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
it 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
from 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
And then even this week, a work by Korakrit Arunanandonchai at the CLEARING in NYC
In 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
And then too it is given, for its transparency, the implication of flight, of transmission and reception, not unlike in The Fly,
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
What 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.
when 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.
but 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
and 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
and they go at it right away, he is like, no way I am saying no to THAT, so they have sex
but 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
it 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
and, 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
right 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.
figural 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
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
that 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.
the 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
and then he comes to a remote cabin and it is housing two whataretheydoingthere? denizens, stuck in their lives, represented by their arm chairs
and 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
the 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
now, 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
formerly, 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
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.
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
Hawk 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
I 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.
But 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.
the 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).
for 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
but 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
one 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
and he finds a pool (I noted that there was a pool in ep 2, I don’t remember now, this skips ahead to 3)
a 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
and then it transitions, on screen, to the actual curtains, which viewers of the series know well
a 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
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
this 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)
this 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
she 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
that 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
and 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
now, 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
but which we find only is the far end of the main sanctum sanctorum of the red curtained enclosure
and 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
and 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
mapping 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
it 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
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
in 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
and 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
It 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
once 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
this 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
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
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)
and 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
and, 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)
but, 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.
But 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
he comes back, he sees Laura’s father, who tells him to find Laura, fine, but he is wandering
and 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
and 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
this 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),
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,
for it to tell him what’s what
then it says something, about nonexistence which shakes the floor, a first, showing him that he has not been on solid ground
and he blurs again through space, this time the red curtain dissolving into space, not the forest, but another entopic zone outside consciousness
which 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
and it the second being to come through that lenslike opening
floating into space
but, apparently, I forget this detail, no one was looking, the couple, or this was earlier, was off looking for the missing security guard
so, 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)
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
and 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
and 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
to be continued (three further parts written).