John Latham’s SKOOB works, an approach suggested by a movie in passing, Still/Born (2018).

Rev., May 14, 2018

FUSION byline features explorations of similar trope development in contemporary art and movies.

I’ve made a strange discovery of a hypnagogic dysfunction, in my treatment of the nondescript movie Still/Born (2018). In this one, the mother has twins, but only one survives. For that, in grief, mixed with job, she keeps the dead second twin’s crib in the nursery, allowing it to become a doorway to let a haunting presence in. So, what is this?

Consider the baby monitor, which has been made use of as a supermedia almost since its inception, years ago (see Signs (2002)). It is placed in one room, and monitors the sounds coming from another room, which could not be heard by ear alone, if not for it. Thus, it creates a vis-a-vis situation between two rooms, it bifurcates the watching space. Then, for that, because of the limits of the technology, there is static, and it is in that static that she hears not one crying child, but two. So, by this it is assumed that in a device which exists to place two rooms either side of it, the static also divides the reception quality in two, and this splitting results in the haunting.

What this suggests is that the baby monitor is a glass onion formation, a filtering object designed to admit sentient or ambient spirits in to consciousness, but in such a way as to filter them as split, or twinned, that is, it creates twinfire as an existential state, bifurcating reality, much as a kaleidoscope in its early stages does. This splitting, however, I have to consider a dysfunction, as the glass onion itself would not get you there. It would just oscillate, in order to split and bifurcate, that would require a whoosh, thus, I would think that the splitting effect of this glass onion is the result of its bottom dropping out in an adjunct zone, and dropping down to the whoosh state there, this IS a dysfunction, a creator of paranoia.

aaas 1

this is a much more controlled, and paranoid, 2D space than the one in the mainstream, which drops down through the chandeliering effect of the lattice to a full on whoosh spiral. It is inductive, that is, it helps to induct the person into whatever paranoid state one is to end up in. And, then, the odd thing is, though here I will not mention that they branch out to visual forms of the baby monitor, the thing that really gets Mary in Still Born into it is books. And it is not just books. It is a book given to her after she makes a long ride, down a road threading the needle through two wildernesses

aaas 2She is in the woman’s haunted house, because she cannot get over it, under a strange lamp, bespeaking strange possibilities, she listens to a tape that sounds an awful lot like hers, that is, a prototype of which hers is the copy, validating the reality of what she think she heard, making it, by a single example, real

aaas 3and it is at this stage that a book comes into it, and we see Lamashtu, in this context, in the context of her moving down through the static of the baby monitor to a reality where those two voices are real a book serves as the bookending device to as it were pull the splitting together into a new obsessive whole, that is, it functions as an adjunct sort of lattice, to create and validate a new reality

aaas 4and by, now, a simple feedback loop, a loop of pointing, there being only ONE documentary source, in ONE binding, word and picture bind, to become a reality

aaas 5then, surprisingly, the woman allows her to take the book home with her. This is ill-advised as it has now become the lattice of binding that creates as real the twinspin reality of her identification. Now, each line is underlined and reinforces the reality, verifying the reality of it for her

aaas 6but what really struck me here was that she SPREAD OUT the books, as it to take them all in, and this is the version of the whoosh that occurs in this adjunct descent into paranoid twinfire. As she pans, the contagion spreads over all reality, as she pans, she goes down the rabbit hole, into the world of books

aaas 8and then she points at Lamashtu

aaas 9and then replays the baby monitor, and hears her, and puts two and two together, and that is what happens in the twinfire twinspin state

aaas 10and the spiral downward in goes on, more shuffling, and mind-boggling

aaas 11more immersive close-ups

aaas 12it is in this context, that, the book being now identified in this construction of the haunting with the vent over her bed from which she first heard noises, and feared them, this is now animated by the book, and in a dream she goes up to it, and it looks out at her with two eyes, so she has now by this means brought the demon in

aaas 13but there is one more thing that surprised me, and I thought to myself, in terms of a movie like this, not a good idea at all, she spreads them all out again. And they are more spread out than before, and the problem here is by this point a book is no longer a book but a bookending doorway so that every time in this haunted silo you open up a book you basically reinforce the bifurcate nature of the real to allow a demon to jump over from there to here and thus you open this reality up to another entry by an entity from that reality. So, she is allowing a lot of demons in. Even worse, book to book, she allows them to jump from one book to another, she is creating a veritable witches Sabbath of hysteria in her researching, the whoosh of this particular representation of a haunting

aaas 14and, here again, it all comes down to Lamashtu, named as the ultimate emissary of that world who has come in

aaas 15but the detail that really shocked me, and I was like, boy, that is a VERY BAD idea (again, thinking in terms of the haunting of the movie, not reality), is that she did this spread out, in the presence of, right in front of, the baby, him in his bassinet right there, almost letting the content of the book, the being in the book, the book’s reality of bifurcate haunting come in against him, terrible, terrible idea

aaas 16so, weirdly, this rendition of the classic research section of any horror movie, which is, most of the time, only about information, here takes on a formal or structural purpose, as it would seem that having started with the baby monitor, the haunting will now occur by pulling Sentient spirits down through it into another object equally able to split the atom of the real and let a ghost in, and that would be a book, which, then, becomes a bible, and, as such, validates the reality of the thing, and then for that spreads out and takes over as an authority creating reality that allows the demon in. As said

aaas 17

so, this is of interest.

But, then, the fun thing here is, this month John Latham (d. 2006) is showing some of his Skoob paintings from the late 50s at Lisson. And while they seem illegible or simply expressionistic in the most jejune way from the point of few of painterly aesthetic formalism, if we read his backward spelling of the word Books as real, and take it at his word, then it is apparent that he is not using books, so much as books turned around, and become not mere object, but conveyors of content or spirit in a way reversed. Going back to before baby monitors, but still in consideration of the notion that some objects of a certain form can serve as filters to allow Sentients into conscious life in certain patterns or shapes, the book then could be seen as the primary mechanism by which meaning is conveyed into art in a bookended way, that is, split. Let’s see if this works out. First of all, it is apparent, he saw books as a formal device only, but which split space, that is, as bookending entities, regardless of book content

aaas 18then he saw that if they serve as a filter, or a “glass onion” form of introducing one to a different state of consciousness, they can also “go down” from that and not only take on a lattice form, as if a chandelier of books, but also populate the very air of the whoosh down into a dream state induced by the presence of books

aaas 19then back “up top” that is at the level of the symbolic interactionist, the glass onion, he saw an armful or handful of books as a conveyor of knowledge, but as a kind of device that served as a rotating crystal ball of sort into a world of abstraction

aaas 20then in spaces adjunct from that, he could just spin out other likesize objects which bespeak the “leading” nature of books as they carry you off into a labyrinth of suggestion and knowledge (I don’t know what this state is, but it is centripetal. I often get it when I run across a title of a movie, of a certain sort, then want to “run the table” on it and all movies like it, to just watch them all, to have that reality back again, this an adjunct movement, so, this too, he is trying to capture here the movement of mind by way of the bookending form of books)

aaas 21but then, as he dropped down to a lattice level, where the world of books bifurcates into a simple bookended reality, then the form that the books took were, amazingly, like fish tanks. Fish tanks, in movies, universally mean that one has dropped into a two-dimensional palliative state where everything is bifurcate and mirrored, and you are basically living the life of a fish tank fish. It is a very common symbol in horror movies, but in movies in general too. Since I do not want to claim that Latham was working with hypnagogic states, though it would be of interest to see if any of these ideas occurred to him as he was coming out of such states waking up in the morning, I will only at present say that he seeks to create vigilogogic states of simplified mindset where reality is bookended and, by that, one finds a way to some meaning. It is really rather remarkable that as part of this, he somehow dropped down to the level of lattice, and found the use of glass to frame books in a way that mimics the fish tank trope in movies, is quite amazing

aaas 22and then he sometimes spins out from that because just as one looks at fish in a fish tank and wonders at them and imputes into them an oceanic meaning and fantasy life when in fact they are stuck in a very limited terrain so too with books you can, sometimes, perusing a shelf, open a book, and feel a whole world open up, and you want to go there, and go into it, and you want to read the whole thing, but, then, you hold back, it does not happen, you put the book back down, and move on. This, I think, captures these situations in the mindset of the lattice derived from the bookending of reality

aaas 23

in his imaginary abstract world and then this completes with the most abstract of these, showing the whole adjunct plain of the vigilogoic state of openness to all ideas and the whole of it when encountering perhaps a whole library and it all becomes as it were a tidal wave of Sentient imaginings, and a single book is the one you choose, realizing that there is really very, very little of the whole of it you can ever get to

aaas 24I know how Latham’s books have been reviewed: formally. Like Julien Schnabel’s plates, they are viewed as simply raw material that he expressionized and then put into paintings as a kind of collage element to create an overall Clyford Still like visual space, that was of interest. But, I believe that Latham was part of the geometry of fear generation, he included books because he had thought about their reality as physical objects vis a vis their content and how that basic bookending relationship changed with every content and element in the book, resulting in a book shelf full of books even in the abstract to emit a feeling in itself which participates in the gap between the content and the form and the whole of it as it relates to your capacity to take it all in, a kind of bookmania that I suffered from many times in my life, and still do, and still am, and I think Latham felt that, why cant I make art about all those feelings? are they not exactly parallel to the feelings that abstract artists are trying to evoke through paint alone in art? and isn’t the panoply of feelings that broad fields of bookended reality create filled with all sorts of fears too? I can make art out of that. I will not at present claim that Latham saw a book as a binding filter to allow entry into this world Sentient spirits; nor will I claim that a book in a work of art by him functions as it does when Mary comes across it after a pilgrimage and a haunting, for her to by its form conceived in paranoia make whatever is in it the prototype to her new haunted reality, and by her pointing and her connecting the dots making the book the bible of her state of being; I will not argue that Lathan saw books spread out as a kind of whoosh of spiral down into dream, though that seems arguable, and that this spreading of books formally also spread the contagion of their content out over all things–that is, I will NOT in this note secure the FUSION-oriented inference I am making, because I have not done the research, but, really, when John Latham called his books SKOOB, the fact that he put it backwards is a signal clue that at last I am on the right track when it comes to figuring out his work.


Twin Peaks: the Return, toward the twin finale, part 5.

Rev., May 21, 2018.

In Twin Peaks: The Return, things continue, in the final chapters, with Mr C driving up to the gas station we have seen before.

aatw 1but how he got here is a problem, and, then, even here, things are complicated, he has to go up the stairs on the side of the building

aatw 2when he is up there it is almost as if he relives Hawk’s adventure in the woods, he goes through some woods, somehow, so this is a dream

aatw 3but, then, to my surprise, he goes into the black wallpapered rose room, with that distinctive wallpaper, which we last saw in Fire Walk with Me

aatw 4this was the room that Laura walked into in a dream after putting up a picture of it given her by two people in the parking lot

aatw 5the picture, just an eight by eleven, framed, of it

aatw 6when she is scared out her room by Bob, she takes it with her, but drops it beneath the bushes

aatw 7but then she hung it on her wall, oppposite her bed, more or less usurping a picture of her guardian angel

aatw 8and then, in a dream sequence, or in a gown prowl, she went into it

aatw 9and there is one door with the red curtains behind

aatw 10and then wallpaper room beyond that, I think

aatw 11And when she gets there, the little boy points the way in

aatw 12then she wakes up to a nightmare presence, I don’t know who

aatw 13and walks out of the room

aatw 14This dream then maybe having caused her to spiral out of control, in Fire Walks With Me, so she ends up at the bar, topless

aatw 15I have previously treated this zig-zag room as a dream formation leading from her normal life as evoked by her bedroom, leading out into her dream life, and on to the Red Curtained Chamber, I have to assume that here the structure serves the same entry-way purpose:

But here, it is not the little boy, but the Sooty Men, who guard the door, I imagine as the door to the nursery

aatw 17this part I am a bit fuzzy on, there is a face there, who judges him, he is let through

aatw 18then he gets his escort, at the door

aatw 19the man then leads him down a long dark hall

aatw 20this too entoptically waffles between what it is and a factured field of sight in the woods

aatw 21but, then, as we get into that, surprise again, WE GO UP THE STAIRS

aatw 22these are the same stairs that Cole saw in his vision or encounter with them at the top of the spiral in Episode 11, got to by a crawlspace outside of town

aatw 23The same stairs, this then, somewhat illogically, now leads into a backyard, so I guess somehow we had segwayed into a basement, to come up by the stairs

aatw 24there are some people standing in the dark in the plaza of the back of the motel

aatw 25we go into the motel room, I don’t think it is a motel room we have seen before

aatw 26and in the back room is that strange belllike boiler contraption

aatw 27which then emits a gas or smoke in which there is a voicing revealing some secret, but which at least for the first time says the name Judy, or jow dah, that dark force in the world, and it has something to do with David Bowie, back in the original series, who in the office in Philadelphia, questions who this Dale Cooper is

aatw 28at this point, the whole place begins to go up in smoke

aatw 30and then it simply vanishes

aatw 31so where were we? unlike the others, there was no whoosh or spiral to get him there, so Mr C on his own power had some power that he simply had to walk off from totally conscious life to lapse into a somewhat light entoptic hypnagogic state, in which the walls wobbled, and there were intimations of the forest behind, perhaps even being only the immediate forest behind, reminding him that all of this was an illusion flickering in and out of consciousness. Then, a series of constructs that never were together before, come together, 1) the gas station in the Ambient Desert at the beginning of this time, plus the custodian Watchers who watch after that, then 2) the floral nursery from Laura Palmer’s dream, then 3) the stairs from Gordon Cole’s vision, then 4) the Belllike container which we have seen three times previously, and, finally, 5) the revelation of Judy, the David Bowie moment, emit from it, but also only previously encountered in this particular telling (I cannot go back into the mythology of the tv show) when Cole had one of his Monica Belluci dreams shortly before this. For me, the compositeness of this place means it is not, per se, the gas station, but pieces from five vectors and five places in the universe yet outlined that momentarily in an entoptic form come together to act in the stead of either the Floating Castle or the Red Curtained Chamber, neither of which Mr C has the power to get to, to communicate a message to him. It is an impromptu space, not unlike, an odd comparison, the mockup of the insurance man’s office by the crooks in The Sting

aatw 32it serves a purpose, then goes poof. I know this is a somewhat tortured working out of it, but I think that is the reason for its up and down ramshackle nature, that is the reason for the entoptic flickering in and out of the forest and that is the reason why the elements of the spots do not quite fit together, to make for a totally delirious encounter.

aatw 33

again, 1 is the façade, 2 is out of Laura Palmer’s dream, the flowered room, 3 is out of the gas station, 4 is the stairs out of the Cole vision, 5 is out of previous motel encounters, and 6 the belllike container out of previous encounters in the floating palace. It is, overall, a composite, and it is by walking the tumblers of it, that Mr C, in a gentle hypnagogic state, gets the information about Judy. All of this, in the bigger picture, means that, though he is trying to resist, he is being pulled back. But, in general, this is a phantom structure and not one I would class with the Gas Station, the Floating Castle or the Lighthouse Theater, as a place in the ambient world of dream.

Pretty soon after, the other side of his split soul, Dougie Jones, even after having been rescued, finally cannot resist his attraction to wall sockets, and puts a fork in it, it sends him to the hospital

aatw 34Things now get rather bowling-pinnish (as in tableaux shots where characters just line up like bowling pins) in the Ambient quality of shots as everyone seems to need to gather in to witness the final events. Dougie is in the hospital

aatw 35and, then, when he wakes up, AT LAST! He is all Dale Cooper

aatw 36but right away, he is given a message from the One Armed Man

aatw 37and

aatw 38what I think this means is that Mr C did not, as was required in this soul exchange, go back in, that is, as a tulpa go back to where he was made, in the world of the Red Curtained Chamber. But he reaches through the membrane separating his hospital curtains from the red curtains of the other place, and gives Dale Cooper the green ring, which I suppose means full put together soul

aatw 39at this point, DC joyfully takes over, calls the Mitchums, ask them for a plane to Seattle, done, because he is their guy

aatw 40but then a final loose end (I think I earlier reported that Diane got zapped, not yet. They are all still up in Buckhorn, she is at the bar, being the dame with the drink and the cigarette

aatw 41she gets a strange text, apparently alerting ALL to put the plan into action, it upsets her no end

aatw 42but now to loud clacking music if I remember we retrace the steps that Tammy made a few times to Cole’s room through the corridors of the hotel

aatw 43but this crawl is much more ominously pictured, as we come to it by way of a full on immersion in the landscape painting and its utter banality, and we see that Cole’s door is at the end of the hall, in a bit of cul de sac, this almost feels like her version of Mr C’s walk in the gas station-motel complex

aatw 44she comes in close up alarm to the door, and Cole seems to know she is coming

aatw 45she then, in a monologue I have forgot, talks about the old gas station, giving the coordinates to Mr C, that she was at the station, then something about the sheriff, finally, she just breaks, I am not me, pulls a gun, and they all, of course, blast her away, with a full on crotch shot, indicating at least in old movies of final death

aatw 46and she vanishes

aatw 47while Tammy exults that they saw a real tulpa, that tulpa is taken up into the Red Curtained Chamber

aatw 48where she is more or less dispensed with, liquidated as a robot, and by its manner, her face blast away, revealing a black interior space, all empty, and the entire thing motored by a single gold pearl suspended inside her head, quite the robot

aatw 49later, Cole tries to fill in some of the plotlines, but we already know these, they were all trying to get their hands on Judy, jowdah, a negative force in the universe, Mr C, or as Cole calls him Cooper, was looking for the coordinates, where the information was, etc, that’s how Ray Monroe was in it as an undercover FBI, but he failed, and on it goes.

aatw 50we also hear, incidentally, that 253 is a numerological puzzle, it simply adds up to 10, the number of completion.

