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

Tag: Cherotic Magic (page 1 of 2)

Eroplay in Life and Art

As published in Shades of Grey (1985) & Smut (1991).


Eroplay in Life and Art

A WORK IN PROGRESS

Frank Moore, 1983

Eroplay is a made-up word for intense physical playing and touching of oneself and others. Eroplay is also the force of energy which is released as the result of such play.

Our mind needs labels, words for something to be able to think about the thing clearly. There is such intense physical play, and such a force of energy, which I have labeled eroplay. But before this, there has not been a word for it. Usually the word sex has been the catchword for people to dump on almost everything sensual, romantic, physical, or showing more skin than usual. Cars are called sexy. Poses that do not show the sex act are called sexual. Wearing certain things, moving certain ways are all called sexual even when it is not leading to the sexual act … even when there is no intent to have sex.

In magic, words have power. To create a word for something is to create the possibility for it to exist in our reality … for it to happen. Even for us who intellectually knew eroplay existed as a separate thing from sex, it was hard before the word eroplay to talk about it clearly, to think about it clearly, and to experiment and play with it without sexual undercurrents and fears creeping in. This was because we had to use words like lusty, sexy and erotic to attempt to talk about it. In our language, all of these words have sexual connotations. In magic, words create. So if you use sexual words for non-sexual playing, the sexual words will create a false sexual confusion. This is why the word eroplay itself is important.

Eroplay is not foreplay, even though foreplay is eroplay.

I have a somewhat good idea of what eroplay does to and for people. But the causes of the results are untested theory.

Kids play very physically both with their own bodies and others’ bodies. They get turned-on by this play, turned-on both physically and mentally. This turn-on is not sexual in kids. Studies have shown that babies who are held, touched, and played with are more healthy and alert, weigh more, and have a lower rate of death than babies who are denied this eroplay. Studies also show that old people who live alone, who don’t get physical and emotional contact, are less healthy and die sooner than people of the same age who live with others and get that physical contact.

The Glitter Act. Photo by Dave Patrick.

When we grow up to adults, eroplay is linked to sex, maybe to assure procreation, but there may be different results when eroplay is connected to the sexual orgasm. We may need a certain amount of straight eroplay (not connected to or leading to sex) to be as healthy as possible.

Foreplay leads to orgasm … eroplay leads to being turned on in many different ways and in all parts of the body.  It can be different every time.

Skin touching skin seems to be what releases the full impact of eroplay.

Eroplay can be intense. It is like rubbing a puppy on its belly; the puppy goes into a state of rapture, both totally turned-on and relaxed. To use something that is not normally confused with sex, eroplay is the blissed-out, warm, relaxed, turned-on, totally satisfying feeling of a good head rub. The same feeling comes from playing with one’s ears. Eroplay is that intense feeling throughout the entire body.

Sex seems to be connected to mating; whereas the combination of both physical and psychic forces released during and after eroplay seems to be connected more to communication and attracting people to you.

What stops most people from physically eroplaying without connecting it to sex, without sexual undercurrents or expectations, is the inability to see where eroplay ends and sex begins. The difference between foreplay and pure eroplay is one of intent … physically there is no difference. But there is a difference physically between eroplay and sex. Eroplay is satisfying in itself, in relaxing intensity. There is no build-up of pent-up energy in one climactic act. In sex, however, there is a point where foreplay (eroplay) ceases to satisfy and energy gets pent up and built up to be released in the sex act. This build-up is a clear and broad dividing line between the turn-on of eroplay and sex.

Eroplay starts when the possibility of the physical eroplay arises, the possibility of breaking normal rules, social conventions, and morality.

The possibility of physical eroplay is enough to start releasing whatever chemicals and other forces that physical eroplay will continue to release. Talking and thinking about eroplay will excite, will turn you on, even physically. This seems to be a natural part of eroplay, an innate part.

The Glitter Act. Photo by Dave Patrick.

But the turn-on of the possibility of breaking the taboos, rules, and the common morality is not a natural part of eroplay. It has been added on to eroplay by social repression. Anytime you break a social taboo, there is a release of energy that may feel good, almost like a high. But sooner or later you have to go back into the system where that taboo still exists. Then, more often than not, you will get a backlash from the breaking of the taboo. This backlash may take many forms; it may come from inside yourself or from others who have not been in the uncommon experience. This backlash may overwhelm you. This is the only bad side effect connected to eroplay. If you can ride out this backlash –  if you have it at all – you will be a stronger person and you can modify the moral system to fit how you want to live. This has more to do with breaking taboos than it has to do with eroplay itself.

But breaking taboos has always been a part of art … at least the area of art that seems to change consciousness, change morality, change reality.

The breaking of taboos ideally should not be a part of everyday eroplay, but it is. Art can slowly take eroplay out of the taboo area. This is one of the functions of art.

Eroplay is fun. This is the most important statement in this outline.

Eroplay is innocent and childlike.

Eroplay’s focus is on physical enjoyment and pleasure for its own sake. This is one reason why eroplay is taboo in our society, where religion teaches physical pleasure for itself is bad.

<Coming soon to this spot: a brief history of the western romanticism and the anti-pleasure morality … what eroplay is up against.>

Eroplay connects you more with your own body and with other people. It decreases isolation and alienation. It increases self-trust and trusting of others. It makes you harder to be controlled. This is another reason why eroplay is taboo.

Because the after-glow of eroplay attracts people to you, you get more opportunities in all aspects of your life. And because eroplay relaxes you and gives you more energy, you are in a better position to use opportunities.

Because eroplay is not focused on goals other than physical enjoyment in many ways, and because it does not lead to a mating life, eroplay would be much harder to use to sell products than sex. This is another reason why eroplay is taboo.

Most of the so-called sex problems in sexual relationships have to do with trying to do with sex what eroplay can do, trying to fill needs with sex that sex can’t fulfill. This leads to the downward spiral of frustration, self-doubt, trying too hard, and blame. Even legitimate marriage and sex counselors advise more play which does not lead to sex as well as more foreplay with sex.

Since eroplay may release certain chemicals in the body, to get familiar with what eroplay itself does, not adding other chemicals will help.

Since in a sexual relationship there is always the possibility of sex, eroplay is always different in a sexual relationship than in a nonsexual relationship, even when the eroplay does not lead to sex … because, as we have seen, possibility is an important factor. So eroplay in a sexual relationship is always in relationship to the possibility of sex.

