Wednesday, March 26, 2014

Nymphonick: Eyes Wide Shut

I have recently written about my experiments isolating the audio of films from their visual component.  The goal is to transform them into audio-books, and, in theory, bring the language of the film closer to the Logos.  My reasoning behind this leans heavily on the media theories of Marshall McLuhan, as well as Kubrick's understanding and application of these theories in his film work, specifically on 2001: A Space Odyssey and all subsequent films.  I gently hint at the title Eyes Wide Shut as being more than a title, as if it is a subtle instruction.  By revisiting a film with our eyes closed, we allow other sensory pathways to open up.  We start to "see" more.

But what would happen if instead of revisiting a film in this way, you visited it this way the first time?  It is with this in mind that I rented Lars Von Trier's new film Nymphomaniac Vol. 1.  

I had very little knowledge of what Von Trier's film was actually about.  All I knew is that it was considered controversial for depicting graphic sex between the actors in the film.  My intention in listening to the film first was to see just how shocking the imagery on screen turned out to be when compared with the imagery created in my mind's eye while listening.  A "Who is the Master that makes the grass green" kinda thing.  Surprisingly, I was able to rent Nymphomaniac on iTunes and download the film to my phone, making it simple to listen to on earphones.

As the film opens, there is nothing but silence until the sound of rushing water…or urination?  In an experiment like this it is amazing to analyze how the mind leaps at every sound in this way.  After a minute or two of quiet ambient sound, my ears were then assaulted by Rammstein, or some band pretending to be Rammstein.  Painful.  And impossible to imagine just what was happening on screen….

The Rammstein ended, and over the next five minutes two characters are introduced, a female and a male.  It soon becomes apparent that the female character is going to tell the male character her life story.  As she starts to open up the first chapter in her tale, the real start of our story, a very familiar waltz starts to play:  "Waltz 2 from Shostakovich's Suite for Variety Stage Orchestra".  You may know this waltz from the opening scenes of Stanley Kubrick's Eyes Wide Shut.

I don't know how to put into words just how disorienting a synchronicity like this can be.

Sunday, March 16, 2014

Charley Brown Unchained: New Slaves

Man Cave 1.0

When we first meet Mr. Calvin Candie he is relaxing in his man cave enjoying a beverage and some sports, a recreation not unlike the kind enjoyed by millions of Americans on any given Sunday.  Our 72" HD TV's and 5.1 Surround Sound sure bring the action close, but nothing is as close to the action as the front row seats of Mr. Candie.  

It might seem wrong to compare Mr. Candie's choice of sport with that of the average American, but Quentin Tarantino doesn't seem to think so.  In fact, in Django Unchained, Tarantino is pretty explicit about his opinion of the similarities between the two, especially the industries surrounding them, and the dollars they earn through the violent and shameful exploitation of their fellow man.

"Clues," Zina said, "I kept giving you clues.  But it was up to you to recognize me."
     Emmanuel said, "I did not know who I was for a time, and I did not know who you were.  Two mysteries confronted me, and they had a single answer."
     "Let's go look at the wolves," Zina said.  "They are such beautiful animals.  And we can ride the little train.  We can visit all the animals."
     "And let them free," Emmanuel said.
     "Yes," she said.  "And let them, all of them, free."
     "Will Egypt always exist?" he said.  "Will slavery always exist?"
     "Yes," Zina said.  "And so will we."
Philip K. Dick

"Are you ready for some Django?"  

"Like slavery, it's a flesh for cash business."
Dr. King Schultz

Quentin Tarantino makes it clear that the widespread brutality and exploitation in the industries of slavery and sports entertainment are one in the same.   Whether on the cotton field or on the football field, people are simply bought and sold, beaten and brutalized, and thrown away the minute they begin to lose their value.  And the few that make it up to the house….

Tarantino is suggesting that the American Dream has been replaced by America's Game, a paradigm of big-business that masquerades as entertainment, the perfect blend of money, violence, and theater that acts as a digital soma for the sleeping masses, and has become the premier distraction from the boredom that threatens the status quo. 

