love others as yourself. Why? If you do, you will be rewarded sometime in the future. If you do, you will be paying back for something bad you did sometime in the past…or, for that matter, for something bad you will do in the future. This is the logic of morals. It is individualistic ego-centered. It abstracts your dynamic relationship with the other out of reality.

Deep love can be defined as: treat the other as yourself, love the other as yourself, because the other is in fact yourself, is part of your body. So what you do to/with/for the other, you are doing to yourself within the point of action of now. Deep love goes back to the pre-shamanistic personal awareness of the land, the plants and animals, the others in the tribe, and in fact the whole physical existence as parts of the personal body, and hence within personal responsibility.

Art by LaBash from Cherotic Magic Revised

I HATE NICE PEOPLE

by Frank Moore, Thursday, April 11, 2002

i get worried if my words and images fit through veins clogged with fatty taboos of polite appropriate of comfortability.

i get worried…is the art that small that it fits through that pinhole of a hole…so small that nudes on the walls, words on telephone poles, any shift in the social power structure threatens the very reality fabric.

i’m too proud to admit the art poetry is that small. so my art becomes a 
roto-rooting balloon covered in razors tipped in draino acid, pushing pressuring uncomfortable unsocial grinding against the grain until the killer fatty clots of taboos burst out the other end and go down the drain like trouble.

i don’t really go after the hitlers, the mccarthys, the helms, or their 
brown shirts.

they are just limp-dicked power-junkies with swiss-cheese egos, each hole filled with inferiority. they are just moons with no power light of themselves, just reflecting fear.

no, i go after the nice people who never asked where the trains were going, boxcars filled with people. didn’t have to. only suspected, only heard rumors…after all, the general is a friend. never said, excuse me, i am a jew too, arab too, a jap too, a gay too, i’ve negro blood running in my body, aids too. i’m a commie who took home movies of our nude kids. so better put me on that train too. better put us all on that train. there ain’t no train big enough!

i go after the nice people who keep going to work after seeing their friends missing, after hearing rumors of blacklist and blackball. must write something about that subject to THE TIMES. he used to be such a pleasant fellow…but now he is a whining paranoid…not a sort to have to tea. he is like a wet messy fart. not in my backyard!

yes, i go after nice people. but my time in the belljar is about over. so i’ll leave you with this. what is happening in your backyard is what really matters. so be sure to weed!

“Seated Nude”, oil on canvas, 36” x 36”, 1981 by Frank Moore

“Labyrinth”

From Cherotic Magic Revised, Chapter 2: Chero (Section 8) by Frank Moore, first published in 1990:


Almost anything can be used as a model to show how the cherotic life works, even computer games.  My kid got a computer game “Labyrinth” a few years back.  It is a maze game with ever‑changing walls, with monsters bent on eating or shooting you if you don’t shoot them first.  You have to rescue four men from four different cells and reach the door to the next level before you get killed three times.  It, like life, appeared to be an action game requiring speed and quick reflexes.  My kid has quick reflexes, so he was very good at this fast, high‑action game, full of tension, stress and glamour.  He reached level 8 (of 12 levels) very quickly.  But then he got restless and bored; so he quit playing.
 
Even though I could operate the controls to the game, there appeared to be no way for me to play the game successfully, because I did not and will not ever have speed and quick reflexes.  But I started playing the game just to have something to do.  I did want to reach the higher levels, but I put that want in my wakan brain and forgot it.  (We will use this wakan brain in creating our reality later.)  I accepted the framework of the game and started to absorb it into my body.  I made it my own, even though it appeared I was a helpless victim of the game.  For months I did not rescue even one man.  But my body absorbed the rhythm of the changing walls.  I began to feel where to move to avoid death and to get nearer to my objective.  I did not try to understand because the events in the game are randomly nonlinear. But I tuned in on the reality of the game.  By doing so, I changed the game into a slow strategy game.  I did this by not resisting the structure, but by taking it on as my own.
 
This slow game offered much more fun to me than the fast game offered my son.  If we measure the fun in time, my son only played the game semi‑regularly for only a few months, while I have played it now for a few years.
 
