meddle mettle


unlike the other major religious traditions which operate on schizoid axes of comfort and discomfort, darkness and light, suffering and release, dao does neither in large part because it avoids operating - in multiple senses of the word - it avoids functioning, manufacturing and surgical intervention on others and itself - iow it doesn't meddle - meddling seems to dao a most harmful force and unnecessary orientation

 

it's always through not meddling that the empire's won

should you meddle then you aren't equal to the task of winning the empire (48)

win the empire by not being meddlesome

i'm not meddlesome and the people prosper by themselves (57)
pursue that which isn't meddlesome (63)


yet meddling - call it as easily other things - action will volition concern domination anxiety intervention management strategy policy - is the assumed modus operandi and procendidi - it's become - in addition to the power-driven currencies of sanity and money - not only a chief virtue but reified to an extent that we can consider it a modern sacred - it's unquestioned and if you do question your sanity's immediately questioned - meddling in its many guises is assumed to be a natural inevitable part of the order of things - participate or die

 

but dao - which is all about and in a basic sense only about the natural order of things - questions meddling and does so quite sanely - how does it do this?

 

dao asks not only why meddle with things outside yourself but even with yourself - yet self-meddling - whether through therapy healing drugs pharmaceuticals supplements meditation products allsorts surgery resolutions image modification and coaching repentance retreats correction workshops courses - is as rampant as intervening (regardless of the stated objectives, regardless of the perceived intended or actual goodness) in the external world - and now - hooray! - we have technology meddling and increasing its meddling 

 

don't you feel meddled with not only by technology corporations media governments colleagues acquaintances education but also your closest friends family and intimates? and don't you typically react with more meddling - even if it's a kind of buddhistic meddling with yourself? meddling is habituated normalized enculturated sanctified

 

so what to do if not meddle - surely change (however we define it) seems desirable everywhere

 

but dao's tectonic assumptions and operations are radically alterous to all forms of the will to power (power over others, things, ourselves) and until i'm reoriented in these all i'll be doing is shuffling my existing techniques around - and reorientation isn't achievable through techniques of meddling (which are what we'll see for sale in manifold forms)

 

so how to dao if not meddle?

 

that might be the mettle you might discover in your own way without meddling

 

yet we can't tell you as dao's core isn't relayable through words - the most we can do is rearticulate some principles of dao that may be related to rediscovery that (in naturally sinking into) you may realize in the realm of nonwords and noncognition different ways

 

dao doesn't orient to any particular pole in the core binary of life and death, it dissolves classic tensions between eros and thanatos - it experiences them as the same - it realizes in the manifest world they're different but that the manifest world is one with the unmanifest and in the unmanifest they're not different

 

at most dao favours the feminine - which isn't identical to biological females - subtlety valleys darkness murkiness unknowing nonaction (metaphor indefiniteness tentativity frequently preferred to the copulative)

 

dao avoids entirely - and this may be the crux - placing whonyms (and consequently the individual self) at any centre - it neither apotheosizes nor demonizes whonyms but instead not only doesn't know if it's better or worse to be a whonym than a butterfly but doesn't particularly know if it is a whonym or a butterfly - this doubt not as some academic thought experiment but as a perpetual living reality

i can see everything


somethings

nothings

can cant


the rehearsal and the curse (2020s) - does a work's constant ironic hyperconsciousness of its own savvy cringiness sufficiently redeem it? fielder seems to be wowing many and in some ways we get the grab - they're sort of a buber pataredux (the i-thou put through the grinder of modern identity, social breakdown and hyperized dissimulations) - a guiltified de-innocenced candid camera - shoved through a drugged mirror into our current current's reality in wonderland, its lens spinning hallucinogenically - a viscerally compelling seduction to our complicity in the squeamishness and horror of the omnipresent other (outside and in) - but the further these series go the more they drag - might his 16.10 release hold me tighter in its three hour enclosure


speaking of might - might it be fun to have borat, fielder and allen funt - perhaps with buber and frederick wiseman - live in a house together for six months doing a kind of survivor reality tv - discussing things like authenticity, money, privilege, voyeurism, truth, ecology animal rights and slaughterhouses, misrepresentation ...?


fielder's work primarily draws me not to his subjects (or is it objects?) but to fielder himself (as object ... or is it subject?) - the camera (wherever it's physically pointing) increasingly raising questions about him (or is it me?) (if we've been paying attention, do we learn anything more about eg holmes [or greed, amerika, big tech, lust, gender, hypocrisy, deception] ... are the questions primarily about method and the ubiquity and complicities of vice?)


iow is fielder's investigative aesthetic spiritual trajectory aiming squarely for a series - fielder on fielder - alone in a house with himself and himselves and a thousand cameras, everyone questioning everyone and none of the ones sure of anything - a sort of arrebato twisted into hypertechnomodernized paranoidarama amerikana, closing on the protagonist(s) disappearing into infinite representations


oops, there eye go

harder to get delights


in the manner of smoke (2025) - an almost casually softly subversive exploration of fire lookout life against a far-near backdrop of ecological disaster and spiritual disquiet