"I must admit I'm at a bit of a quandary when it comes to you. On one hand I despise slavery, on the other hand I need your help. If you're not in a position to refuse, all the better. So for the time being I'm gonna make this slavery malarkey work to my benefit."
Dr. King Schultz

Be A Man

At the center of the film is Django Freeman, played by Jamie Foxx (played by Eric Marlon Bishop), who once played Willie Beamen, superstar quarterback of Any Given Sunday.  "Django" means "I awake" and seems to suggest the cognitive transformation at the center of this film.

When we first meet both Freeman and Beamen, they are in the same predicament:  they work on fields (cotton / football), have owners (slave master / franchise owner), and are in chains (shackles / "move the chains!").   Beamen seemingly is in a much better situation than poor Django.  Sitting on the bench is one step away from the spotlight, but Django, despite being moved across Texas to a slave auction (football draft), is one step away from salvation.  That first step towards salvation arrives in the form of an ex-Nazi named Dr. King.

Dr. King Schulz is his full name, and he is traveling cross country in a carriage with a big floppy tooth on top.*

Schultz is played by Christoph Walz, who once won an Oscar portraying a Nazi.  "Dr. King" invokes Dr. Martin Luther King Jr., who helped liberate African-Americans from the inequalities of segregation, and by association, Martin Luther, the German monk, who liberated Catholics from indulgences.  Schultz may refer to Charles Schultz, creator of Charlie Brown.  Tarantino's Schultz is a  portmanteau, an ex-Nazi bounty hunter sent to liberate Django by recreating him.

No longer asleep, Schultz has made peace with himself and his morality in this flesh for cash world.  He simply would "rather be a dick than a swallower."  This is made perfectly clear in the shot below, where Schultz' the bounty hunter explains the rules of the Game to Django from inside a glass cube, while the real Schultz sits comfortably outside of it.

Django's liberation begins with Schultz adopting the role of Director, putting Django into character, complete with costume.  In fact, Schultz will put Django into many characters along the way:  valet, Siegfried, a black slaver.


 "I Own You Bitch"

What Schultz understands, what he will teach Django, is that real human life, what is best called reality, is closer to the mountains and dragons of myth than the streets and marketplaces of the machine.  The Dream trumps the Game any day.  Because of a life of slavery, this truth has been obscured for Django.  The unlikely relationship between Schultz and Django provides a chance for both men to return to reality.

Django:  Why you care what happens to me? Why you care if I find my wife?
Schultz:  Frankly, I've never given anybody their freedom before, and now that I have I feel vaguely responsible for you. Plus when a German^ meets a real-life Sigfried that's kind of a big deal. As a German I'm obliged to help you on your quest to rescue your beloved Brunhilde.

For the final act of this quest, Schultz and Django travel to the Cleopatra Club, masquerading as owner and agent, neophytes to the big business of the Mandingo fight game.  The two are welcomed in to a bizarre situation that only gets more bizarre, as Tarantino builds a complex portmanteau involving football, Hollywood, and slavery.

Leonide Moguy, Candie's lawyer, shares his name with a Russian born director of French films.  "Just call me Leo" entangles them both with Leo Dicaprio, the American actor (outside the cube) who plays our slave owner Candie.  To solidify this entanglement, we learn that Candie has a love of French culture.  Lawyer, Slaver, Owner, Director, and Actor are all one, just as lawyers, football, Hollywood, and slavery are all one (I am aware that many will regard this giant leap as if it was written in a foreign language).

When Schulz, Django, and Leo make it upstairs, Candie's first question is why?  Why enter the Game?

Good enough.


Tarantino completes the portmanteau with a thinly veiled reference to Fred "The Hammer" Williamson.

Williamson played eight seasons in the NFL, and earned his nickname "The Hammer" because he used his forearm to deliver violent hits to the heads of opposing players.  Ouch. After finishing his NFL career, Williamson followed the lead of Jim Brown and took his talents to Hollywood.  One step forward, two steps back.

Two-Eyed Charley

The definition of insanity is doing the same thing over and over again and expecting a different result.  When Charlie Brown plays football with Luci, it is an explicit portrayal of insanity.  The only way to move forward is to wake up and stop trying to kick the football.  Stop playing the Game.

Am I Awake?