Every time I am about to move on to a new, higher level, I get stuck.  I keep just about getting it, but then “failing.”  This is because I let my wanting to get to the higher level out of my wakan brain, letting it become the goal that I am focused on.  This raises the stress level to the point where I cannot do anything right.  I get nervous and fearful.

I have learned to put my wants and goals away in my wakan brain ‑‑ to not focus on my wants and goals while still having them.  I have learned that once I have my wants and goals in a priority order in my wakan brain, it sets the automatic process in motion to get what I want.  If I tried to plan, plot, manipulate to get what I wanted, it would get in the way.  I always get what I want, but rarely in the way I thought I would get.
 
Once I get my desires back into my wakan brain where they belong, the stress, fear, and nervous levels go down.  The getting to the new level loses its special glamour, becoming just another state which I will some day get to, if not today, then maybe tomorrow.  When this attitude is firmly implanted, one day I am guided into the new level.  I cannot take credit for this.  I am just let in.  After this high point, my average score usually plunges.  (A contraction.)  If I stay calm and committed, my average score slowly climbs past the high point towards the next level.  I have gone from not being able to get a single man to being on level 3, going for level 4.  I went from being totally limited to being in the state of all possibilities.  This was done not by anything I did or because of any skill I developed.  It was done by enjoying playing even when there was no reachable goal.  Enjoying playing unlocked every possibility.

Photo by Linda Mac


 

Dance Of No Dancers

As published in Frankly Speaking: A Collection of Essays, Writings & Rants. Excerpted from Cherotic Magic Revised by Frank Moore, 1993.


Matter is symbol, is metaphor containing possibilities. Chero is the physical life energy in the form of packets of possibilities. These packets shape matter. These packets, in turn, are reshaped by each body or object they pass through. This is why we are affected by the stars, for example, (and the stars are affected by us)…and why we affect the Tarot cards or the I‑Ching coins we cast…why the physicists affect the subatomic particles they observe. This is the alchemical secret: by reshaping these inner packets, the material reality is reshaped.

These inner rivers of possibilities are two‑way on the linear level. This means the magical effects are always two‑way. The light of the sun warms us; but we affect the sun through the same channel. Again, we have entered the level of the dynamic web of relationships in which the individual does not exist. In place of the individual, there appear points of personal responsibility in a dance. It is not the sun that warms, nor is it us who are warmed. It is the dance of no dancers, the dance of relationships that warms, and that is warmed. Individualism hides this fundamental truth from most people.

These rivers of inner possibilities do not run only in a two‑way linear manner. They also travel nonlinearly. This creates a deep ocean under time‑space. In this ocean, there are nonlinear waves of possibility which pass through the points of personal responsibility which most people mistakenly see as individuality. When a wave passes through this, it is possible to personally amplify, mute, or change the wave. This makes the point of personal responsibility the moment of the universal creation. To accept this responsibility of the universal creation, we cannot step back from the ocean to claim the responsibility or judge.

We are then just water drops…individual water drops, not the ocean. To be in the moment of universal creation, in being the point of personal responsibility, we need to melt into being the ocean for all time, letting the dance happen through us, not thinking we are the dancers. In this point of personal responsibility, everything we do, think, and say is universally important, and not in the individually important sense.

Each center of the body is connected to many of the rivers of possibility. The nonlinear flow of the packets of possibilities within these rivers is chero. By transforming, transmuting, the packets of possibilities, it is actually possible to change matter, to change the material world. This alchemical fact is just the opening for the more important fact that reality is created, recreated every second by and within us.

We have said reality creation is a dance and that we are the dancers. But in truth, it is a dance without dancers. If we really take on personal responsibility for the dance, we surrender to the dance, give up individual “control”, give up individual linking with the results. By taking on the personal responsibility for the dance, we are the dance. We melt with the dance. We are only the dance. We admit these facts. It is not a question of becoming, but of remembering and admitting. It is a question of being, living, dancing lustfully, without controls or limits in responsibility. This quality is called “extensic”. The extensic life dance is beyond morals or limits. It joyfully digs into the dance to the juicy black core.