Since eroplay is not mate-originated, it is possible to have a relationship with a friend in which eroplay is an important part, but in which the possibility of sex and romance is very clearly excluded. This kind of relationship will have good effects on your other relationships.

To illustrate both what eroplay can do, and the difference in effect of eroplay and sex, I offer a page out of my life. In the ’70s, I had a group of about thirty people. It was fairly clear to us that there was a difference between playing and sex.  It was not as clear to us as it is in this paper. We saw that it has something to do with sex and “marriage” (the word “marriage” is another word that has negative connotations hidden within it), so we decided to commit ourselves to having sex only with those to whom we were married. But we eroplayed with all of the people in the group. The eroplay became more intense, more playful. We as people got wackier, more physical. It gave us a greater freedom not only within our group, but in the general society as well. By eroplaying intensely, but playfully, it released a certain creativity which we used in many ways. Successful businesses were established. We did several public performances, a stage show that ran for three years, and a wealth of wacky private performances. All of these had the vital energy of eroplay, of unlimited possibility. We were kids playing together even though we were adults. Even though the eroplay could become very intimate, physical, soft, and sexy, there was no jealousy or possessiveness because it was clear that sex would not be involved. This went on for three years.

Frank Moore’s weekly workshop at his Haste Street, Berkeley, California studio, circa 1977. Photo by Ken Jennings.

But … you have been waiting for this “but” … at a certain point, we started questioning the concept of marriage: What was the difference between what we thirty had together and being married? We did not see any difference. (We were using the misleading word “marriage”. I see now that we should have used the word “mating”, which does not refer to child-bearing, but to bonding.) Not seeing any difference between marriage and what we had, the next logical question was, “Why not have sex?” So we started to have sex outside marriage within the group. Almost immediately changes appeared in the group. Jealousy and possessiveness appeared. The playful creativity which came from eroplay dried up. Playing and the physical freedom between the people quickly ceased to be. The spark of our show was not there anymore. The group as a group quickly began to fall apart.

This is why my interest in the difference between sex and eroplay has increased and formalized in my art … why I long to tap again into intense, pure eroplay with people, then use the resulting creativity in art without being derailed by sex.

Which brings us to eroart.

Thanks to the repressive, sexual, anti-pleasure morality, romanticism, and pornography, the traditional area of eroart – art that uses nudity, physicality, and/or sex to turn people on to life – has been ripped off by pornography.

Almost everyone is against porn films. Almost everybody in his right mind. But everybody isn’t in his right mind, which is why there is porn anyway.

But it is fashionable to be against porn. There are many good reasons to be against porn. Fashion is not one of them.

The anti-sex, anti-pleasure, anti-nudity morality is not one of the good reasons to be anti-porn. This kind of repressive morality was the main reason why during the nineteenth century kinky violent porn caught on.

What I am interested in is art that creates in people the desire to go out and play with other people, and to enjoy life. This is the art of eroplay. Historically, one of the tools of this art has been the sex act. But sex has only been a tool, not the goal. And it is just one of many tools. Isadora Duncan is a person whom I would call an artist in the eroplay tradition. She used nudity (especially at private parties where she could dance without feeling moral judgments) and movement to turn people on physically to their own bodies and to passion for life. This is the true goal of eroplay art, which has been called eroart. Most books on eroart miss the true purpose of such art. There has always been sexual erotic art. This kind of art is universal and can be traced back to the caves and beyond.

<Coming soon to this spot: a brief history of erotic performance art.>

This is not true for what is defined as porn. I am trying to define eroart. We are forced to separate it  from porn, and rightly so.

It is fashionable to be anti-porn. But it is human to be anti-porn because porn is anti-human, not only anti-female. It is violence between individual people. At times, this violence is graphic. It is personal and intimate violence in a hostile and impersonal form. I hurt you to make me feel turned-on because I cannot get turned-on in any other way because I cannot feel … besides, you like being hurt … if you don’t … who cares ….  This isn’t the symbolic or surreal violence in other kinds of films.

An act from The Outrageous Beauty Revue. Photo by Dave Patrick.

Porn is also anti-human because it creates a picture of what sex should be that is unreal and boring. It creates pictures of what you should be like … pictures which are hard to live up to … and if you do live up to them, you will be a big-dicked jerk or a big-titted bimbo.

These are the fundamental reasons why to be anti-porn.

But face it, the main reason that most people are anti-porn is because porn is boring and dumb. The people who make porn (I am talking about straight porn now, leaving the kinky, violent porn in the trash can) think that the main reason why people go to see porn is to see tubes going in and out of holes. So they cram in as many tubes going in and out of holes as possible in ninety minutes … and as close-up as possible. This may be true for some people, but for most people, it gets boring once curiosity is satisfied, curiosity about what it looks like, and once the possibility of seeing everything is fulfilled.

It is fashionable to be anti-porn. But it is not fashionable to offer an alternative to porn. It is not fashionable to admit that people like seeing other people nude, seeing other people getting turned-on and being turned-on. It is not fashionable to admit people are curious to see other people’s bodies, to see what they are really like under those clothes. It is not fashionable to admit people feel cheated whenever the camera moves away, fades away, when the people on the screen are getting intimate. It is not fashionable because it would be putting yourself, your body, and your emotions where your ideals and your politics are.

To make videos that satisfy that child-like need of seeing nude bodies and seeing people playing, making out, and having fun is not as profitable as either what Hollywood does or what the porn-makers do. This child-like need is the healthy human desire that is perverted in porn.

The time is right for an art form that addresses this healthy desire. The women’s movement has changed people’s standards with regard to sex and the quality of relationships. This is true of both men and of women. They have scrapped, or are scrapping the old sexist ways and attitudes, and now they find the old-style porn disgusting … but more importantly, they are finding porn is not meeting their needs and desires. They want to be turned-on in a way that is not sexual; they want to see nudity without stupidity; they want to see new ways of relating between humans both in and out of bed. Eroart in all media can show this way of relating … can show both purely nonsexual eroplay and eroplay as foreplay in sex.

The Meat Act. Photo by Dave Patrick.

Film and video can do this. But the producers of porn haven’t the foggiest idea of this, and have a vested interest in the meat approach. In its broadest definition, erovideo could be any kind of film – westerns, thrillers, science fiction, etc. – in which the unwritten rules are not followed. The camera doesn’t fade or cut away from erotic scenes before it is logical to do so … bodies wouldn’t be cut off. Cable has made porn so available that it has removed the glamour of the forbidden. As a result, porn has to stand on its lack of merit. As a result, the sales and rentals on adult tapes are going down, and the adult cable systems are going out of business.

