Twin Peaks
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kalibex said:
Perhaps, I was thinking of something similar to this. The bomb radically changing something about the reality of the world, and allowing certain things in that perhaps weren't able to be as active before, such as the woodsman and his mind-control stuff. Then, I'm thinking of the gold orb as a symbol for soul, and that perhaps Laura Palmer was sent in to incarnate with a specific mission (perhaps related to her death? or to catalyze Cooper into taking action?)
kalibex
Dagobah Resident
Guille said:
Cooper's a bit slowed down by being (trapped?) in that golem's body, though. On the other hand, when it comes down to it, he's able to do what needs to be done (like during that attack by Ike the Spike), to protect himself, and those with him (i.e., Dougie's wife). So maybe he's not so incapacitated after all....or is biding his time. (Or could that idea of a soul being stuck in a 'golem' be a metaphor for incarnated life in general? Or just a 'walk-in' metaphor?
)On yet the other hand... I was recently reading some blogs discussing Lynch's other works, and it was mentioned in an analysis of Mulholland Drive that the mysterious and sinister Cowboy character makes a point of saying that he does not go where he's not invited - a possible reference to the idea that humans can attract attention and interference (possession, etc?) from 'spirits' based on the level of Being they currently have?
If so...then what does it say about Cooper that 'Bob' got into his body (as Bob did into Laura's father) in the first place?
kalibex said:
In the original TP, there's a suggestion that Leland was too weak to resist BOB, leading to possession (understandable, given that the abuse started at such a young age). When Laura's character was developed further in Fire Walk With Me, she was portrayed as more resistant. Despite her downward spiral into self-destruction and almost giving in to BOB's manipulations, she fought and resisted giving ultimate control to BOB, which resulted in BOB having Leland kill her. (In that sense, her death was a victory of sorts, symbolized by the angel in the final scene.)
In the last episode of season 2, in the Red Room, Cooper is terrified of his double, who chases him. So it seems his courage wasn't perfect. And it wasn't Cooper who then left the Red Room with BOB; it was his doppelganger. And the doppelganger, being a psychopathic version of Cooper, was fine sharing his body with BOB.
Approaching Infinity said:
Yes, that's my understanding as well. BOB (the evil that was born from man's creation of ultimate destruction, the atom bomb) is occupying Cooper's doppelganger, who was out roaming the world for 25 years while Cooper was stuck in the Black Lodge "waiting room".
SocietyoftheSpectacle
Jedi Master
Here is another way a spirit might trick their way into your house,
You invited me !
( watch it to the end )
https://youtu.be/XDwpwVylj8I
You invited me !
( watch it to the end )
https://youtu.be/XDwpwVylj8I
Jtucker
Jedi Master
Watching Robert Blake with Bill Pullman in that scene made me think how each actor's life went in completely different trajectories after this picture. Pullman has always come across as this all-American guy and is a rancher in Montana, while Blake became involved in a horrific murder (and living in LA).
From what I've read of Blake, he may have accepted "evil" relatively late in life.
When I first saw the original Twin Peaks, I was already a big fan of surrealism and his work back to Eraserhead. But the strange convergences now, shed a whole different light on his body of work.
The Lost Highway clip above as well as his later film Mulholland Drive have many locations in Laurel Canyon. So much of Lynch's obscure references to trafficking/satanic like things finally made sense after Dave McGowan's "Laurel Canyon Confidential" tales.
Also, I think that the New Mexico (is for Lizzies) nuclear bomb test that opened the window for BOB to come through may be less an act of direct evil and more a dimensional blast that broke a quarantine. I think the act of the test in NM itself was intended to both eliminate war and expand it at the same time - depending on what side you were on. The bombing of Hiroshima and Nagasaki were not. That was a message for Stalin and had no peaceful intent at all.
Some of the imagery in the new Twin Peaks Season in Episode 8 almost looks Victorian or Edwardian and part of the machinery in the black and white world resembles "Die Glocke" - the alleged Nazi hyper-dimensional bell. The "nuclear" weapon is possibly a result of something from Nazi Black Magic as per "Morning of The Magicians". There is a scene in Twin Peaks season 1 where Cooper tries to find the killer through a Tibetan rock throwing ritual. The Tibetan connection runs through "Morning of the Magicians" - whether that part of the text is accurate or not is up to speculation. But Lynch is a renown advocate of Transcendental Meditation. Possibly his own trance states have put him in contact with entities. The Robert Blake character points to that I think. As does BOB and doppelganger Cooper. So I think this understanding of chosen polarities and hyper-dimensional parasites/attachments goes quite far back with him.