*This tooth invokes the Hebrew letter "shin", which means "teeth".  The secret of the letter "shin" is that of "the flame bound to the coal", which refers to the hidden flame that arises when you blow air onto a hot coal.  This is a subtle clue to the commentary hiding just under the surface of the film.

^German" should be replaced here with "enlightened one"

Monday, March 3, 2014

Watching the Detectives Part 4: Cohle Slaw

After a moment Emmanuel said, "Then I can do nothing regarding the universe without consulting you."
     "And you can do nothing regarding the universe that is contrary to what I say," Zina said, "as you yourself decided, in the beginning, when you created me.  You made me alive;  I am a living being that thinks.  I am the plan of the universe, its blueprint.  That is the way you intended it and that is the way it is."
     "Hence the slate you gave me," he said.
     "Look at me," Zina said.
     He looked at her--and saw a young woman, wearing a crown, and sitting on a throne.  "Malkuth," he said.  "The lowest of the ten sefiroth."
     "And you are the Eternal Infininite En Sof," Malkuth said.  "The first and highest of the sefiroth of the Tree of Life."

Philip K. Dick

The Greater Adept's mundane consciousness is portrayed by the yellow of Atziluth. This symbolizes that the person is living through the Individuality instead of being ruled by the Personality. 

Freud wrote, mystified, "The unconscious is not aware of its own mortality," and Aleister Crowley, more perceptively wrote, "The unconscious is aware of its immortality."

Robert Anton Wilson

It should never be forgotten for a single moment that the central and essential work of the Magician is the attainment of the Knowledge and Conversation of the Holy Guardian Angel. 

Aleister Crowley

Cohle describes the possibility of other dimensions existing, and he says that’s what eternity is.  He says that if somehow you existed outside of time, you’d be able to see the whole of our dimension as one superstructure with matter superimposed at every position it had ever occupied.  He says that the nature of the universe is your consciousness, and it just keeps cycling along the same point in that superstructure: when you die, you’re reborn into yourself again, and you just keep living the same life over and over.  He also explains that from a higher mathematical vantage point, our dimension would seem less dimensional.  It would look flattened, almost.

Nic Pizzolatto

The kabbalists insisted that the Ein Sof and the sefirot formed a unity “like a flame joined to a coal.” 

I plan on writing an epic poem about this gorgeous pie.
Gordon Cole

I see dead people.
Cole Sear

It's like, in this universe, we process time linearly.  Forward. But outside of our space-time, from what would be a fourth-dimensional perspective, time wouldn't exist. And from that vantage, could we attain it, we'd see our space-time look flattened, like a seamless sculpture.
Rustin Cohle

You'll hit 49 before Crowley.
Lawnmower Man, "After You've Gone"


The Zohar rarely describes the entire sefirotic system.  It even avoids the term sefirot and instead speaks of lights, levels, links, roots, garments of the King, crowns of the King, and dozens of other images for the individual sefirot.  The reader must interpret the symbolism and identify the corresponding sefirah.

As noted above, the term sefirot originally meant numbers or numerical potencies, but in medieval kabbalah the sefirot became stages of God’s being, aspects of divine personality.  Their pattern and rhythm inform all the worlds of creation.  Prior to the emanation of the sefirot, God is unmanifest, referred to as Ein Sof, Infinite, God as Infinity cannot be described or comprehended.  A fourteenth century kabbalist writes “Ein Sof… is not hinted at in the Torah, the Prophets, the Writings, or the words of our Rabbis, may their memory be a blessing, but the Masters of Service (the kabbalists) have received a little hint of It.”

Critics charged that the theory of Ein Sof and the sefirot was dualistic, that by positing and describing ten aspects of Divinity, Kabbalah verged on polytheism.  The kabbalists insisted that the Ein Sof and the sefirot formed a unity “like a flame joined to a coal.”  “It is they, and they are It” (Zohar 3:70a).   “They are Its name, and It is they” (3:11b).  From the human perspective, the sefirot appear to have a multiple and independent existence.  Ultimately, though, all of them are one; the true reality is the Infinite.  Nevertheless, the mythological character of the system cannot be denied; it is a prominent feature of the Zohar.

