Does David Lynch’s Twin Peaks artistically demonstrate the Hegelian Dialectic?
In Twin Peaks Major Briggs shares a “vision of light” with his son:
“This was a vision, fresh and clear as a mountain stream, the mind revealing itself to itself. In my vision, I was on the veranda of a vast estate, a palazzo of some fantastic proportion. There seemed to emanate from it a light from within, this gleaming, radiant marble. I’d known this place. I had in fact been born and raised there. This was my first return. A reunion with the deepest well-springs of my being. Wandering about, I noticed happily that the house had been immaculately maintained. There’d been added a number of additional rooms, but in a way that blended so seamlessly with the original construction, one would never detect any difference. Returning to the house’s grand foyer, there came a knock at the door. My son was standing there. He was happy and carefree, clearly living a life of deep harmony and joy. We embraced, a warm and loving embrace, nothing withheld. We were, in this moment, one. My vision ended, and I awoke with a tremendous feeling of optimism and confidence in you and your future. That was my vision of you. I’m so glad to have had this opportunity to share it with you. I wish you nothing but the very best in all things.”
To me the phrase “the mind revealing itself to itself” is the key to Lynch’s dialectical thought.
Does that illustrate artistically the passage below from Hegel?
“So far as this sphere of conscience still distinguishes its abstract consciousness from its self-consciousness, its life is merely hid in God. God is indeed immediately present to its mind and heart, to its self. But what is revealed, its actual consciousness and the mediating process of this consciousness, is, to it, something other than that hidden inner life and the immediacy of God’s presence.”