After considering realistically about whether I was going to have enough time to create a book, and inscribe each page with a complicated theory I had to alter my idea again.
The Final & Most Successful Concept
Instead of focusing on all the conspiracies I decided to
concentrate on one more precisely. The Illuminate has been an up and running
secret society for the last century that always seems be growing in today's
society. From the music industry to politics there always seems to be an
uncanny amount of coincidences that point straight to this so called
'non-existent' group. The increasing amount of occult symbols with in music
video clips have been staggering within the 21st century and can only be
pointed to the one group.
I want my installation to focus this point directly, and
inform people about the consequences of the lifestyle this group is portraying
as desirable. From doing what they want, 'Do what thy Wilt' to aspiring to fame
riches, they clam these are the only ingredients to true happiness.
Books were used, as they were a running concept from the
start of the project. Symbolically they portray knowledge and wisdom and I
still wanted to capture and represent this. I purposely chose to burn them to
show the destruction and chaos this secret society can bring if you are not
aware of them, especially through the use of media. The pyramid was a conscious
decision too as it is the symbol of the 'All-Seeing-Eye' which is becoming a
more common icon in day to day life, and seen on the American one dollar note.
By placing a candle on top of the pyramid this portrays to the audience the
illumination that these secret societies claim they possess. They believe they
are the bearers of light and prosperity in this world, they also claim to have
godlike qualities, possessing power over people and abundance of money and
fame.
The placement of the installation is very critical as it
carries added meaning and purpose to the piece. I chose the classroom table
because it is known to be place where people learn and gain knowledge. This is
what I want the audience to grasp, that my installation is a learning lesson
where they should understand the truth about this group. By scattering unlit
matches around the pyramid this gives the notion of opportunity among the
people to be lit up with the truth. I made sure chairs were still around the
table to portray that the installation is still a functional setting where
people can sit, interact, think, and form an opinion on the concept.
Ekaterina Panikanova played an important part in formulating
my art work. As an artist that uses books in a unique way, this encouraged me to
do the same, experiment, edit and execute a concept that would best suit the
chosen materials. Overall I believe my concept was very strong, and structural
design was adequate in conveying what was intended too. I am very happy with
the journey I went on to produce what I created.
An essay I wrote last year that mentions all the occult symblisms that is relevant to this assignment:
Essay: Visual Codes in Music Video Clips
‘How have occultist themes been introduced in mainstream music videos
and what are the effects on the wider community.’
The music industry’s use of occultist themes in
mainstream music videos has intensified causing viewers to become conditioned
to these visual codes. Conditioning tactics are being used to manipulate viewers
into perceiving these occultist themes as the norm. The role of music is very
influential as it is used readily in today’s visual society. From restaurants
to gyms, to shops and households it is hard to escape the all-pervading oral
and visual presence of music. Throughout mainstream music clips, powerful occultist
iconography is being thrust upon viewers who are ignorant to the repercussions.
A way the music industry is executing this is with the use of symbolic
representation. Some artists known to promote such occultist imagery in their
music videos include; Ke$ha and Kanye West. This essay will attempt to
deconstruct these visual codes to gain a better understanding of the occultist
meanings and underlying messages.
Occultist imagery has been witnessed in majority of Ke$ha’s’
music videos exploiting her young female fan base to a more sinister agenda. In
Kesha’s latest number one single titled ‘Die
Young’, the song is about “living
your life as a celebration, as if it was the last night of your life – every
night” (SonyMusicFR , 2012), promoting young audiences to embrace a culture
of death. This underlying message of irresponsibility paves the way for a
visual feast of more occultist symbolism.