From what I've read of Blake, he may have accepted "evil" relatively late in life.
When I first saw the original Twin Peaks, I was already a big fan of surrealism and his work back to Eraserhead. But the strange convergences now, shed a whole different light on his body of work.
The Lost Highway clip above as well as his later film Mulholland Drive have many locations in Laurel Canyon. So much of Lynch's obscure references to trafficking/satanic like things finally made sense after Dave McGowan's "Laurel Canyon Confidential" tales.
Also, I think that the New Mexico (is for Lizzies) nuclear bomb test that opened the window for BOB to come through may be less an act of direct evil and more a dimensional blast that broke a quarantine. I think the act of the test in NM itself was intended to both eliminate war and expand it at the same time - depending on what side you were on. The bombing of Hiroshima and Nagasaki were not. That was a message for Stalin and had no peaceful intent at all.
Some of the imagery in the new Twin Peaks Season in Episode 8 almost looks Victorian or Edwardian and part of the machinery in the black and white world resembles "Die Glocke" - the alleged Nazi hyper-dimensional bell. The "nuclear" weapon is possibly a result of something from Nazi Black Magic as per "Morning of The Magicians". There is a scene in Twin Peaks season 1 where Cooper tries to find the killer through a Tibetan rock throwing ritual. The Tibetan connection runs through "Morning of the Magicians" - whether that part of the text is accurate or not is up to speculation. But Lynch is a renown advocate of Transcendental Meditation. Possibly his own trance states have put him in contact with entities. The Robert Blake character points to that I think. As does BOB and doppelganger Cooper. So I think this understanding of chosen polarities and hyper-dimensional parasites/attachments goes quite far back with him.
maxgash
Jedi
Posted in SOTT today!
https://www.sott.net/article/361159-Pepe-Escobar-How-David-Lynchs-Twin-Peaks-unveils-the-dystopian-world-created-by-the-West
Found in the above article, a more thorough analysis provided by Jay Dyer:
https://jaysanalysis.com/2017/06/30/season-3-of-twin-peaks-decoded-part-1-jay-dyer/
duyunne
Jedi Council Member
MaxGash said:
Posted in SOTT today!
https://www.sott.net/article/361159-Pepe-Escobar-How-David-Lynchs-Twin-Peaks-unveils-the-dystopian-world-created-by-the-West
Found in the above article, a more thorough analysis provided by Jay Dyer:
https://jaysanalysis.com/2017/06/30/season-3-of-twin-peaks-decoded-part-1-jay-dyer/
Thanks for the heads up.
idiaysan
Padawan Learner
I just finished the second season of twin peaks, David Lynch is a tremendous filmmaker, and I, who I'm not used to seeing series, this has passionate me, is shocking, sublime, surreal ..... and that overwhelming relationship with the spiritual and mystical ... I liked it very much. Along with "A straight story" and "Erasedhead", for me the best works of Lynch
meta-agnostic
Jedi Master
I was particularly moved by Eddie Vedder's (birth name Edward Louis Severson III) song "Out of Sand" at the end of the 3rd to last episode of season 3:
https://youtu.be/WJHM4w_TD28
I've listened to it maybe a dozen times and I don't think I've been able to make it all the way through once without crying. The song could have deep metaphorical meanings for anyone regardless of whether they have seen the show but it seems like it was written to correspond with the series, so if you have watched it up to that point it fits very well. Some of my own reaction probably has to do with what was going on in my life when I first watched the first two seasons of the series roughly ten years after they aired, and everything that has happened since. I was confused and seeking and it would still be a couple years before I discovered the C's material, but Twin Peaks really seemed to hit many of the same notes. The whole series certainly has a deep and weird relationship with time.
https://youtu.be/WJHM4w_TD28
I've listened to it maybe a dozen times and I don't think I've been able to make it all the way through once without crying. The song could have deep metaphorical meanings for anyone regardless of whether they have seen the show but it seems like it was written to correspond with the series, so if you have watched it up to that point it fits very well. Some of my own reaction probably has to do with what was going on in my life when I first watched the first two seasons of the series roughly ten years after they aired, and everything that has happened since. I was confused and seeking and it would still be a couple years before I discovered the C's material, but Twin Peaks really seemed to hit many of the same notes. The whole series certainly has a deep and weird relationship with time.