There is the magical principle of inter‑penetration, the spiritual fact that the universal existence is enclosed in everyone and in everything. To start to grasp this, we have to remember that the cherotic rivers flowing within matter run in a great many directions, both linearly and nonlinearly, both inward and outward. This is the web dance. The cherotic packets of possibilities, effectively changed within the person, are taken by these rivers throughout the entire web, affecting the entire web.

So you are never hopeless or without effect. You can always shift reality away from doubts, fears, and other mistaken creations. You can always transform, transmute yourself, situations and the universal currents into joyful dancing by extensic melting, which is the heart secret of using erour, the vulnerable strength.

Kinds of transmuting and transforming of situations and of self is the real purpose of alchemical art. You are not the source of effect, the dance of the web is. You melt forever with the dance within personal responsibility. The effect is caused by the everlasting interplay, inner dance, of the whole web of all possibilities with one another, creating seven dimension waves. You must enjoy the dance for its own sake, not some goal as an end. There is no end to the dance. Since the dance is everlasting, the holding‑on to any guilt, any doubt, any fear is just creating these things in the whole web, for which you are personally responsible. If you let go of these limited frames, your personal responsibility for them will vanish; moreover, their reality force will fade to a certain degree in the web.

When you admit you are melted into the dance, that you are the dance, and that every act and nonact, no matter how “small”, is profound, then reality shifts. The focus shifts from what you do, what you appear to be like, what effect you are having…shifts to enjoying extensically life, claiming any and all responsible act or thought as your own no matter who does it.

Art by Labash from Cherotic Magic Revised

Reclaiming Public Reality

1997 version. Originally published in The Cherotic (r)Evolutionary issue # 1 as “Nonlinear Bits” in 1996.

••••••••

We went to the movies…Pasolini’s Arabian Nights at Berkeley’s alternative theatre. Eating candy, drinking Coke, rubbing each other, pleasure maintained almost until the end of the movie, then quiet coming, thrilling gentle pleasure explosions. Just an ordinary night at the movies. Rubbing for enjoyment, just like eating popcorn. Taking public reality back into personal reality is the magical effect of such public acts, which are made invisible to the surrounding reality by the personal everyday nature of such acts, instead of being reactive confrontations. The reason closest to the surface for such acts in public places is the physical expression of enjoying of friends and lovers and humans just being together. But these invisible private/public acts of pleasure become a powerful force for effective political/social/cultural change when they collide on their own with life-denials. The effectiveness of such personal pleasure acts, which are in reality sexual or cherotic magic, is in the fact that they are not reactive, confrontational, or an exhibition of specialness or difference. Not wrapping ourselves in the glamour of being kinky, perverted, or evil and thereby falsely creating ourselves into an elite above the common human. Being reactionary always chains you to the old reality to which you are reacting.

Instead, these acts of personal magic are creating the alternative reality which we want, reclaiming freedom by acting free, calling forth yin energy by using yin energy. The fact that the feminist movement in the ’70s and ’80s on the whole didn’t use this channel of change created limits to the transformation of gender.

This is reclaiming public reality, returning it to personal freedom. We have done these rubbing good feeling acts of humanness and subversion at baseball games, in the middle of the sidewalk in the afternoon, on trains and planes. For months, five of us sat in the middle of a coffeehouse, playing cards, drinking coffee, kissing, rubbing one another into a pleasure trance. Just everyday human living.

Because our attitude to our playing is that it is just everyday human living, we were invisible. No one saw, noticed, or complained. Because the art of invisibility is tricky, I am stopping short of advocating such radical acts unless you are prepared for any outcome. Such invisible action does not have to be at this degree of revolutionary intensity to be effective. Every time you kiss or hug or laugh or smile out in the “public” world, every time you wear colorful sexy revealing clothes, or do not wear a bra (or just wearing one), or any lusty joyful act, you are performing a very powerful magical/political action the effects of which can not be deleted by any linear means.

Finally, A Real Candidate For President

Commissioned by and published in NYFA Current, Vol. 16, No. 13, 8/1/2007.


In Their Own Words

Frank Moore, the iconic performance artist who was once persecuted by US Senator Jesse Helms for making “obscene” art is running for president. NYFA Current gave him a platform for an early campaign address.