Back in Twin Peaks, the nymph found at the well in the woods is agitated, but she has been given some pajamas

aatw 51because for the third time we are back at the well of whatever it is

aatw 52and Mr C has found it, at the coordinates

aatw 53once again, as with Andy, it swirls up

aatw 54Mr C is given only partial insight into the theater, where the Admiral now floats inside, Mr C is in a weird sort of box

aatw 55but on the screen, Laura’s house

aatw 57and either by some malfunction or whatever Mr C is sent back to the police station at Twin Peaks, on the screen

aatw 58BREAKto be continued.

Cthulu Mansion (1992), Witches: The Darkest Evil (2009), the turned around telescope approach to fear, ancient votives and the dollhouse room.

Rev., Jul 21, 2018

Movies based on the stories of HP Lovecraft are notoriously suspect, in so far as they struggle to put into movie imagery the primarily adverbial rendering of the monsters, the old ones, Cthulu and Yog-Sothoth, in the books. Recently, I saw the 2009 TV version of the Dunwich Horror, now titled Witches: The Darkest Evil (2009), and then also saw Cthulu Mansion (1992), another attempt. In both of these attempts, the twinning of Cthulu and Yog-Sothoth, which I guess has made it into the bloodstream in the movies, but in the books the twins are children only of Yog-Sothoth, is complete, there is a door, behind which the worst of the evil monsters lurks, green in Witches

ac 1And then bright blue, in the basement, in Mansion

ac 2

And in the case of Witches, the door then comes open, there is a blast of green light, and then the thing comes Alien-close to him, causing Armitrage to momentarily have brain fade from shock

ac 3And then, later, when a storm comes, the gate opening, we also have a zoom from afar into the upclose inyourface posture, same monster

ac 5So, this is fine. It accords with cinematic notions of the visionary. And the most intense dynamic at the base of horror is something far away coming close to you, in your face, close up, and, by my graph, now being able to avail myself of the outer zone of Ambients, this approach has to partake, as its central coil, of the whoosh/wormhole, if in adjunct ways, but, then, it comes UP through the whoosh, against the grain, as a monster, to then, you paralyzed on the chandelier lattice above, be assaulted by it.

ac 6

the key factor in this dynamic, an Ambient coming in upon you in a reverse whoosh form, moving from far off to close up, from Ambient to inyourface, is that the subject of this haunting has to have first been cast down the whoosh/wormhole, then gone splat, that is, bounced out of a nightmare, then bounced back up to take a place in the lattice, but, then, in that state, be paralyzed, and stuck, which allows the thing to come at you. This relates as well to a device in horror that was big in the early slasher days, but then was let go. That is, some girls, not being fightback girls, were simple deer in the headlights paralyzed by the horror of the spectre of a knife coming at them. They are transfixed, as if hypnotized by the thing, they cannot move, so the killer comes right in upon them, to kill them. This happens, for example, to the girl coming for an assignation in Friday the 13th Part 2 (1981), only to find the dead lovers, and then, when Jason gets out of the bed, and comes at her with that knife, in shot, she is paralyzed, and is done. Thus, there are braces, not parentheses, inside the lattice, representing the fact that the person has already been shocked, and so bounces back up, but now is paralyzed, making it possible for the ambient force to make its full approach by way of dream coming up to the lattice, as a controlled, horror nightmare, a monster. While, then, the Witches worked this out from the door to the close-up, based on well-worn tropes in the production values of movies over the years, Cthulu Mansion also had a door, but then the thing that finally emerges from it is disappointing, just a man with a green bubbling up of monstrousness upon him

And then everyone else has already been haunted in different ways. While, on the surface, this seems entirely unsatisfactory, though I did like the killings, it actually is closer to the literary formulation that Lovecraft gave to the appearance of his monsters. In the midsection of the Dunwich Horror, Wilbur is killed, or dies, in the library. His body is found by the police. It is described in obtuse if graphic prose. It is a composite, like you might find in pagan cult. The thing Wilbur is described as partly human, with hands and head, and a goatish, chinless face. The torso and lower body was “tetrologically fabulous.” Above the waist was semi-anthropomorphic, but had the leathery, reticulated hide of an alligator. The back was piebald, yellow and black, and with the squamous covering of snakes. Below the waist, all resemblance to humans left off, skin was thickly covered with coarse black fur, long greenish-grey tentacles came from the stomach, each had a red sucking mouth. Their arrangement was odd, following some unearthly geometry. There were eyes in each hip, in a cilated orbit, and the tail part was really a feeler with purple markings. The legs, except for the fur, resembled dinosaurs. Its tail and tentacles changed color as it breathed. There was no blood, only foetid, greenish-yellow ichor. (p 109). This is reminiscent of some of the composite gods of the ancient world like Ammut, the soul-devouring monster who appears at two in the morning in the night passage of the soul through eternity

ac 8

Or Pazuzu, the composite extraordinaire, composed of all fears of things brought by the southwest wind

ac 9

and others; but, as such, apart from a few reaches for alien space-sourced form, it is, as an imagined thing, entirely a creature from inside the zone of the hypnagogy as its dynamics move, or wriggle, or whoosh, with a hecatonchironic dimension, now so common on google one wonders of the contemporary game-boy imagination

ac 10or whatever moves here and there in the system, as I will work out (that is, you could create a monster as an allegory of a dynamic agency movement in the graphs, as I sometimes do).

But, then, the surprising thing about the Lovecraft story is that when the horror actually comes, we only get an indirect picture of it. Most visual evidence is effaced, and we only get the effects on the ground, and then we hear the ambient and sentient noise. In terms of Ambience and Sentience, there was the syncing of whipporwills to its breathing, the slushing sound, its breathing, then a crying from the sky or mountain, then a rumbling of the earth from below. All of which was driving people mad. Then, in terms of visuals, there was only the matted downness of all the forest and fields, and a slime trail, plus a foetid smell.

ac 11that is, for the men, and for the story, Lovecraft steps back, and does not show us it directly, only by its geographic and meteorological effects. This is a decentralization that was perhaps thought to increase the horror, as Lovecraft generated a lot of chills by prose that overwrote literally or mistakenly-literally something that was queer, this was an expansion of a standard device (ultimately deriving from the Frankenstein monster’s description of the life of the forest family in the barn in Shelley’s classic). But, this does, for a movie, leave a problem, there is nothing to visualize in the story, except the men watching. Then, even worse, the main three characters, the doctors from Arkham, rush off to attack it, and they are only ever seen as silhouettes, tiny, in the telescope of one of the men! And it is by the almost off-stage nature of a report from the man with the telescope, and, not only that, but looking up from down below to doings at the top of the mountain, that we get a description of the rite. Then, even worse, the monster is INVISIBLE, that is, cannot be seen by any of them! Except that at one point the doctor has decided to manifest it visually by throwing powder on it, to make it visible (a trope that got its start in movies with the Invisible Man, then continued on up with hoaxing, including handprints on the bumper of the SUV in the not good Munger Road (2017)). As a dream thing, I am going to place the monster, for the moment, as a concatenation or compositing of agencies fixed and torn apart and then confused at the lattice level, a monster then is a concentrating lattice form that jams horizontally through the hypnagogic all the way to the Sentient to pick up shredding power, and then to come close, it moves. Then its invisibility would be a negation of it, and a depletion almost to not being there, but then the men use powder to make it momentarily visible to the men with the telescope below.

ac 12but, now, in that moment when it is covered with powder, the observer through the telescope gets an opportunity to describe it. He does in dialect, and describes its size, bigger than a barn, all made of squirming ropes, all of it shaped like a hen’s egg, all jelly, nothing solid, as if made of a tangle of ropes pushed together, then it had bulging eyes all over it, ten or twenty mouths or trunks sticking out along the sides, all opening and shutting, grey, with blue or purple rings in it. It also had a half face on top. (p 120). This sounds to me like a gelatinous hen-egged form, shaped like a hen’s egg, with all sorts of squirming tentacles. Then, it is covered in eyes, like Argus, and on each side are another kind of trunk tentacle with mouths on the end. At present, I place this entirely in form at a fixated-upon obsessed-upon horrifying-to-paralysis lattice form, with lots of vertiginous, squirming and wriggling presences evoking vertically the wormhole whoosh, as if this is a creature that moves up and down in the wormhole, but then when gets up top moves in and out from adjunct to central and back and forth in space

ac 13the question then is, why did Lovecraft back off, so that we see it in daylight, but then don’t see the actions that bring it down, only see it in a telescope, and then only at the moment, since it is otherwise invisible, seen only by its effects and smell, when Armitrage throws powder on it, so a monster reduced to a telescopic sighting of a something entirely white covered in powder on a mountaintop quite a distance from the place of telescoping? My answer, at the moment, is that Lovecraft pulled things into the vigilogogic state, the waking state, if still haunted by a sleep state, from the previous sighting, which happened in a kind of hypnagogic state of sleepwalking. As a result, the set up, optically, is a bit different. Waking, you forget the details of a dream, or they resolve into a jumble of bits and pieces. You then have to look back into the dream as if into a pool, and only can pull up a vague image of it. You cannot see through it. But (and I will revise this with terms when I incorporate them, from Platt), if you have a dysmetropsic episode in waking state, a silent migraine, for example, or others, that causes two things to happen, in the now hour-glass formation of the circulatory chambers of imagining, and then something else happens. One, you are locked and paralyzed, by, a common side effect, the body tingling as if fallen asleep; then, two, they reverse, so that the view down into the pool of dream is given suturing power by taking the telescopic mechanism and sharpening it into a knife to cut through to an actual seeing of it.

ac 14this is at present an unsatisfactory graph, but, it works out that vigilogogic states exist as if in an hour-glass relation, reverse, that is, to the hypnagogic, that if you are in a stuck, lattice stage in the vigilogogic, and haunted by a dream you cannot remember, you look down into the world of dream, and, there, at the reflection of your POV point, or perch, you see some sort of composite of it all, the monster. But you can only really “see” it, as paralleling the tossing of powder by Armitrage, if your vigilogogic state is a special state of dysmetropsia, which paralyzes the body, and then freezes the monsters, fixes it, so that things can surgically reverse and you can see through to it, far away, and less scary, but, for that, terrifying. It is this distancing effect of a “turned around telescope” POV on a thing, which I now identify as a gazing down from vigilogogic to hypnagogic state in an episode of dysmetropsic paralysis, a side effect of which is a reversal of the whoosh, to spin it away, for it then, upon recoil, to come up more scarily at you (and you all hypnotized by this) that is at the center of the mechanism. This is a particular dysmetropsic-vigilogogic-hypnagogic state, partaking as well of paralysis and inversion, that results from sheer terror faced with trying to see through (the art of opthchthony) something that you do not want to look at, this is the tetralogical gaze. At present, I will name this PARTICULAR dynamic agency dysfunction the “eldritching.”

(I am supported in this by the fact that in my twenties, as I have mentioned before, I had dysmetropsic episodes of exactly this sort, paralyzed, seated in a chair, a book in hand, my sight goes to the far end of a turned around telescope, I have amazing insight all the way to the bottom of that tunnel vision, it lasts for a while, as I am entirely arrested, and I can read each page of that faraway book in one second, with full comprehension, and move on, and then after a while it broke. Now I am saying that in order to orchestrate the last scenes of his story The Dunwich Horror Lovecraft did not simply describe something by not describing it, he made use of a dysmetropsic vigilohypnogagic paralysis vision, which I now call the eldritching, to capture it, by an effect that most strongly bespeaks to human beings the deer in the headlights feeling of pure horror.

Now, the interesting thing about this is that as a result of his split representation, an unseen thing far off, and then seeing it only by way of side effects, can serve as a model. But this means that while Witches (2009) was quite good, and followable based on script ideas which over time in moviedom have settled on trying to tell the tale by way of compositing of tropes or elements from all the key stories, it is Cthulu Mansion (1992) that actually captures the overall atmospheric effect of Cthulu better, because it is all pulled apart. And I think this is intended, and the movie, in fact, was a serious little attempt to make sense of the metaphysics or ontology of Cthulu in the imaginary world, by the presence of a particular picture in a particular room, which I call the eldritch picture.

As I noted in review, the movie dawdles about forever, settling in, there is a magician, with a house, and a deep lore, he is then kidnapped by a biker gang, who mess about at a carnival for a time, then they all finally go to his house, so there was a real place, where the magician really practiced his magic, in 3D reality

ac 15

then, back at the mansion, he is diminished, tied up

ac 16

while we also find out that he is further diminished by the death of his wife, and then he attempted some occult ways to get her back, so there is a haunted portrait, right above the mantel, but it is mainly made use of to be made fun of, as a dart board, by the bikers

ac 17

but then something happens that causes the door in the basement that I mentioned earlier to begin to steam, and pulse, and want to open, something is happening

ac 20\

and by a strange shot that I could not entirely make sense of, as soon as spells begin to attack the bikers, there is a cross form of light on the ceiling of the magician’s room, or cutting through the ceiling


and it shines on him, revealing that there is a telepathy, I think, between dead wife, and however she is manifest behind that door, and him

ac 21

and, now, unaccountably an old projector with old videos of him doing his tricks in his glory days keeps turning on by itself, and these seem to act as scripts for the various hauntings that take place. What this means is that the invisible thing in the cellar behind the door is sending up vibes which bring to manifestation the ghost of the wife, and she acts by scripts learned from his old tricks, to by that connection, bring the house alive.

ac 22

as mapped out, the bikers 1, bind the magician 2, in his house, characterized by some nice glass onion devices, even a Romero, a filter device, by all the tropes, a haunted portrait, 3, a haunted projector, 4, and lots of houseplants, 5. Then, by way of the film, and his old self, Finlay’s subconscious is negated and propelled downward to splat as the monster, which form it takes (echoes of Forbidden Planet), all in the splat zone at the bottom of the nightmare, at present locked behind a closed door. But, the force will come out, 7, it therefore scans the house, and decides which elements it can make best use of to emerge, to manifest, to kill, it settles on houseplants, 9, they then negate, 10, and in their negation, rather surprisingly, become not only the primary haunting thing in the house, represented in negated forms of pictures, of magic tricks, and of the plants themselves, they form as it were the lattice level, which creates a field of haunting whereon the beast might rise up.