Divide by Zero
The Living Force
SocietyoftheSpectacle said:
I just watched Lost Highway the other night and it was interesting but confused me a bit. So I read a few analysis of the plot and it seems this guy was not actually a spirit or demon.
At the start, when the cops ask Pullman/his wife about whether they own a video camera. She says no and he elaborates that he doesn't like them, that he prefers to remember things his way.
So basically the part of the story involving the young man was some invented memory to try and get over what he did. He also comes around when he has jealousy and anger about things. It's sort of like Mr. Robot being an alter ego of Eliot.
In the analysis, they mention that unlike Twin Peaks where BOB (inhabiting Leland or a doppleganger) is distinctly separate and acts directly, the weird man in Lost Highway only seems to come around as specific scenes, showing that he's an aspect of Pullman's character.
maxgash
Jedi
Lynch on Lynch is an excellent book on David Lynch and his work, if you're compelled, I highly recommend it.
https://www.goodreads.com/book/show/80195.Lynch_on_Lynch
Beau, have you viewed The Return? If so, what do you think of the "ending"?
I've been watching David Lynch movies since I was a child - Fire Walk With Me also affected me deeply. Thank you, Mikel, for sharing your story.
I disagree that David Lynch's work is "crazy" and "decadent", Z. It's quite the opposite; Lynch has finely tuned his ability to get out of the way and allow the "Big Fish" to come through with little distortion. For example, Divide By Zero, your assessment is very much how David sees it himself; he describes in the book, Lynch on Lynch, how he only discovered afterward that this was a real psychological phenomenon known as Dissociative Fugue.
https://www.webmd.com/mental-health/dissociative-fugue#1
It seems that David is telling the same story, but from different angles, perspectives - very Mercurial.
My favorite David Lynch film is entitled Premonitions Following an Evil Deed which I will not post here, but a quick search on YouTube and you can view it. It's only a minute long... Yet has been going on forever.
https://www.goodreads.com/book/show/80195.Lynch_on_Lynch
Beau, have you viewed The Return? If so, what do you think of the "ending"?
I've been watching David Lynch movies since I was a child - Fire Walk With Me also affected me deeply. Thank you, Mikel, for sharing your story.
I disagree that David Lynch's work is "crazy" and "decadent", Z. It's quite the opposite; Lynch has finely tuned his ability to get out of the way and allow the "Big Fish" to come through with little distortion. For example, Divide By Zero, your assessment is very much how David sees it himself; he describes in the book, Lynch on Lynch, how he only discovered afterward that this was a real psychological phenomenon known as Dissociative Fugue.
https://www.webmd.com/mental-health/dissociative-fugue#1
It seems that David is telling the same story, but from different angles, perspectives - very Mercurial.
My favorite David Lynch film is entitled Premonitions Following an Evil Deed which I will not post here, but a quick search on YouTube and you can view it. It's only a minute long... Yet has been going on forever.
I'm a big fan of the show Twin Peaks. I watched all three seasons a couple of month ago - a very late discovery. I didn't know what I was missing. It gave me a lot to think about, especially in context of the topics discussed here in the forum.
What I always liked about Lynch movies is the dream-like quality of how the story unfolds. Although I didn't really understand what I was seeing most of the time, I still had the feeling that it made sense, but more in an emotional, symbolic and aethetical way - not in an intellectual way. I got the impression that it somehow speaks to the subconscious mind. I've always found that extremelly puzzling and fascinating at the same time. How does he accomplish that? How can be something so mystifying and "illogical" make sense?
I know from my own artistic experiments that there is a way of following associations wherever they lead without thinking too much about it, much like day dreaming or C.G. Jungs active imagination. Everyone who examines his own dreams more closelly will find, that there is a certain logic behind them - a kind of dream logic. It is not as random and nonsensicall as some people believe. To me it seems like a different kind of thinking, of reasoning even, a different kind of language, more like a language of symbols.
A couple of times, when I was about to fall asleep, I observed my own thoughts, as they went through a transition. I was thinking about a problem and followed the chain of ideas, that spontaniously came to mind until I finally found a baffeling solution, that felt like a really big revelation. But all of a sudden I changed back to my normal waking state and couldn't understand it anymore. The bits and pieces I could still remember seemed surreal and absurd by now and have started to fade away. It left me with the impression of having lost my threat. Whatever it was I found on the "other side" is something I couldn't translate to my normal state of mind.
It also makes me wonder how many high strangeness events might happen all around us that nobody notices, simply because it doesn't translate very well, because it's blocked by our filter settings.
There seems to be a few people who can sense things more consciously, who might be "better translaters" in a way: People seeing dead dudes or past lifes or encountering all sorts of high strangeness phenomena. Might also be a glitch of some sort. Also the strange gift of savants comes to mind. I've read about one, who is able to feel the solution to complex mathematical problems and solve it in an instant, bypassing the traditional way of calculating and processing information via some sort of synesthetic understanding.
So there seem to be different modes of thinking and awareness. I find that particulary interesting in light of information theory and the concept of mind as receivers of information. Only the things that penetrate the filtering membrane of a person's waking state are considered to be real but at the same time the same person might exist on different levels of consciousness that simply don't translate well. So what we consider to be the waking state is just the peak of the iceberg.
I find interesting what Jordan Peterson once said about the role of artists, that the real artists are contending with the unknown, that they have a relationship with the unknown and that the unknown shines through their works in partially articulated form. In this context David Lynch seems to be such an artist.
Artists are strange fellows. They are highly motivated to find answers to questions they are unable to put into words. And once they found it they might say" Yay, I found it! I put my last stroke on the canvas and no more! That's the expression I was looking for!" Who knows, what you can find in those artworks once you have a better understanding. Maybe one day in a distant future a science historian might say: "You see, back in the 21th century nobody knew how to express the unified field theory but much earlier in the 19th century the dutch painter Vincent van Gogh expressed the theory's underlying pattern in his famous painting Starry Night"
What I always liked about Lynch movies is the dream-like quality of how the story unfolds. Although I didn't really understand what I was seeing most of the time, I still had the feeling that it made sense, but more in an emotional, symbolic and aethetical way - not in an intellectual way. I got the impression that it somehow speaks to the subconscious mind. I've always found that extremelly puzzling and fascinating at the same time. How does he accomplish that? How can be something so mystifying and "illogical" make sense?
I know from my own artistic experiments that there is a way of following associations wherever they lead without thinking too much about it, much like day dreaming or C.G. Jungs active imagination. Everyone who examines his own dreams more closelly will find, that there is a certain logic behind them - a kind of dream logic. It is not as random and nonsensicall as some people believe. To me it seems like a different kind of thinking, of reasoning even, a different kind of language, more like a language of symbols.
A couple of times, when I was about to fall asleep, I observed my own thoughts, as they went through a transition. I was thinking about a problem and followed the chain of ideas, that spontaniously came to mind until I finally found a baffeling solution, that felt like a really big revelation. But all of a sudden I changed back to my normal waking state and couldn't understand it anymore. The bits and pieces I could still remember seemed surreal and absurd by now and have started to fade away. It left me with the impression of having lost my threat. Whatever it was I found on the "other side" is something I couldn't translate to my normal state of mind.
It also makes me wonder how many high strangeness events might happen all around us that nobody notices, simply because it doesn't translate very well, because it's blocked by our filter settings.
There seems to be a few people who can sense things more consciously, who might be "better translaters" in a way: People seeing dead dudes or past lifes or encountering all sorts of high strangeness phenomena. Might also be a glitch of some sort. Also the strange gift of savants comes to mind. I've read about one, who is able to feel the solution to complex mathematical problems and solve it in an instant, bypassing the traditional way of calculating and processing information via some sort of synesthetic understanding.
So there seem to be different modes of thinking and awareness. I find that particulary interesting in light of information theory and the concept of mind as receivers of information. Only the things that penetrate the filtering membrane of a person's waking state are considered to be real but at the same time the same person might exist on different levels of consciousness that simply don't translate well. So what we consider to be the waking state is just the peak of the iceberg.
I find interesting what Jordan Peterson once said about the role of artists, that the real artists are contending with the unknown, that they have a relationship with the unknown and that the unknown shines through their works in partially articulated form. In this context David Lynch seems to be such an artist.
Artists are strange fellows. They are highly motivated to find answers to questions they are unable to put into words. And once they found it they might say" Yay, I found it! I put my last stroke on the canvas and no more! That's the expression I was looking for!" Who knows, what you can find in those artworks once you have a better understanding. Maybe one day in a distant future a science historian might say: "You see, back in the 21th century nobody knew how to express the unified field theory but much earlier in the 19th century the dutch painter Vincent van Gogh expressed the theory's underlying pattern in his famous painting Starry Night"