Frank Moore signs off his emails with the phrase “In Freedom.” Coming from another artist the gesture might be interpreted as ironic commentary on the American government’s abuse of the word since 2001; coming from Moore, it’s completely sincere. Freedom and the power of free speech has become the signpost of his work from the 1960s to today. Best known for his performance art (he faced Jesse Helms’ ire in the early ‘90s as part of the culture wars debates), Moore’s work truly spans disciplines. Born with cerebral palsy and unable to walk or talk, his career’s work has been to burst through the barriers of social isolation that separate people.

Given these qualities, it wasn’t so shocking when Moore declared himself a 2008 presidential candidate. Moore’s campaign slogan is “Finally a Real Candidate for President!” For this essay, NYFA Current offered the Bay Area-based Moore a platform for an early campaign address.


I have been running for president for about a year now. I started running basically because none of the prominent candidates are talking honestly and directly about the state of things, are committed to fundamental change, and have a clear plan to create a humane, sustainable, and just plain enjoyable society. So I took on that role. When everyday people in the “real world” hear about my candidacy, they become extremely excited. They don’t see a performance artist in a wheelchair. They don’t check the odds of my winning. Instead they see someone who they could excitedly vote for…somebody who shares their dreams, talks deeply about what really affects their lives. And then they read my platform. Then they get more excited at how possible it is to bring our dreams for our society into reality…to remove fear and isolation; to get the boot of big corporations off our neck; to provide everyone health care, life-long education, a minimum income, and a livable wage; to restore our rights and freedoms; and to bring our troops home now! We everyday people know the real state of the union! But more importantly, we have the sense of what is possible! We need leaders who share our dreams and who do not sell us short. Or sell us out!

So for most of the year, I have been running way below their radar. A performance artist in a wheelchair “pretending” to run for president is no threat…just a weird piece of conceptual art. But now I’m beginning to be a blip on the radar. Just a blip, mind you. But it is amazing that we have gotten to the blip stage this early…or at all! A blip who talks about the issues seriously and who gives real alternatives is dangerous. So the gatekeepers are beginning to say that I am not a “real” or “serious” candidate. What they are really saying is that I’m not a part of the political system that has been corrupted by big bucks; that I’m not playing by the unwritten rules, etc. And of course this is true. It is one of the reasons why everyday people are excited about my running. That big bucks political system has been divorced from the everyday reality, hijacked by the addicts of obscenely huge profits. I am a real, serious candidate. I’m just working outside of their boxes. Outside of boxes is where the new possibilities are. Inside the limiting boxes is where political power is created. This is why the normal politicians stay in the boxes. This is why fundamental, humane change rarely—if ever—has come from power politics. I hope they keep saying that I’m not a real and serious candidate because each time they say that our blip gets brighter and more intense. I also hope they keep saying I am the candidate of the fringe, of the margins. Consider who they have marginalized…the poor, the working poor. In fact, most of the labor force: the disabled, gays, seniors, the uninsured, women, the middle class, artists, family farmers, racial minorities, immigrants, etc. Hey, I may win by a wide margin!

True, I do have my problems. As one “art expert” once wrote, I, “seem to have a compulsion not to take no for an answer under any circumstances.” I do have this disability of not knowing what is “impossible”. So, I just figure out how to do it. When I was born, the doctors told my parents I had no IQ. Obviously the doctors were wrong. So I don’t pay any attention to the supposed limitations. I just do what is needed. When I was growing up, I struggled to get educated, struggled against discrimination and prejudices. I really enjoy the righteous struggle. This enjoyment of struggle gives me an advantage when struggle is needed. When Senator Jesse Helms tried to blacklist me, when the Berkeley City Council tried to ban my public access cable show… there have been so many struggles! My enjoying righteous struggle has been a winning element. I also enjoy when struggle is successful. I’m looking forward to the huge struggle of taking away controlling power from the big corporations, of reclaiming the rights and freedoms that have been stolen from the people of this country, of creating a new post-oil social order in which we will eliminate fear of getting sick, of getting old, of the future, of the Other.