The desire to see nudity and intimacy and to be turned-on is not being satisfied. Hollywood is caught between being ruled by taboos and being in the business of teasing. Andy Warhol once said Hollywood has been doing a forty-year striptease, showing a little more each year to get people to come back. The closest Hollywood comes to the erotic/sexual (except for a few maverick directors like Roeg) is the sex-exploitation and youth exploitation films. There seems to be an unwritten rule that if it is sexy-sexual-nude, it has to be dumb. Hollywood does exploitative films because they make money. They make money because they are the closest thing to the erotic/sexual that is offered. But sitting through a dumb movie to see nude bodies of dumb people is not worth it. Hollywood, however, will not take risks.

Hollywood will not make such a risky, daring product as a truly erotic film mainly because of the high money stakes involved. The pornographers will not do it either because of their lack of skill, insight, and morality, or because they too are ruled by money, and by criminals.

But breaking taboos has always been a part of art, at least the area of art that seeks to change consciousness, change morality, change reality. The breaking of taboos ideally should not be a part of eroplay for everyday life. But it is. Art can slowly take eroplay out of the taboo area. This is one of the functions of art.

Here is where art comes in. As I have said, this kind of art creates a kind of bubble in which the forbidden can be done with immunity, releasing energy of the broken taboo … energy which then affects society as a whole. Art makes a clear circle of difference between this bubble and everyday reality; it is a kind of safety valve for society … much as dreams are to the individual. According to the book THE PAINTED BODY, the caves where the first artists did their work where no one could see were such bubbles, as was body painting. Performance art is this kind of consciousness-altering art. It creates a special time and place where taboos can be broken, where new ways can be introduced into the society.

The other way that art can make it easier for us in everyday life, and at the same time fight against the anti-pleasure, anti-human morality, against sexism, against pornography, against romanticism, is by showing us eroplay, both with and without sex, and getting us acquainted and comfortable with eroplay. This can be done in all media. Enter erovision. Erotic projects could be made on half-inch videotape by individual artists to be sold directly by mail from the artist to the individual viewer. This would avoid the power structures that grow up around big money. Half-inch video, home video, is cheap in materials, editing, and post-production, and distribution is much, much cheaper than in any other format. The technical quality is acceptable, and free from the comparison with film or professional three-quarter inch video. Home video is the workable channel for any product that the establishment will not touch … or that you don’t want the establishment to touch, hence control. Such is erovideo.

Frank Moore. Photo by Mary Sullivan.

Whether we as artists do eroart to release magically eroplay into the air (such as through performance art) or to show the non-sexual way of relating that is eroplay (such as through video or film) … whether we choose to use the sex act or not in our eroart … we must not let our work be defined in relation to pornography. There has been a huge amount of time and energy wasted trying to define and ban pornography. The best way to undermine sexism and pornography is to create an alternative to them. Take back nudity, pleasure, sex, and eroticism from pornography. Show pornography up as being drab, inhuman, unfun by creating a fun, human, happy alternative. Create eroart! This is overstating the case somewhat because you cannot do good eroart if it is in reaction to porn … only if it comes from some warm and playful place, can it be good eroart. Unless we put ourselves – our creativity, our minds, and, yes, our bodies into representing eroart as the humanistic alternative, the pornographer, the sexualist, and the moralist will win by default.

Some of the accompanying photographs are of acts within a performance/exhibition called “The Outrageous Beauty Revue”, conducted for several years by Frank Moore in Los Angeles and San Francisco.


This essay was also included in “Caves: a book for a performance tour” for a performance tour in the Spring of 1987, which included performances in Denver, New York City and Philadelphia. It is included in the first edition of “Cherotic Magic” published in 1990 by S/R Press, and also in the revised edition, “Cherotic Magic Revised” by Frank Moore, published by Inter-Relations in 2015.

Caves cover for “Cherotic Magic” by Michael LaBash.

It was also published in the book, “Frankly Speaking: A Collection of Essays, Writings & Rants” by Frank Moore, published by Inter-Relations in 2014.

Inter-Penetration

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

Seeing time as a dynamic pattern of relationships, instead of as a linear progression of events, fundamentally reshapes reality and how you react to reality. It makes guilt, remorse, and anger outmoded. When it is realized that what is done in the present automatically changes what has been done by you and what was done to you, such feeling actions as guilt, remorse, and blame are just continuing the past event into the future by way of the present. This is why looking to the past for the causes of the present seemingly difficult situation is only and ultimately prolonging and compounding the difficult situation.

For example, in childhood, you may have felt you were victimized by your parents. This is often translated into meaning you are a victim. Then this being a victim, as well as the original event, is usually repressed, hidden. But life becomes a long, and fruitless, attempt to not be a victim anymore. This attempt makes you a victim to life, reinforcing the original event, creating a negative myth around this one event, which gives the event more and more weight and importance, which curves reality more and more around this event.

Then within the present, the event is brought from hiding and is wrongly analyzed in a cause and effect way. Guilt and blame are dished out either on yourself or on the other (your parents, the rapist, the bully, the deformity, the situation). This stores up the energy of importance, thereby “distorting” reality, shifting this one event to the center of the reality frame. This distorting process is a self-feeding cycle. The more energy of importance that is invested in the event, the more energy is attracted to the event.

Avoiding or denying events, situations, people, fears, or doubts are other ways to invest the energy of importance. This is why exploring and analyzing these inner and outer events will release some of the pent-up energy…but just up to a certain point. After this point is reached, analyzing and focusing on a single event will just add to the pent-up energy of importance, adding to the downward spiral of self-indulgence. This spiral is linear.

To move away from this linear world of limitations, our self-awareness has to be admitted to. We exist in a nonlinear reality. Within this reality, there is space-time. Space-time is not the larger reality which we are calling the web of ultimate reality: space-time is just one possibility in the web.

We have seen time is not linear, but is a nonlinear ball. Science tells us time and space are aspects of the same web. Time-space is a nonlinear ball. Each of us sits in the center of this web ball. In the center, the person affects everything and is affected by everything. His every act and word affects everything fundamentally because it comes out of everything. In this reality, every act is important, as important as Jesus dying on the cross for our sins, as important as Adam and Eve eating the apple, or a nuclear war. These are just symbols for the every act, every word, every thought each of us makes always. Each act either saves and uplifts everyone, or condemns and degrades everyone. Each of us lives and dies for everyone.

Within this nonlinear dynamic interplay context of reality, everything takes on a high but equal level of importance. Casualness appears to be an avoidance of power and responsibility. By knowing everything you do, say, and think matters has a profound and direct effect on literally everyone, you are less likely to be sloppy in your life.

In this nonlinear reality, guilt and regret are the continuations of the acts, events, or attitudes on which the guilt or the regret feelings are focused. Guilt and regrets pump energy into the past situation. This strengthens the reality of the situation in the past, and continues the situation into the present and on into the future. This prevents you from focusing on doing what is needed and right in the present, thereby increasing rather than decreasing the effects of the regrettable situation. You become frozen within the situation.

Some people use these facts about guilt to attempt to avoid personal responsibility by retreating into an ethical casualness. Since the punishment of guilt and regret is not hanging over them, they do what is socially acceptable, what is personally comfortable and/or profitable instead of what they sense is the right thing to do. By doing this, they deny their role at the center of all reality.

To correct past mistakes, it is not necessary to go back into the past, or to the people in the past situation to make amends, to analyze, to judge yourself, or to seek punishment or forgiveness. This takes you away from the point of action which is always now, away from the situation you are in now, away from the people you are with now. If you do the right thing now within the situation you are in now, the past will automatically change for the right.

When we talk about “now,” we are talking about the ball of nonlinear time which includes in it the past, the present, the future. This removes the finality of importance of all mistakes. Doing right now changes the past. Not doing right now also changes the past.

People say they are not now ready to do what is right. They are not strong enough, skilled enough, brave enough. The right thing is too uncomfortable, costs too much right now. They will do the right thing sometime in the future when conditions change, are more favorable. This is the trap which can be called “waiting for Godot.” This trap is what gets most people, traps them in shallowness. The future does not come because it is happening now, just as the past does not go away because it is happening now. If they do not stop waiting, they will wait for eternity. They can only stop waiting now, because now is the point of action.

Art by LaBash from Cherotic Magic Revised

When we talk about the past, the present, the future happening within one another, dynamically interacting with one another, causing and affecting one another, we have started using the principle of inter-penetration. Inter-penetration is the scientific and mystical theory of reality which states that everything is contained within everything. The inter-penetration of time does away with the cosmic questions of “the chicken or the egg” beginning creation, as well as the moralistic debate over free will versus fatalistic determinism. Within the web of ultimate reality, there is no ultimate beginning or cause. Moreover, every action of the individual rises out of a sum-wave of actions meeting at the individual; but the directions the wave takes depends on what happens within the individual.

Inter-penetration is what art works through. To start to understand inter-penetration, it is important to remember science has said time and space are aspects of the same thing, as are matter and energy. As we have seen, time has a nonlinear dimension. This is also true of space, energy, and matter. But we will start on the purely one-way linear level. What we see and hear through our eyes and ears is from the past. This is usually only a small fraction of a second out of the past. When we shift our focus to the sky, what we are seeing and feeling comes directly to us out from the past, anywhere from a few minutes (our sun) to many thousands of years (the stars). The wave of this past-present is regular, governed by the speed of light, which is the speed limit within the linear dimension according to science. Our past is also affecting the present of the stars right now. If we magnify, amplify, and tune into this wave of the past, we would get more details from that past and be more affected by that past.

Science says each of us has particles in our body that have been in the body of every living thing that ever existed on Earth. Through breathing, eating, and the processes of elimination, this circulation of particles takes place. The melting decay of death, decaying back into the inorganic ground field, and the build-up of new life forms in birth, is the powerful tool of this circulation of particles. Add to this the backward material cord to the material Big Bang of the universe which links everything together in this universe, and the rain of cosmic stuff that bombards Earth, we begin to see a universal exchange of particles, a universal body, a universal life.

These particles are not material, although they make up what we call materiality. Science tells us these particles are patterns of possibilities. Science also tells us these particles go back and forth in time by going out of the linear dimension with its speed limit.

By what we do, we each change these patterns of possibilities. Then these patterns travel nonlinearly out of space-time, effecting change nonlocally.

Cherotic Healing

Written March 28, 1998 for P-Form for their “Illness” issue. Published in P-Form #46, Fall 1998.


Chero

Chero is the physical life energy.
I created the word “Chero” by combining “Chi” and “Eros”.
Magic is the science/art of nonlinear change.
In Cherotic Magic, it is the practical focus of the person
to reshape reality into more humane forms by using the
magical dynamics of relationships.


It is funny to be asked to write about art as healing. It is funny
because when I went to grad art school, one of the main “criticisms” I got for the work I did was, because it “heals”, it must be therapy, not art. That was news to me! I always thought one of the functions of art is healing.

For the purposes of this essay, my work consists of rituals. These rituals are in the contexts of public performances, of shamanistic training, and of private performances.

There is an attracting, pleasurable, excited, calming, healing energy that I call “chero”. In these rituals of body play, one of the things that often occurs is a healing transformation. One of the channels of this transformation is aroused “chero”.

In the western culture, chero is known as “sexual energy” or as the “sexual urge”. This is because in this culture, adults usually call chero forth by means of sex and use chero mainly for sex. However, sex is just one way to use chero. Moreover, sex is just one of the ways to call forth chero.

Chero is the life force. It is what attracts. Chero is what attracts other people to you. It is what the shamans used to heal and melt other realities into the normal reality. It is what Tantric Buddhists used to reach the higher spiritual spheres. They use the sex act to arouse chero, which they then use in their spiritual quest. Sex is a cherotic act. But Chero is by no means simply a/the sexual energy. There are many ways of calling forth chero, and many ways of letting chero direct or guide you.

Within these rituals, chero is aroused by various physical/magical (“tanpanic”) trances. One of these trances is eroplay.

Eroplay is not foreplay, even though foreplay is eroplay.
 
Kids play very physically both with their own bodies and others’ bodies. They get turned on by this play, turned on both physically and mentally. This turn-on is not sexual in kids. Studies have shown that babies who are held, touched, and played with are more healthy and alert, weigh more, and have a lower rate of death than babies who are denied this eroplay. Studies also show that old people who live alone, who don’t get physical and emotional contact, are less healthy and die sooner than people of the same age who live with others and get that physical contact. 

When we grow up into adults, eroplay is linked to sex, maybe to assure procreation. But there may be different results when eroplay is not connected to the sexual orgasm. 

