22 September 2004, flight 815 from Sydney to Los Angeles crashes on an uncharted island in the South Pacific Ocean. A few dozen people survived the crash and are organizing to stay alive on the island. They quickly find they are not the only humans on the island, and some very strange phenomena take place. A paraplegic finds the use of his legs, dead or absent reappeared, very unlikely and multiple coincidences occur. There will be meetings with other occupants of the island, discoveries increasingly maddening about the nature and powers of the island itself, and on issues that involve her. Most survivors are naturally driven by the desire to leave the island to return to their continued existence before the accident, while some do not want to stay What otherwise.
A summary possible, and very succinct narrative of the situation from which the series Lost develops during his six seasons. The story continues from one episode to another, from the driver until the epilogue, and each episode is to take place within it a flashback which illuminates the situation and the course of one of the main characters , allowing us to see the extent of what happens during the adventure, for this character in particular and all stakeholders, as we discover as and as everyone here is inextricably linked to each other.
This series Lost (aired from 2004 to 2010 on ABC television in the United States, designed JJ Abrams and written by Damon Lindelof and Carlton Cuse) mentioned in the new book Pachomius Thiellement : the same eyes that Lost ( editions Leo Scheer Collection Variations, 2011). The author continues his extremely unique study esoteric and exegetical works and productions pop. The term pop - not easy to define, or at least define, even though it is common - is used by Thiellement Pachomius himself to describe his field of study, and we could find few significant examples in subjects already studied it in his works Previous: The Beatles (in Poppermost , MF Editions, 2002) Frank Zappa (in Eskimo Economy, MF editions, 2005), cartoonist Mattt Konture (in Mattt Konture , editions Association , 2006), Led Zeppelin (in Cabala, Editions Hoebeke, 2009), and the series Twin Peaks , and the film Twin Peaks: Fire Walk With Me , David Lynch, which supplements (in The Left Hand of David Lynch , Presses Universitaires de France, 2010). It works every time complex-based popular conveyed to the general public by means of mass distribution such as television or the recorded disc.
The high specificity, the extraordinary originality of the approach of Pachomius Thiellement is its approach to these Gnostic works pop, abundantly fed and arcane traditions of ancient India, or Muslim mystics hermetic lines of the Italian Renaissance (and as transmitted to the West by modern authors such as Rene Guenon Raymond Abellio or, as René Daumal, Antonin Artaud or Gerard de Nerval). Many works are pop for him and for us reading it, windows encrypted onto higher spiritual truths, and experience to be an auditor or viewer of these works, combined with their study are then to vehicles occult knowledge that is filed.
It is true that the experience is to watch the eighty hours - 121 episodes - which constitute the series Lost itself is extraordinary, not only thrilling and exciting, but also intellectually exhilarating. And the book opens Thiellement Pachomius, to first pages , a reversal of additional perspective on a series yet does not lack provide many of itself, a tightening and more like a giddy ultimate dialectical in which the story plays the confrontation of perspectives and personalities to positions the series creator (JJ Abrams) on the one hand, and his screenwriters (Damon Lindelof and Carlton Cuse) other. The theater of conflict as the hope and potential have with the open meeting of the constraints and limitations. It appears from the outset what this tells Lost without telling the manufacturing Lost, and what happens in the non-realistic fiction Lost happens in the real world - and since we are the world is exactly what happens to us we will be shown.
Lost Experience is both totally indémêlable and solidarity, the plot unfolds as the series, manufacture and distribution thereof, and watch it. The creators and viewers of the series are, as far as the characters themselves the subject of this story. We're here, writes Pachomius Thiellement page 54, " non-separation of spectator and spectacle . All that the viewer will see in Lost , it should be understood as an event of his soul. "Read the Koran as if it had been written only to your own case "Sohrawardi advised. Watch Lost as if this series did not speak to you. It is you, and you only, it is in this story. Because you've gone through a disaster. "
Thus posed, the issues presented by the series and the analysis in fact Thiellement Pachomius, took a sizeable, and otherwise become urgent that the would be those of a fiction and a skillful ordinary scholarly study. To demonstrate the legitimacy of his essay, the author will follow the son who run through this large nested structure which fit the hermetic and esoteric traditions, contemporary Western civilization, pop productions , Lost and existential stakes of all. It outlines a number of occurrences and situations in the plot, draw accurately, but without declaring it in the body of esoteric and gnostic, spiritual and call functions like - it appears also in passing that knowledge Lost creators in this area is quite impressive.
The strength and relevance of the analysis Pachomius Thiellement especially standing in the way it suggests the frame and body as the medium from its objects of study, namely the images: "the sacred is always born of germination of thought in a world of images. The world of the soul is itself a world of images. "(P.47) Whether mental images, originated visions, dreams or used for organizing thought, such as in practice ancient arts of memory (masterfully presented and discussed in the important work of the historian Frances Yates, The Art of memory) or video material produced by the Arts and Industries of the visual, as there circulation and psychic continuity between them, and a dialectic that is in tension with each other, and by which, firstly, the image material (whose existence is secured to a physical medium external to consciousness) can be provided plasticity and strength of intimacy of a mental image, and secondly a mental image can have the degree of objective reality and otherness of a material image. It is through this movement in the middle image, which is laminated to esoteric possibilities while being the same world of pop - which is precisely the creation People in the age and form of disseminating industrial and omnipresent images - that are formed in a particularly intense and multiple stories and legends of the realm of myth.