In reality, as president, I will be able to do a lot to start the process of change. And I will! I get results! I deliver! But realistically, I will be working with a Congress full of people heavily invested in the old power system. I will need you! Writing me in on election day will be just the first step. I will need you to get involved in your local community. I will probably need you to put pressure on Congress—and on the press—to enact our dreams. It may take you coming to Washington D.C. a few times as you did for civil rights and to stop the Vietnam War. But together we will get this done! If it takes me throwing a giant party on The Mall every three months, then that’s what I’ll do!

It will be an exciting, fun four years! Just imagine a world in which somebody like you or me could really become president. Now keep imagining it and we just may win! Do not throw your vote away on a candidate who does not share your dreams, who is not committed to bring your dreams into reality! Go for it! It is the only practical thing to do because if we don’t go for it, we will never get what we need, what we want, what we are dreaming. Hey, it just makes sense…right? So write Frank Moore in on election day!

Frank Moore (born Frank James Moore, June 25, 1946) is an American performance artist, shaman, poet, essayist, painter, musician, and internet/television personality who has experimented in art, performance, ritual, and shamanistic teaching since the late 1960s.

For more information on Frank Moore visit:
www.frankmooreforpresident08.com
www.eroplay.com

More from “Art Of Living”

This is an excerpt from Frank’s book, Art of Living, 1974:

Frank, we have created a rather intellectual picture of what is going on in that physical world. We used the brain as a symbol to represent the majority of spirits existing in that material world. They are slowly waking up and discovering that something is wrong, discovering that their own negativity is physically manifested around them. They are trying, or starting to try, to correct some of the material signs of their negativity by channeling their intellectual energy into scientific, political or educational levels of human life. Such attempts, without correcting the loneliness and isolation which the spirits there feel, will probably solve problems such as unbreathable air and undrinkable water. But such attempts will only add to the negativity if these attempts do not come from a conscious movement to bring people together, not on an abstract and idealistic level, but on a very personal and human level.

The majority of the spirits there, the brain of that physical world, do not have any way to consciously cope with the vague feeling that has enveloped that world. They can only feel frustration and try to release it during the sexual experience; they can only feel restless and try to release this through emotional outbursts; they can only feel lonely, isolated, and unfulfilled and try to rationally explain this feeling away by pinning this feeling to a physical object or an abstract concept, and then try to intellectually solve the problem. But no matter on what level they try to deal with the vague feeling, in the end they still feel empty, as if they have missed something beautiful.

They lack the pure vision of spiritual love, to see their simple need to be personally close to one another. But in that world, there are a growing number of spirits who do see and feel through this vision of spiritual love, although most of these are not living in the progression of spiritual love yet. These spirits, these Fishermen of Men, are the mind of that world who can pull that world into a collective level of love by living their vision out within that world, living their vision with the other Fishermen of Men. Unfortunately, these spirits are always being tempted to forget their vision, to forget their role as Fishermen, because living their vision with one another is very hard without glamorous results which they can show that world. They are tempted to disbelieve that the world will feel, but probably will not consciously see, what these Fishermen have created together. They are tempted to believe that it is impossible for the invisible net of deep human love released by the inter-relationships among the fishermen to pull the rest of the world into real closeness like fish in a net. Because of this worry, some of these sensitive spirits withdraw from the human world into what they think is themselves, into an abstract spirituality. They isolate themselves because they are bitter that the world does not, cannot, see their vision yet. Others try to ignore what they see and feel in order to live “normal lives.” However, they can never completely forget their vision and must always carry with them the knowledge that they are living second best lives, that they are not living their highest vision. Still others, desiring to have proof in the standards of that material world that they are really doing something, really contributing, try to channel the levels of politics, science, education and art. But by placing importance in the proofs that these material levels of living offer and in the things that are created within these levels, these spirits are just making that world a little harder. The only way to use these levels to being the soft, human vision into that world is by not placing importance on these levels and what can be created within these levels, but placing the importance on human relationships and create from those human relationships…


Art of Living
A guide to down-to-earth spirituality as channeled by Frank Moore.
published 1987
https://eroplay.com/books/index.html