Date: Fri, 10 Sep 1999 14:29:48 -0600
From: email@example.com (Juan Revilla)
Subject: [Centaurs] 1994TA and the gothic
This morning I was navigating around Twin Peaks sites in the Web, which constitute a whole mythological world by themselves, and, among them there was an article where a few examples are given about the gothic nature of this saga (The Detective in 'Twin Peaks' by Andreas Blassmann). I would like to quote from it here, because I think it is a excellent example of centaur associations:
Among the pages that came in my search engine, there was one that said:
"Twin Peaks Page Secrets,
Lies, Murder, Incest, and Damn Fine Coffee Early on the morning of February
24th 1989, the body of a young girl named Laura Palmer was washed up on
the shore in the town of Twin Peaks, naked and wrapped in plastic."
This is a description of how the first episode begins; unfortunately, the link is dead, but the positions for the date mentioned (using 6h CST) are very significant:
Sun = 5,52 Pisces
Date: Sat, 11 Sep 1999 08:56:01
The quote with a specific date that I mentioned in my last post is important, because it is a description of how the first episode begins, so it gives us an astrological clue about the story, which then astrology is telling us that is the Sun/1994TA/Node exact conjunction.
We often mention positions or centaur alignments here without interpreting them. This is harder part. I added a few simple comments on Twin Peaks in the introduction on "Winged Planets II", you may take a look.
Since all centaurs will bring the question of "borders" (moral borders, cognitive borders, geographical borders, etc), the following text may be of interest for illuminating centaur territory. It is from Part II of an essay called "DESIRE UNDER THE DOUGLAS FIRS" by Martha P. Nochimson (1992), found in the Internet (Film Quarterly, Vol.46, No.2. Winter 1992/93)
It is a little long. Don't read if not interested. In order not to feel abusive, I will put only the lines that are centaurean to me. In my opinion, the centaurs are shining here in all their glory. No wonder Pholus was discovered when the Twin Peaks uproar was at its peak (1992)
FREEDOM FROM FEAR
In "Twin Peaks," Cooper detects through immersion physical indeterminacy, obliqueness, and ambiguity are his primary modes of discovery...
... the sleuthing approach of a mind-body detective. In the third episode, he introduces his unorthodox procedures to the audience and the Twin Peaks constabulary as
... he sets himself up in a local forest, incongruously situated in front of a blackboard...
... it issues from the most powerful plane of reality in "Twin Peaks": the dream.
... a longing to free the body from the repressiveness of logic.
... the illegibility of the body loses its accustomed code as a site of fear; instead it emerges as the locus of knowledge through play as it was when we were young. However, the result is not a regressive infantilism but a renewal of human desire for a miraculous world.
... Television government
agents are the sine qua non of television's endless and obsessive restoration
of limits, barriers that authorize only the most domesticated form of desire.
In"Twin Peaks," the traditions are honored in that, literally, a state
boundary is crossed during the murder of Laura Palmer, and that is the
conventional reason why Special Agent Cooper is the man for the job. However,
as a boundary specialist, Cooper is not the disavower of the body, the
purger of bodily fluctuation through the rigid limits of convention,
... revealing a town layered into slick, flat planes of cliche through a mind capable of negotiating many layers.
... "Twin Peaks" challenges the constitution of a "fact."
... The traditional fact loses its hard edge when the crucial clues are discovered in dreams and visions.
... two male energies from another dimension who have crossed the limits of the natural world to inhabit it as parasites of human hosts, as they term their local habitations.
... The absurdly banal names adopted by these devastating powers once they have crossed into the plane of "ordinary" reality are, according to Frost and Robert Engels, a writer-producer on the series, a primary example of the "Twin Peaks" tone: here, banalities tragicomically mask strange forces.
... The meeting between detective and crime within the dream context expands the conventional role of the detective's eye (which traditionally is restricted to controlling through looking), emphasizing the otherness of body. Cooper's eye within the dream is, by contrast, enraptured.
The heart of MIKE's message to Cooper is couched in five rhymed lines:
Through the darkness
The magician is Cooper. The heart of detection is the magic of boundary crossing. Cooper's "chance out" will enable him to cross the limits of the ordinary world into the darkness where future and past conflate.
... an alternate camera eye enraptured by indeterminate visual distinctions.
... the concepts of inside and outside were conflated. A massive use of wood gives an outside feeling to the interiors. The interiors burgeon with dead animals and their parts horns, shells and nature drawings that are often photographed as if they were theatrical backdrops for the action.
... Its lap dissolves among sharp images to the strains of the slow, mournful, but somewhat romantic theme music (composed by Angelo Badalamenti) suggest, according to Lynch, an enigmatic interpenetration of opposites as robins and cascading waterfalls dissolve into artifacts of an industrialized logging industry which spews thick smoke from its smoke-stacks and generates spearlike golden sparks with its gears.
... to create a rich "cultural compost heap," as Mark Frost calls the unorthodox yoking of elements in "Twin Peaks." With its suggestion of the blending of once discrete entities until they fuse with each other...
... In this context, the purely Holmesian sleuth seems alarmingly invasive. A synecdoche of the reductive aggressiveness of the Holmesian mind is provided by the redoubtable Albert Rosenfeld (Miguel Ferrer), Cooper's favorite FBI forensics specialist, who can virtually reconstruct in his laboratory the molecules of Laura's last minutes. Called into the investigation by Cooper to perform an autopsy, Rosenfeld positions himself over Laura's corpse, sounding a prefatory whir with the handheld drill with which, in the name of science, he intends to bore a hole in her head. He is surprised (and furious) when his state-of-the-art methods are opposed by the Twin Peaks doctor, Doc Hayward (Warren Frost), and Sheriff Harry S. Truman, both of whom knew and loved Laura. Truman is so infuriated by Albert's unfeeling detachment that he punches him, indeed so hard that Rosenfeld lands grotesquely on top of Laura in a position that suggests the perverse necrophilia inherent in the Holmesian passion. Cooper underlines the negative image by supporting Hayward and Truman against Albert's scientific enthusiasm. The body of the crime, the body of flesh, is not to be erased or commodified by logic. Cooper's expression of a belief in mind-body connection is not just theory. In his compassion for body, he is mind-body connection.