And it is, in fact, one of the surprising features of the movie, there are a lot of oval floral pictures, always a sign of deep, extreme spiritual depletion in the house, but in this movie they are so peculiarly painted, and so strangely insistent and dominant, that one gets the distinct feeling that the haunting is happening by way of the element of the vegetative in the room. The first haunting happens upstairs in the bedroom where the leader of the pack and girlfriend are hanging out. She gets a look at some clothes of the lady of the house, and decides to try them on

ac 23

but her actions are characterized as girlish and not serious, or as nymphlept, by the fact that the picture behind her is a Victorian picture of girls in pinafores playing

ac 24then, when she goes to look at herself in the mirror, it is oval, and there is a picture visible in the reflection

ac 25

the picture behind is nautical, there are many of them in this house, clearly the genre of favor, but in horror all indicating that horror is to happen right now, that is, that things are much more fluid and insecure than normal

ac 27It may be that the nautical paintings, because fluid, “water” the vegetative imagery in the house, here when the boyfriend of another biker gal goes searching

ac 28

then later when the drug dealer breaks in, both in the outer hall

ac 29

and in the bedroom, over the bed

ac 30

and back out in the hall after his murder, a nautical picture actually occupies the relational space, I’m not sure I have ever seen a movie where nautical paintings abide so generally in the house, they speak, then, to something waking up now

ac 31

but, back to the first haunting, it is when she opens the mother’s jewelry box, to try some on

ac 32

that that lighted cross shines through below the Finlay, indicating that in a way she has if not opened the door then at least opened the door to the vestibule en route to the areaway en route to the main door


and, then, back up with the haunting, she dances, but also plays a knife game, she is kind of possessed, fun, but threatening, and in this she is profiled by a really extraordinarily strange monochrome flower painting, that is, not just a floral, but almost a death-like floral

ac 35

it has two putti below, then a strange bouquet, possibly a figure above, but, as a painting, it is an intercessional painting, it works to let the mother spirit in, somehow

ac 36the split nature of her knife play is evoked, almost as if good angel bad angel on her shoulders, by the play painting on her left, and the death corsage to the mother painting on her right

ac 37

then, in the next haunting, it is as if one of those girls in that play painting, got up and stepped out into the house, and now comes wafting by the Roman sculpture, here as on the mantel in the mother’s room bespeaking power, and she too, in gauze, in an appearance of an all but Dickensian sort, is profiled by an oval floral painting, meaning that she too is a dead thing, receiver of the toss of a flower at her death

ac 38

this picture is not only presented, but it is strobed by lightning, which always xrays it, which deepens the meaning, for it to come out of itself to also attach to him, predicting them, his death, perhaps

ac 39

and it too is a quite strange floral, again rich with pareidola, I even see a glimpse of Saturn devouring his children in it

ac 40then there are two more magician-like hauntings, the girl who gets eat by the fridge she just raided, then her boyfriend who comes down in his shorts, to find her, but again the magic projector pops on and so a water act here

ac 41

so, he succumbs to a water act, in a shower scene! He hears that the shower is on and then “sees” a figure behing the frosted glass, he strips to surprise her

ac 42

then ends up drowning

ac 43

then later back down in the parlor, before the portrait, the girlfriend of the leader of the pack, but sister of the one guy who is injured and dying, is panicing, so she throws a fit

ac 44

this is profiled by two what look like two entirely black ovals

ac 45

but then the film comes on again, and this time it is a flower trick

ac 46

so in her haunted state, she again becoming posessed, as up in the room earlier, there is a very interesting screenwipe which I don’t think I have seen before, as she restlessly roams the room, she passes as if through a membrane of privacy evoked by lamps, and talking inside the lamp, to now as if being cast between the Scylla and Charybdis of lamps, at sea (it is a very rare shot)

ac 47

and then she is entirely cast out, so possessed, and when she gets through this as it were stripping out of her soul, to be possessed, she sees a whole tier of houseplants lined up against the window, and the way that she takes out her temper on the room by throwing things around is by picking up the plants, and throwing them, just impulsively

ac 48

it is a device, plants instrumentalized in this way, unique in my viewing of over 4,000 horror movies, so that is a good thing

ac 49

she goes bezerk

ac 50

but then the tossed plants, out of their roots, seem alive, they crackle, they make noise, they speak, they haunt (I also find this very uncanny because I have been interested of late, thanks to Jennifer Larson’s Nymphs (2001), in the story of Pan pursuing Syrinx, to rape her, she then begged the earth god to take her under to protect her, he did, replacing her with a field of reeds, Pan was so angry he tore them up, and then was placated or appeased by the fact that they had plaintive sounds of her voice, voila, the pan flute—this plant tossing is exactly a telling of that, strange affinities in deep summer). THIS I think is a sincere attempt on the part of the art director to evoke the presence of a Cthulu-like wriggling vegetative entity, but in the indirect way as in the story, where the main scare is invisible, while all we see of it are side effects in the beating down or destruction of nature

ac 51

And, again, I envision the matted own forest as described in the story, presumably after Cthulu’s wriggling, as like an effect of a meteor, as in Russia

ac 52even better, this tantrum then touches off a force of poltergeist, which is the force behind the door, coming through the medium of the ghost of the mother, tossing even chairs around the room, best poltergeisting since Mirror, Mirror, and another in a good 1979 French film

ac 52

a chair even goes flying by the haunted portrait, as good as in the British film, Terror

ac 53

with a few close-ups of things being destroyed, interesting still lifes

ac 54

but, now, I have relayed this somewhat out of order, to, finally, at this point, focus on the movie’s strangest, but, in the end, most important space, a weird transistional space, which is the upper bedroom where the brother lies, and who is in danger, because he seems to be turning into a monster–or, at least, the haunted daughter of Finlay, and of the mother, and then his sister, the leader of the pack’s gilrfriend, think so. As a result, he becomes the linchpin of the movie, and his fate seems to be the primary concern, and in the long run he is the carrier of the ultimate dimension of the haunting. When the door is open, that is, skipping ahead, it will manifest only as an exaggerated form of what he is becoming, that is, the dead will walk, and they will be green reptilelike things, walking Cthulu-zombies. While this might not be an entirely satisfactory ending I am only dealing with how it is played out here, and it turns out that this upstairs room is quite interesting. Not only is it a Strange Picture Room, with several here

ac 55

a close-up

ac 56

and another

ac 57

which kind of looks like a monster

ac 58but it turns into as it were the Grand Central station of the house, as a lot of disputation of what to do, happens over the brother’s body.

ac 59

we keep returning to the room over and over again. And as that progressed I began to sense there was a distinct interest by the director in making a picture by the door speak louder than other pictures. It profiles people going out

ac 60

and others coming in

ac 61

then people going out again

ac 62

and then it is even given, always a sign to me that it is meant to be taken as a sign in itself, in shot alone with its other

ac 63

then more people coming in

ac 64

and another close-up

ac 65and then more decisions in that room

ac 66it looks to me like a poster from an exhibition of some sort (it says October 24-November 22 on bottom) in which the signs of the astrological table are set up, and this is Cancer, the crab, except here shown in graphic form as scorpion being fought against by a knight in armor

ac 67but, is it a crab? or a scorpion? and if it breathes fire, doesn’t that make it a dragon? It is unclear, but that need not concern us. What is clear is that in a movie where the mind of viewer is wondering, with a title like Cthulu, what the heck is in the basement? this monster, at least a tripartite composite, predicts some notion of what might be to come. That is, it foreshadows an expectation of Cthulu. But, instrumentally, in so far as it is in this room that the miasma overtaking the brother, the Cthulu tissue or membrane, the green slime, is being conveyed through the door of that room, into that room, that is the place of highest contamination, and most receptivity, thus, the picture serves as a doorman-usher or concierge for the evil energy of the form below, like to like, and as such is a kind of emissary painting. But, then, too, most of the drama occurs there, so it also serves as a scout or harbinger painting, reminding them what gun they are acting under. There is little question to me that it is linked to what is behind the door below, it presents a dollhouse or interim version of that final horror, and in a kind of emotional miniature form. It represents, then, the telescopic object, the eldritching, which opens communication from below to above, and, maybe even conveys the tingle of dread which results in the paralysis of total fear. That is, I am saying that, in this movie, this picture in its placement represents the turned-around-telescope, which is the carrier of the dysmetropic deer in the headlights fear vision of the movie, just like the form above

ac 68

An aside. I have been wondering, also linked to Larson, what would be the function of the Caruso cave votives, 500 BC, recreating in miniature the cave experience at a nymph cave, in ancient Locri. You have lived, at life scale, the experence, but, then, you want to thank the goddess, but in a way that is pleasing to her, and also pleasing to you. But also that is not too pushy. Since reading about these, but only given, there, a straight agentic reading, I have been entranced by them, but confused. Why? and how is it art? there is the art, which they experience in the cave, but then there is the reflective moment after, also rendered in art, in miniature, as a dollhouse. I think this is because a facing of the gods, as Platt maps out, is maybe come down from, or walked back, by putting it in the rearview mirror, and if this was a dramatic epiphany, you want to remember and capture it, and thank the god for it, but without reenacting it, or waking it back up, which might be dangerous, so you look at it from the telescopic-lattice point as a thing far away, and in miniature, to then see it that way, in a compromised, transitional way, pleasing to all. Thus, these votives are in miniature to evoke the mental state that one was in during the epiphany, as described above, with an element that is in keeping with what was seen in the experience, but in art miniaturized to distance oneself from all that. So, miniature it is, as in that state, that is how you remember it. It becomes like playing with dolls, the walking back of an emphatic epiphany. So, I really like these.

ac 69

And, then, there was another moment, of late, in which the same thing happened. In the movie, Demonic Toys (1988), a lady cop gets trapped in a warehouse menaced by evil toys. A demon is after her, and at one point, she sees a dollhouse, and looks in

ac 70And the demon invites her in, so she shrinks

ac 71for them to have their talk, in the dollhouse

aaaaaaaaaaaaaaa 2And it was also there that in her mind, which would be small, or remembered small in the telescoping away from it when waking, that she had dreams that bothered her, and he is dressed as blue boy, the emblem then not so much of a boy in the house in trouble, but as a perfect ideal of a boy in trouble, the go-between dreaming and remembering it in waking

ac 73And then, after he spells it out for her, she is spat back out, and his plan is worked out in real time and life size back in a shrine site in the warehouse, where in a Solomonic circle, as an adult, he plans to consummate with her, then gestate, nicely guarded by some apompic and blephobic presences, so he can return to full life.

ac 75And I think the nexus hour-glass formation of this rendering of the introduction of the haunting and his purpose, and then the playing out of it, going from life-size to miniature, back to life-size, while in this movie meant to profile the whole demonic toy motif, it has philosophical wisdom as to the states of hypnagogy that one passes through en route to a haunting, and it seems that a Turned Around Telescope pinch of miniaturization, the eldritching, to squeeze through the wormhole is required.

So, in my view, THIS ROOM, back in Cthulu Mansion, plays the part of the Landing Area, the Jumping Off point, the in-between point, located at the very nexus of the haunting below, behind the door, and the diffuse forms it is taking above. And so it is no surprise that it is in this room that movie’s best haunting takes place. The leader of the pack tells his girl, rest, I’ll be back, we’ll be fine, so she does, and quickly falls asleep in a rocker by the window. And right away, the plants, again the plants, but in their most Cthuluan form yet, all wriggling vines, come in against her

aaaaaaaaaaaaaaaa 3

and wrap her up


ac 77

and below the belt too

ac 78

and she is, by a creature which in a kind of awake way recalls Lovecraft’s description of the composite monster, pulled out the window, she disappears

ac 79

the boyfriend is ironically profiled as partly guilty for leaving her alone by a houseplant warning of danger, but in this sequence serving as another set of eyes in the entity’s everpresent taking over of the house

ac 80

so he misses her being pulled out, great shot

ac 81

to then, after watching a knife trick film, get the knife poltergeisting, so back to that

ac 82

and, then, at the end, after all that dispersed distribution of the powers of Cthulu behind the door, to haunt the house by way of magic tricks shown on film, and by way of houseplants, and the green goo related to them, the movie Cthulu Mansion set up a dynamic between the unseen and the seen, not showing the monster itself, showing only its effects in nature, or in haunting of nature, not that different from the way it was laid out by Lovecraft in the original story. Though, of course, it is a total letdown, that all that happens when the door opens is the dead walk, and the brother goes all green

ac 83

but then Finlay takes a cross against it

ac 84seemingly to like a vampire hunter fend him off, but, here, in fact, as reminded by the cross-form that shined out of the floor and the jewelry box at him earlier, to take the green slime being of Cthulu into him, for him to become Cthulu

ac 85

then the movie withdraws, with an odd shot of some oozing something out in the woods on the grounds, never once shown in the movie, the end

ac 86

so, in this note I have in a preliminary way argued that the description of Cthulu made by Lovecraft in the original story was not simply a literary description but in its distribution of effects a good example of a state of fear or paralysis resulting from a dysmetropsia in the vigilogogic state interfering with the hypnagogic, to terrify one, which I will call for now, the Turned Around Telescope effect, or the eldritching; then, I argued that though the manner in which Lovecraftian stories are being worked out in the movies is based on other movies and mixing formulas from them over time, coming from many stories, the real description of Cthulu is, interestingly, actually expressed in the hidden then diffuse nature of the hauntings of Cthulu Mansion (1992); then, I argued that, this succeeds as well, because, just like Lovecraft, the movie had in it a structure, the bedroom, with a signature picture supposed to represent Cthulu, which acted as a physical embodiment of the Turned Around Telescope, an eldritch picture, inferring the thing it refers to, but not describing it (and there was one of these in Witches too), and that this way of representing the full terror in a more limited and even miniature way, is another expression of the TAT formation, and that the reflective miniaturization of votives in old nymph caves also took that form and scale to express through the form of the TAT formation their hopes and fears, and, then, that because that became the linchpin of the movie, there was in it a nexus painting, an embodiment in art of the TAT formation as well. Thus, for that, I rather liked the otherwise not very good Cthulu Mansion (1992), even more so because it inspired me to at last try to pull together some thoughts which I have been mulling over since coming upon the Caruso votive reliefs, and then thinking of Lovecraft.

Twin Peaks: The Return, part 4: Mapping out Episodes 11 to 15.

At this point, continuing from the previous entry, we go back to the Log Lady, who makes some final pronouncements, that the circle is completing, listen to the dream of time, it all comes out now

tw95Now, three meanders west of Mr. C, dealing not only with Mr C’s assistant, Ray, but with HIS assistant, Chad, and, now, his girlfriend, or something like that, it is now Becky’s turn to be directed by another form of autistic automatic mad behavior, fueled by jealousy

tw96Hearing of his infidelity, she loses it, runs to the diner to get money, then her mother hears about it, and has to run after her, so she doesn’t do anything stupid, but she does, she goes to the motel room, or his apartment, and, in another patterning of behavior, puts some bullet holes in his door

tw97only for Lynch to pull away from this mayhem, back into the dead zone of nothing-happening life, but zigzagged out of harm’s way, down the empty hall

tw98down the side staircase

tw99to where they are hiding, and it is, after all, Alicia Witt, an all but cameo here (she was a child, apparently, in the series, I didn’t know). In this case, Lynch spun away from the pattern, to embed us again in the everyday.

In any case, things in episode Eleven ratchet forward in a major way. I declared at the time that Episode Eleven of this series was the best hour of television broadcast in any show since the demise of the Sopranos, an episode of deep, intense drama and tension, of great discoveries, of chaos, epitomizing America now, just a miracle of an episode (and a complete scandal at how TV mindset is fixated on the mainstream, that the series won zero Emmys). And the first amazing sequence is that, Hastings now brings Cole, Tammy, Albert and the local cop out to the place where he says he had his vision which lead him to the encounter with the Admiral in the special place or the Black Lodge. And it is, of course, remarkable, or not, that it is in a rundown trailer park out at the end of town. If, in this world, you live in power, you live on main street, your front door open to all, all communing with you, in full support, the circle is closed, and all is good (we saw a lot of wagon circling this week in Sante Fe, Texas, once again). But, if you do not, then, though it is not necessarily true that you have fallen entirely into the UnderTheBottom, though you have, if you have a criminal record, that is, the system is now fixed by means of checks done by computers to make it impossible for you to rent or own or anything, anything, so you are surrendered to a black market under the bottom of the boat. But even if you are part of the working poor, and manage to make ends meet, and don’t get into any trouble with the law, it is possible that life forces you, to save face, to counter the mainstream, and swing round into taking up a spot comfortably in the counterspace of life, and in small towns in the Midwest that is the alley space, or the low income rental spaces, or the trailer park place. And these counterplaces are places of negativity and marginalia (from the perspective of the mainstream), liminal zones, in which, while you might fantasize of better things, you usually succumb to darker forces. So, it is no surprise that one of the first spelunkers of counterspace, the crawlspaces of American life outside the mainstream of American life, should situate the site of his first contact with that supernatural world we got a glimpse of in Episode 8 in a trailer park, but that is what he has done. It is brilliant. More so, that, it is not a goose chase, right away, he sees, lurking in the shadows behind or between the trailers, the Magi Men in Black

tw100this alerts him to a supernatural presence, so he leaves Albert at the fence, and walks in, and then the camera blurs and shakes (I compared this shaking to another scene in another movie at the time, but it escapes me at the moment)

tw101and then he has an episode, or he sees something, read it either way, but now, staring up into the sky, he sees a circulation, and then some black things too, perhaps, at this point, mere birds acting weirdly

tw102but it quickly opens up into a wormhole in the universe, right here in South Dakota

tw103and it completely encompasses him, a thrilling, thrilling moment

tw104Lynch then depicts what this looks like from outside in, all camera shaking and blurred

tw105and then at some point, the spin, as it will, even with a spinning top, looks like it goes into reverse, so what was coming down at him, now is in danger of sucking him up in (and that would happen in a lot of movies)

tw106and then the form of that spiral, with its spins of light and dark, venetian blind line occasion a “figuring out” where, he thinks he sees, in the ascent of the narrowing spiral, and in the black spot in the middle, the Magi or Watchers, coming down a stairway from heaven, or hell, at him

tw107so much so that he almost gets sucked in, Albert has to reach in and grab in, as he seems to be dematerializing

tw108and the fun thing about Lynch is that there is “no, I didn’t see anything” with him, Albert saw it too, it is real

tw109where is this? Earlier, when Hastings told us where he went, to the Black Lodge (or the Red Curtained Chamber), then he saw the Admiral, and then the Admiral floated up, I attributed this to internet hypnosis rendering him into a glass onion hypnagogic level state from which his mind then moved adjunct out to the holding area floating at the edge of the Hypnagogic as it enters the Ambient, and then the Admiral from that floated away out over the Ambient Sea