The sefirot are often pictured in the form of Primordial Adam or a cosmic tree growing downward from its roots above.  As the kabbalists were quick to point out, these images should not be taken literally; they are organic symbols of a spiritual reality beyond normal comprehension.


The colours for Malkuth on the Qabalistic Tree given by Gareth Knight in A Practical Guide to Qabalistic Symbolism and Dion Fortune's Mystical Qabalah are:

Assiah: black rayed yellow

Yetzirah: citrine, olive, russet & black, flecked gold

Briah: citrine, olive, russet & black

Atziluth: yellow

Of the four worlds we will look at Atziluth as the highest world and Assiah as the lowest. Thus the development of the ego would be from Assiah to Atziluth. In the Assiatic world the colours of Malkuth are black-rayed yellow. When a baby is born it comes into the physical world in an egoless state. The child's mundane consciousness is a blank slate on which the impressions of life will be written. This is symbolized by the black colour. Also black is the colour of Binah in Briah. The child's first impressions of the world are through its mother (before and after birth). The yellow rays are the Spirit which maintains and supports both mundane consciousness and the physical body. As the child starts to mature it comes into contact with the Yetziratic World. This is its own inner world and the desires and needs can be identified. Then an effort can be made to fulfil them. The citrine is a Yesodic colour and shows that the child needs to be nurtured and to develop its imaginative and intuitive faculties. The infant then starts to explore its feelings. The breast feels good and so does sucking on it. Being left alone is painful.

How many parents have had sleepless nights due to babies discovering this fact? This is symbolized by the olive colour which portrays Netzach (instincts, feelings and emotions) coming into consciousness.

As the child grows it starts to learn mobility and verbal communication. After a few years the child becomes a pupil at a school and the years of education begin. Russet is the colour applicable to this phase of consciousness and it symbolizes the Sephirah Hod (communication and intellect). The fourth colour of Malkuth in Yetzirah is black which in this world represents Binah the All Mother. This suggests that good mothering (whichever parent does it) is crucial in the balanced development of the child, especially on all the inner levels of being.

The circle of Yetziratic consciousness starts again at puberty, represented by the citrine of Yesod which starts the full flowering of the adolescent's Netzach with the onset of sexual feelings symbolized by the olive colour. Late adolescent and early adult intellectual maturation is again represented by the russet of Hod. And the Yetziratic wheel spins on. This cycle can occupy the whole of a person's life. How many elderly people have we met who still show this juvenile psychological make-up of Malkuth in Yetzirah? Some people even regress back to infantile psychology through senility. Thus for a lot of people the upper worlds exist only in their unconsciousness.

Before I discuss the Briatic level of ego consciousness, I would like to illustrate the common way that Western Qabalists draw Malkuth in Briah:

The first symbol that struck me was the quartered circle: a sign of unification and balance. The black quarter is at the bottom. On the left is the russet quarter at the gate of the 31st path leading to Hod. The citrine is at the gate of the 32nd path and the olive quarter relates to the Sephiroth at the end of these paths. I think and feel that the energies of these paths flow freely and with full consciousness into the mundane consciousness of Malkuth. Thus the person who can achieve this level of consciousness would be extremely aware of him/herself.

Before the Briatic level of consciousness is opened, the person must go through a crisis. Our Western mythologies support this fact: Christ crucified; Odin hanging on Yggdrasil; the Mad Merlin of the Vita Merlini; and the wounded Fisher King. For a lot of 20th century people, the mid-life crisis can be the impetus to find themselves. For men, it should be the start of raising into consciousness of the Anima (their unconscious female Self). For women, it is the acceptance of loss of fertility due to menopause and thus the integrating of the Bearded Woman who is an aspect of Binah. The black is this crisis and it is at the bottom of our diagram showing that Briatic consciousness is achieved by passing through the Dark Night of the Soul. In the lower worlds I likened the black to Binah; here it is the awakened Shekinah (and it doesn't matter what sex the person is) preparing to meet the Divine Bridegroom.

