Here is the script of the most recent video I posted. Or if you’d prefer, you can go watch it on youtube.
Some time ago, I made a video talking about the strange symbolism in the music video of Ke$ha’s song, Die Young. Here are all of the symbols she used:
The curious thing about them all is that despite the fact that the video is supposed to have a satanic theme, the symbols Ke$ha used are all actually Christian symbols. Here’s what I concluded in that video:
Ultimately what I think I find so frustrating about this video is that it’s use of symbolism is, essentially, magical thinking. Symbols have power, because they communicate something. A symbol stands in for something greater than itself, which is why it has more power than random scribbles. Using symbols without reference to what they mean is trying to use get power without invoking their function – it’s trying to steal their power.
But on further consideration, I’ve realized that this is actually quite fitting. Yes, this was rather incompetent satanism, but that is really the most consistent satanism possible. Diligence is a virtue; if she put a lot of work into her satanism—if she really tried to do a good job—that would undermine the entire point. Skillful Satanism is actually something of a contradiction in terms.
And this is something C.S. Lewis complained about in literature. In his preface to The Screwtape Letters, talking about artistic representations of the angelic and diabolic, he said: “The literary symbols are more dangerous because they are not so easily recognized as symbols. Those of Dante are the best. Before his angels we sink in awe. His devils, as Ruskin rightly remarked, in their rage, spite, and obscenity, are far more like what the reality must be than anything in Milton. Milton’s devils, by their grandeur and high poetry, have done great harm, and his angels owe too much too Homer and Raphael. But the really pernicious image is Goethe’s Mephistopheles. It is Faust, not he, who really exhibits the ruthless, sleepless, unsmiling concentration upon self which is the mark of Hell. The humorous, civilised, sensible, adaptable Mephistopheles has helped to strengthen the illusion that evil is liberating.”
There’s nothing all that particular to Satanism in these complaints, though. It’s really the same as a mistake that we tend to make about all evil. I think that the origin of this mistake is, roughly, the intuition that if a person is trading their soul for something, there must be something quite valuable which tempted them to do it. Consider the scene in A Man For All Seasons where Richard Rich has just perjured himself to produce false evidence that will get Sir Thomas More executed for treason:
More: There is one question I would like to ask the witness. That’s a chain of office you’re wearing. May I see it? The red dragon. What’s this?
Cromwell: Sir Richard is appointed Attorney General for Wales.
More: For Wales? Why Richard, it profits a man nothing to give his soul for the whole world. But for Wales?
(If you haven’t seen A Man for All Seasons, please do. It is an excellent movie.)
Why would somebody do something evil if it doesn’t benefit them? The answer to this question is straightforward, but we need a few concepts in order to be able to give the simple explanation. The first is the the Greek concept of hamartia. It comes from the verb hamartenein, which was, for example, what an archer did when he didn’t hit his target. It means, roughly, to miss. Hamartia thus means an error, or a mistake, or by the time you get to the early Christian church, sin. The key insight is that evil is not something positive, but something negative.
I think that people go wrong here by not taking nihilism seriously enough. We think of a world working in perfect harmony and unity as the default, and of evil as a deviation from that. But in fact the default is nothing. There need not be anything at all. No matter, no energy, no space or time or physics. Just pure nothing, is the default. And yet, there is something. I don’t even care at the moment whether you attribute that creation to God or to a “quantum fluctuation”—well, I care a little bit because the latter is still assuming that some sort of contingent laws of physics exist, but whatever. The point is that anything whatever that exists—in our contingent world—is more than had to exist. Whether you think of it as a gift or as something that fell off of some cosmic truck that was driving by, from our perspective it is all a positive addition to the nothingness which is logically prior to it.
When you look at it this way, you can see that good is not a maintenance of the status quo, but an addition to it. But of course good is not merely anything at all existing. This is why a table is better than a pile of splinters, and why in the ordinary course of events using an axe to turn a table into a pile of splinters is wrong. It is bringing the world closer to the default of nothing. Good is not just any existence, but existence ordered according to a rational relationship. By a rational ordering, small things can become something more than themselves. Put together in the right shape, splinters can be beautiful and hold things up off the ground. That is, they can be a table.
Incidentally, this is why hyper-reductionists have such an easy time seeing through everything. Because every good thing is a rational relationship of lesser things, it is always possible to deny that the relationship is real. You can look at a table and see no more than a pile of splinters. Why a reductionist is proud of seeing less than everyone else is a subject for another day, but if you look at anything you know to be good, you will see this. It is itself made up of a rational relationship of parts that form more than they would in some other relationship. Further, all good things themselves fit in a rational relationship with other good things. Anywhere you look, whether chickens or statues or vaccines or video games; all good things have this property. And all evil—murder, arson, terrorism, or just lying—all have the property that they destroy rational relationships between things. They destroy the whole which is greater than the sum of its parts.