In the particular case of Lost , Pachomius Thiellement shows how the series formula, repeatedly and in the depths of his story, the superiority of contemplation over action, another way to present itself as a mirror of its audience and speak directly to them, which is precisely the attitude of respect, an attitude that turns out to be one of the possibilities of knowledge and initiation most important for the world, that is to say for the souls - a term whose author is not afraid, but never used lightly - that valuing and involving acts in accordance with the Gnostic tradition in which the study is that the sage sustains the world. So much from side to side, here it comes to images, and the need to strike a light by which access to higher truths - In the same way as in the series, the characters must rely on their eyes and the position they must find their actions rather than to access the knowledge that is not filed within the human island which they have failed (do not go into details about it, no big spoilers please). Characters and spectators must, in other words, material from the west where they live (today's society led by the virtues of action) find themselves in the East spiritual (esoteric wisdom available through contemplation).
Lost is to pop visual productions, and television in particular, that the book is Pachomius Thiellement Lost : understanding its functions of image and soul, the reflexive turn on its own nature in order to access the opportunities of Gnostic experience, and create the current wisdom.
"But we are the first generation to be born, either from a world of images, but directly inside of it . This world is that of television, which has replaced the past few decades, the authority of knowledge represented by the University, and is expected soon to be transformed by the growing importance of virtual world in a gigantic labyrinth audiovisual be confused with the material world until no one with him. The previous generation saw the world moving images, and was accustomed to his presence, but she did not have the tools to understand properly, and she did not know how to respond. She did not understand what these pictures he wanted. She was content to speak as a society of spectacle , a image empire and a world of commodities , mistaking the shape of its subject with its use (commercial, ideological), not realizing the inadequacy of its definition and nature of that use only transitory. Images are always more powerful than us. They say always more things than what men are employed. They act in many dimensions more than those for which the latter, deceived by their own reasons of state and their endless public relations, destined. Faced with images, that men are sorcerers' apprentices. They awaken dragons to monitor their near square storms unleashed by believing activate a showerhead. But we have entered the streets of Phuket's most mysterious well before he could travel there. We have seen men and women make love pictures long before I did. And we saw happened supernatural in the movies, placing himself at the border of the visible and invisible, that have conditioned our perception of life. But we have not yet found the particular heuristic dimension that acts in the pictures - that power which refers directly to the world of the soul. This is now our task. And we've been slowly but surely brought to us about it. "(Pp.47-48)
We can identify two crossing points of proximity between the work of Pachomius Thiellement and that of art historian Georges Didi-Huberman, due to their thought images. The first is that they pose both a relationship of continuity and as consubstantiality between mental images and material images, which does not seem to be frequent and enables them to one another and to further explore the images in terms of psychic powers or affect, and in terms of virtues anagogic. The second is how they hold both critical distance the two opposing temptations intellectual most common approach when it comes to images aspiring to be disseminated as widely as possible: either accession blissful images that would be smoke and mirrors with which to drown the satisfaction silly nor their automatic rejection in the categories intellectually unworthy artifice lying alienating or entertainment (Chez Georges Didi-Huberman, one will find an example of this positioning refusing relegation press images in the quagmire of media circus while maintaining the need for careful critical production on them in his study of ' a photography of vigil funeral to Kosovo , taken by of George Mérillon in 1990). They consider both these images can have powerful resources to find ways that give them an opening to the legibility of other areas as entertainment or spectacle of misery (the political and anthropological for Didi-Huberman and esoteric and spiritual domains Thiele), and build on each their own way the views from which these images devoted to mass consumption can be taken seriously, points of view from which the experience of these images can be fully political or spiritual, and this without having to accomplish much for a round sleight of placing these images in the spheres of high art, the question of great art being off topic here, but rather taking into account their specific conditions of utterance, dissemination and visibility.
The world of images, pop world, has replaced the University as a channel of knowledge, it is written, and it's pretty crazy at the height of the impressive impact of this observation is that positions the work of Pachomius Thiellement, being extremely clever and creative, while bypassing the university methodologies to access a new form of evidence, accessibility and sudden clarity of the complex and sealed by popping as the most candid laughter or spiritual wittiest of hearty laughter, a real gay know that the university knows exceptionally issue. In this extraordinary book in which the greatest depth of thought mingled with happiness and excitement to own popular creations is like Pachomius Thiellement had during his trip intellectual burned the works of great art to reach a higher level of knowledge, and find works pop.
© Anthony Poiraudeau - 2011
Warm thanks to Pachomius Thiellement Bertay and Thomas for their permission to take the portrait of Pachomius Thiellement.
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