The spiritual crisis when successfully resolved stops the cyclical pattern of Yetzirah. The inner tides are subdued and brought into balance. Thus the symbol of the quartered circle: this shows that the elements are in harmonious conjunction within the consciousness and are working at optimum levels in the Ego as represented by Malkuth. This is the level of the Lesser Adept. The Greater Adept's mundane consciousness is portrayed by the yellow of Atziluth. This symbolizes that the person is living through the Individuality instead of being ruled by the Personality. The person is consciously living according to Divine Will or, to express it another way, this person is living his/her Dharma. 

Wednesday, February 19, 2014

Watching The Detectives Part 3: No Noose is Good Nous

The Hanged Man of the Thoth Tarot still symbolizes the descent of the light into the darkness in order to redeem it, but the word "redeem" no longer implies an existing debt that needs to be paid.  Instead, redemption in the Aeon of Horus is the noble duty of the enlightened to bring enlightenment to the unenlightened.
Lon Milo Duquette

The Hanged Man:  Noose

"I saw you in my dream.  You're a priest too.  I know what happens next, you're in Carcosa now."

Reggie Ledoux

In the Old Aeon of Osiris, The Hanged Man represented the dying God, the formula of the crucified Christ, signifying sacrifice and redemption.  

"I contemplate the moment in the Garden, the idea of allowing your own crucifixion."


Lon Milo Duquette writes that "the gesture of Sacrificial Suicide is not only obsolete, it is counterproductive".  This is what keeps Cohle asleep at night:  not only will suicide not work, it is a step backward.  He has no choice but to forge ahead.

The Yellow King:  Nous

In the New Aeon of Horus, The Hanged Man is a card of sacrifice and duty.  On the Tree of Life, The Hanged Man falls on the 23rd Path, that of Mem, the path of the mystic, the annihilation of self.   This is not a journey to the great beyond, but rather a journey inward.

Mem-Brain Theory

We are things that labor under the illusion of having a self, this accretion of sensory experience and feeling, programmed with total assurance that we are each 
somebody when, in fact, everybody's nobody.


The formula of the old Aeon is LVX as found concealed within the keywords INRI-IAO… LVX, lux, the Light of the Cross: the dying and resurrecting god-trip, which formerly opened the Gates to the Temple of Initiation, as seen in the Adeptus Minor ritual of the Golden Dawn. It has been superseded by a new formula: NOX, the Dark Night of the Soul, the Night of Pan…

“The Night of Pan is the Annihilation of All.”

Further still…

“This is the Night wherein I am lost, the Love through which I am no longer I”

Along the shore the cloud waves break,
The twin suns sink behind the lake,
The shadows lengthen
In Carcosa.

Strange is the night where black stars rise,
And strange moons circle through the skies,
But stranger still is
Lost Carcosa.

Are you Lost?

"You're a Priest too."

Redemption is a bad word; it implies a debt.  For every star possesses boundless wealth; the only proper way to deal with the ignorant is to bring them to the knowledge of their starry heritage.  To do this, it is necessary to behave as must be done in order to get on good terms with animals and children: to treat them with the absolute respect; even, in a certain sense, with worship.  Note on the Precession of Aeons:  "The Hanged Man" is an invention of the Adepts of INRI-IAO formula; in the Aeon previous to the Osirian, that of Isis (water), he is "The Drowned Man".
Aleister Crowley

Sunday, February 16, 2014

Watching The Detectives Part 2: Form and Void

Revisit Part 1 here.

"People out here, it's like they don't even know the outside world exists.  Might as well be living on the moon."
"Ask you something?  Are you Christian?"


"Well then what do you got that cross up there in your apartment?"
"That's a form of meditation."
"How's that."
"I contemplate the moment in the Garden, the idea of allowing your own crucifixion."
"But you're not a Christian.  So what do you believe?"
"I believe people shouldn't talk about this shit at work."

"I tell what I have seen and what I believe; and whoever shall say that I have not seen what I have seen, I now tear off his head.  For I am an unpardonable Brute, and it will be thus until Time is no longer Time.  Neither Heaven nor Hell, if they exist, can do anything against this brutality which they have imposed on me, perhaps so that I may serve them….Who knows?  
In any case, in order to lacerate me.

What exists, I see with certainty.  What does not exist, I shall create, if I must."