 

panic bodies (1998) - an impressive experimental meditation on memory, loss, and life-death diffusion

shorts on features


briefized subjectivized impressions of some films and shows

(mostly features) watched so far this year



the christophers (2025) is a delight to watch solely for mckellen's performance - while coel is a fine foil the movie becomes immediately contemptible after he dies, fulfilling the very cliches it was apparently trying to debunk up to that point - while a forgettable film other than mckellen it's nevertheless better than rivette's la belle noiseuse (1991) on a somewhat similar theme - in which everyone and everything's tedious

 

franz (2025) - a rich appropriately unsettling glimpse into kafka's life and art


*a zed and two noughts (1985) simultaneously distinctively memorable and bad - the visuals great, the dialogue horrible, the themes hint at an appeal which never seems sufficiently explored or satisfied - watch with the sound off - either in silence just for the images or with an alternative soundtrack - perhaps swans soundtracks for the blind* (1996)

 

*in the mood for love (2000) a film where the ambience and images are sufficiently great to ensure the trite dialogue and boring protagonists disappear into them - this and chungking express* (1994) make a fine companion set - my favourite movies from hong kong

 

*in the realm of the senses (1976) a rarity where explicit sex, strong cinematography, fine acting, a good score and story, and genuine comedy and horror all coherently mix - is any porny film (art or not) so much fun to watch

 

anta mujer (1976) art and mind (2019) ghost in the machine (2026) gravitáció (1984) surrealism and dada (1971) - all horrible

 

alpha (2025) annette (2021) martyrs (2008) myth of man (2025) sorry to bother you (2018) the stranger (2025) tar (2022) - i don't have the aesthetic-spiritual patience to finish - my tolerance decreases in proportion to the number of great films i've cumulatively seen

 

alicia en el país de las maravillas (1976) - surely one of the more bizarre filmic takes on alice's adventures in wonderland* (1865) - as if everybody involved were on drugs from the film's first thought until the final edit - not on the worst drugs but also not the best - i stuck with it only because it's so weird

 

vampires and vampires

*daughters of darkness (1971) - seyrig strikes again - all i want is for her to purr her fangs into my soul

*vampira (1971) - strangely seductive

*a girl walks home alone at night (2014) - not quite let the right one in* (2008) but not far off

*only lovers left alive (2013) - cute, cool, but underwhelming

*valerie and her week of wonders (1970) - almost a vampire film but certainly a joyfully distinct experience

 

*marketa lazarova (1967) - the mood, cinematography, surrealism, characters work together to conjure a surprisingly captivating epic

 

mučedníci lásky (1966) - sweet, fun

 

*drawing restraint 9 (2009) and *redoubt (2019) - barney barneys again and again - he stands freakishly gloriously out in global alt.art.cinema as much as jodorowsky deren švankmajer or nick zedd

 

*the wolf house (2018) - a stunning animated piece - worth watching many times

 

vortex (2021) - is this from the same director as enter the void* (2009)

 

lilly and the earth coincidence control office (2025) - if nothing else it made me dislike lilly in the way that lynch the art life (2016) made me dislike lynch and no doubt if i read one of the emerging biographies on cormac mccarthy i'd dislike him too - i hardly need to like the artist behind the art to like the art but other than lynch's earliest work (eraserhead* 1977 blue velvet* 1986) his films have gradually lessened (not due to that doc but maturing cinematic sensibilities on my part) - even as mccarthy - despite his mythic scope and langwich - never quite makes it - he's missing something - that something he says he doesn't get in henry james and marcel proust - we could call it the feminine - and woolf's quite right when she says the best artists are androgynous - exactly what mccarthy couldn't be - and also from a very different and entitled angle - lilly

 

*a spring for the thirsty (1965) - leaks from the eternal rock

 

tarkovsky & parajanov islands (1988) and paradjanov a requiem (1994) - biopsychic squirts for those of us into these two numinal directors


shadows of forgotten ancestors (1965) suram fortress (1984) ashugi quaribi (1988) - while sayat nova (1969) remains parajanov's masterpiece these three films work toward and away, complementing it

 

almanac of fall (1984) *damnation (1988) a man from london (2007) - damnation worth watching in itself - equal perhaps to werckmeister harmonies* (2000) though inferior to the turin horse* (2011) and the world masterpiece sátántangó* (1994) - the 1984 and 2007 films mainly for those very into tarr who need to experience his oeuvre - compelling, particularly visually, for us

 

altered states (1980) - like the devils (1971) histrionic and melodramatic but without some of the humour (intentional or otherwise) of the earlier

 

architecton (2024) - alright fine

 

*earwig (2021) - hadžihalilović's best - everything creepy and perfect - lighting and its absence, sound and its absence, character and its absence, knowledge and its absence - haunting and ungraspable

 

*eyes wide shut (1999) - still just ok

 

il buco (2021) - le quattro volte* (2010) more enticing but this one watchable once

 

into great silence (2005) - hardly a good advertisement for god

 

sleep has her house (2017) - it's not the slowness that makes me sleepy, it's the sleepiness - i'm used to slow films - some are among my favourite - is it that i spend 4 months of the year in the remote wilderness gazing at clouds and trees and another 5 often trekking in forests that a film that virtualizes these visual experiences for me pales - maybe it'll do more for those bound by frenetic cityscapes who need imagistic doses of escape


romería (2025) - yawn, let it be over please

 

*the sea that thinks (2000) - best and most fun on the first watch

 

* seen twice

* seen more than twice