Nefastos wrote:obnoxion wrote:the sharing of the Garmonbozia, that is, fear and pain that take the form of creamed corn.Does this term have presence outside Lynchian terminology?
As far as I know, Garmonbozia is exclusively Lynchian term. I have followed some loose associative chains on this word, but I haven’t caught a big fish yet…
Nefastos wrote:obnoxion wrote:"...having meditated on Shakti in the form of a flash of lightning in the five skies". Here the Sanskrit word for sky is "vyoman", and according to online Sanskrit dictionary this word also means "mica" and "one who cannot be saved". Extremely interesting, thank you for sharing this. Along with some painful personal thoughts this revived in me, I saw a more symbolic dream on the subject. I had lain awake with risen temperature and close to astral fear, but when I fell asleep in the morning hours, the dreams were peaceful. I saw, however, the statue of a woman connected to this idea of yours, standing in the gloom of the lodge. In her hand was this goddess' symbol, which was yarn. I think this is quite fitting. Besides the obvious and mythic symbolism, the word is also interesting in several different levels:Wiktionary wrote:From Middle English yarn, from the Old English ġearn (“yarn, spun wool”), from Proto-Germanic *garną (“yarn”), from Proto-Indo-European *ǵʰorn-, *ǵʰer- (“tharm, guts, intestines”). Akin to [...] Latin hernia (“rupture”), Ancient Greek χορδή (khordḗ, “string”), Sanskrit हिर (hira, “band”). Compare also the obsolete doublet garn.
The Goddess with the yarn, especially in a dream which began with temperature but turned peaceful, and in this context of term “vyoman” might also be interpreted like this: One of the names of Shiva is Vyomakeśa or “Sky-haired”. And in almost every anthropomorphic icon of Shiva, we can see the Heavenly Ganges – Vyomaganga – descending to the earth by Shiva Gangadhara’s matted, yarn-like hair.
In the case of this dream, I would suggest that the yarn is symbolic of both the Gangadhara, that is, Shiva as portioning the descent of Ganga as for her not to destroy the Earth by crushing down unchecked from the Vyoman. But also, in relation to the temperature you mentioned, this might also function as a Rudra Abishek, or the pouring of libation on the Linga, as to cool it down. Considering the formal dream symbolism of the yarn, perhaps it was an invitation to patience?
To go back to my theory of the formica table and the convenience store, I just read from the original script that in the scene the Woodsman that has no lines in the move FWWM, was supposed to have several. (The Woodsmen as Sooty Ghosts were in a bigger role in the third season of TP). The scene would have opened with the Woodsman saying. “We have descended from pure air”, to which the Man from Another Place would respond with: “Going up and down. Intercourse between the two worlds”. So this strengthens the “Vyoman”-connection, I think. The scene was, however, cut short by Lynch, after they had recurrent electrical difficulties. Here is the situation, as related by Michael J. Anderson (the actor of the The Man from Another Place):
We were shooting Fire Walk With Me and … well, one of the scenes blew a generator, and Lynch replaced the generator. We tried it again and the generator blew again. So then he did not change at all the lights. He rearranged the dialogue. He said, “No, you say this instead of this, and you say this here.” He rearranged the dialogue. “Let’s try it again.” Plugged into the generator again, no changes in the power requirements, the scene played again, the generator did not blow that Time. And he goes, “I thought it might have been that!”
http://www.davidlynch.it/twin-peaks-the ... nce-store/
It has been a curiously Twin Peaks-ean affair to delve into The Kaulajnananirnaya. Right in the 2nd Patala we get e reference to the prominent Twin Peaks theme of the Blue Rose, when Bhairava speaks:
O Goddess, the deity is devoid of mind and non-mind, independent of meditation (dhyana) and concentration (dharana), always perceivable , eternal, in appearance like a blue flower (atasi), rich in all hues and at the same time beyond all colours, attainable through transcendental wisdom (jnana), through the succession of Master and disciples (parampara).
Translated by Satkari Mukhopadhyaya in collaboration with Stella Dupuis.
This is something – the occurrences of spiritual symbolism in entertainment and art – that has been a huge influence on me since I was a child. Take, for example, the skulls and bones decorations of many eighties heavy metal records and horror films, that I was heavily into as a kid, but lost interest as an adult. This lost of interest has usually coincided with finding these same decorations is another, more profound and traditional settings. As for the skulls, I would mention the iconography of the Tantric hero Padmasambhava, who is often depicted sitting by three severed heads – one is dry, one is fresh, and one is rotten. Now these are symbols of the dharmakaya, sambhogakaya and nirmanakaya. After these kinds of realizations I have been happy to understand that I weren’t morbid, but rather that I was attuned to a symbolic language of a tradition that was mostly foreign to my native culture, but that nevertheless pushed through entertainment, and was picked up by me, and others whose souls were made of similar fibers. To get back to the theme of severed heads as lofty symbols, as an adult I found it again from Symbolist art. So I think these themes, this language of certain souls, is a universal phenomenon, and at least for some of us it is the only language through which we can really understand the complexity of life in a profound manner.
With this in mind, I am not surprised to find such rare and profound themes of Kaulism behind a TV series that has fascinated me since I was ten years old. It was the closest I could get to a spirituality that spoke to me intimately.
Does this make sense to any one you?