Antonin Artaud

HBO's True Detective premiered on January 12, 2014, 42 days before the 25th anniversary of Laura Palmer's death on February 24th, 1989.  This is appropriate because True Detective works like the magical child of David Lynch's strange and mystifying masterpiece.  And just like Twin Peaks, everything that happens in True Detective takes place within a dream.  A nightmare.

The mystery before us then is, whose dream is it?

history is a nightmare from which I am trying to awake
James Joyce

why should I live in history, huh? Fuck, I don't want to know anything anymore.
This is a world where nothing is solved.  Someone once told me, "Time is a flat circle.
Everything we've ever done or will do we're gonna do over and over and over again."   
Rustin Cohle

in eternity, where there is no time, nothing can grow.  Nothing can become.
Nothing changes.
So death created time to grow the things that it would kill and you are reborn but into the same life that you've always been born into.  I mean, how many times have we had this conversation, detectives? Well, who knows? When you can't remember your lives, you can't change your lives, and that is the terrible and the secret fate of all life.  You're trapped by that nightmare you keep waking up into.    Rustin Cohle

In 1995, a young woman is found murdered, and two CID homicide detectives are called in to investigate a crime scene that suggests ritualistic intent.  The case of Dora Kelly Lange is officially opened.

Our first clue that we are in fact in the world of the dream is that the case of D. Kelly Lange is reopened 17 years later.  This not only mirrors the 17 years it took James Joyce to write his epic book of dreams Finnegans Wake, it also mirrors the structure of the book, as the final sentence on the last exhausting page of FW does not bring closure, it simply reopens.

Coincidence?  It doesn't matter right now, it's a clue, and at this point you take what you can get.

Our second clue is embedded in the title of the first episode,  "The Long Bright Dark".  This is a pretty decent description of a dream.  It also includes the last name of our victim, as "Lange" is German for "long".  "The Lange Bright Dark", maybe this is simply Lange's dream (maybe TP was Laura's dream?).  If I was murdered, I would hope that my life warranted a thorough investigation, and that brave individuals would risk their lives to bring my killer to justice.  Let's look a little closer before we close this case.

Our next clue is the spiral symbol painted on the body of the deceased.

Grand Guignol

Where else have we seen that symbol?

*Remember, we are investigating a dream here, and dreams follow a fucked up logic.  

The spiral symbol painted on the body is the same spiral symbol we find in front of another haunted detective (also hunting an underground chemist), and is utilized as a kind of logo for the 'Pataphysics of Alfred Jarry.

This term 'Pataphysics first appears within the text of Jarry's play Guignol, and the most direct definition is "that which is above metaphysics" (or shit you don't talk about at work).  The killer's use of the symbol is odd.  The murder scene suggests the use of sympathetic magic, a work that is "below metaphysics" (below not in a critical sense, but in a directional dense).  Something very bi-polar is going on here.

From Antonin Artaud's The Alfred Jarry Theater:

Our inability to believe, to accept illusion, is immense.  Dramatic ideas no longer have for us the brilliance, the bite, that quality of something unique, unprecedented, whole, that continue to characterize certain ideas in literature or painting.  The moment we introduce this idea of pure theater and try to give it concrete form, one of the first questions we must face is the question whether we will be able to find an audience capable of giving us the necessary minimum of confidence and trust, capable, in short, of joining forces with us.  For, unlike writers, or painters, we cannot do without an audience; indeed, the audience becomes an integral part of our undertaking.

To entertain someone pataphysically, to take an audience's thinking beyond metaphysics requires an absolute shit-ton of confidence and trust.  I consider David Lynch to be the consummate pataphysician of our time.  He bravely recognized that the American television audience was ready for the pataphysical mind-fuck of Twin Peaks (bi-polarity) in 1990.  If True Detective really is the magical child of Lynch, it makes sense then, at least for me, that the best way to approach True Detective is pataphysically.  Like a true detective (we have a title!).