It is also the case that there is no other possibility for what constitutes good and evil. I don’t have time to go into details, but if you examine any attempt to define good and evil which is not convertible into this definition, it invariably consists of taking one sort of rational relationship and calling that the only good. Good is doing your duty, or good is the family, or good is the state or good is pleasure. Every such thing, if you really spend some time looking into it and seeing what its proponents actually mean by their words and actions—they are all taking some rational relationships and elevating them above all other rational relationships. They are taking a part and treating it as the whole.
And this is why sin is analogous to an archer missing what he was shooting at. We all aim for doing the good, but it’s very rare that we actually hit our target. Sometimes our aim is off because we twitch—that is, we can’t hold steady—but very often it’s because we mistake what we’re looking at. We think it’s closer or further, or that we’re looking at one part when we’re looking at another. We go wrong not because we think, “oh man would it be great to shoot this deer in the log under it!” but because we thought we were looking at its chest. We weren’t, as proved by where our arrow struck. Or we can go wrong by being mistaken about where we’re aiming, thinking that because we’re looking at something, that’s where we are pointing our arrow. Know thyself is often quoted by unpractical people, but it’s actually intensely practical advice.
The drug addled, sex-crazed rock star doesn’t think she’s using Christian imagery when she’s trying to be Satanic. She has not traded looking like a buffoon for some amazing benefit we can’t see. In her mind, she doesn’t look like a buffoon. She thinks she looks awesome; that anyone sensible would cower in awe of her satanic majesty. She has missed her target, and hasn’t yet gone to see where her arrow has actually struck. There’s a reason why pop musicians rarely last a decade; once they realize what they’re doing, they stop doing it; once they stop believing in it, they can’t sell the illusion anymore. And then their popularity fades, because it was not them, but the illusion they were selling, which was so popular.
Satanic Majesty is always an illusion, which is why you can only ever encounter it in art. Art contrives to convey experience; to show you what the world looks like through someone else’s eyes. But Satanic Majesty always looks banal from the outside; it’s only from the inside that it looks spectacular. This is part of why pride is the deadliest of the sins: if you wrap yourself up inside yourself, you can fool yourself forever without anything to check your downward, inward progress. And this is why music videos feature so many reaction shots. It’s also why movies and TV and virtually everything fictive, features so many reaction shots. The thing itself rarely looks very impressive, but people’s reactions are limited only by their imagination and acting skills. It’s why in Power Rangers series, after they lower the camera to the monster’s feet, the next shot is always the power rangers looking up. Our age has been called the age of many things, but it is the age of nothing so much as it is the age of the reaction shot. TV news shows the reactions of people on the street, but it never shows you the considered opinions of people on something that happened ten years ago. Collectively, we don’t like reality; you can tell a tree by its fruit, which is why we prefer to look at seedlings.
It’s everywhere in entertainment—in which category news most certainly belongs— but it can be found throughout life, too. We endlessly discuss people’s reactions, but we rarely discuss things and ideas. And if we look at ourselves, when we are tempted, we can see the same thing. We do not consider our temptations in themselves, but only how they will make us feel. I mean when we’re experiencing them, not when we’re regretting having given into them afterwards. In the actual moment of giving in, our attention is never on the reality of what we’re about to do; we’re concentrating on how happy it will make us. That’s why one of the techniques for avoiding temptation is to face up to what we’re actually doing. Of course sometimes we can’t avoid facing up to what we’re actually doing; in addiction it’s called hitting rock bottom. But when one is young and healthy, it’s very rare that reality makes us face up to what we’re doing. On TV they always pick pretty people who smile for the camera, and it’s so hard to believe that anything can be wrong when pretty people are happy. On Facebook people post pictures of when things are going well, and the very fact that it’s rude to tell people about how bad your day was means that we don’t often face up to the reality of what is going on in life. A person has to be very unhappy indeed before they won’t smile for the camera.
Which is a pity, because so many people use reactions to tell whether the thing being reacted to is good or bad. Since people will put their best foot forward, this doesn’t work; to know right from wrong we must investigate the things themselves. And in fact in our world whether an action is defended on its own or by the reactions to it is actually a good heuristic for figuring out whether it is moral or immoral—if you can say something good about the action itself, it is probably moral. If it is only defended by people’s reactions to it, it is probably immoral. That’s only a heuristic, of course; people dance because it’s fun, and dancing is legitimate. But dancing is also beautiful, at least when it’s done well. There’s very little you can say about heroin except that it’s fun.
That’s all for now. Until next time, may you hit everything you aim at.
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