Foreplay is eroplay, but eroplay is not foreplay. We need a certain amount of straight eroplay (not connected to or leading to sex) to be as healthy as possible. 

Foreplay leads to orgasm…eroplay leads to being turned on in many different ways and in all parts of the body. It can be different every time. 

Skin touching skin seems to be what releases the full impact of eroplay.

There are some physical health and lifestyle advantages of using eroplay to arouse chero in your body. These advantages are caused by the physical and psychic changes in the body started by aroused chero. Over the years of experimenting, we have often noticed that people’s physical appearances change, sometimes radically, after they eroplay. Their physical features soften, the way they hold their bodies relaxes, their bodies have a glow very similar to the glow that many pregnant women have. All of these signs are visual, physical signals which attract open people to the chero‑enriched person…and thus attract more opportunities to him. It is also important to point out that these changes are temporary, lasting from a few hours to a few weeks depending on the physical and emotional environment. Continued release of chero is needed to have these changes be longer and longer lasting.

There are other changes that occur during eroplay. By touching, rubbing, rocking, moving, the energy centers of the body are randomly activated, releasing a flood of blood with chemicals that produce the sense of well‑being in all parts of the body. This is a warming well‑being. This is deepened by the special breathing that is gentle laughing. This is why eroplay is playful and fun at its most healing level. Laughter has its own special healing quality.

Sometimes the release of chero is blocked by confusion and guilt when the person feels the pleasurable, turned‑on feeling which he in the past associated with sex. But now he feels it in a nonsexual, nonromantic situation. If he can just let the pleasurable turn‑on wash over him without thoughts, it carries him to a new realm of relaxed enjoyment.

Eroplay as a spiritual, healing technique balances chero through all the energy centers throughout the body. This is different than other techniques such as Kundalini Yoga in which the energy which I am calling chero is raised through a very dangerous process from the base of the spine to out the top of the skull. In eroplay, chero is called forth in all parts of the body, creating an energy center out of the whole body.

There is a widely held misconception that the physical and the spiritual planes are in opposition to each other, that to reach the spiritual, you have to avoid the physical. This is overlooking a great number of disciplines that use the physical in various aspects to reach spiritual treasures. The physical is one aspect of the spiritual, the aspect most accessible to us.

As we eroplay, many changes take place. The changes are both physical and psychic. We have already talked about some of the physical changes. One of the physical signs that can occur is the male erection when certain energy centers (and not necessarily the cock) are aroused in certain ways. This male erection has become the most sexual symbol in our culture and perhaps the most taboo. The female erection is not outwardly visible, and hence is usually ignored. But in reality, the “sexual” organs are no more or no less sexual than any of the other energy centers in the body. In eroplay, erection should not be thought of as sexual or a turn toward sex. This region of the body is just one of the main centers of energy.

The other physical changes caused by the arousal of chero through eroplay are a slight enlarging of the pupils, a slight change in scent from the sweat glands and nipples, the chero blush, and a difference in body tone. All of these are so slight that they usually are only picked up on the subliminal level. The changes in one body can be transferred to the bodies of others through these subliminal sensory signals. This is one reason why physical nudity is important in this work. It gives these signals a more direct channel to affect others.

But to understand better what is happening when chero is aroused by eroplay, it should be remembered that the physical is only one aspect of what we are. Around our physical body there is a force field made up of thoughts, emotions, and other psychic material. This field is usually a fraction of an inch out from the body, but we have the ability to broadcast this psychic force outward.

When we release chero through eroplay, we focus this force and with the willingness to be unlimited, we radiate this force outward, creating a rapport into which others can be drawn. This rapport has physical, mental, and psychic qualities.

In my performances, this rapport, in the form of an altered reality or a spell, is created by arousing chero between two people by rubbing bodies, by rocking together, moving together, making noises. These two generating people are sometimes isolated in a tent or a box. But the rapport generated physically and psychically by these two leaks out of the enclosed space, putting those on the outside into an altered state. The deeper the chero rapport is between the two, the more complete the outer reality will be.

At first, the generating chero rapport may feel uncomfortable, forced, and/or strange. This is because we are using things that in the western culture are usually contained only in sexual and/or romantic contexts. One should not be thrown by this forced, uncomfortable feeling. It is the breaking of old patterns. It is one of the first stages of this work. Each energy center “breathes” several kinds of energies in and out, very much like the lungs‑nose breathe air in and out. Each center both takes energy in and projects energy out. Some energy centers are commonly thought of as one‑way channels. The eyes obviously let in visually the outer world to our brain, our mind, our inner reality. But the eyes also visually let out what is happening inside us, who we are, and our personal power into the world. All of the centers work on this breathing principle.

Chero healing as eroplay is a two‑way channel whether in play, art, magic, or everyday living. It must be this way to be effective. To create this deep two‑way chero breathing you must be willing to both deeply project and deeply take in chero with anyone who is willing to do the same.

In eroplay, the centers of the body are randomly opened up so that this chero breath can be free and deep. Eroplay creates a complete cycle of chero. This cycle is created when you touch your own body. But it becomes more dynamic when this chero cycle is between two people. This interplay opens and relaxes the centers of both people, letting them both cherotically breathe deeper and easier. This deep, easy breathing is what is healing. (We will get into the difference between healing and curing later.) Both people get healed in this interplay and the energy released through the interplay helps to heal the outer world. This is important to understand because many people think healing is a one‑way helping/giving channel. Because of this, they are careful “not to give too much”. “I must protect myself and my personal power; maintain my own space, my control over the situation.” This attitude is thought to be individualism.

We are now turning to how to use cherotic rituals in healing. The principles are the same whether we apply them to apprenticeship, performances, or bodyplay as a healing method.

Healing is not necessarily the same thing as curing. Modern western medicine is focused on curing illness, solving health problems, restoring normalcy. It is a very logical, goal‑oriented process.

When we talk about healing, we mean becoming better able to cope with and adapt to the life situations we find ourselves in. This may or may not mean curing. When we are healed, we are in the position of actively accepting the situation. This puts us into the realm of all possibilities in which we are more open to cures, if the accepting itself has not become the “cure”, or we find happiness within the situation.

We will get technical in this. But we should always remember that at the root, the student comes to the teacher, the audience comes to the performance, the person comes to the bodyplay to be deeply and intimately with a flesh‑and‑blood person or a group of flesh‑and‑blood people in a way that is usually denied to her in normal polite social life. She comes for touching, holding, rocking, playing, having fun, and healing. This has been usually forgotten under rigid serious rituals, techniques and theories. Again, western medicine is a prime example of this forgetting. But even spiritual methods of healing in our culture have put the rituals and techniques over the playing and fun.

This is why, before we get into the techniques of chero bodyplay, we have to be clear about what we are doing. By doing the apprenticeship, by doing performances, by doing bodyplay, we are calling forth the liminal state of controlled folly. Controlled folly is liminal because it is a combination of the awake reality and dream reality. Rituals make this combination possible.

In the state of controlled folly, the activities of playing and creating fun are intensified and expanded, because rituals take the place of the normal rules, taboos, fears, and inhibitions. This makes it possible to go into the unknown where anything is possible. Ritual is what makes this magical playing safe by giving the playing a living, breathing structure. Playing is only possible within a structure. But when ritual becomes important in itself, rigid and serious, it starts limiting and killing the play and fun. So it is important to remember that the ritual is just the channel of the play and fun.

Playing is a primal state in which things are drained temporarily of their normal meanings. Life goals for a time fade in importance in this state. Tensions and stresses of normal life are safely transmuted into creativity. In play, newness appears. This newness is translated into inspiration, into new ideas, new ways of doing things. The young, both in the higher animals and humans, learn the most through the state of play. Both man and the higher animals use play to transform violent energy into safe acting out. The human mind and civilization were evolved by playing.

In bodyplay, chero is aroused by playing with the body. Fun is created and released by this play into the world directly. Fun is energy focused upon itself, rather than upon some goal. The fun we are talking about in this work is a deep, intense fun that corrects imbalances and induces newness. This kind of fun comes from risk‑taking and work. This deep fun feels very different from the surface, light, fast fun of the world of politeness, glamour, romance, and social rules. This difference confuses people.

In bodyplay, this deep fun, which is focused chero, brings about a balance where there was an imbalance; it slowly moves things into balance. People usually think the healer heals the sick, the teacher teaches the student, the performer entertains the audience. This mistaken concept has the chero that heals flowing from a source (the healer) to a passive container (the sick) for the benefit of the receiving party. The truth is the two, by touching and playing, create a complete chero circuit, allowing the chero to flow freely finding the needed balance in both. When this balance is reached in the two people, the special fun of controlled folly is released into the world, inching the outer world into balance. This world balance is the ultimate purpose of these healing rituals of magical play. This ultimate purpose is usually hidden from awareness by focusing on healing the person.

To understand the nature of balancing, we must understand the true qualities of Yin and Yang. The popular notion about Yin and Yang is they are feminine and masculine with tints of negative and positive. Yin and Yang really are parts of a continuum, called the Tao. Everything has a Tao. When we were talking about the chero breath, inhaling is Yin and the exhaling is Yang. Contractions are Yin; expansions, Yang. The backbrain is Yin with its deep, intuitive, long‑range vision; the frontbrain is Yang with its practical knowledge of how to live day by day. Within each person there is the Tao of Yin and Yang. There is a certain point in each personal Tao where there is a balance between Yin and Yang. This point is different in each person. It is rarely at the middle of the Tao. When a person can find and maintain this balance, he has erour, the vulnerable strength. The vulnerability in erour is Yin; the strength is Yang. As a rule of thumb, in our modern western culture, imbalance is usually caused by too much Yang.

This means “health” is not a fixed point of perfection or normalcy that you reach and maintain. Health is the ever-changing dance of balance among the dynamic taos of the body. This dance of balance is the state the body tends to be. Healing is putting the body back into this dance. Within this picture, “illness” is often one of the paths back to health. Also death may be the natural outcome of health. This flies against the western misconception that holds that health is a static state, something you get to, maintain, or lose…that health is being unsick, untired, balanced, grounded, normal, undying. But the truth is health is a dynamic state of interaction of the seven centers, each operating as close within its Tao as possible. Sickness, contractions, mistakes, death are as equally parts of the state of health as wellness, expansions, doing the right things, and life are. There will be no state of perfection, only the process of living, the art of living.

Through bodyplay, erour is slowly reached by calling forth chero in all parts of the body by eroplaying. This is true not only in the “receiver”, but also in the “healer”. Moreover, through the energy released through these magical sessions, a collective social erour is gradually created for the general world. This is the ultimate reason for this work. The chero released as focused fun “writes” upon the place in which this magical play is performed. It transforms the place into a magical site. The more play is done in a place, the more chero is stored in the physical site. The more chero that is contained in a physical site, the easier it is to perform more intense play.

Each touch and gesture and movement in bodyplay has its own Tao of Yin and Yang…its own qualities of calming and arousal. Each touch has both calming and arousal within it. One of the secrets of bodyplay is finely using these two qualities in the right balance within each firm touch of playing.

The hands are transmitters of chero. This is because your hands are the only parts of your body that can touch almost all of your body. They are healing wands of chero. Laying on of hands is powerful magic. But rubbing body centers together is much more powerful, therefore more taboo. This magic requires two or more people being physically intimate together.

Cherotic bodyplay releases, frees, creates new possibilities. This is true for the people who are actually directly playing together. But this is also true for the society, the people, the world, the outer reality surrounding the eroplaying people. This makes bodyplay not just an individual problem‑solving therapy. Instead, it is a playful but powerful ritual that has effects on many different levels. There is a danger in focusing too much on what it will do for the individual, how it will affect his life, what it means in terms of his life, how it will help him.

You who are reading this are aware to some degree that you create at least your own reality. But you look around at the reality that you find yourself in, and it does not match your ideal of how things should be. This has given rise to bad logical thinking which has sealed many people (especially in the growth movement of the ’70s) back into being victims. According to this bad logic, since a person creates his own reality, he must somehow want the reality he finds himself in. If the reality does not match what he thinks should be, then he must not really want what he thinks should be, what he wishes should be. So he does not really want what he thinks he should want, what he wishes he wants. Just writing down this bad logic is confusing!

This way of thinking is a padded cell. It comes from the premise that there should not be any “shoulds”. This premise originally applied to false “shoulds” coming from outside of the person. But over time, it bled into the personal inner shoulds, what is right inwardly. This leaves no base upon which the person can create. He is left with guilt for creating a reality that should not be…or worse, he proudly takes “responsibility” for doing what he knows he should not do…takes responsibility for continuing to do it until sometime in the future when he magically can start doing his ideal. This is absolutely false “taking responsibility”, the worst kind of double‑think.

It takes one magical fact, the fact that you can create your own reality, and uses this fact as the foundation for a prison of victimization. It simplifies freedom, power, and real responsibility out of life again. If you really do not want what you yourself think you should want, what you wish you want, your only option is to give up on yourself, to see yourself as inferior to your ideas, to settle for less, to be less, to wallow in self‑indulgence within guilt and fear and doubt. So you project guilt, fear, and doubt out into the dynamic interplay of ultimate reality. So you are personally responsible for guilt, doubt, and fear in all reality.

What this bad logic does not take into account is the influences of the dynamic interplay on the person. If a person gets cancer, it does not mean that he secretly wanted to get sick or that he did anything wrong to cause the illness, or that this sickness is a lesson that he has refused to learn in any other way. If he thinks these things, if he thinks in this cause‑effect linear logic, he takes on the illness as himself. This makes healing much harder to take place because there is no place within which to do battle. It is him…it is the cause of his doing, his fault, or God’s wrath.

In reality, there are many, many factors that create such a situation. Many of these factors are “invisible”, impersonal. For an example, in our cultural frame, there is an expectation that has the title of “statistical probability” that a certain number of people within a certain time frame will have cancer and die. Reality tends to fulfill strongly held expectations, so that number of people will die within that time frame. This is just one of the factors. The person does not need to understand these factors.

We have said a major secret in healing is acceptance. What the person with cancer first (as any healer) needs to do is to accept the situation (but not the surrounding expectations) he finds himself in, accept the cancer, accept death, but more importantly, accept living. This acceptance creates a level battleground. Next, he should find out what he envisions should happen (but not just should happen for him, but what should happen)…how should he live, how should he die, what should the cancer do, what should life be like, what should dying and death be like, what should things be like. Then he has to act and live in passion and in faith as if things are as they should be. There is always a risk of failure, of losing the battle. But by doing this healing battle, even if the person “loses”, he is still within power.

I explore these ideas more fully in my book Cherotic Magic. And I’d love to hear from you.


Playing with Reality, May 22, 1988

Introduction to Cherotic Apprenticeship

by Frank Moore, 1991

breaking taboos releases a magical freedom if done in certain contexts. this is true and important, but only in the first stages of magical training. taboo can be defined as social or moral forbiddens which maintain a dogmatic power structure by fear of what is outside that structure.

the things that are taboo, and hence are magically charged, in the normal social reality, are not taboo in the reality of the magician. there are no taboos or morals within the reality of the magician. for example, when i eroplay with someone, the eroplay itself is not taboo or transformative for me. the being with the other person in the eroplay is transformative, but not in the taboo dynamic. for me, eroplay, ritual reality, etc. is just everyday living. magicians will not do a lot of things, but this is never from a taboo/moral consideration, but from a practical ethical knowledge of how things work.

in what i do, breaking taboos is important in the first stages. in the public and private performances, as well as in my short-term work with people, breaking taboos plants seeds and time bombs, cracks the normal frame to let in a glimpse of an alternate reality.

but within the apprenticeship, there comes a time where, if the student relates to the magic life as breaking taboos, rather than as her everyday life, it becomes clear that she is taking a vacation from the normal social world, rather than truly living beyond taboos as her own personal reality.
the first ring of the chero apprenticeship, introduction to cherotic magic, lasts for 10 weeks. i meet with the student once a week for 2-4 hours. (for someone who lives outside the bay area, this ring can be done as a 10-day intensive.**) this ring focuses on the cherotic basics of the magical work. this is done one on one, focusing on how the student can use these basics in her life even if she does not go on to the advanced rings.

the break between each ring has proven to be vital. the minimum break period after the first ring is a month. there is no commitment to return from the break.

the second ring, practice and performance of cherotic magic, is 6 months. this is an intensely physical training, which includes both public and private ritual. this training will affect every aspect of the student’s life profoundly.

the third ring, living magic, is 2 years and is focused on the student’s devoting his life for the 2 years to the aiding of the shaman in the magic work. because of this, during the break between the second and third rings, after the student hears the calling for this devotion, he should arrange his personal life to make this devotion possible.

beyond these first three rings of magical training lie four deeper rings into the realm of the responsibility of the shaman. but it is important to stress that each ring is complete in itself, reaching a different level of shamanism.

**the out-of-towner may stay at the ashram/salon of all possibilities during this intensive. subject to availability.


Brochure cover art by LaBash

“Pure” and “Applied”

Excerpt from Cherotic Magic Revised, “Reality Shaping”, Section 15, by Frank Moore.


In the primitive world, reality shaping was the function of magic and of the shamans. The shamans used rituals and myths as dream boats to travel outside of the normal frame of reality into the web of all possibilities to communicate with the gods and to shape reality for their tribe. Sometimes through the myths and rituals, the shamans took the whole tribe into the web. But often the shamans went deeper into the web alone…alone because of the increasing dangers that exist in the web. This magical activity was seen by the tribe as vital to their survival. The shamanistic activity was not limited by the reality frame, by what was practical, although the practical reality was shaped by the shamanistic activity. As a result of these common mythical journeys, the frame was very flexible for all in the tribe.

But this began to change in the modern cultures, especially in the West. The shamanistic activity began to divide into philosophy, religion, art, science, and the occult. Each of these areas began to subdivide into sects, schools, disciplines, mediums, etc. They also divided into “pure” and “applied.” “Pure” activities are done for themselves to explore, shape, create reality, to travel outside the normal frame, to capture possibilities not enclosed within the frame, to bring these “new” possibilities into the frame to magically widen or shift the frame of reality.

The “applied” activities try to use, to control, harness these new possibilities into the service of the established frame. This is the washte brain activity. In the modern culture, the pure activity is seen as being of value only as it relates to the applied activity. This severely limits the magic change of reality shaping which is what the pure activity is meant to be. What also limits the shamanistic magic in the modern world is the fragmentation of the pure activity. There is a holistic myth developing in science, in philosophy, in art and theatre, in religion, in psychology, in the occult. But this myth cannot get into the frame because the modern myth travelers are talking, thinking, and seeing in different technical languages, depending on their fields. Because of this, they do not realize they are visualizing the same myth. So the new possibilities contained in this myth cannot get through except in fragments.


Artwork from Cherotic Magic Revised by LaBash

about play (playing)

By Frank Moore, May 1, 1995, from his book, Cherotic Magic.


Enjoying playing unlocked every possibility.

Schechner defines performance as “ritualized behavior conditioned (and) permeated by play.”

We will get technical in this. But we should always remember that at the root, the student comes to the teacher, the audience comes to the performance, the person comes to the bodyplay to be deeply and intimately with a flesh and blood person or a group of flesh and blood people in a way that is usually denied to her in normal polite social life. She comes for touching, holding, rocking, playing, having fun, and healing. This has been usually forgotten under rigid serious rituals, techniques and theories. Again, western medicine is a prime example of this forgetting. But even spiritual methods of healing in our culture have put the rituals and techniques over the playing and fun.

This is why, before we get into the techniques of chero bodyplay, we have to be clear about what we are doing. By doing the apprenticeship, by doing performances, by doing bodyplay, we are calling forth the liminal state of controlled folly. Controlled folly is liminal because it is a combination of the awake reality and dream reality. Rituals make this combination possible.

In the state of controlled folly, the activities of playing and creating fun are intensified and expanded, because rituals take the place of the normal rules, taboos, fears, and inhibitions. This makes it possible to go into the unknown where anything is possible. Ritual is what makes this magical playing safe by giving the playing a living, breathing structure. Playing is only possible within a structure. But when ritual becomes important in itself, rigid and serious, it starts limiting and killing the play and fun. So it is important to remember that the ritual is just the channel of the play and fun.

Playing is a primal state in which things are drained temporarily of their normal meanings. Life goals for a time fade in importance in this state. Tensions and stresses of normal life are safely transmuted into creativity. In play, newness appears. This newness is translated into inspiration, into new ideas, new ways of doing things. The young, both in the higher animals and humans, learn the most through the state of play. Both man and the higher animals use play to transform violent energy into safe acting out. The human mind and civilization were evolved by playing.

In bodyplay, chero is aroused by playing with the body. Fun is created and released by this play into the world directly. Fun is energy focused upon itself, rather than upon some goal. The fun we are talking about in this work is a deep, intense fun that corrects imbalances and induces newness. This kind of fun comes from risk taking and work. This deep fun feels very different from the surface, light, fast fun of the world of politeness, glamour, romance, and social rules.

Through bodyplay, erour is slowly reached by calling forth chero in all parts of the body by eroplaying. This is true not only in the “receiver,” but also in the “healer.” Moreover, through the energy released through these magical sessions, a collective social erour is gradually created for the general world. This is the ultimate reason for this work. The chero released as focused fun “writes” upon the place in which this magical play is performed. It transforms the place into a magical site. The more play is done in a place, the more chero is stored in the physical site. The more chero that is contained in a physical site, the easier it is to perform more intense play.

Cherotic bodyplay releases, frees, creates new possibilities. This is true for the people who are actually directly playing together. But this is also true for the society, the people, the world, the outer reality surrounding the eroplaying people. This makes bodyplay not just an individual problem solving therapy. Instead, it is a playful but powerful ritual that has effects on many different levels. There is a danger in focusing too much on what it will do for the individual, how it will affect his life, what does it mean in terms of his life, how it will help him. This kind of focus can turn bodyplay into encouraging individualism which keeps the person in the prison of fragmentation.

To be successful, bodyplay has to be intensely personal between the playing people, but should not be individualistic. It should not push the people inward onto their “selves.” Bodyplay should expand them outward into others.

Front page of the handout which was on display and available to take for free at performances. Drawing by LaBash.
Handouts on display at a performance.

Download the handout here:
https://www.eroplay.com/aboutplay.pdf

Expansions & Contractions

From Cherotic Magic Revised, Chapter 2: Chero (Section 7) by Frank Moore, first published in 1990:


The expansions and contractions are the natural cycles of growth. They are life breathing. Each cycle is different in length, depending on what is happening in the life.

Both the expansion and the contraction phases have their own dangers of illusions. In expansions, things open up and become easy. Opportunities and people are attracted to the student by the chero. When this happens, the student is tempted to throw away her framework, or to go outside of it, to pursue, to run after these opportunities and people. If she does this, she loses both her base and what attracted these things to her in the first place. She finds herself out of power.

Another common reaction to expansions is to think one is not worthy enough, not able or strong enough to handle all of the good that life suddenly offers her. Such a person destroys the expansion, her framework, and sometimes even herself to avoid having her “unworthiness” be found out, to avoid the responsibilities that being happy and creating a full life bring. This reaction is more widespread than one might think. The student usually has little problem accepting criticism from the teacher. But when the teacher starts talking about the student’s strengths, abilities, and potentials, the student very often forgets her pact of trust, and starts arguing with the teacher. This is because if the student accepts her worthiness, her strengths, abilities and potentials, she is admitting her responsibility for creating her life and reality, and the effect she has on others. The student should trust the teacher even when the teacher is praising her, although this praise may be rare.

In contractions, the student faces a different set of illusions. In contractions, everything seems, appears to be falling apart. What the person thought would be a direct path to what she wants falls apart. People start flaking out on her, leaving her. Things get hard and difficult. Things seem to stop happening for her. Her life sphere gets small. The pace of living becomes slow.

Most people panic in contractions. They feel trapped, penned in. They feel like they are losing everything, going backward, dying as who they thought they were. When this happens, they grab onto things and people to save themselves and to get what they want; or they give up, thinking they are not strong or worthy enough to get to all possibilities. They usually tell themselves they really do not want all possibilities, they really want less. They lie to themselves to make their settling for less more livable.

In reality, contractions are periods in which the old phase is being rearranged to prepare for the new expansion that is coming. Some old stuff has to be burnt away to make ready for the new. Some valuable stuff is stored away to be used later. This feels like losing. This loss is not real. The creative progress in contractions is far too complex for us to rationally, logically understand or try to rationally plan out. Evolution is an automatic process when you let go into it. When you know that after every expansion comes a contraction, you will be less tempted to break out of your framework to pursue some glamorous or exciting avenues that appear to be more direct routes to what you want. You can be sure they are not.

When you know that after every contraction comes an expansion, you can better practice active passivity, which is the key to using contractions as a quiet building of creative potential. In this way, in both expansions and contractions, you can maintain the even focus that puts you in control of your reality. By knowing the cycles of expansions and contractions are irregular, you can relax, not holding on to anything, but not waiting in dread for the next contraction to hit. This is one of the aspects of erour, the vulnerable power.

Art by LaBash from Cherotic Magic Revised

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

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

“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