In The Alfred Jarry Theater, Artaud insists that the audience plays an integral role in the success of the show.  He demands that for the theater to work, there must exist at least a "minimum of confidence and trust" within the audience.  The bare miminum of this confidence and trust is represented in the character of Detective Martin Hart.  His shallow, hypocritical defense of the sanctity of marriage and his eye-rolling disdain for anything beyond his ken will clearly not solve the case, but his participation is still essential.  As much as they would like to believe, pataphysician's do not exist within a void, even they require someone with heart, someone a little more grounded in "reality" to make sure that they don't go too far off the rails, and Woody fulfills his role admirably.

The person closest to our Tall Man, our true detective, is the one with the tall boy, a Lone Star trekking across the desert abyss with his trusty Camel.

"I don't sleep.  I just dream."

Detective Rustin Cohle can't sleep.  He can't sleep because he already knows he is in a dream ("a jury rig of presumption and dumb will . . . it was all . . . a dream you had inside a locked room.  A dream about being a person").   He continues to search for clues because he isn't quite sure the dream is his or the killer's, or someone else entirely.  If he was sure it was his dream, he would just put a bullet in his head and end it.  But if it is indeed the killer's dream, a bullet in his head won't solve a thing.  The nightmare won't end until he puts a bullet in the killer's head.

As Cohle searches for the killer, we realize what he is really searching for is salvation.  Not the kind that is promised by ordinary metaphysics, and not the kind delivered by sympathetic magic, but the kind that promises the total annihilation of doubt.  The answer not to "what?" but to "why?".

We are told that you're supposed to fit your experience into the model which science gives you, which is probabilistic, statistical, predictable, and yet it's…..The felt datum of experience is much more literary than that.  I mean we fall in love, make and lose fortunes, we inherit houses in Scotland, we lose everything, we get terrible diseases, we're cured of them, or we die of them, but it all has this sturm und drang aspect to it that physics is not supposed to have but which literature always has and I think, I don't know if it's true, but what I think Joyce believed and what I'm willing to entertain at some depth is the idea that salvation is somehow an act of encompassing comprehension.  That salvation is an actual act of apprehension of understanding.  And that this act of apprehension involves everything.

Terence McKenna

Dale Cooper played the role of our true detective in TP.  He spent two seasons searching for the killer of a young woman, searching for salvation.


There was also a physician in TP, Dr. Lawrence Jacobi, played by Russ Tamblyn.  


It is no coincidence that Dr. Jacobi looks like Terence Mckenna, because the character was based on Terence McKenna.  McKenna is most widely known for his views on psychedelic drugs, but for those who really spend time with his work, you will find him to be one of the more astute pataphysicians around.  His examinations of Joyce, coincidence, and the plain old weird happenings of life in the twentieth century led him to a pretty bold conclusion:

I think that the whole of the twentieth century is informed by this hyper-dimensional understanding, and that, you know, Jung tapping into it in the twenties, the Dadaists in 1919 in Zurich, the surrealists, even earlier the Ecole de Pataphysique, Lautréamont, Jarry, all of these people…it’s what it’s about.  

Terence McKenna

We are asleep in a nightmare called history.  We will never achieve salvation (wake up) until we solve the mystery before us, until we catch the killer whose crimes keep happening over and over and over again.  Joyce, Lynch, McKenna, and now Nic Pizzolatto, are compelling us to join forces with them, because even they can't do it all by themselves.

School is in session.  Go get a copy of Finnegans Wake and start studying.

A.A.:  Lone Star In Sight

For a long time I have felt the Void, but I have refused to throw myself into the Void.  I have been as cowardly as all that I see.  When I believed that I was denying this world, I know now that I was denying the Void.  For I know that this world does not exist and I know how it does not exist.  What I have suffered from until now is having denied the Void.  The Void which was already within me.

Antonin Artaud

"You ever heard of something called membrane theory, detectives?" 

 "It's like, in this universe, we process time linearly.  Forward. But outside of our space-time, from what would be a fourth-dimensional perspective, time wouldn't exist. And from that vantage, could we attain it, we'd see our space-time look flattened, like a seamless sculpture. Matter in a super-position—every place it ever occupied. Our sentience just cycling through our lives like carts on a track. See, everything outside our dimension—that's eternity. Eternity looking down on us. Now, to us, it's a sphere. But to them, it's a circle."