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), part 2: 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.

atw 3

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

atw 8

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)

atw 11

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

atw 22

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

atw 50

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.


Twin Peaks: The Return (2017), part 1: a conjecture on its dream structure.

1  May 19, 2018.

Note: This note makes use of a five-stage hypnagogic dream state model, in addition to Ambient (circling) and Sentient (far orbiting) dream states. It is assumed that the reader has seen the series, therefore no spoilers.

Apart from a review, which ran through the sequences of the series, I did not, last summer, write anything in detail on the dream structure of David Lynch’s Twin Peaks: The Return, mainly because I did not “get” where the series was going, or understand much of it. But I certainly knew of the states of mind that it played with, and these are what I want to make a record of now, at this point, to link elements in his telling to traditional tropes in horror or sci fi, and then to from that eventually work out where in the universe, in this series, we are. This, I think, is important, because, it is, in the story, important, that Twin Peaks exists in an alternative state of mind, or universe, it is not just a commentary on social issues in America, it is not a literary thesis with symbolism to be linked by color and theme, it is a series of events, the eventuality of which, their instrumentation, must be worked out, to get to the final meaning of them, and this cannot be done without first figuring out where everything in the universe is coming from, in the Lynchian universe. This problem is even more pressing in this series because Lynch took it to a metaphysical level much more often, apart from the Red Room, in the original series.

The first thing I want to address is that in episode one part of the proceedings takes place in New York. Apparently, there is a building, a kind of warehouse, where a very rich man has built an entirely occult machine, and in addition to having a security guard, he has an employee whose job it is simply to sit there, day after day, waiting to see if anything happens. This is the machine

atwin 1it looks, frontally, like a camera, the guy sitting at it kind of treats it like a TV set, from the side it is clear it is a glass box

atwin 2from the side, as an object, it relates to any number of glass boxes holding elements in contemporary art, I can think back to Damien Hirst’s glass vitrines of 15 years ago, such as in this piece

atwin 3And then even this week, a work by Korakrit Arunanandonchai at the CLEARING in NYC

atwin 4In both cases the glass box means that, well, it is a bit more than a bel jar, it might relate to the fish tank trope, but I think in its nature it reaches back to the use of tanks of this sort in Frankenstein movies, such as  the Revenge of Frankenstein

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And then too it is given, for its transparency, the implication of flight, of transmission and reception, not unlike in The Fly,

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to represent it as a site of transformation, but, which, in this context, and because black, can go wrong. In this context, then, by form alone, it is a site of communication, a portal. We also see that its machinery is quite Gigeresque, that is, strangely sci fi

atwin 8What this means is that there is some wealthy man in NYC who believes in a theory of the universe that he shares with DL that there is a world out there, that forces want to come from that world into our world to communicate with us, and this is a portal of that world. The fact that he believes that the world on the other side of the portal is got to by sci fi mechanical means, means that he does not believe in it as a supernatural realm, so much as a trans-natural state, somewhere lying outside of nature, but still in nature. The fact that he tries to communicate with it, and bring spirits in, means either that he is evil and wants to bring some evil in, or good and wants the good. It seems like the consensus is it is the evil.

But, now, the odd thing is, it is almost as if there has to be a decompression zone on this side of the transmission, in order for it to bring something through. That is, for Lynch it cannot pop someone into a straight-on site, but can only come into this zone by way of crawlspaces. And this is conveyed, and Lynch does this, magically dimensionalizing his dream spaces, by layering in around them peripheral spaces, the first being the elevator, so it is a grubby, nondescript, warehouse building “somewhere in Manhattan,’ with an elevator that comes up, not unlike in a loft. Then, there is a girl delivering coffee, who somehow is curious to get in to it.

atwin 9when another time, in a mini sideplot, there is no one there anymore, that is, the guard is gone, the bloke looking after the machine searches the bathrooms, and they are empty too. As a place, a bathroom used by only a few people off a very secret location is a Far Place, a sink of dream, at the end of some meander of space, conveying again distinctly the idea that we are at the far end of the real in this. The fact that it has The Shining like florescent bulbs at the sink, that there is no stall, just the toilet, that the tile is worn, that there are no windows, also renders it as an end of the world space. The crummy bathroom is a trope, in horror, and it usually means, terrible things to come in terms of basic bodily functioning.