The video is
set in Mexico, where Ke$ha and a band of her followers arrive outside of an abandoned
church. Symbolism is evident from the very beginning as seen in the appendix (Figure
1) (KeshaVEVO, 2012), skull and bones flash on the screen representing the cult
of death or Yale’s elite secret society
seen in the appendix (Figure 2) (Branch &Lassila, 2006) emanating from the
hearse. The function of a hearse, seen in the appendix (Figure 3) (KeshaVEVO,
2012) is a vehicle that carries a coffin to a funeral portraying an image of
looming death , which foreshadows the fate of the occupants before they even
get out of the car. Written on the door of the hearse is ‘EVIL’ seen in the appendix, (Figure 4) (KeshaVEVO, 2012) blatantly
translating to the viewers that the artist’s agenda is pure evil. Once the
hearse doors are opened, Ke$ha is presented in a black veil, posing as a
‘sexual religious statue’ seen in the appendix, (Figure 5) (KeshaVEVO, 2012) while
being carried on the shoulders of men. This resembles religious cultures where
statues of the Virgin Mary are carried by people on streets, as seen in the appendix
(Figure 6) (SuperStock, 2013), expressing the notions that she views herself
superior then everybody else, a modern day saint.
During this scene occultist symbols are being flashed
across the screen, such as the ‘Eye of Providence’ seen in the appendix (Figure
7) (KeshaVEVO, 2012) which represents an
evil malevolent being, portraying the artist herself expressed by her sinister facial expression.
Inverted crucifixes are also displayed multiple times, as seen in the appendix
(Figure 8) (KeshaVEVO, 2012) representing an anti-Christian symbol, blatantly disrespecting
the traditional conventions of Christian symbolism. In another scene Ke$ha is
presented playing with tarot cards, pulling the “Devil” card, seen in the
appendix (Figure 9) (KeshaVEVO, 2012) making everybody burst into laughter. Encouraging
viewer’s to perceive this occultist act of “predicting the future” as ideal. Symbolically
the Devil is the card of self-bondage to an idea or belief which is preventing
a person from growing or being healthy, as seem in the appendix (Figure 10) (Stenudd,
2013). This depicts the artist as a prisoner of her own occultist beliefs, and
cannot do anything but laugh at her captivity. The video clip visually encourages
viewers to conform to what is visually presented in front of them, even if that
means they are enslaved to what the music industry and media proclaims as the
‘truth’.
Ke$ha is later
seen seated on a thrown, directly under a pentacle, seen in the appendix
(Figure 11) (KeshaVEVO, 2012). A pentagram or pentacle is the most identified occult
symbol used in occultist practices and is considered to be the most potent
means of conjuring spirits, seen in the appendix (Figure 12)(Stewart, 2011). In
this circumstance Ke$ha appears as if she is conjuring a spirit of sexual
pleasure and formication. During this sequence, Ke$ha displays the one-eye
sign, seen in the appendix (Figure 13) (KeshaVEVO, 2012) interpreting this sex
and death worshiping occult as a socially acceptable practice. A practice supported
by the music industry elite; the supposed Illuminati occult group, seen in the
appendix (Figure 14 & 15) (Coleman, 2013) whose main symbol of identification
is the ‘Eye of Horus’.
Throughout the
video triangular symbols are flashed on the screen as either upright or
reversed, as seen in the appendix (Figure 16) (KeshaVEVO, 2012). In occult
symbolism, upright triangles represent the masculine role while reverse
triangles represent the feminine role. The combination of both represents the union
of opposites, in other words sexual intercourse. Sexual behaviour is also
evident by the images of two wolves in the act of reproducing, seen in the
appendix (Figure 17) (KeshaVEVO, 2012). By indorsing this type of behaviour, indulging
in one’s animalistic instincts is contrary to reaching spiritual enlightenment.
Kanye West’s use of symbolism in his music videos visually
exposes viewers to overt masonic and occult agenda. In Kanye West’s almost motionless
video “Power”, a profound story is being foretold in rich archetypal symbolism.
The video differs as it is filmed in a short sequence of 1.43 minutes in length,
compared to the typical 3 to 4 minute duration. The director Marco Brambilla
went for a neo-classical aesthetic creating a piece full of deep occultist symbolism. As for neo-classical paintings of that era,
each object, symbol and detail conveys an important message.