tw110now I am being told that Hastings went to a real place in the real world, except, socially, a counterspace, a crawlspace in trailer park land, and in that backlying space, where things narrow down, in that maze too, he had a vision, from a certain spot, and from it has an episode that sends him up-down another vertigo spiral, not unlike the one in Episode 8, and this ends up visualizing where it is the Magi Men hang out, as he sees them (and, we will see them further in this place, unfortunately, I cannot rewrite my first seeing this and not knowing that), and they not only exist up there, but come back and forth by way of that spiral, and it goes up/down to the Gas Station that we saw in Episode 8 and which I situate at the very edge of REM deep dream space, this side of the Ambient Desert, and the Ambient Sea, and by this shortcut come up to Cole, in a spot in South Dakota

tw111but as if to spin this sighting even more, to manifest a spin or spiral of events on earth, not only do we now find the body that was removed in the original bed, Mrs Davenport (and you can show full frontal on TV is the body is dead)

tw113but, now, it is apparent that the Magi are angry that Hastings revealed the secret, and the portal was opened up because of that, they can’t have that, so one of them, in the “flesh” sneaks round back the other shed, while the others are distracted, and approaches the car

tw114and by these creatures also having evil spin power, meaning that they have ultimately come in to the Ambient zone from the Sentient zone, and can act on man as Sentients, with psalliction, they spin his brain apart, killing him

tw115the chaos of this episode then switches to Twin Peaks as the diner is attacked by I forget whom, but when Bobby goes out to calm down a mad honker in a state of road rage

tw116another kid appears to be throwing up some goo, and since this echoes on what Mr C threw up, and Dougie, it creates the sense that, after this opening of the portal, everyone is under attack

tw117but this then only sets the stage (and I read these episodes at the time as simple anecdotal genre scenes added in just to show the America in Chaos mood that has overtaken the country since Trump’s election), for a grand revelation, as Hawk now thinks that the clues have got serious enough that some sort of ancient prophecy having to do with something REALLY of his heritage to be coming true, he shows the sheriff a map

tw118it is an amazing map, as Hawk explains, it is a living thing, changing as things change, alive, and it has the twin peaks

tw119the fire is the heart of life, the ur power (I agree) then the black corn represents that desolation and famine has come upon the times

tw120black fire means that bad times are on us

tw121and when he points to that black symbol, Hawk says, you don’t ever want to know what that is. I have stated a few times, especially with regard to the God of Carnage, the Crow (referring to another tribe than I think Hawk is part of) had a red god, a god of blood and dust, a dark god, a god of all the evil that could happen in the world, if man let himself go to it, but during a battle, he would rise up, at just when he thought it was the turning point, when the battle was decided, had come, and when the warriors saw him, that was to check them, any killing before that appearance was honorable, any killing after was mayhem and slaughter and dishonorable. The Greeks and the Romans more or less had the same gods, Castor and Pollux rose up at the ends of Roman lines, when a similar turning point occurred. They also worshipped gods in thanks to victory at the site of what they thought was where the turning point of the battle took place (trophy from tropae). All ancient cultures had a god of total evil, all of them. Modern Western, that is, post Christian, we do not seem to, and even Satan exists for real only in movies, nor do we have a God of Carnage to put a break on the carnage, it just grows and grows. In our egotism, we seem to think the rational mind can control it all. For a number of years I have taken up a belief in the god of carnage, and believe that he is loosed upon this land, so, this scared me a lot, this is, whatever nation Hawk belongs to, this is his nation’s rendering of that dark force which, if you do not back off from it, will consume you. It is a thrilling moment to have deep seated Native American lore break loose into TV.

tw122and the Log Lady confirms, fire is where you are going

tw123but, then, a further spin off from the amazing find at the trailer park, the body found also had the coordinates tattooed on her skin. A mule body, of course, is a new modern agentic construct, we no longer see our bodies as temples of the lord to be untouched by physical chaos, so this counts as contemporary, but they also catch Diane trying to memorize the number, deepening their concern over her being a double agent of some sort.

tw124But episode 11 continues on, amazingly so, with still a second astonishing series of events, back in Vegas, the Mitchums are happily up at 2 in the afternoon, chipper, because today they are going to kill, personally, Dougie Jones

tw125but back at the office, boss having sent Dougie to meet with the Mitchums, gives him the check they have been missing, but as he is going out, another sighting of the red curtain and the one armed man, so Dougie being an autistic robot who follows those clues, goes over there

tw126and though we all think he is going off to his death, he has picked up, in the bakery, where the sign came from, the only words he knows in a bakery, I forget how, cherry pie

tw127then, just like in Casino

tw128they take him way out into the desert

tw129but, now Belushi is spooked, not only is his brother’s wound from Candy’s whack totally healed, just as he dreamt it would be, and how did that happen?

tw130but he tells him I had a dream, he had a box, and there was something in it, he begs his brother, if what I dreamed he had in the box is in the box, we can’t kill him, we can’t, it’s just too good of an omen, promise me, so, once again, intuition breaks through the mesh of rationalization and prevarication and exploitation and leads somewhere. And the site in the desert is quite something, there is a road, then a side road and a loop in a cul de sac around some sort of concession that maybe went belly up

tw131and I cant help at this point seeing that it looks a little bit like my graph of movement toward the gas station at the edge of the desert


but just in terms of the apophenia of the series, it looks a lot like Dougie’s scribbling or magic mark making on the insurance forms, which started the ball rolling toward uncovering the fraud and getting the return to the Mitchums

tw133And there is an old abandoned building, which might be the worldly counterpart to the borderline gas station

tw134and then when they all get out of the car, Belushi is nonplussed, or even freaked out, that, again just like in the dream, Dougie is carrying a box, it is too close to his dream, and he again insists, in the middle of a gunfight at the OK corral, if what I think is in that box is in that box, we can’t kill him, it would be bad luck forever

tw135and so he has to tell the brother what is in it, Cherry pie, the brother scoffs, impossible, but he opens the box, and, in my view, the series most amazing spin about-face moment, Belushi exults, emphatically, disbelieving, cher-ry pie!

tw136and then things are rationalized a bit as after a frisk they find the check for $300M to them making of Dougie instant hero

tw137this is then consummated as they bring him to a posh place to glory in cherry pie, and the red leather seats, which is a trope, usually of the mobster sort, but having to do with ordering hits, here it is the red curtains, then the song plaintive on the piano also sounds as an aural version of the code to Dougie, possibly for its one-note beginning and end, he eats, is visited as Mr Jackpots by the homeless women whose life he gave back to her (I haven’t got my life back yet), it is just such an exultant scene of relief, because you really were expecting terrible things

tw138Candie also plays chorus oracle here as when she is snapped out her coma or whatever it is by Belushi, and before getting more pie for our friend, she has a delirious description of the moment of living life, cars everywhere, things going on, moving on, time moving on, she is the voice of that living force that so quickly erases the bad and moves on, an emmy winning moment I think for this actress, Amy Shiels

tw139Alas, the high of episode 11 is followed by the water tread of episode 12, which I will pass over, to carry on with the Mitchum party as they come bearing gifts to Dougie’s boss for everything with the insurance having turned out ok, all of which causes Sizemore to freak

tw140they also reward Dougie with gifts, making the wife think even more of him

tw141but, now, at this point, Mr C arrives, and this time Ray, and then also Chad, I think he is, is aboard, he comes up to the mob boss’s place in Montana

tw142and in an arm wrestle he takes down the boss, and kills him

tw143then gets the coordinates from Ray as well as mention of Briggs, and the green ring, then he kills him

tw144after some wafflings, back at Buckhorn, Albert finally tells Tammy about tulpas

tw145just as there is a figure at the window

tw146and, then, while mentioning that Janey E is her half sister living in Vegas, so Watts, so that is weird, it means Dougie Jones before was part of the whole conspiracy of organized crime that spread from Vegas out over the entire West. Sooon after, Cole becoming much more intuitive at this point, he tells of another Monica Belluci dream, and in it she warns him of something

tw147and this makes him and Albert think back to the David Bowie moment in Philly back in the series when he histrionically pointed at Cooper and asked, who do you think that is there? it was NOT Cooper, already, it was a tulpa

tw148so, somehow, Cooper was compromised of his identity during the case, it is a problem (we know that his bad side made evil faces with Bob).

In any event, back on the path of the Twin Peaks intuition, we go to the spot in the woods where Bobby was told to go, Jackrabbit Palace, a ruin of a tree where he and his dad hung out (not unlike Pixie Hollow, which I briefly was allowed entry into when my nephew and niece were five years younger than now, in Pioneer’s Park in Lincoln, NE, or the Smelly Creek or other places in my own youth, as for my kids, no country places like that, (my poem recorded about pixie hallow. On the top of the prairie/is a special place/on the outside it’s hairy/on the inside amazing/ You cannot be sad/or filled with sorrow/you have to be happy/ to find Pixie Hollow)). In a part of the woods Bobby said once hosted a top secret facility, there is the site, a towering wreck of a tree, great scene

tw150then they walk in from there, and see an artificial, not natural, in any case, mist

tw151and in the series only other moment of nudity, well, in this case, nakedness, so expressive of vulnerability and bereftness, they find an actual nymph

tw152it is the blind lady who manned the Floating Castle that Cooper first had to go through to get back into this zone. It floated over the Ambient Sea, then, after she had done her job, by giving him a message, about 253, and she discovered here at 253, she floated off, presumably to float with the Admiral like a cloud over the Ambient Sea. We have seen before, that in Twin Peaks, the forests are not only entoptic in nature, but they waffle, forming nexi with the Ambient Zone beyond. When Hawk went out early looking for clues simply to wake up the search for….something, he saw a pool, then it dissolved into an implication of the red curtains. Now it appears that by the same forest-lodge nexus the lady who has been floating over the Floating Castle, at 253, is perhaps inadvertently, and only by the accidental power of numbers, been pulled back into earth, to appear as a nymph (how she got naked I cannot say), such as this


it is Andy who has most contact with her, like in a Victorian painting (Waterhouse’s Hylas and the Nymphs (1896) even suffered a moment of overzealous censorship in the wake of #metoo, but then they walked it back)

tw154this is dangerous

tw155and when he picks her up, we see that pool again, first hinted at by Hawk

tw156and this, for Andy, touches off the vortex AGAIN, as in episode 11, and this time it takes place in a more traditional place, tropewise, the circle of the ambient treetops above, bespeaking release from daily worries, or many hauntings come closing in on you

tw157and it opens up, as wide as in Buckhorn

tw158but there is a difference here, there is an ingredient that was absent in Buckhorn, because the naked body of Mrs Hastings was dead, this time, the nymph who is to lead you up in, is alive, and has some consciousness, enough at least to whisper-sing a something

tw159and, this, as it were, dematerializes the spin, perhaps even reverses the cycle, by the power of the exposure of her nipples, even (that is an old trope)

tw160and Andy suddenly is knocked out, or finds himself in a dream, i.e. he is nympholept, as the Greeks called it, and he find himself in that theater, here we are again, at the edge of the Ambient space

tw161that theater, actually inside what I call the lighthouse, I placed at the far border of the Ambient zone as it passes over to the Sentient, my previous graph of where we were when in Episode 8 the series took us there


what this means is that just as she was present in the Floating Castle to tell Cooper 253 is the time to move through down back into the world so now she is called back in from her floating state at another 253 to then be there, if naked, to whisper-sing nympholepsy to Andy to cause him, where Cole could not get there by what means were at his disposal in Buckhorn, to cause him to spin up through the spiral, to be taken up, and for it, this time, not to spin to the gas station near in to the hypnagogic zone, but to spin him all the way out to where no human yet in the series has visited, the Light house theater at the end of the Ambient zone, which is farther than any human has yet gone


the usher then greets him, but says he is a fireman, then Andy begins to smoke, just as the forest did in the discovery

tw164and he looks up, so maybe we are now in a room off the balcony of the theater in the upper floor of the structure, looking out into the sky above, this directly corresponding the pool that Hawk once saw, and they now see for real in the discovery of the nymph

tw165and this di sott in su viewing of an Ambient spin in a ceiling circle is a very old trope, Mantegna’s version

tw166and on that screen, we get a kind of cinematic flashback or recap of all the attempts by the far off world to contact this world, to make sense of things, the phantom that first appears to spin apart the lovemakers in New York

tw167the ectoplasm that first brought Cooper through (some say this is the birth of Bob)

tw168the threshold atom site gas station at the edge of the Ambient desert, deep REM dream level

tw169one of “the Fireman,” I call them the Watchers or the Magi, maybe even oily gas station attendants becomes guides of the gods, as we saw in Episode 8

tw170then a deep flashback to the original sin of the time that all the characters in this series are living, the murder of Laura Palmer, and this early shot from the series, running into school with the news

tw171then the red curtains, where her soul is since and her original picture, emblem of the series, but with the angels she was with in Fire Walk with Me

tw172and then the nymph

tw173and her now related, by way of her nipple (again, they are important symbols, have to get used to that) to bring by a blur and shake Dale Cooper back into this realm

tw174then the revelation confirmed, that Mr C is part of him, split, though we know that (however, did Andy take this in? because when later Mr C shows up at the Twin Peaks police station he welcomes Mr. C as Cooper)

tw175then Andy has a memory (or promotion) of Lucy

tw176then maybe, returning to consciousness, in his simplicity, he worries that Lucy will think picking up a nude woman in the woods is a kind of infidelity

tw178and then this somehow connected to that lightpole we saw when Chad I think or the other guy ran over the kid, and the connection here is he works for Ray who works for Mr C so this six is on the path to the revelation made a few frames earlier

tw180and then he kind of takes in, what he was told, which was a few dots connected

tw181and, then, poof, he is the one to bring the nude girl in from out of the woods, the others wondering where the time went or what happened here

tw182then later, Laura’s mother reveals that all along she too has been a tulpa, ripping off a guy who is being aggressive with her face

tw183and then in episode 15,  more loose ends, to be continued.

Twin Peaks: The Return, Part 3: Episode 8 and beyond.

Rev., May 21, 2018.

Note: This is part 3 of a 5-part mapping out of Twin Peaks: The Return (2017).

In Episode 8 of Twin Peaks: The Return, Lynch felt the need to fill out the whole cosmology of the world in which he was working. I did not in particular feel that that was necessary, because, though not to the degree I have devised now, I had some grip on things, being used to the twin universe (as an identical twin). But he nonetheless felt he needed to add onto his cosmology a space opera of further outer spaces, which explains how in his lifetime the world got to the Twin Peaks situation, possibly involving the birth of Bad Bob energy, vis a vis the world of the paranormal, which I have identified as the Ambient and Sentient worlds lying beyond the periphery of Hypnagogic states of mind. The whole thing starts on the day the first bomb was tested, way back in the 40s

tw 1I thought this might be Lynch’s own birthday, but no, he is just making a general statement of when whatever he is trying to parse and explain, Bad Bob energy, all the craziness began. So, this is a retrogressive, essentialist spin, looking for first causes, the origins of now. And, for that, he does up a quite beautiful shot of the atomic bomb blast, the mushroom cloud that when Oppenheimer saw it, made him declare, I have become death

tw 2on a formal level, the blast shown as here in slow motion, with its blast wave extending out almost in a crawl over all things, can be seen as a creative force, but creating the new world of paranoia in which we live. Formally, the blast mushroom cloud represents fast movement up through the shaft of the flow of life to a pancaking out at a surfeit of too much world organizing, thus a kind of reverse, evil version of the form of modern society. Below, the blast brings devastation to all older and simpler forms of life. It is a model of a paradigm, but destructive, wiping out an old paradigm, replacing it with something new. This image has not always been shown in this manner. When Kubrick parodied fear of the bomb in Dr. Strangelove he, in the finale, serenaded it with a favorite war song, “We’ll meet again,” then presented a series of fast explosions as the echoes of Dr. Strangelove’s salvational eureka, “Mein Fuhrer, I can walk!” as a series of piñata breaks or balloon pops, fun. LBJ, of course, in the little girl picking the daisy commercial showed the bomb as a screen filling catastrophe, wiping out consciousness and all life, a fear mongering image. This rather distant view suggests its new creative power, creating a new world, a world of gods and monsters (and, indeed, in harking back to the bomb, Lynch also places his cosmology behind the atomic bomb scare effects of so many Japanese and American sci fi monster movies of the 50s too).

And, then, almost as if his camera is on a weather plane flying through a hurricane, we fly THROUGH not over the blast, through it, this is a classic whoosh, falling down fast and deep into dream, and I compare it to the through-the-wormhole flight in 2001: Space Odyssey

tw3then it goes color, we are inside the blast

tw4there is a glimmer forward of an old decrepit filling station, perhaps reminiscent of the fake buildings set up at the testing sites to test the blast effect on buildings

tw5but we keep going through and out, like in Kubrick

tw6then, surprise, it switches, and we are back over that sea we have seen before

tw7only this time, we encounter ANOTHER structure on it, not over it, a kind of armorial Gigeresque lighthouse

tw10the lighthouse is a common trope, going back to Portrait of Jennie (1948)


all the way up, past The Fog (1982), to Bleeders (1997)

tw9lighthouses are  places of protection or oversight, apart from the world, hey see everything in the world, there are many, many examples in movies

tw10I have previously located the floating castle which ushered part of Dale Cooper back into the world, but split into part Mr. C and part Dougie Jones, by the errant entry of the plug, as located floating in the Ambient zone lying outside the zone of hypnagogy, but at the level of the lattice floating over the stuff or bottom of the whoosh, if not of the whoosh itself This sea is the Ambient zone (It is not, alas, the Black Bog, which, by contrast, is only a small pond visible inside the Blue Dot inside the eye during a light Land of Nod nap). This is a full on deep psychic sea and I believe it took the blast to get us all the way down the whoosh into the deep REM dream state at the bottom of the hypnagogic descent, and then the sea lies in the Ambient zone outside of that, that is, this is the deeper part of things, more serious

tw11and the lighthouse seems to be a clearing house for Ambients and Sentients as they come into or leave this world, or disturb the hypnagogy of sleeping humans, I locate it at A at the far side of the Ambient zone, just at the limn to the Sentient zone. But, then, the surprise is that, inside, it is quite the set up

tw12Several things here. We saw the bell-shaped form, a kind of furnace in this dream universe, on the top of the Floating Castle, where the blind woman hugged it, much like an orgone machine or the orgasmatron parody of it in Woody Allen’s Sleeper, and it sits here like a parody of a Magritte or De Chirico object in the room, but just as easily a parody of a fireplace pit in the modern style home, as often seen to be a portal into other zones around the room. There is also an old phonograph, always bespeaking death, and the spiral down to it, and then an older actress just sitting there on a giant old couch

tw13there is also one of those creepy old Tiffany style lamps under which occult things always happen, often séances, the floor is also strangely marbled

tw14then the giant, who might be called, popular-culturely, the Lurch of this particular Addams Family ensemble, comes in to do some work with what he calls the Jeffries Machine, then he goes back upstairs

tw15now, in keeping with the idea that Lynch has supermedia-ized his sense of the supernatural, and elements of supernatural or paranormal space are metaphorically rendered as theatrical things, such as the Red Curtained Chamber, and you open the curtains and look at the world through it, this is a more retrogressive example of the same motif, that is, it is the theater at the origin of whatever it is that is operating here. It is an old movie palace, and this is the lobby, in the context of which the strange bell-like form, previously on the roof of the floating castle over the Ambient sea, could be said to serve to profile domestic roles related to those large porcelain heater-ovens, kacheloffens, Europeans have in their rooms, or, even, relative to theatre lobbies, a popcorn concession. Lynch is working metaphorically here, and, since we have come to this place through a wormhole whoosh sequence not unlike the one in 2001: Space Odyssey, I am thinking it is Lynch’s equivalent to the room at the end of the universe

tw16But, then, this one is a more complicated setup, with, within it, a whole subcosmology, because now the giant, in the role of usher, goes up into the empty theater. It is a classic old theater palace, with another, or the same, bell-like generator of some sort, and a screen. But it is no longer a working theater, that is, all the seats have been removed (the only comparable thing to it is a theater that was retrofit as a nightclub, or there is a scene in Anna Karenina (2012)

tw17when the theatre turns into a skating rink, or, then, too, the abandoned theater in A Clockwork Orange.

tw20And then when Ileana Douglas hypnotized Kevin Bacon in A Stir of Echoes (2000), she had him visualize falling asleep as if seated in an empty theater, turning all black, with something written on the screen

tw21So there is trope precedent

tw22but, then, somewhat confusingly, the theater is not a screen of a film made and put on a projector behind the usher, but a window from here, back down into the world we have just come from, and so we get a second view of the atomic bomb explosion, but at a greater distance

tw23the notion that a theater hosting a theatrical artifice can suddenly turn real is very old, and likely should guide us here. Countless examples, all modelled, I suppose, on Phantom of the Opera, where a theatrical event suddenly, by ostension, or intrusion of reality, becomes very real, is a theme repeated in horror ad infinitum (I just watched The Brighton Strangler (1946), where the theme of a play interrupted by a bombing was then taken back into reality). So, this is theater-as-spaceship, which I place far out at the edge of the Ambient space outlying consciousness, as it crosses the frontier to the Sentient space, partaking a bit of both (and then the explosion is taking place in some locale to the left of the sea too, more on this in a bit)

tw24but, now, from a level perhaps equivalent in it to the Glass Onion, it looks out of a screen turned around back into a picture window, back upon reality


what this means is that the explosion took place over the Ambient Sea, or maybe it should be expanded some to include a wasteland or desert at the shore of the sea


but, before we touch down on that, the Fat Lady, and I think this is who she is, a figural form of that expression (the opera aint over til the fat lady sings), comes up, and spotlit, in a circle of light, and apparently a figure of goodness, she now confronts another bubble of Bad Bob energy, the tendency in all to succumb to their evil alter egos, so it is a psychomachy in the theater at the end of the world

tw28we have previously seen a Bad Bob bubble emit from the stomach of Mr. C when he was killed, almost as if the Watchers, or the Sooty Men, massaged it out of him, then we have seen a bubble of the Admiral float over the Ambient Sea too, so I would place this particular cloud or bubble also over the Ambient Sea

tw29but, then, of course, the Fat Lady does not have superpowers, so she must enlist as a golem or go-between Mercury figure, the Usher, who now is suspended in the air in the theater, and when he gets high enough and close enough to the “screen” he seems to be pulled on to pull out of himself a golden ectoplasm

tw30ectoplasm is also a materiel with a deep history in horror, so nothing to be entirely freaked out about here, one can see it during a séance in The Legend of Hell House (1973), and it becomes the main instrument of the haunting in The Uninvited (1944),

tw31so, nothing unusual in the paranormal universe here. But, then, as if implying that the Usher held it in his stomach, which would make sense in terms of oracles, as many were linked to stomachs (ventriloquism means voice from the stomach), a gilded bubble or ball comes out of the ectoplasm coming out of him

tw33and then it floats down to the Fat Lady, for her to grab hold of it, lovingly

tw35and it is Laura Palmer. Hmm. What can this this mean? It’s possible this is the preexistent soul of Laura Palmer, not yet come into the world, innocent, opposite of Bob, which the world destroyed when she was too young. Perhaps it is by this ectoplasmic form of her soul that she still exists prior to her life, she can be reincarnated and restored to life for a second chance. Or maybe this represents the soul that every person brings to the world, however short their time here is, and it can be at the ready as an energy source for reviving the world at any time. Whatever it is, this is represented as a sort of cosmic egg, at the beginning of this whole space opera drama and, then, once the mother figure mothers it, it can be fed back into the world, having been arrested in this theater at the end of the world. This is done by lowering into place from the backstage elements behind, a large tube, to receive it

tw37this tube, as if a Fallopian tube, then deposits the egg back into the womb of planet earth

tw40and it is 1956, which I am going to guess is the year, well, it cannot be the year of Laura’s birth, because if she was killed in 1991, she was born in 1971, but maybe, maybe, she was the teenage pregnancy of a girl, her mother, who was born in 1956 (I was born in 1953), and would be, by the time the series begins, 36

tw41now, let’s suppose we have just watched the artificial insemination of earth by the preexistent soul egg of Laura Palmer, but in the form of the conception of her mother, it is a kind of deep nostalgia, wondering of the years of one’s parents’ birth, it has a doubly retrogressive feeling, a kind of origin of the universe feeling, but, in this case, it happens in the middle of a desert, and in the form of a strange egg, which then hatches a….frog with moth wings

tw42this also need not overly bother us, Da Vinci apparently believed that Leda’s children were, in fact, born from eggs


the fact that insemination occurs by means of a go-between form, somewhat monstrous, is also not unusual, with, in some cases, monstrous births resulting, there are any number of horror movies about the notion of monstrous births (many serpentines breaking prematurely out of stomachs too). Now we are served up a scene as if straight out of a Sal Mineo movie in the 50s, with all that cozy parochial apocalypse feel, like Them! or The Invasion of the Saucer Men, or The Blob, any more like that, simple country life, invaded by the alien world. Two themes now develop here, there is a couple, in young love, or rather he is trying to push it, both teenagers, very much of the time, perhaps an imagining of a grown woman of what her parents were like when they met

tw44then back out on the highway, we get the originating appearance of the Watchers, or the Sooty Men, they begin to stream across the highway, they freak out a couple driving, there is an invasive quality to their passage. They are creatures of the night, I think we should probably imagine them sent as a series of noir version guardian angels-midwives to watch over the frogmoth egg being to make sure it matures in this world (and, perhaps, if this IS a parable of the origin of Bad Bob energy in the world, his emissaries too). Perhaps, since the old theater in the sky was fueled by that belllike form that looks like a furnace they are avatars of Vulcan and also miners of early America who bring that dark power to earth

tw45and since they are activated by their masters by means of a very simple, short script, they, like men like that, who are reduced to the management of their habits (smokers, addicts, whatever), they have one line when they meet someone, Got a light?

tw46then, that couple meet, I think, a bad end, then he goes off to the nearest place, a radio station next to a diner, out in the middle of the desert

tw47I am picturing all of this happening in the desert land this side of the Ambient sea, so the Ambient Desert, lying outside of consciousness, and even dream, and more or less equivalent, if horizontally placed, to the Land of the Dead in Roman mythology, where they believed that if at the bottom of the last stage of dreaming one’s way to death, Mercury opens the door for you, you can swim through the sea of death to the palace of death, and then it is all real again,


so this is a “real” place, by way of dream-ostension, generated by a kind of horizontal sleep paralysis, but lying outside of deepest REM dream state. In any case, he now commandeers the radio station, the 50s music that was playing goes off, and he speaks a spell, “this is the water, this is well, drink full, this is the horse, the eye of the horse, white, but dark within, etc.” (which I associate, having mentioned Rome, to the spring in the Roman forum which was said to be an originating spot, because it was there that, after the battle to save early Rome, Castor and Pollux watered their horses; there was also the sacrifice of the October horse). All one need to know is this is not a mere recitation, but the activation of a spell, not unlike the spell that Maria Ospenskaya speaks over the werewolf in The Wolfman (1944), what she says, “the way you walked was thorny, through no fault of your own”


it’s not a passive eulogy, it is an active spell that actually causes the werewolf to turn back into a man, it is powerful, agentic, actionable spell, same thing here, and it causes some heads of earthlings to explode, most to go asleep, or experience a brain crunch

tw50then that happens a few times, so the entire community is disarmed, and this leaves things open for the frogmoth, as I call it, to creep in on the teenage girl (again, I presume Laura’s mother) we saw earlier, who is falling asleep, in her lovely little 50s bedroom

tw51and while she is asleep, her mouth opens, and she suffers a sleep attack, in the sense that the frogmoth crawls up into her mouth, and, it is assumed, we have witnessed either the origin of a possession where by Laura Palmer’s mother will be found out to be “one of them,” that is, an alien, with Bad Bob energy, or it is simply an occult way to imagine conception without sex (parthenogenesis, as believed on, for example, Summerisle, the island where The Wicker Man (1973) is worshipped), except in this case (and there was a frog that went into a mouth in The Wicker Man to cure, it is said, by folklore magic, a sore throat, that’s what it’s croak is) it is by means of a serpent (well, snake conceptions are mainstream naga lore), a “gross” scene to secular American mainstreamers, entirely legible, albeit occulty situated in dream, to any afficinado of horror

tw52and then it is almost as if it was the job of the Watcher, or the Homeless Man, like a Magi, though represented in the form of the street philosopher, always keeping his cool with that smoke, he walks off, his job done, to induce a town into unconsciousness so that an occult conception can take place.

tw53and that is the magic conundruming of the infamous Episode 8. Those who saw it unschooled in the tropes of the genre declared it, comparing such a sequence to the usual head-shot style of tv drama, one of the greatest, because artiest, hours of TV ever, I was less enthusiastic, thinking that Lynch works better when he sneaks the cosmology into the everyday, but, to me, this was his space opera, explaining to us that the original sin of the Lynch universe was the atomic bomb explosion that turned us all into monsters, just like in the old movies, or that it brought Bad Bob energy into the world, and that in the fallout of that Messengers of its destruction ushered into the world dark and light forces which now do battle with each other. And, again, everything here could be entirely allegorical, and need not be read by its surface at all, it all could be substitute forms for something else, differentiated even “punked” scenarios masquerading over a small push of narrative in the core, to get the dream to make sense in the end. As I imagine it, all of Episode 8 took place at the bottom of a full on legitimate whoosh spiral down the wormhole, not unlike 2001: Space Odyssey, into and past the splat moment, to slip into deep REM state, and, in that state, the dreaming mind then wandered out far to the edge of the Sentient part of the outlying zones, where there was a lighthouse-theater in which an exchange of energy allowed for a release of that back in the Ambient Desert part of that world, and in a small one-stop town I will call Ambience, in the Desert zone, a holy or unholy birth was made, and there it is, Episode 8 was like the Christmas Story of this version of the world, the neopagan world of David Lynch (“punked” is my word for a hypnagogic light dream experience in which the content of the scene entirely covers the message of it, and you simply do not understand how that scenario got into your head, my best example, I “dreamt” once that I was sitting for hours in the waiting room of an obstetrician in Hong Kong, just looking at pregnant Chinese women, and I was like, why? why did my brain run that entirely self-constructed, neuro-original scenario?). That is as good as I can do this time through.

Fortunately, at Episode 9 we return to planet earth, by which I mean, the vector of the visuals swings all the way back up out of REM deep dream space, and Ambient space beyond that, into waking space in this movie, so there is the issue of Lynch having led us into one state, then to wrench us back into the other.

tw54There are some circumstantial explanatory things about Mr. C still being alive (one imagines the Magi then also massaged him back to partial life), and then a lot of runaround with Dougie, but, while waiting in the waiting room at the police station, the cops having found out that he has zero record of anything prior to ’97, which would mean, somehow, that he was a tulpa created during the events of the series, and they say that talking to him is like talking to a dog, he stares, and has another one of his autistic apophenic moments

tw55he focuses on the American flag folded against wood paneling in the corner

tw56maybe it reminds him of the symbol he saw over the slot machines

tw57then, he follows the red, as he would, having been “haunted” or “instructed” by the shimmer of the red curtains, in the form of the red high heels the assistant is wearing, then, she walks by an electric outlet, in one of those classic little still lifes that Lynch is so unique in offering to TV viewers (red shoes were also used as a clue in Argento’s Tenebrae (1972))

tw59and looking at that outlet, he is like, that rings a bell, later, he actually gets up and wants to stick his a fork in it, here, like a child, he just toys with it, well, it is his “birth canal,” as he did, in fact, come into this world, or the spirit in him now, by way of a wall socket, so this indicates that something is drawing him in there

tw60after a few other events, the trail of intuition with the sheriff picks up as they now are lead to Bobby’s mother, to ask if she knows anything about Dale Cooper and this business.

tw61she then reveals that in the back of a sitting chair in her living room, she has kept, for years, a secret tiny cylinder that the admiral, her husband, gave her, before he disappeared, and she cannot believe that this day has come

tw62there is even, like there must be in good 1940s movies, a clever, if simple and small scale hidden compartment idea, the top of the wood frame of the chair pops open (which means she took the time to have that made, years ago)

tw63and she brings out a small pipe, saying that the admiral knew, Bobby, that all would turn out well for you

tw64so, this little object, is a breadcrumb on a trail that started with the Log Lady, which included an “Indian Head” nickel, a stall door stamp saying Nez Pierce, the missing pages of the diary, a cryptic message, and now this. It goes on, to skip ahead, Bobby, back at the station, trying to figure out what they got, says he knows what that is, takes it outside and bounces it like a cap against the sidewalk, picks it up, and it pings

tw65and inside it, after it is pinged, it being able to be opened up, it has a secret message

tw66not only do we have the Twin Peaks, but we also have that evil black symbol of Jowdah again, and the number 253, which was the moment that Cooper by way of the Floating Castle came back through the wall socket in space to in passage split into half of Mr. C and half of Dougie Jones, and the note says that they have to go to a certain place at 2:53 in the afternoon, Jackrabbit’s Castle, I think it was, and Bobby knows where that is too

tw67and in this code, as if computer coded, and one cannot rule out the possibility the plot was entirely constructed by code, COOPER is mentioned

tw68now, converging in circles on this central intuitive trail in the proceedings, back at Buckhorn, we return to the body, again to discover that it cannot be the Admiral, but that the principal who was arrested for this murder, because this body had the head of his mistress on it, has a strange little blog about visiting another dimension

tw69and this fellow, Hastings, under interrogation by Tammy, finally gives us his information based on that blog life, that he did go to a certain place at a certain time, and by that did enter some other dimension, and it was the Black Lodge, and there he met the Admiral, who gave him coordinates for this or that

tw70and it is a pretty gratifying moment, since Lynch has pulled us away from conclusion, to see him point out the Admiral, lurching us forward to some solution

tw71there were many people there, who saw him, he then floated up, he said numbers, and that was that, so, we have previously seen the Admiral float over the Ambient Sea, it is possible that the place Hastings went to was that Floating Castle, or it was the Red Curtained Place, aka I think The Black Lodge, but, either way, somehow, this principal, by way of a blog, online, got to that world (a comment, no doubt, on how, in recent times, Dark Web conspiracy theories have spat back out by ostension into reality, actual entities and acts, as see the wiki page for The Slender man, entirely an online creation, which then instructed two Wisconsin girls to stab a friend). It’s a quandry. But, keeping it online, for the moment, let’s suppose that if you spend too much online, on the blog, you leave full consciousness and do in fact descend into a kind of hypnagogic dream state. The internet, as is now routinely used as the source of the “research section” of horror movies, is a twinfire place, a place of hyperapophenia, of conspiracy theory, and, then, I think it is the ultimate Glass Onion, in which one can get stuck (and below it corresponding to deeper nightmare forms is the Intellectual Dark Web and the Dark Net) (there was literally a pingpong twinfiring on some reddit page of /r/Donald this past week when trolls who liked Donald Glover invaded a thread meant to praise Donald Trump, and they thought this was resistance!). From that spin of ideas, he was able to contact some Ambient energy that came in for him then pulled him out for him to actually be transported, albeit in a light glass onion stage dream, to the Red Curtained Chamber, where he met the Admiral, just like others have met the One-Armed Man, or the Prophecy Tree, and then the Admiral floated away, speaking some numbers, and my guess is he floated away out over the Ambient Sea where we saw him pass before Dale Cooper came zooming back into the Floating Castle before

tw72So, this whole loop around to Buckhorn, it was all about finding a blogger who had made contact with the Admiral, and then it is also true that in the stomach of the body was found a ring that belonged to Janey E, who is Naomi Watts, which is almost, at this point, unexplainable. But, then, back in the Dougie Jones part of the convergence, for that is what I thought was happening now (I even nursed the hope that Dale Cooper would fully manifest soon enough for him to play a few episodes of him as good Dale Cooper chasing his bad alter ego in Mr. C, but it did not materialize). On the path of intuition, or, at least, in its rationalized form, scripted, not paying attention, autisticly moving through life, we are introduced in much more detail to the Mitchum brothers. They are sitting about, as mob bosses I suppose would, waiting for news of this or that hit, and Candy is chasing a fly, with, if you want to breadcrumb her relative to the symbols shining over the slot machines for Dougie, a red napkin

tw73but the funny part is, she is REALLY Into it, that is, she is a Dougie fellow traveler, none too bright, but endearable for that

tw74so she picks up anything at hand, even the remote control, as will happen in Americas-Funniest-Videos land, and, then, again, with zeroing in tunnel vision, following the script, not paying attention to where that damn fly has landed, whacks at it, but it happens to be on the side of the head of the brother

tw75the funny part is that she snaps out of it and is so completely desolate about what she did, beyond sorry

tw76even later that night, she cant get over it

tw78but it would appear that this whole encompassing scenario was devised to lead us by gentle turns to the Mitchums coming to realize that Dougie Jones is a problem, because he is on the tv, that is, it put Dougie Jones on their radar for having acted heroically in preventing his assassination, and they realize that this Mr. Jackpots is someone who, now on their radar, might be a problem

tw79meanwhile, there is a flip of the motifs in the actual Dougie Jones plot back home as by watching Dougie be back in shape, getting looked over by the doc at the office, Watts is, rather superficially, turned on by him for the first time in years, and back home while he had before that event followed the red shoes now the red shoes twist into turned-on position (the “feet” of the TV on which the Mitchums saw Dougie as a problem were also curled in)

tw80I remember one time when I commented on the curling toes of this famous painting of a fog rape by Correggio


a student laughed in question at the meaning of curled toes, but, whether or not it is true in real life, in representation, in art, twisted together, all but pigeon toes, means, turned on, so Dougie ends up with his other end in another socket (and I do believe that in scripting these things magically flipping it to its opposite is an option).

aaaaaaaaaSoon after, Sizemore is enlisted by the boss, after the hit failed, to alert the Mitchum brothers that Dougie is a threat, so they will whack him, and so they send Candy to get him

tw83they, after that, want to kill Dougie, worried that he has something out for them

tw84this a major development. Dougie was under several threats, then a direct threat, he avoided them both, then he also became the hero to his company, but now Sizemore is sent spinning round his side to foment dislike of him by the Mitchums, who now represent a major menace to him. So, his path at reincarnation is very twisty, indeed. These twists and turns in the discursiveness are not typical of “conscious” story telling (though the “wrong man” idea, or the “impersonator now finding out the complications of the impersonatee’s life” are, see Dead Ringer, the Bette Davis one), but of dream or hypnagogic storytelling, that is, the structural logic is fundamentally dreamlike, it is meant to flicker before your consciousness, you are not allowed to see around corners, it comes to things not straight on but by way of three loops around three backdoors of it, to get there. This is a kind of story formation I have previously called a strigilus, of which Hammer studios, though twisting it in space, were the masters. I have for a year or more depicted the adjunct spaces of hypnagogy as a zig zag, or as a strigilus, and at each turn in the maze of it is posted a figure either to help you on your way, or misdirect you, or turn you away, this is what is going on here, while on one level the meander might annoy, on another, by refusing to show any seams, or any sign of calculation or reason, these sequences of limited-scriptings clashing and converging give to Lynch’s mis en scene an incredible sense of lifelikeness


in fact, he also makes use of these apparent senseless meanders, to drop in breadcrumbs, but also to reveal secrets that announce a deepening of the discourse. For example, right about this time there is some funny business back in the motel, Tammy and Cole laugh at seeing that Albert actually picked up the mortician, and is wining and dining her on a date, they wonder, will anything come of it?

tw86earlier Duchovny had teased Cole that he had Tammy as his assistant, assuming the worst, that he wanted to seduce her, to which Cole retorts, nope, I’m old school. But it may be that seeing Albert reach out to female companionship, made Cole wonder of that too (well, he does, in fact, later, seem to have invited an Italian prostitute up to this room, I think, but if so, this is awakened by this moment), Then, back up in his room, after a view of the hallway, and hotel hallways are notorious in horror for instilling in someone a feeling of alienation, they are meant to calm and soothe, but by their nature they annoy and make one feel cold, if one is alone, the landscape paintings speak to danger coming, emptiness

tw87and we see that he is doodling a drawing

aaaaaaaaaaait is a hand, a Hand of God motif, reaching down to capture an elk of some sort, but which looks more like a hyena with treelike antlers, out of all proportion, perhaps it bespeaks his total loss of contact with true hands-on life, that is, having an intimate who touches him, and he has become an animal in the wilderness, In any case, Albert now comes up to the room to tell him some bad news, he has found out, as earlier at the morgue, where there was another landscape painting

tw89That Diane was somehow a double agent, she was texting someone, presumably Mr. C.

tw90And this is upsetting, but maybe, maybe, when Albert knocked, he was expecting Tammy, or a woman, so in his disappointment it is spat back at him in the form of a strange vision of Laura Palmer in his doorway!

tw91it is a fairly cheap special effect, simply superimposing a clip from the old show over the door, but, it is, as a sighting, a very strange event, the trope of someone evil coming to your door, but more specifically something alien, like Philip K. Dick’s encounter, it nonplusses him, perhaps this is the point in the proceedings that announce his own intuitional mind being woken up again, for real

tw92and then Tammy DOES come to his room, down that hallway, past those paintings

tw93but to report that she has received a photo of Dale Cooper aka Mr. C ordering a hit in Manhattan, that link, though I am not sure where this went

tw94my point is that in what appears to be a meander, an important development, hardly noticed, because encircled by what appear to be misdirections, is sent us. To be Continued.

The Dark Mirror (1946) and ephialtic shock, fighting with twinfire in a bookend universe.

Rev., May 16, 2018.

Note: The author is a younger identical twin. Dedicated to Olivia de Haviland, one of the last stars of the 40s still with us. The concept of the “twin universe” serves as background to previous entry on Twin Peaks: The Return

I have noted that in the odd 1946 movie, Fear in the Night, the trouble for the main character starts when, unaccountably, a man in the room next door, in this rather too-friendly hotel, knocks on the door, when the man is in bed, and, with a candle, asks if the power has gone off in there too, he is holding the candle

aad 1then he checks the light, it flickers on and off

aad 2and then he ends the engagement, purposely, weirdly, backing up out of the crack of the door

aad 3and, I noted, the movie stayed with it, right to the end

aad 4the man in bed is then, apparently, hypnotized, and for that he undergoes a series of strange adventures, which involve killing a person for the one who hypnotized him. I am not entirely versed in the intricacies of the beliefs about methods of hypnotism in the 1940s AD, but, it is certainly odd that this is a device, and, then, even odder, that an even odder device shows up in the twinscare movie, The Dark Mirror (1946), with Olivia de Haviland.

Apparently, in this movie, it is the younger twin Terry’s plot, by gaslight, to cause the older twin, Ruth, to go mad, and I suppose she read somewhere that snapping a person immediately and quickly out of a nightmare can cause sleep paralysis like madness, the very ephialtes of the Greeks, and that therefore the centerpiece of the plot must be a device to exploit Ruth’s nightmares by shocking her out of the nightmare at the most dangerous moments. And, surprise, her device, her real device, really, is to hook up something to the bed table lamp, on the bed table between their actual twin beds, for it to flash bright for an instant, to shock her, and awaken her, and then be gone.

aad 5

it is certainly the queerest device of torture, to force a nightmare-experiencer to sudden, dangerous wakefulness, that I have ever seen or heard of. I have no idea where this science comes from, but Roscher does in fact warn against suddenly waking up from nightmares. But, the point here, is that it is done parochially, with the materials at hand, invisible, inside the artifacts of their home life. It is also done in the space between them, as twins, and between their twin beds, which they still sleep in, next to each other, well on into their 30s. So, it is strange.

But what I really want to focus on is the bookended or bifurcated nature of the reality its simple devisement implies. That is, there is a suggestion here that reality is simply a one-two, a this or that, a nightmare then awake, a series of opposites. I have encountered this schematic world previously this week, in a contemporary twin movie, in which the devices of the haunting of a mother of a dead twin results in her being carried down the spine gap of a bookend universe. I graphed this out as an adjunct silo bearing down in dysfunction from the glass onion, which gives it its simple form, and then going through truncated and less vertiginous declensions into dream.

aad 6

Indeed, it might be that the 40s were caught in a twinscare zone, where a simple switcheroo, was enough to make for a mystery. It was, then, in this low level film noir, a simple world. The movie plays a lot with that. Early on, the idea that the one twin cannot be fingered for the murder because there is the other twin to appear with her on the lineup, and no one can tell the difference, means to the head cop that this is a “Rube Goldberg” defense by two women, twins, who have previously been known to participate in twin “monkey business,” by switching roles, he declares it the perfect crime

aad 7

even after an interrogation, the judge not being able to tell them apart, he declares them free, because, though they know that one of them is guilty, the law cannot violate the rights of the one who is not by engaging in indiscriminate arrest, to make sure we get her

aad 8

then, soon after, Lew Ayers gets involved as a psychologist, and the bookend universe and its binary nature is deepened on a neat schematic level by having them participate in lots of Rorshack tests, note the turning of the head, to show the face, away from what they are reading, this comparing reading to likeness

aad 10

but, of course, the Rorshack test is entirely a bifurcate, bookended form, relying precisely on a kaleidoscopic fold that I would locate as descending from an adjunct glass onion twinning formation, in the whoosh below, a kind of narrow, or limited kind of spiral into dream, where all interpretation is allowed. And I think the joke in this schematic set up of difference is that, in this narrow purview, of bookended abstraction

aad 11

and he studies the profiles, to determine who is who

aad 12

then, later on, in another battery of tests, there is the lie detector test, also believed in as gospel at the time, and its bifurcation, its simple graphic, bespeaking lying by a disturbance of a calm profile line, is another bookend universe device

aad 14

So my point is, to set up the devilish nature of the twin crime, an entire twin universe of bookended graphics is created, in which the world as a whole is seen as simply binary, bifurcated, and the only thing that need to be done is to tell what side is which. But, this becomes, then, somewhat more complicated with the matter of the twins themselves. The movie as a whole spends some time debunking some twin superstitions, like the notion that as they share traits that depletes traits in both of them, but then at the end it builds back up a doozy of a twin superstition, namely, that if you love someone and that person decides to love someone else, you have a lot of ways to find excuses or alibis for it (so Ayres is basically laying out the alibi theory of tolerance of disappointment), that is, he prefers red hair, that’s his type, not me, he likes them younger, he’s a perv, he goes for older women, it wasn’t the right time, he got distracted, its reality, in short, all the rationalizations that a singleton would undertake to get over the fact that a person one loved chose another as a lover. But in the case of a twin who falls in love with a person who then choses her identical twin, there are no excuses, or alibis, you cant say he prefers that type, because you are that type, you cant say he likes red heads, because you have the same color hair, you cant say he was off on something else, because he right in your business, adjacent to your being, making love to your sister, as a result, Ayres explains, there are no excuses, no alibis, one is left with raw, naked jealousy, it is too close, too intense, impossible to rationalize away, and this can lead to the build of the intensest jealousy, which can, in fact, make a twin crazy. Though I do not find this to be true, it is certainly interesting as a twin theory, the implications being that twins are exempt from the alibi formation theory of overcoming fears in the world, because they have none, more on this at another time, but the point is, it makes the space between them sick, it creates, by the nature of twinship, a good twin-evil twin dynamic, and, since Ruth is the oldest, I am guessing, Terry the younger, it is the younger who must conspire against the oldest to bring her down, to assuage her jealousy of the fact that he, the doc, likes her, not her (so, weirdly, the doc got so deeply involved, he caused the crisis by falling for Ruth).

How the movie deals with the bookended nature of their twinship is the fun thing, then, as it derives from the strange lamp device Terry devised to scare Ruth into madness. The device is very much bifurcate, there is darkness, then there is brightness, extremes, no in between, one, two, light dark, binary. Then, there is nightmare, then there is wakefulness, result in sleep paralysis and fear. It is shown from the beginning as a binary disturbance, a breakup, of their safe twin space, symbolized by the twin beds (which couples also slept in, at least in movies, at the time)

aad 15then when Ruth wakes up in shock, Terry mimics her, bookending

aad 17

they are twinned, one sane and ok, the other upset and not

aad 18

the movie is very interesting in asking OdH to do some physical acting, more so than you see her do in other movies, in this she makes a head-holding gesture of I must be going crazy (arms out chicken, head splitting in half down the middle, ie a kaleidoform again)

aad 20

earlier, at the doctor’s office, she made a quite strange, but, again, very girlishly physical stretch activity after the rigors of devising meaning down the bookend of the Rorshack, as if to spread her wings back to full scale, but as if splitting her body in half (that, or claiming a whole “person” space to herself, not to be “half” of another)

aad 21

the movie has been working to, as it were, drive a wedge between the twins, to differentiate them, for us, one wearing black, the other light, one in a mirror, the other not

aad 22

one a shadow, the other not,

aad 23

in one of the movie’s strangest scenes, also to differentiate on a very intimate level, one of them is up in bed, talking to her, wears a nightgown

aad 24

while the other twin, I am guessing here Ruth, is stripped bare, in less than her gown, in a slip

aad 25

the point here is that for 1946 this is A LOT of skin to be showing, this is ODH very naked on screen, for the time, it means she is splitting off from her twin

aad 26

and, again, with two porcelains behind her, her breasts bifurcate, very “naked”

aad 27but then they fuse again, as she puts on a nightgown that is exactly like the other one’s and by way of mirror communication she refutes the idea that one twin is likely to be abnormal, why that’s just superstition, and she will take care of her in any case, so, after a split, a pulling back together into the twin bond

aad 28

but, then, for that, the bed twinning is a bonding image, an all is well with them image

aad 29

to then break it up, with a shock device to induce in her an ephialtic (Greek for “leaping”) wakeup out of nightmare, thought to make people mad, was a major violation

aad 30

it is not exactly clear what is being done here, there is a strange light above her bed, maybe that is the spotlight that shocks her, but Terry’s hand is also manipulating something at the bedtable so maybe it is a remote control shocking of the bedtable lamp. It is also to be noticed that all three of the pictures lighted up by the shock shot are pictures of dancing, the ballet, indicating the dance of identity going on between them

aad 31the lamp is a pretty typical 40s lamp, frilly shade, then a bulbous, Gaslamp-inherited form, it might bespeak gaslighting, but I doubt it, a lamp of this shape often does, as in Dark Waters, speak to truth telling, but I see no device near it which suggests it has been rigged up to shock Ruth out of her nightmare, to scare her

aaaaaaaathe picture at the door sometimes as door-keeper or password function, but this looks like a playful scene, though also has a certain “blind leading the blind” form too, It could indicate that she is breaking the bond out of resentment of the limits it places on her out there in the world

aad 31 (2)

in any case, with good body movement, ODH communicates by arm movement her split-in-half nature, her bookended nature, as if the folded half of an image traced on the fold of paper, this split representation of her arms signifies that she is coming apart

aad 33

there it is amazingly meaningful instance, in the movie’s second weirdest moment, that Terry has another moment of regret, of thinking she went too far, though maybe also to further drain power from her, but seeing Ruth is upset, physically so, she also, physically, gets up and crosses the space between the twin beds, we get, strangely, a close up of her body, from about breast to hip, Ruth’s split out elbow contrasted by her resting elbow

aad 34and then she puts TWO hands on her twin as if to hold her together, to bring her back in from coming apart like a chicken being pulled apart, to bind her back into being half of a relation with her, it is an extraordinary shot, and, again, one does wonder if in 1948 ODH thought, there is a lot of body being shown in all this

aad 35

in any case, the campaign of gaslighting continues, as Terry tries to drive Ruth crazy, so Ruth gives us more of these

aad 37

but then Terry is exposed, faking it as Ruth, on a date with the doc, who had the date with Ruth

aad 38

with this strange statue of a goddess behind her, I cannot identify her, but let’s call her “dark twin” goddess Erebudidymo

aad 38 (2)

she declares his jealousy theory to be rot

aad 39

then comes the final twist, when, rushing back to her place, she is told Ruth is dead, so now tries to be Ruth not Terry, but, then, and this is the switcheroo solution, Ruth walks out, in the mirror, to shock her back to being Terry

aad 40

and so by attempting a violent act, she reveals herself at last. It is a cat’s paw of simple devices, all of them simple one-two switcheroo devices, in a bifurcate, bookend, twinfire universe, the state of mind I call twinfire, which I now have located as in dysfunctional descent from the glass onion to the whoosh, in adjunct space, which is where so many cheaper film noir 40s films are shot, but, the thing is, by the limits placed on devisement of tropes in this situation The Dark Mirror (1946) came up with one of the oddest torture devices ever in film, and one which, in fact, corresponds to the lore of traditional dream theory at the time, that jolting one out of a nightmare might well make one mad, and this was the plan devised by younger twin Terry to drive older twin Ruth mad. It’s fun, an entire movie filmed in the twinfire state of the bookend universe.

Twin Peaks: the Return (2017): mapping out episodes 3 through 7.

Rev May 20, 2018.

Note: This is Part 2 of 4 part treatment of Twin Peaks: The Return (2017).

At the beginning of Twin Peaks: The Return we get the first return, but how and why it is a return, or, rather, how much of the entity known as Dale Cooper is making the return, is something of a question (there being an inference that Lynch believes in several-soul theory). In episode 3, we rejoin Dale Cooper having been rattled out of the Red Curtained Place by the Oracle tree, and he is vibrating, descending, crashing through the atmosphere of space

atw 1There is no question, relative to consciousness, that we are in a dream state, but as I indicated earlier, we were pushed out of the mirroring dynamic of the drama, the twinspace of the twinpeaksness of this doppel space, into another doppel part of the universe in which Ambients preside, and, beyond them, even, Sentients.

atw 2and just to remind you where we are, vis a vis the head on your shoulders, with which you are reading this: Ambients exist in circulations of fears or whatever around the cingulate and are manifest in visualizations on film of any shot where there is a circle of people or objects surrounding one, or spinning around one, as part of a horror, ambients might speak to dizziness, or to claustrophobic, the brain spins out to them in states of higher concern, it is the fear of ambient hauntings that makes “circling the wagons” a circling, the circle must be closed against danger from the outside. The Ambient zone is a zone of heightened fear, taking the form it does because of that. Then, beyond them, in the area of the brain way out at the edge of the temporal lobe, say, where tinnitus occurs (but actual tinnitus becomes intolerable when it circles back in), Sentients are the visualizations in film and inside the head of imagined terrors coming in at you in abstract, nonfigurative, usually invisible form, often in the form of slashes or serpentine entities, to attack you from far out. It is a zone of very high, almost alarmed, emergency, a fearful tension characterized by a spinning, often dangerous.

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I only developed my vocabulary to include Ambients and Sentients because they were required to explain other classes of visualized images in horror movies. In, for example, Wolfguy (1975, Japan), there is a very succinct example, as a man is running from a Sentient curse, he thinks an invisible tiger is whirring at him, to claw him to death, then, at first, to stop him, the cars come at him in a circle, so this is Ambience, to get him to stop

atw 4but they fail, so the invisible tiger, the manifestation of a curse, and mainly rendered by noise, not this graphic

atw 5comes in out of nowhere visible and slashes him to death (which is exactly what the sentients in Twin Peaks did the love-makers in NYC early on, and to Hastings in the police car in episode 11 later, an invisible buzzsawing of their bodies and heads)

atw 6These are very common horror visualization modes, and maybe I delayed writing on Twin Peaks: The Return until after I had gained better insight into these peripheral classes of visual hauntings. So, at present, my guess is Dale Cooper is descending in a whoosh-like straight on falling-into-a-dream sequence, but it might be that he is floating out in the borderland between Ambient and Sentient space (indicated by his shaking). But then we get an interesting, and to me maybe a nonsequitur, later included clarification shot, because it might’ve been asked, where is he?, so Lynch decides to partly materialize the outer membrane of, say, the Ambient zone of the atmosphere lying outside dream, and entry into that atmosphere from beyond is figured out by a puff of smoke as if a kind of egg breaking through a wall of one zone to the other (this might relate to a similar shot, said by some to be a birthing, in the vision in the theater in episode 8)

atw 7and this I locate horizontal to the lattice-whoosh (third and fourth levels) of hypnagogy, as Cooper spins in from a violently shaking Sentient, tearing-apart space, into a calmer Ambient space, lying outside the main precincts of dream imagining, but at the level of breaking into the whoosh down to nightmare

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and then we see that we cross over a vacant empty and purple ocean. It is not unlike the oceans in Tarkovsky’s Solaris, simple ambient entities, not really oceans, but oceans made use of to rationalize for a moment a boundary in the passages of dream space

atw 9but then he sees something, a floating castle, a Magrittean idea, and it is a typical remote island castle, with many sources in horror, except that this one is floating over the weird inland or Ambient zone sea

atw 10in this, the sea is the “floor” of the Ambient space, just above full on REM dream space, while the castle floats at the lattice level above it, just hanging there (as lattice-like forms will)

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there is also a psychopomp present, to show him the way through. She warns him, there are dangers about, be quiet. She is blind, or rather, patches of skin have grown over her eyes, she is also Asian, this might speak both to the special combination of the unseen and the dream nature of the experience of the Ambient zone as a space

atw 12normally, in this sort of haunted house encounter, a chandelier might be expected to be the major lattice form; but in this particular house, it is a very large plug-in outlet or apparatus in the far wall (this also has roots in horror, as in The Day Mars Invaded Earth (1965) it is the intercom that becomes the main utilty of the room; and in numerous other examples, such as The Amityville Horror (2005) remake, it is the air ducts, the duct was even instrumentalized in Still/Born (2018), recently showing on Shudder

atw 13 this is familiar, then

atw 14but it would appear that while it is there, and fritzes, not even this works without some other kind of power being required, so the psychopomp is also, as it were, the electrician of the device, because she has to crawl up on top of the floating castle, which now looks more like the Nautilis in 20,000 Leagues Under the Sea

atw 15then there is a belllike form, meaning what I cannot say

atw 16she hugs it

atw 17this causes her to float away (as if her sacrifice fixes the problem)

atw 18allowing a cloud of the Admiral to pass over the station

atw 19then, back in the station, where Cooper is, there is now another woman, or maybe the same woman, only represented as just a sliver of consciousness more awake than in her former state, she tells him it is time

atw 20he then is zapped through the two prong outlets of the outlet

atw 21in a truly Magrittean moment, not unlike the locomotive coming through the fireplace

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but in reverse

atw 22leaving his shoes, and maybe his grounding in one being, behind, by mistake

atw 23causing him, in the logic of a twin universe, to split again, this time in  causing Mr C to get sick in his car, and lose some control over his being

atw 24and then by finding a place to put the other half of him split in the transmission by depositing it in a lookalike guy in Las Vegas called Dougie Jones

atw 25the fun part about the Las Vegas Dougie Jones scenario is that this transmission interrupts him in his normal life, a total loser, gambling and whoring his life away, and up to his neck in debt to organized crime, he is caught at the end of an assignation with a lovely prostitute in Las Vegas. She then goes back to shower, a classic trope in which people washing themselves take the eye off the ball of life around them

atw 26so at the same moment the red curtain and a kind of oozing sets up Mr C up in the Dakotas

atw 27and Dougie Jones waiting out in the outer room in this vacant show house. This show is excellent weaving of the curtain trope into the Venetian blind shadiness trope, as well as the carpet and empty house trope, as well as something going on out in the house when the woman is preoccupied taking a shower trope, all vacant crawlspace zones of modern life (there is a good Adrienne Barbeau movie, Open House (1987), in which she plays a realtor who does all her assignating in vacant show homes too)

atw 28and like Mr C he throws up, as if the soul in this universe is partly a matter of intestinal fortitude

atw 29then that Dougie Jones as was ends up back up in the Red Curtained Chamber

atw 31to be informed that he was not a real thing but manufactured for a purpose, a tulpa, that is, in the Lynch language, and he in this form is liquidated

atw 32while back down below a semblance of Dale Cooper, the new Dougie Jones, autistically limited, comes out of the socket into the empty room, to take on a new half life in Las Vegas (then the complication being that he is stuck in so many messed up situations) (this is also a funny commentary on how most people just “satisfice” their way through lives, they only need a bit of an explanation for the unexplainable, for them to just shrug and move on, this Dougie has just barely enough to function, but he does). His being dressed in his old clothes is a confusing point, as is the fact that, she finds out, he has a key to his hotel room at Twin Peaks in his coat pocket, reminding us that he is half of Dale Cooper, the inversion of Mr. C though) (she later mails it, waking up the investigation in Twin Peaks from another direction).

atw 33There is also a woman across the way, in another underused house, so like in the remake of Fright Night and the Paranormal Activity movies, Lynch working well with the horrors implicit in the cookie-cut tract housing that has spread across America in the past 20 years, all of which has become a trope, who seems to sense a problem. This woman might be the receiver of the sending of Dale Cooper, the opposite of the woman up in the floating castle who let him know it was time to go through the plug, up in the Ambient zone, but somewhat derelict in her duty, she calls out, not paying attention at all to her son, while she is drunk, “119,” mysteriously (it might be 911 backwards, it might split to 10, the perfect number which 253 adds up to; in any case, she is a kind of minor messenger of some sort), but this sort of circumstantiating of scenes with mis en scene donuts that make them all seem fuller is pretty much Lynch’s forte

atw 34It can be fairly said, in criticism, it is an odd way to depict the reentry of a soul back into life, in a kind of reincarnation, but one gone wrong. Belief in reincarnation is so similar in many ways to Christian belief in the afterlife, but, then, in keeping with pressure from secularization and egotism as well as fear of death, it offers some consolation to the dying that they will continue to live on in some form in this zone of life, that it hardly needs much nudging for the viewer to simply accept this as a zigzag conceptualization of the process of reincarnation, and move on (like Dougie, we satisfice too, and I have worked through the text in this spirit). The soul of Dale Cooper was stuck up in the Red Curtained Chamber, he was knocked out of it by the Oracle tree, then whooshed down through the atmospheric border to the shaking Sentient zone, then fell into the calmer nightsky over a sea in the Ambient zone, and there in a floating castle, representing an abstraction of a fixating image as one might find at the lattice stage of hypnagogy, usually represented by a chandelier, here by a kind of floating Nautilus of a knockdown sort, he is engaged by psychopomps, typical Lynch figures, guides of the soul, then the custodian of that place, if she did not have to die, had to give some of herself back, to complete the transaction, leaving him depleted, to go through a large magic plug in the wall of that chamber; but then in his passage through the red curtains that separate the Ambient world from the adjunct spaces of hypnagogy, somehow there is a dysfunction, to split him into one half as Mr C, and the other half as an autistic Dougie Jones. It is complicated, but, basically, just as the “God” of the red curtained place told the returned Dougie Jones, he was never real, he was a tulpa, a manufactured being, who simply held part of a soul they were trading with, and so it can be said Dale Cooper in this form will have to trade his way through the confusions of his double predicament to get back to one piece and become, voila, Dale Cooper (which won’t happen, alas, until episode 16, and we are on 3—and certainly it was expected by most viewers, myself included, that Lynch would make the return of Cooper happen fast, then we would spend the rest of the series with him back in action as might happen easily on a soap opera seeking out the final conclusion of the crime he was investigating; but, no, only at about week eight did I realize this entire season is about and to be taken up by The Return in all its zigs and zags. It is an odd decision, almost like Lynch was sitting in a council of Nicea and just decided he was more interested in trying to figure out how the heck to plausibly without too much of a jump, and in a transitional nature which did not violate the nature of life, bring Dale Cooper back from the Red Curtained Chamber into this world. As a result, the series feels more like a theological dissertation on the cosmology of the Twin Peaks universe, than the action series many might have expected). But though I was nonplussed, I did not mind. And one of the major reasons was that the half or quarter of Dale Cooper who has returned to earth in the body of Dougie Jones turns out to be one of the most interesting and endearing characters on TV in recent years.

And, then, there is another rhyme between the intuitive dynamics of Twin Peaks, and what is going on elsewhere. Hawk has enlisted the whole staff in going through the cold case files looking for something missing. At one point, Lucy suggests it’s the missing Easter bunny, but Hawk decides, no it is not the Easter bunny

atw 36but, humorously, it is a visual not unlike, in form and color, the Easter bunny, that makes plausible Dougie Jones reentry into life on a sort of new footing, that is, dressed up, thinner, but entirely autistic, so he has to have some strengths, and it is that he suddenly sees, in his state of hypnosis, or sleepwalking hypnagogy, a form form in the air over the slot machines, leading him to go to that machine and pull the lever

atw 37what the form is, is partly inspired by all the flashing symbols of the slot machines themselves, which, like that, can put one into a dreamy state, but at the same time, close up it is apparent that the sign is in fact a symbol sent into his vigilogogic, that is, waking but kind of sleepwalking state, of the Red Curtained Chamber, that is, it is a triangular section of the red curtain, then a portion of the zig zag floor, and then the entire thing encircled by a mandorla of visionary light. It is a classic glass onion formation, a pure all but alchemical symbol, but he is seeing it as if the spin off flash effect of being unable to deal with all the slot machines

atw 39it forms then, too, like a crenellation pattern in the eye, like something you might see in a silent migraine, but for him it is all good, it leads him on a magic primrose path from machine to machine, winning over and over and over again, 32 times!

atw 40even better, a homeless woman, who the staff has decided is harmless, and lets play, sees what is going on and tries to exploit him, he is so guileless he has no problem, so she plays and wins too, totally changing her life (his lack of guile allows all other persons to project their feelings on to him, and he just saying enough to relate but not more to get himself into trouble is a very funny commentary on the nature of communication in relationships in today’s internet world). The scene is so deliriously funny in a good-hearted way, it is quite surprising, and a real entrée into life again, but as a different Dougie Jones, an impersonator, but whom everyone lets play along because he is such a nice guy. He, in fact, is given all his winnings and returns home, but only because he remembers a phrase “red door”, that is, it is still the sign, the autism is still operative, and so he is deposited into his new life.

atw 41while Naomi Watts, playing his wife, still living reactively as the aggrieved wife in his old life, is ready to rip him a new one, she then opens the bag, to realize, eureka, we are suddenly in a new life, she even says this is one of the happiest days of her life

atw 42I suppose to make this all seem more plausible, and to bring the goal posts of reality a bit closer together, to play in a more 2D zone (which means much of the fill-in of the genre elements of scenes acts as Beglaubungsapparats, that is, plausibility enhancing devices, in Lynch’s universe), some other identity switchings were tossed in anecdotally to portray a world that Dougie has returned to with issues of identity on all levels, everyone changed, so Duchovny as a trans person who suspects that Cole is interested in Tammy, Cole retorts, I’m old school

atw 43Lucy unable to get over the miracle of cell phones

atw 44and then their son’s mock millennial new sincerity homage to Brando by way of wishing the sheriff well for whatever, but my dharma is the road

atw 45It has to be conceded, some incidental TV moments were tossed in, for comedy, to fill things out, just like in the TV series. But the mainstream of the story is now that Dougie is part of Dale Cooper in the world, struggling to find his way, and Mr C is in the world, trying to find his way to the coordinates, to avoid being taken out. Now and then, as when Dougie wakes up having to pee, but unsure how to pee, which is how autistic he is, he sees the One Armed Man again, telling him, one of you must die, we made a mistake

atw 46the appearance, a larger dissolve of the red curtain over the carpeted floor, evoking the double world he lives in

atw 47And, because of the doubling, just as quickly as we move forward with the Dougie Jones side of the plot, we also move ahead with the Mr. C part of the plot, so we are following as if two different characters, but, somehow, they are halves of the same being, Dale Cooper, trying to get back into balance in this world, but now being split between these two manifestations of himself. Thus, this is an all but baroque spin in on the Twin Peaks doppelganger plot, and very much in a Glass Onion-descended, bookended, twinfire world, which I, as an identical twin, know well of. At one point, after Cole et al visit the body, and find out that it is the body of the Admiral, and how can that possibly be? they also have to go to Buckhorn state prison to interview a man who has come up as Dale Cooper with his ID, it is Mr. C, but is not him. Out in the parking lot, Cole asked Albert, what do you think? and Albert says, blue roses, to which Cole replies, it doesn’t get any bluer.

atw 48A pause here. In this context, blue roses means a case that is unsolvable, or way out of the norm, and might even involve something occult or paranormal (they have a task force for cases like this, and later induct both Tammy and Diane). But, in the culture at large, blue roses is the nickname that the gentleman caller had devised for the lead character of Tennessee William’s The Glass Menagerie, he did not understand the word pleurisy in high school, so in humor called her blue roses, as if to accentuate her oddness, her specialness, her unique personality. In that regard, it is said that the term blue roses is reinforced in the symbology of the play by the fact that she likes glass unicorns, and it certainly is odd that I write this note only a bit after having dealt with the extent to which Barb in Bob Clark’s Black Christmas (1974) was also a unicorn, and had collected for herself a glass menagerie. How does this relate? Twin Peaks’ original problem, as I construe it (without, for now, going back into it) was that under the spell of its two peaks, everyone in town bifurcated into a Jekyll-Hyde state where they were basically both themselves as Dr Jekyll, and then also (if taken over by Bob) their Hyde state. That, at least, is my reading. What this means is that, not unlike in a movie like The Crazies, the entire town had come under the spell of a strange contagion or pollution. Psychologically, the altered state whereby one is caught in the web of someone’s unwanted attention because you look exactly like someone else, or remind them of someone else, these situations often leading to stalking, or, in the case of Dracula with Lucy, death, I call twinfire. Recently, in the movie The Dark Mirror (1944), I saw that by its cinematography and the level of complexity at which it laid out the devices of the playing out of the mystery of the twinness of Olivia de Havilland as twins, as it relates to whodunit and a murder, that the entire movie was shot in a zone descendant from the glass onion binary device of twinfire. Thus, the movie as a whole operated in a facsimile of straight or full mainstream whoosh effect, but in a more controlled, bifurcated, symbolic adjunct zone, a world, that is, entirely mirrored on itself, a simple kaleidoscope world, a world of twinfire. In that movie, while the plot was supported for its solution by the superstition that envy among twins can get so harsh because there is no alibi in terms of looks or whatever to excuse oneself from the realization that he did not want you, in, for example, matters of love, it made that plausible by shooting down other “superstitions” about twins: that, for example, one sucked the life out of the other, or that, because they both shared intelligence, and intelligence is given to one entity, they each have a half of intelligence, and both twins, then, are somewhat dim. It was amusing, to hear these twin superstitions raised, and shot down, but then some not. But the movie depended entirely on this back and forth, indeed, the main conceit was that neither twin could be arrested for murder because a witness could not tell them apart in a police line up! The entire movie, then, took place in a twinned universe. But, my point is, Twin Peaks is the ultimate expression of the twin universe view of the self, it takes place, in its entirety, in the zone of twinfire (as one commentator rightly points out, twinfire, or he says the influence of evil Bob, also encompasses, not just Jekyll-Hyde stuff, but personal dissociation, getting stuck in a rut, harboring resentments that gets you stuck being someone else, all good points relative to other minor characters in Twin Peaks). Hypnagogically, this would seem to limit me to a particular point of departure for every foray in the movie, as I mapped out in my piece on The Dark Mirrror (1944), that place is located as follows

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I know that it is almost fantastical of me to suggest that Lynch drew his ultimate prototype inspiration from the simple film noirs of the 40s, where they made use of simple bifurcate devices to represent reality as a split bookended place, a twinfire zone, but I think there is something to this (another movie of the time that is also reminiscent, since it involves a man knocked into an evil twin self by a bomb during the Blitz of London is The Brighton Strangler (1945)). Everything in The Return is about parsing the one side of something, compared to the other side of the same thing. So, it IS a twinfire universe (by the way, in my more retrogressive politically correct moods I abhor all this bookend formalism as a strategy propagated by singletons to create a world they can egotistically control things, as bookending themselves formalistically makes them feel more grounded and feet-on-the-ground, arms-akimbo-out, wagons-circled, janiform-protected in the world. And, in this context, I find it all, and it’s coopting of the reality of twins as a metaphor to work out personal ego problems, more or less the entertainment equivalent of minstrel shows, and entirely stereotypical, as I do not believe the Jekyll-Hyde mythos–I let it pass in this case, since it is stretched imaginatively to a crazy idea of an entire universe and cosmology built on the idea–no wonder I felt right at home).

In any case, things now continue on. And in so far as in the middle episodes it was like we were switching from Mr C to Dougie Jones, and back and forth, it seemed to me that this was the logic we were playing with.

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but this also means, after the cosmology (though it will show up again big time in episode 8), that the filter as it were of the entire drama as it works to translate Sentient and Ambient pushes of energy through the twinfire world into conscious life, and full living, is the Twinfire formation I did not devise until this past month, and then that “bounces” as it were, as hypnagogic states will, to its vigilogogic counterpart, and, up there, as happens when dreamers awake, the kaleidoforms of the twinfire pair splits into Dougie Jones on the right, and Mr C on the left. And because Cole and Albert do not understand the dynamics behind all this, that the big wide world and all its badness by Sentient and Ambient forces has come tearing through reality to rip up a lot of people in the effort to reincarnate a person missing for 25 years,  they fail to also see that “blue roses” as it filters through the idea of the unicorn as a rare and special being also speaks to both Mr C., who is actually weak, and Dougie Jones, who appears weak, but turns out to be strong. So, the pleasant contradictions of lives built on dreams.

As the life around Dougie Jones, too, is expanded, so that it feels real, and he has enough space to by his actions influence something of it, Lynch fills things in with vigilogogic counterparts of dream guides or psychopomps, figures that, just like in Mulholland Drive (2001), lead one on your way, along the path that he must be going. And it is in the complications of the Dougie Jones plot that we first see and hear from Candie, one of the Mitchum brothers’ gofers, and, seemingly, always-around presences, like in an entourage. In her zonked out manner she is the perfect expression of Dougie-Jonesness rampant in the culture, her performance (Amy Shiels) is one of the very best of the series (in the middle), we will see more of it

atw 52but back in the bifurcate lives we are leading, Mr C is still making use of his “knowledge” to move through reality. He seems to cause a blackout, and undertake a jail break, simply by saying, “the cow jumps over the moon” into a phone (I would say that he is not operating by intuition, or magic, but by script, that is, his mind has been scaled back to simple scripts, and he is operating on them, but for a time it works)

atw 53but by far in this twin universe, the most enchanting is Dougie Jones travelling through the world. He stands under a statue of a pioneer pointing up out front of his office building because it is  shaped like the sign over the slot machines at the casino, it reminds him of a code that is in his mind that has come down to him from the One-Armed man in the Red Curtained chamber. He also does not understand the concept of time, or moving on, because he waits at the statue for hours, involved in his little things, until someone rescues him, it is intriguing

atw 54Then, in one of the very best sequences in the movie, he comes home, scolded by the wife for being late, but then he has to do some paperwork. But he is autistic, and does not understand insurance company paper work at all. But, then, he blinks, and notices something. He sees a pattern. Seeing a pattern in things is called apophenia, or, in the parlance, connecting the dots. Used to be news would be made when dots were connected in a way that had some semblance of investigative truth, that is, after the fact, knowledge was learned and established in one’s head based on books by experts or articles by reporters who’d done extensive fact-checking, which therefore had some semblance of truth, thus one got educated. By contrast, today conspiracy theories devised by hyper but troll  minds who connected the dots willy nilly by free association with regard for fact, have been put in the place of fact, and even feed news, but, then, even mainstream serious journalism today is often spinning the story before they report the story, meaning that dot-connecting is cart before the horse today. Everyone is connecting dots all the time, without any regard for checked facts, creating a mental breakdown in the regime of knowledge versus ignorance in our world. So Dougie Jones’ autism, and I use the term not in reference to an actual brain disorder, but to simply indicate a limited capacity at mindreading, and in connecting the dots (ignoring for the moment the hyper form of Asperger’s et al in The Rain Man etc). So, he looks at the paperwork, just going through the motions, because his wife says he has to do the work or he’ll get fired, he is not actually doing anything, but, then, he does something, he notices something, perhaps it reminds him of the slot machines

atw 55he then gets another dissolving message from the One-Armed man in the Red Curtained chamber, making a kind of hand sign (the pointing of the statue)

atw 56and as the zig zag of the floor runs out, again, able to be seen from this side of rationality as an optical disturbance like crennellations linked to a silent migraine

atw 57it transfers as a system of symbolism to the paper work, which is all a blur to him. The One-Armed man is telling him, wake up, he looks at the paperwork, and begins, holding his pencil like a first grader, with a backwards fist, making cave drawings on the sheets of paper!

atw 58It looks to me like a series of black dots, scribbled in hard, one in the upper part of the sheet, one in the lower, then connected by children’s drawings of stairs and two or three ladders, leading down the page

atw 59Things then break off for a few other genre scenes, but, then, when the evil cousin of Ray, part of the gang, kills a kid on the road, it seems that the other zone comes into it again as from his corpse rises up a yellow wedge not unlike the yellow glowing wedge that supported the sighting of the symbol over the slot machines.

atw 60Then Lynch seems to be making a point that this happens by way of some numerology

atw 61and that the forms of the world seem to also correspond to some script or code communicated from the other place, and not unlike the forms that Dougie has scribbled onto the insurance forms

atw 62Now, once again, in the twinned universe of formalism, someone has insights of a certain formation, it makes sense, or rather, those limited scripts are validated as real if they reflect other forces coming for or against him, in the same form. So it is somewhat humorous, and lovely, symbolically, or in a dreamy way, that when the mysterious man in Vegas orders a hit on Dougie Jones, thinking him the old Dougie Jones and not the new Dougie Jones, they hire the dwarf, Ike the Spike, certainly one of the most interesting anecdotal characters in the whole series, and after he gets slipped his “business” under the door of a motel room, eight by ten pictures of his victims, drinking too, so in a state of mind perhaps equivalent to that of Dougie, it is revealed that he acts upon paper much in the same way as Dougie does his paperwork, he has a ritual to “fix” the image of his victim in his mind, so that he does not make a mistake. He takes a knife and stabs at the picture at all the seven points of recognition, which make a face a face, this is quite funny, as it almost mimics Dougie’s paperwork the night before

atw 63but then in one of the series’ best very scenes, which transforms how the world sees Dougie, Dougie turns in his work to the boss, Mullins, a great performance by veteran actor Don Murray, who was in Busstop (1956), and at first he is like, what is this shit?, all this scribbling, I am not happy with your work of late

atw 64but then, something happens, something remarkable happens. Because Dougie, following a code sent him from the other place, simply did the same pattern on every form, suddenly, the boss’s eyes are drawn to the same point on each form, and he realizes, there is repetition here, there is fraud going on here, he is shocked, his eyes, by this intuition, are opened

atw 65this shot makes clear that he thinks Dougie has made that black mark next to the name on the form to indicate that it is a repeat of another name, and fraud

atw 66so even though this Dougie is so formally impaired that he cannot figure out what Mullins is trying to do when he tries to shake his hand, all he can do is mimic him, because that is all he can do, stuck in the bookend twinfire world, like a parody of the sequitur twin, he is now the hero, for having uncovered rampant fraud in the company

atw 67then, once again, spinning off a circumstantial zone that is being remade around his intuitive way of living, Watts gives the men giving Dougie the shakedown a hard talking to, “we are living in dark times”, she says, they can’t deny it, but nor can they say no to being given half of what they want, but it is $25K in cash, they take it, so that is funny

atw 68 1then Ike the Spike lives up to his own autistic world view by following his MO to the tee by rushing into an office all but unseen, because of his height, knocking his victim to the ground, then spiking her in the throat, also “funny” in the sense that he is living life in a very narrow little path of functionality, in his particular Umwelt, as I call it, borrowing from Uexhull (even better comment that it happens in all those carpeted nondescript offices that people work in)

atw 68Back in Twins Peaks, the intuition clicks in even better, and more. Hawk had previously been told that something is missing in the files, and that it has to do with something in his own background, that is, his being a Native American. So, he has been mulling it over. But, and this is exactly how the Greeks decided what an oracle meant after it had said something, when, at first, they could not figure it out, they waited a few days for something to come up, for them to say, that’s it, and he is in the men’s room, and then sees some dropped changed, he picks it up, and it is an Indian Head nickel with a buffalo on the back

atw 70This particular type of nickel was very popular in my childhood years, when I collected coins, so I know, we saw them a lot. The last one was minted in 1939, twenty five years before my collecting days as a child, but they were still pretty frequently encountered

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These days, they are extremely rare, you hardly ever see them let alone get them in your change anymore. So, picking up a nickel from the floor, and it being an Indian Head, that would spark something in Hawk, hey, that has something to do with my heritage. Then, immediately after that, one two, as bread-crumbing in a pattern is also something that not only people in fear or love do to lead them in or out of trouble, he, having bent down to pick up the nickel, seeing what it is, now glances over at the back door of the stall, and IT TOO is about something having to do with his legacy!

atw 72Once is just chance, twice, now, that is something. So, he decides, right away, acting on the intuition, something is in the stall door

atw 73He goes gets stuff, is he just wasting his time? to pull it apart

atw 74and in it he finds four missing pages from Laura Palmer’s diary, of some signifcance, but, the thing is, THESE were the things missing from the files, and he got to them, exactly as the log lady said, by way of a path having something to do with his background, however mundane a form the path took–so, another incredible moment of the series pushing intuitive wisdom against the exploitational rationalization of the world, parallel but superior even to Dougie’s operation of autistic-signalled-scripts of an intuitive sort.

And what the papers say is that someone, Annie, went to that place, the Lodge, which they did not know before, and, two, the one who came out of (the lodge?) is the bad Cooper, not the real Cooper

atw 75now, after a few more ins and outs of plot, the Feds, back in the  Mr. C part of the story in Buckhorn, come out to examine the body, and it is the wrong age, so both the officer who came and the one back in Washington, playing up to conspiracy theory, know something occult is up. But, the important point in terms of the expansion of the symbolic topography if you will of the series is that as she is giving the report of the findings, we see for the first time one of the strange, homeless men, all blackened out, who passes her in the hall. This shot means that he appears as if in a state of hypnagogy, she momentarily lapses into the lattice stage, obsessed with the mystery, unclear if he is in her head, or real.

atw 76To then swing round and confirm that the body is not the body it should be, or that the Dale Cooper by his fingerprints held in prison is not Dale Cooper, they have to double swing back through a few scenes to recruit Diane to come back and confront Dale Cooper and she instantaneously knows that, it isn’t time passing, it isn’t that he’s changed, or his looks have changed, that is not the same man, it isn’t, existentially, Dale Cooper, so we are getting somewhere

atw 77Switching then back to the Dougie Jones side of things, the next time that the other side breaks in to guide Dougie in his autism is during Ike the Spike’s assassination attempt, when the oracle tree, basically, a brain on a tree, tells him what to do, to break his hands, and he does

atw 78the presence of the oracle of the Red Curtain Chamber seems to give him supernatural strength, to fend him off, such a strange shot

atw 79meanwhile back in Twin Peaks, secretary and owner of the hotel, I otherwise dismiss this whole subplot, hear a whirring around the lamp in the corner, and in the Ambient or maybe even Sentient space. This by itself could simply mean that in so far as some things are rising up and coming back, and the case is coming back to life, that the whirring Sentient forces of the woods have been awakened too, and are beginning to hum

atw 80Back with Mr. C, he arranges the whole escape, Ray comes with him, but when, he now knowing where the coordinates are, they go there, Ray turns on him, and shoots him

atw 81and then Ray witnesses, with wtf astonishment, that Mr C was, in fact, not entirely an unattended mortal, but some sort of tulpa or in-between being with a higher world having a vested interest in him and looked after by a whole tribe of henchmen from that world, the sooty-covered homeless men who now converge like professional mourners on the body (and they are, indeed, linked to death), out of the darkness (so very much, in terms of hypnagogy, or Ray thinking he is dreaming, hag attack or shadow people that one sees in the entoptic zone)

atw 82and as they do, it is almost like that magic surgery by hand alone done occultly in the Philippines where by pressing in on his stomach they can remove from him an evil presence in him

atw 83and it turns out that that presence is the Evil Bob blob that has been motoring him ever since he split off as a bad side of Dale Cooper 25 years ago. So we see, fantastically, the Bob blob rise up like a tumor out of his body, upper left

atw 84Ray is thrilled at having killed him

atw 85but suddenly the series breaks, and, midepisode, we get a nine minute set by the Nine inch Nails, who like a death song at a funeral, announces that by this breakup of Mr C with his Bob bad energy, some sort of break up has occurred in the universe, the dissertation upon which is now the subject of the infamous or famous Episode Eight, where we are now

atw 86to be continued.