atwin 19but the girl is curious, and eventually does get into the secret room, to view the mysterious object (Pandora and the box theme). She sits on the couch having her coffee with the bloke, he is nonplussed by the whatever of it, worried a bit that he has violated company policy, and can now lose his job. Her body language is perfect here, that particular way of locking knees together, with feet out, then ankles turned in, kind of means she is perching, that is, though it would seem ladylike that she presses her knees together, this pose means she is ready to spring. That could also be construed as the “holding it” pose a child strikes when she has to pee, so that mixes in too. In other words, she is excited, she has got in, she is seeing what she wanted to see

atwin 11and then very quickly she takes it exactly where we wanted her to, and where he thinks maybe it might go, she stands up and strips, she is turned on by her encounter with this mystery, and now wants to feel that turned-on-ness in a more physical way, literalized in sex, so she strips, back to the camera, spine out

atwin 13and they go at it right away, he is like, no way I am saying no to THAT, so they have sex

atwin 14but the problem is, and this is a very deep trope: when it comes to nature, and things natural, it is best to let sleeping dogs lie. Too much excitation can stir up trouble, and I cannot even name the many, many movies where the horror is unleashed by a couple ill-advisedly having sex in the site of a haunting. It wakes up the ghosts (the basic peasant idea here is that the dead are angry at being dead, and envious of the living, and what is more to be envied of life than sex, so they get especially angry over any living beings who disrespectfully have sex around them, rubbing it in their faces). So, sure enough, not only has both of them turned their back on the machine, but they are having sex, so giving the machine a whiff of their human activity, and this, THIS, like Pandora opening the box, by this young woman opening what we used to call her box, she brings a hologramic demon through

atwin 17it is a nude female (I think), but of a demonic sort. I would hesitate at this point to identify with any character in the movie, but perhaps it might align with Diane, a tulpa, some think it is Judy herself, the personification of soul-stripping evil, I am not sure, we are going to see her one more time, when Andy gets a flashback review of the events of the show in the Ambient Theater, it is a deeply scary thing, barely perceptible in the blackness

atwin 18and, then, it comes out of the box, into the space they are having sex in, and joins in, but does so, not to participate in a threesome, but in the manner of a buzzsaw, it simply spins through them, shredding them, and, if I remember, decapitating them, leaving them ravaged as if by gunshot shells

atwin 20right away, rereading this from the perspective of now, having this past winter looked into the circulations of more outlying spaces in the hypnagogic universe, I have better insight where we are. There is little doubt that Lynch believes in a kind of supernatural world, but I think one that circulates around the material, the offset manifestation if you will of our mass disability in being able to make the most of and keep both time and space. This outer world is therefore something of a dump, if you will, a negative space. In my system, I have the zone near the elan or fire of life, where agency is created and life to the fullest is lived; then I have mapped out some adjunct spaces, and now I also believe that since so many dream images come in on one from afar and then often slices at one, that beyond are the Ambient Zones of orbiting and the Sentient zones of orbiting.

atwin 21figural forms coming in from the Ambient circulating zone I call Ambients, figural forms coming in from the Sentient zones I call Sentients. But, then, there is an added problem. My “system” foregrounds as the place or life and art the elan zone at the core, but as you move off, you can get caught up in the elaborate scaffold of modern bureaucrat-technical life, the life of the vampire squid, as it was nicely called a few years back. Thus, RATIONALIZATION lays its heavy hand over the circulations of life, and tries to manage them

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the thing is, rationalization, while good for the managing of traffic and what not, kills life, in the living of life, it can also lead to living a lie, or dissociating, or holding a grudge, all the “who me”? bullshit” that Burkert argues surrounds human actions, to exonerate ourselves from blame, so the rationalization of cultural forms is deeply problematic (another class of art I allowed this past year was, conceding that the confusion caused by rationalization run amok, ie the green slime, is deeply confusing, some artists needed to start working in toward life from where they were by means of “wriggling,” and thus my taste of late for “wriggling” art). In fact, I would argue it neutralizes any force which it catches, and by that turns it into an angry negation, not just a negation but an angry one. There is little question, having shown us NYC

atwin 23that Lynch believes that the man who has set up this trap portal to attract outlying beings into it, to confirm his occult belief, is an apparatchnik of the system, a rationalizer, a false seeker after truth, in fact, a kind of mad scientist, who seeks only to discover the truth to exploit it for his own end or gain in the busy modern rationalizing world. As such, he sets up some traps in the outlying zones of the world space, perhaps the outer part to capture a Sentient, the inner part, more like a camera, in the glass box, to capture an Ambient.

atwin 25the fact that the emission of the Sentient, drawn in, at last, the outer trap, is attracted to get trapped by sex, that it then comes in to the Ambient side of the portal, also attracted by sex, means that it is being pulled there by an envy, that is, it is a malicious, a death force, not a good Sentient spirit but a bad one. This is indicated by the fact that the glass box darkens, that is, fills up with blackness, before it comes out into the space of the room. And, then, I mentioned in a note on the death of Margot Kidder, that the character she played in Black Christmas was torn apart by the spinning of the world, I called this psalliction, and, then, in THIS scenario, which I saw last summer, what the entity does when it comes in on them having sex, out of envy, it spins at them, and buzzsaws them into pieces, that is, it submits them to a spinning psalliction! What this early apparently non sequitur sequence suggests then, and, again, sometimes all Lynch needs to do, for his own understanding, is lay out a scenario in which a metaphysical or transphysical principle is revealed, this sequence highlights the fact that in the Lynch universe it may well be that there are occult or even heavenly supernatural zones lying outside of our world, and the world of our consciousness, but they can only gain entrance into our world by way of the negative means developed to attract them mainly by the exploitational rationalized part of our civilization.

This point is then reinforced by the fact that Mr C is some sort of negative or gone-bad avatar of Dale Cooper, part of whom was left on earth, after the transmission of 25 years ago, for that one Hyde side of him to try to build a life on earth, but earth as the underworld of the world it wants to be in. He too has to try to move through the maze of this world to find a way to the higher world, or to at least forestall that world. We first see him riding out into the country, one of Lynch’s deepest tropes representing the idea, a well known one, that we are headed off into who knows where, where anything is possible

atwin 26and then he comes to a remote cabin and it is housing two whataretheydoingthere? denizens, stuck in their lives, represented by their arm chairs

atwin 28and he is there is pick up Ray and Aria, two functionaries, or subordinates of his, whom he needs for the next job he has in mind

atwin 27the whole setup is very much one of Lynch’s typical all but taxidermy displays of rundown people run down by life, reduced to sitting about, marginal, liminal, on the very edge, it reminds me a bit of the cabin at the end of the Fire Walk with Me movie, but, for that, maybe closer to insight

atwin 28now, a third plotline is opened up, in Buckhorn, South Dakota, a body is found in a bed, except, in the annals of Lynchian odd bodies, it is a doozy

atwin 29formerly, we have already seen a body psallicted to pieces by a Sentient being, we have seen Mr C have to go the edge of this world, where edgy people with distorted bodies live, to pick up two new recruits, and we find not a body but another body that has been torn to pieces, but this time with more exploitational calculation, it is the body of one person, with the head of another, and long decayed, so beyond body, even to the stain on the sheet, grotesque in an extreme way. Since the deathbed scene or discovery of the body in bed theme is often seen by Ambients, I argue that this is the representation of the coming apart of the body of this world by the force of the other world at the Ambient distance

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these two early sequences therefore can be viewed as chipping away sequences, announcing to us that otherworldly forces are activating, but that, in this confused, f’ed up world, they can only get to us by way of wriggling their way through the vampire squid of the system we have created to block it all, a lot of which has, by the force of exploitation, gone negative.

At this point Twin Peaks comes into it. The relationship of much of the proceedings in this series, to the town of Twin Peaks, is ancillary and questionable. It is a point that confused people, including me. Why were things not happening in Twin Peaks here, and if they are not that important, why is Twin Peaks here? Well, one, it IS Twin Peaks. Two, it was at Twin Peaks that the crime occurred which resulted in an investigation which opened up the knowledge that some people in that town, by way of the doppelgangering of the whole town (more on this theme later, it is a theme which has deepened in my thinking since), some contact with the other side was made. For that reason, Twin Peaks serves as all but the Area 51 of the whole network of places the series takes place in, because, while all these other outlets have offered some limited mechanical contact with the other side, it is only by the more open Twin Peaks that full contact can be effected. That, at least, is my preliminary guess.

But it is also true that for me Twin Peaks exists entirely in the fire or elan fire of life, and is a place filled with agency, because of that contact (or not), because it is here that INTUITION shows up, and reveals itself as the altered state of consciousness which is the only way to get through to the solution of the mystery. It was this aspect of the series that I referred to most in conversation with others, in past year (when I was able to converse with others, which was less than ten times). In my own thinking, any rationalizations, any climbing the scaffolds of contemporary industro-techinical life, ends one up being nothing but an apparatchnik of the system, an expert exploiter, a manager of the dead zones of bureaucratic disputation (nicely worked out in Haneke’s version of The Castle, for example, the little absurdities of the bureaucratic mind). Art, in particular, but also life, can only take place truly in the fire of life itself, the circulation of the elan, at the center of my system. Or it can struggle to wriggle to it, but, if centripetal, moving toward the center, then at least approaching elan. Elan is marked in my thinking by parentheses, it can get complicated, but if it stays alive in the parenthesis, it remains life, and art.

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If, however, it is gripped by the brackets of exploitation, that is death, and not life, and not art Right now, I will say that in this telling of the tale, Twin Peaks is the center of elan, characterized by intuition, and openness to it, though infiltrated by the evils of the world no doubt; while all the other sites of the telling are outlying zones where there are hints at the life, but most of it is lost in rationalization or exploitation, therefore to come in on life in a negative, killing way.

Back in Twin Peaks it is the intuition that rules (and pure intuition is magical thinking in the purest sense of the word of following your instincts, for real, actually, like Joseph having a dream and getting up the next morning and telling Mary, we have to leave town, imagine the amount of confidence in intuition one has to have to act on such a thing! most people today have intuitions, no one acts on them!). So, oddly enough, this sense of the importance of intuition is reintroduced here by the Log Lady, the local oracle. She is an old woman now, which would make her prophecies more important, and dying, ditto, so Hawk listens, when she speaks. She tells him, the log is telling me, something his missing, you have to find it, it has to do with Dale Cooper, and, with regard to your role in it, it has to do with your heritage as a Native Americanand

atwin 32Hawk being Hawk, not a typical movie Native American (even in 70s horror most turn out to be essentialist) but one whose mind, however much he works in the mainstream world of the USA, remains alive to the importance of omen-oriented oracle-like utterances, immediately goes to the old files, we have to look through them again, we missed something, he enlists Andy and Lucy, both of whom are subservient to his wisdom, so, on the basis of pure intuition, in a magic way, in a way that any rationalist would consider a waste of time (as Chad does), and a wild goose chase, he goes to work, this will reveal the other place, and where the admiral was, etc., the wheels start turning

atwin 33I have written before (see my piece) about why the Greeks made use of oracles, to unlock their minds from set opinions, and open up to the moment of life again). The Log Lady offers another example. What she does is simple scrying, but with a log. All you really need is a yes-no mechanism, a variegated pattern or pattern-setting force, and then movement of one against the other to cause to rise up nonsensical responses. In a Ouija board, there is yes no, this is guided, it is believed, by the nervous energy of those touching the glass, that is, Ambiently touching the glass, that force then moves the planchette, or glass, to yes or no, then, if the questioning intensifies, there is often an incident where the arrival of the spirit is announced, the glass goes flying. In a scrying bath, which I have studied this past year, a young nude woman rests in the bath, but she puts her ears under the water, blocking out sound. Now the world is reduced to a simple nothing-or-something happening state, she then dunks, and now the surface of the water becomes as if the variegated surface of a tea leaf or the innerds of a flamingo, and she waits until “something” marks it, or disturbs it, whereupon she often sees something, or has an insight based on the suggestion of seeing something. All Log Lady had to do was get a funny feeling, she then looked at or manipulated the log in her arms (a surrogate baby), talking to it, asking it what it wants, it then, somehow, by the suggestion of its surface, or bark, or form, puts an image into her head, which then translates into “an idea”, and there it is, that is the news, she calls up Hawk. This transmission of information from some paranormal state to her is entirely free of the implements and constructs of exploitation in the world, and it is suggested that Twin Peaks is the place where such vibes can be picked up. Thus, in episode one, David Lynch was drawing Ambients in, some legitimately, others not, some good, others not, he has made it known to us that Twin Peaks is ground zero to a network wherein over the past 25 years whatever energy Dale Cooper left behind on this earth has been spread out by means of exploitation into far off zones of depletion, but now, a force is underway, to bring them back in, to activate a transmission that will break up the status quo.

This is very much like my way of thinking, and its apparent contradiction is best expressed by my distinction between magic, that is, pure intuition, acting on truth and wisdom, and magical thinking, which is the rational mind exploiting a shortcut way of thinking to use it in an apparently magical, but only exploitational, way, this is what I am after. I am not interested in romanticizing primitive cultures or ways of thinking, I do not romanticize, no modern human being, accustomed to even a modicum of freedom, would want to live in the restricted world of traditional societies, but I am interested in true agency as it can and will survive, as long as human beings run the show, in the complicated exploitation-rationalization machine which is the system of modern mass multinational international life.

At this point, Lynch drops in two more characters, one paranormal, the other very normal. We get our first glimpse of the Thin Man up in some supernatural theater in the ambient sky. At first, I thought this entirely a red herring, but he filled it in later, a lot. He strikes me as another of Lynch’s many dream guardian or doormen or usher figures, opening us into another place.

atwin 34But for right now I am going to stay with the Log Lady, who has another communication in episode 2, she says that the stars are turning, time to watch carefully, time to stop what one is doing, and pay attention. This is not that different from the “watch the skies” warning at the end of The Thing (1951), one of the granddaddy movies of American sci fi horror, it simply says to pay attention.

atwin 35the fact that she holds her log in her lap, when oracling from it, like a baby, makes of her something of a Madonna, meaning her “female intuition” is up, also, she has two phones on her sidetable, one appears to be more modern than the other, she seems to only use the stationary phone, with the long cord (but a very modern mouthpiece, so this might ‘ve placed here by Hawk, from the office, to expedient communication, kind of his Red Phone in the Oval).

atwin 36for her auguries, and, note too, all this takes place under the tasseled edge of a lamp, the tassels indicating, like a curtain, passing through, the light from the lampshade, intimacy, coming from very deep in her soul

atwin 37but in a miniature, it speaks to some “communication” ie a vibe coming from the wood, representing the woods, through her, through a long squiggle of cord, into the zone of intimate communication, onto Hawk, it is a still life representation of the trajectory of Sentient, Ambient forces flowing into the world, being recorded as the events in the early going on this effort. It is, speaking of the log, interesting that the movie often goes to the entoptic dream state by screening-wiping with a pan over the deep forests of Twin Peaks. It might be saying that it is the deep forests that have kept it clear enough from interference by modern life to continue to be a transmitter of these impulses. Indeed, each time Log Lady communicates, Hawk goes into action, whatever action. This time, it is into the woods

atwin 38one of the favorite tropes of recent found footage movies, the very strong flashlight so common in the 21st century, almost a conjurer itself, is used

atwin 39and he finds a pool (I noted that there was a pool in ep 2, I don’t remember now, this skips ahead to 3)

atwin 40a pool is a place, that is, where things happen, either animals converge on it, for water, or things go down it, because it is water. Seeing it here, it means something (it will show up three more times, I think), if only that one is going somewhere. And, sure enough, the purpose of this particular little search is to equate the entoptic nature of the facture of forest space in the night, a trope so old and deep it hardly needs mentioning, with the curtains of the Away Place, the Red Curtained Chamber where Dale Cooper and others are caught. We now see in a dissolve, the red curtains begin to rise up in the night of the woods

atwin 41and then it transitions, on screen, to the actual curtains, which viewers of the series know well

atwin 42a few things. Introducing us back to this world (though we were briefly there at the beginning), as connected to this world by way of the woods, by curtains, is a long standing trope. A wall of curtains was a very fashionable décor device in the 60s, but in horror, as I have spelled out in Orgy of the She Demons on to The Hand of Death and even a sketch in Creepshow, the pulled wall curtain has so many folds, deriving from the oldest trope of a man standing behind it, because our forms are suggested by the folds, a massive amount of danger coming from without. This can only mean, in this space, that an entirely curtained place is a place turned against the world, and that there is danger on all sides. That they exist on the far side of the woods, means that they are paranormal relative to the openess of the woods, far off in entoptic dream space

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that is, Log Lady tells him, he acts, on behalf of the cult of the mystery of the cold case, this brings him out, still in waking life, to the woods. But the woods at night are inherently entoptic, but of a vigilogogic sort, waking, he encounters a pool, perhaps The Black Bog of the Land of Nod subspace of tne entoptic, and ITS PRESENCE, causes this world to waffle or nod in and out with the red curtains, and thus we pass over into a dream world, of an entoptic-based formation, and, I think, it runs out past the adjunct spaces, to float in Ambient space, adjacent to the adjunct spaces of the entopic level of dreaming. And it is there that a vestige of an avatar, or part of the split avatars, or ruin of the something that went wrong in the transmission 25 years ago, of Dale Cooper, 2Dized like a figure in a wax museum

atwin 44this is, basically, then, that part of Dale Cooper having a dream, he is talking with the oracle himself, or whoever the One Armed Man is, but, the fun thing for me is, as part of the furnishing of this “templum” or temple, there is an ersatz copy of the Venus Knidos, in the venus pudica pose (one interpreter addressed the statue’s whiteness, but I think that is not important)

atwin 45this generally means, in horror movies, the opposite of what it might mean in life, it means that we are descending into the world of the dark female, that is, where even females do evil things, and this is where we are. At this point, we see Laura, but as an older woman, now in her forties

atwin 47she then reveals that she is not LP at all, but a being from beyond, a light being, made of light, inhabiting temporarily this body, the removable face since Westworld at least always means that the being is robotic is nature, and is ruled by some force beyond, by her showing him that, she is breaking the spell she, known as just LP, has over him

atwin 48that is, at present, I posit that this Red Curtained Chamber exists in a near-outlying paranormal space, adjacent to the adjunct spaces of an entoptic light stage dream, only got to by that path, possibly by the Land of Nod. This now tells me that, like the figure of maybe Laura Dern that came through the machine in NYC to spin kill the nude lovers, this is another of those Sentients coming in closer from a more outlying zone to then shine through LP to reveal to him this is not what he thought. She then tells him, you can go now, meaning to me that this Red Curtained Chamber is a sort of holding cell, a Lynchian purgatory, a kind of psychiatrist’s office off in space, where this part of him has been held captive for 25 years. In the presence of the Venus, symbol in horror of the dark female, she whispers what I think must be a nympholeptic cryptic message to him, to guide him out, nympholepsy was another sort of magic speech the Greeks believed in that occurred when they either drank from the water of a nymph’s spring or were struck to an altered state by contact with a nymph in the wilds, a state of inactivity and passiveness that Hillman even argues they also construed the trope of the sacred rape as a way to knock the nympholept, the person whose soul was stolen by the nymph, out of it, to get back to living, this appears to be operating here

atwin 49and then, just as the figure in the machine in NYC, so to this avatar Laura Palmer has done her job, so the beings of light pull her back, and like a good Sentient, inhabiting that part of the remove of dream as visualized in movies, she is not only levitated, but she spins and blurs, and the experience is such that it makes her scream, this the kind of scream or trumpeting heard from afar in any haunted woods

atwin 50now, after having apparently been paralyzed, sitting there, for 25 years, Cooper sees something different in the zig zags in front of him. The zig zags would have acted as the static on a late night TV simply to indicate an even more depleted state of entopic business before the eyes, emptying one out. But now he sees “something” and in the desert of not seeing anything to see something is a “sign” so he gets up and follows out what appears to be a desert-scale extension of the zigzag off into the distance

atwin 51but which we find only is the far end of the main sanctum sanctorum of the red curtained enclosure

atwin 52and then he goes around that corner, into another corridor leading around the other side, it is presumed, of the same curtain seen on the left above, now on the left here

atwin 54and then the one-armed man who is leading him, whoever he is, opens up the curtain at the far end on his right, and this leads into….another chamber, a chamber that looks exactly like the other one that Cooper was in all those years, but with a difference, there is a true oracle formation

atwin 55mapping this out, this floating purgatory space, outside the entoptic zone, in a dream space, is outlined as consisting, not unlike the meander of adjunct space, of a farther out space where he was set, then a zigzag through an in-between corridor, then a coming through to a second, identical space, but with the difference that here there is a tree acting as an oracle. By this movement, I posit that it was inferred that Cooper is “on the move” in the sense that he is headed from far to near, he is moving back into the reality he was taken out of 25 years ago. The notion of a sacred speaking tree is by no means odd. At the Dordona oracle, it was the wind in the trees that spoke. At the oracle of the Golden Fleece, meaning many things, it was the fleece, a body part hung there. The ancients also consulted entrails, and having a kind of brain membrane stuck on a tree is not unusual, though it does spark with electricity when it speaks. All this makes me think that when Cooper was originally spun out he was spun out into a farther off waiting room, where he waited, but now he has been shown in to see the oracle, and this is the holy of holies, like at Delphi, nearer to the truth

atwin 56it may well be that this is the place called The Black Lodge. That would mean to me that it is trapped in an exploitation zone, so also deeply conflicted, which means I might have to mark it like this

awin 57

thus, it might mean that in the Lynch universe what I think is pagan imagination even the other world is corrupted and contaminated by the exploitation of the evil real world. But, then, this point is nicely made by then switching out of that subplot, to pick up where the evil dark counterpart avatar of DC on earth is Mr. C. And he is at a motel, which is perfect

atwin 58in movies like Reeker, and others, I have broken down why it is that motels have such a strange life as locales of freeness leading to criminality in this world. This is especailly true of roadside motels, whose space long ago became way too close to the road and its evils for the comfort of most Americans. By the evacuation of the well paying customers to higher end motels, with internal security arrangements, the roadside motel even by the mid 1970s degenerated into what we joked were “texas chainsaw massacre” motels. These featured grubby accomodations, things being way too close to the parking lot, hearing all the ambient noise of possible intruders, and, if someone is following you, leaving you as a sitting duck. I could here insert and link to my treatment of the motel rooms in Halloween 3 (1982), The Night Flier (1990), Natural Born Killers (1994), and many others (I even reviewed a Doug Aitken video about animals invadding motel rooms). So it is choice that we are back in a motel room. But, then, Daria thinks sex is coming, yeah! when, in fact, a deadly interrogation is coming, a nice turn of events to the dark side

atwin 59and when she realizes she is going to be accused, because Mr C realizes that there is a plot to kill him, she squirms away, under two odd motel pictures, two fish

atwin 60It is then, in her death moments, that he asks why they are trying to kill him, It is also revealed that he is fully aware, in this adjunct space of modern life, that he is, somehow, not all entirely a human being, but partly a creature from somewhere else, he knows that “they” want to send him back to the Black Lodge, that is, perhaps since Laura Palmer told the part of Dale Cooper up in the Black Lodge that he can go back, that his counterpart down here or in waking life got the memo that he must go back, but it is his plan to resist

atwin 61once he wrestles Daria into a firm grip, and there is no question anymore that he is going to shoot her not fuck her he reveals what he wants from her, the coordinates, and they have something to do with this sign, which he has on a playing card

atwin 62this is the black sign that later Hawk says, showing it to sherriff, you don’t ever want to know what that is, it is jow dah, or Judy, the black force of the universe, a kind of sentient-spinning black hole that brings evil into the world, and sucks everything into it, that messes with men’s minds, whose rotation through our world might account for the evil of the world (ie it is a far sentient force). It might be that it is Judy who pushed the figure in the NYC machine from that world into this world, and it might be Judy who pushed Laura Palmer to in the waiting room of the Black Lodge, to tell him it is time to re-place himself back into earth. The interesting thing here, as it relates to life, and grounding the lore of this in the life of the Western US, is that this is an ace of clubs, with a death symbol on it. Aces and eights is a bad luck hand meaning instant death to whomever is dealt it, because this was the hand that Wild Bill Cody had in his hands when he was shot in the back in saloon in the 1880s. And here it is recycled as a trope, which is fun. At present, based on what we have learned thus far, I can only conjecture that Judy is located in the Lynch universe at a black hole location got to and circulating far, far out beyond the Black Lodge, and in a much deeper, sludgier, heavier zone of haunting, which you can only get to by going splat down the whoosh, to flop into a nightmare, then to bounce out but horizontally, in the same level zoning, to far off Sentient space. It is, in short, even in sleep, a very difficult sleep dysfunction space to get to, and it is represented as this dark swirling mass outside of the affairs of the world, beyond normal consciousness, as such

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and, I believe it has those two antenna forms, not only to speak to what part of the brain it attacks, but because that is possibly what you see of it as by POV after the splat at the bottom of the whoosh you approach it, moving out into far space, you see the black form of it, the black hole, but, then, as a suggestion of its spinnings and circulations, you see on top of that doorway, two marks, two antenna-forms, if not antennas, and this sign leads you out there

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though no doubt I indulge in some figuring out of my graphics, this would not be the first time that some cosmic evil force was envisioned as a sort of antenna’s grasshopperlike form, re Quartermass and the Pit (1967)

atwin 55and back in the mirror image of the black lodge in this world, in Mr C world, the motel, he then comes round onto Daria, again, not to fuck her, but to smother her with a pillow, then shoot her through the pillow, and in this shot he kind looks like that black mark from behind, and his transitional state symbolized by the fish, which could also speak to fishtank living, ie 2D, or fish in a barrel

atwin 57and, now, THIS “headless” body is a mirror image counterpart, him breaking the path that is trying to enmesh him down here, with the body in the bed in Buckhorn, which WAS the admiral, somehow placed under the head of the principal’s lover (this is also as an image an entire negation of what one expects of the motel room bed)

atwin 58 1but, then, he surprises us again. Not only does Mr. C have a consciousness which includes partial knowledge of where he came from, and what he is, and what “they” want him to do, ie to turn himself back in to the Black Lodge, then, he also aware enough of the friction he causes in his gang life that he knew a murder plot was brewing against him, but also he has retained not only his knowledge of the dark web FBI instruments of investigation, but his FBI Cooper ID, so he is a very strange hybrid, caught between worlds. The reason he wants to go to this prison is that Ray got caught there, he wants and needs to bust him out for them to find the coordinates, but then this is also, coincidentally, or not, where the principal found the Admiral’s body, and where that body is, which means it is also where the officials will converge.

atwin 65But now, a nexus is formed, as it were, between the motel room, and the Black Lodge (if that is what the Red Curtained Chamber is; I will call it the Red Curtained Chamber, because the only actual Black Lodge I saw in this whole mythology was at the end of Fire Walk with Me). While Mr C is getting a bj from his associate in the next room over, his avatar trapped up in the Red Curtained Chamber is lost, something is wrong, so he wanders

atwin 66he comes back, he sees Laura’s father, who tells him to find Laura, fine, but he is wandering

atwin 67and it is suggested that we are in a different part of the place, as there is a different statue at the end of this very same looking corridor

atwin 68and then he looks out of one opening of the curtain, at the end of that particular adjunct hall, and he sees a highway, pictured by the camera, in the Dakotas

atwin 69this suggests, with rather straightforward not so special effects, that this floating Red Curtained Place exists like a stage or theater over the whole of the world, and you can see out of it as out of a crystal ball to whatever part of the visual world below is of concern to you, so, it is a scrying place, not unlike Ardeth Bey’s pool, or the crystal ball of any soothsayer (though in its mazelikeness it lacks any internal momentum from cella to opisthodomic spaces, that is, from front to holy of holies, it is not, then, a temple, in devotion to a cult figure, it is an intercessional space),

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but he is confused as to why he is seeing this, nor does it seem to occur to him that he can step through it and go down in there, it must be merely a picture in a mirror, which he is blocked from, so he has to go back to find the oracle tree,

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for it to tell him what’s what

atwin 72then it says something, about nonexistence which shakes the floor, a first, showing him that he has not been on solid ground

atwin 73and he blurs again through space, this time the red curtain dissolving into space, not the forest, but another entopic zone outside consciousness

atwin 74space

atwin 75which reveals to us that Lynch visualizes all the Ambient and Sentient space outside normal consciousness as a kind of outer space, through which one travels from one zone to another, but, in this case (more to come in episode 3), he reconnects with a further inner zone, in the outerspace of NYC, that is, he is as it were squeezed through the space of the NYC machine, seeming almost to crash land

atwin 78and it the second being to come through that lenslike opening

atwin 79floating into space

atwin 80but, apparently, I forget this detail, no one was looking, the couple, or this was earlier, was off looking for the missing security guard

atwin 81so, he not being received, it is as if the entire machine retracts back in clicks of black to pull him back out into a farther outer space (this, I admit, pure conjecture)

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and then some more zigs and zags at the end of part 2 of part 2. A buy-in point here, of the way in which the series pulled me in, and I watched on specific channel purchase on Amazon each week all summer eagerly waiting each episode, replaying it the day before the next episode was showing, I did not, until the finale, binge it, then only in review, but viewed it old school, to let it sink in, and one of the things that deeply touched me was Lynch’s taste for ambient techno music and this group whose Shadow all but became a theme song of a summer in which I began to become aware that my own mind was beginning to operate more “like a picture without a frame,” just as the words say of a dumped boyfriend, and it is interesting that this is the point at which that ambient observation is made, because this is the point of the series where it decided to go off onto its first of several entirely paranormal-supernatural adventures

atwin 84and when we get to episode 3, we further explore the downward entering travels of the lost avatar of Dale Cooper, leaving him zooming down the whoosh of the universe

atwn 76and I am going to locate these further spins inside the locale of the black circle on this graph, in sentient zones lying outside, far outside, the lattice, whoosh and deep REM dream states

aaaaaaaaaaaaaaaaaaaaaato be continued (three further parts written).