The video
begins with a close-up of Kanye West with illuminated eyes as seen in the
appendix (Figure 18) (KanyeWestVEVO, 2010), portraying him as being “ignited”
from within. His stance is positioned in-between two infinite rows of columns depicting
the ‘Two Pillars’, as seen in the appendix (Figure 19) (Kendall, 2009) portraying
that those pillars lead to the “Sphere of Enlightenment” which is the key
source of power. Kanye positions himself in the centre of this sphere revealing
that “In this white man’s world, we are
the ones chosen” (KanyeWestVEVO, 2010) portraying himself as being initiated
amongst the most powerful of this world, the supposed Illuminati elite.
The occultist
object immediately noticed straight after is the gigantic pendant on Kanye’s
chest, which is of the head of Horus, as seen in the appendix (Figure 20) (KanyeWestVEVO,
2010). Horus is an ancient Egyptian deity that has great significance in occult
practises; see (Figure 21) (Riley, 2013). Associated as the Sky God, he is most
recognized by the image of a single eye, (Figure 22) (Riley, 2013). The
symbolism of Horus has great connotations in the freemasonry occult. The journey
of a to-be initiated member through the Masonic degrees is pronounced as the practice
by which the Eye of Horus is opened, this video can be interpreted as the
artist’s possible public initiation into the freemasonry occult (Mackey, 1878).
The gateway of the
pillars is guarded by two horned girls holding a staff, seen in the appendix
(Figure 23) (KanyeWestVEVO, 2010). Their appearances resemble portrayals of Isis
and Hathor who were goddesses of ancient Egypt, see (Figure 24) (Gilligan, 2010).
Isis the mother of Horus was the goddess of motherhood, nature and magic (Witt,
1997). Hathor was also considered as a maternal deity as well as the goddess of
music, dance and fertility (Hart, 2005). Both Isis and Hathor were known to
welcome and protect the dead during their journey to the afterlife. Kanye can
be depicted as a Pharaoh due to his royal attire, on his journey of sacrifice, supervised
by Hathor “the royal goddess”. This visual scene gives the audience a notion
that these goddesses are actually welcoming Kanye “behind the veil”, - see
(Figure 25) (KanyeWestVEVO, 2010) protecting him on his journey to supposed
immortality. This resembles occult group practices where applicants must endure
a symbolic death and be reborn to sanctify their initiation process.
The image of a
sword descending above Kanye West’s head, see (Figure 26) (KanyeWestVEVO, 2010)
portrays a classic legend, The Sword of Damocles. The tale of the Sword embodies
the constant danger faced by those in positions of power (Benet, 1948), as seen
in the appendix (Figure 27) (Donner, 2012). Kanye stands, in a state of
impending doom, knowing he can be executed at any time.
Directly after, two figures emerge from both
ends holding a dagger and attempting to assassinate Kanye “Killing of the King”,
seen in (Figure 28) (KanyeWestVEVO, 2010). The assassination did occur, but it
was not the result of the two assassins, but by the sword of Damocles, this is
portrayed by in the single’s cover, see appendix (Figure 29) (Condo, 2010). The
stone which Kanye’s head is placed on is a symbol used in Masonic ritual, the
‘perfect ashlar’, seen in the appendix (Figure 30) (Kendall, 2009) which represents
the state of the perfect initiate. Kanye says “goodbye cruel world / I see you in the morning“(KanyeWestVEVO,
2010), as he has been “chosen” to
take part in an initiation process followed by a glorious awakening as a new
being. In order to accomplish this, Kanye needed to kill his old self and be
ritualistically reborn. Once this was done, true power is within his grasp.
After pictorially decoding
occultist themes from two mains stream videos, the issue at hand is not the occultist
symbols that are being flashed on the screen, but the underlying messages that
are communicated to the viewers. Such agendas are about making specific values
and attitudes cool and desirable to young people and currently they are
becoming more evident in pop culture. Occultist themes are successfully
promoting a culture of death, sexualisation, increasing materialism, attaining
power and corrupting and debasing spirituality.
Building the base:
