Alan Watts on Doing What You Really Want To Do... (repost)

Alan Watts and The Skin-Encapsulated Ego

Wisdom of the Ridiculous: 3 timeless lectures by Alan Watts

[First posted 13 October 2012. Reposted 4 October 2025]

THE AQUARIUS PROJECT ~ a 30-minute alchemical docu-poem on WATER (repost)

In September 2003 a friend tipped me off that Discovery Channel was looking for 30-minute documentary ideas from untested filmmakers. He suggested I submit a brief outline and try my chances. Winning entries would be granted a production team and a $25,000 budget to realize the project. I just re-read this proposal from 9 years ago and decided it was worth preserving as a blogpost. Even with a $250,000 budget I no longer have the stamina to do stuff like this. But if any young filmmaker who chances upon this would like to pick up on it....

Preliminary outline

We are watery creatures living on the surface of a watery planet and are subject to lunar influences that generate a subtle emotional tide in our interactions with our environment.

Water is one of the five elements that constitute life as we know it.

No one can agree on what the fifth element is: the Chinese consider metal as the fifth element while Hindus say it is akasha, the ether. Recently, there has even been a suggestion that the fifth element is LOVE. But everyone accepts that Fire, Air, Water, and Earth are the elemental constituents of all life on this planet.

Fire is associated with Energy, represented in the Tarot deck by Wands and in the modern deck by Clubs. Air is Communication, represented by the Sword of Intellect in the Tarot and Spades in the secular deck. Earth is Material Wealth, represented as Pentacles in the Tarot and Diamonds in the modern deck.

Water is Emotion, represented by Cups and by Hearts.

Some astrologers say that on the vernal equinox of March 20, 2001, we finally entered the Age of Aquarius, symbolized by the Water-Bearer. Yet scientists have recently warned that water shortages may be a potential cause of violent conflict in the 21st century.

Water – in all its forms and moods and guises – is the main character of my proposed ‘alchemical docu-poem.’ Water in its literal and metaphorical aspects, as the source of life and the spring of our emotions: water is a liquid analogy for the entire gamut of feelings we experience – from mirthful playfulness to unmitigated rage, from transcendental serenity to violent agitation and profound sorrow. A few years ago I wrote a polemical tract which succinctly summarizes the poetic perspective I intend to translate into moving images and sounds:

Humility means acknowledging how little we know about the universe; and humility comes from realizing that nature’s beauty and mystery are worth infinitely more than our perverse obsession with illusory fame and fortune. Being able to breathe clean, fresh air and admire the distant hills every day may not get us into the Guinness Book of World Records or the Who's Who of the Banana Republics ‑ but it will certainly get us closer to regaining heaven on earth. So stop midway through this frantic and futile feast of fools and look up at the ethereal clouds in the sky, and remember why we chose to be born on this exquisite and unique gem of a planet.  Was it to puff ourselves up with toadish pompousness and amass a hoard of dragon's gold we could never bequeath to our grandchildren? Because our grandchildren would be too busy turning into cockroaches, rats and other lifeforms that can survive or even thrive in ugly and polluted environments.

Or did we come here to experience the separation of matter from spirit, and to learn how they can be harmoniously fused again? For this lesson would teach us that the outer reflects the inner.

Where there is drought in the external reality, it means our souls are parched of feelings, love has dried up. Where there are landslides and flash floods, it means our integrity is decaying and our emotions are murky and raging out of control, bursting the banks of tranquility. And where the air is thick with greasy crud and black with factory soot, it means our thoughts are indecent (i.e., mechanical, pornographic) and our spirit is exhausted.

The Aquarius Project will address the issue of modern technology indirectly, by demonstrating the intimate relationship between murky emotions and contaminated waterways. Humans and human activities play a supporting rôle in the fluid narrative which will favor the non‑verbal over the verbal ‑ although a certain amount of language will be used to help shape the form and intent of the flow. The sad state of human emotions in an industrialized landscape is revealed in our clogged and polluted streams, many of which have undergone the indignity of being turned into drains and sewers.

Only when absolutely needed will a voiceover be used. However, text will feature as an aural and visual element in the narrative, which will alternate between linearity and non‑linearity. This could happen as bits of spoken dialog, as recitations, as song, or as direct interviews with the poet-documentator and others.

I envisage working independently with a digital videocam as well as with a professional crew to achieve a balance between the intimacy and immediacy of an experimental short feature and the technical polish and authority of a conventional documentary. As a musician, I look forward to creating part of the soundtrack for specific sequences, and using library music and live sound for others.

  

TENTATIVE CHECKLIST OF REQUIRED FOOTAGE:

• Lots of generic water shots: cloud formations, dewdrops on leaves, cascading falls, ripples on lakes and ponds, reflections in puddles, slomo sequences of watery movement, torrential downpour, drizzle, dripping faucet, lawn sprinklers, bathroom showers, wet umbrellas, raincoats, flash floods, muddy rivulets, aquarium sequences, rolling breakers, shimmering seas, speedboat wakes, etc.

• Whitewater rafters, kayakers, rubber‑tubers, waterskiers, fishermen, boaters, swimmers, kids in rivers, swimming pool sequences, bodysurfers, public urinals, sewage outlets, effluent pipes, drainpipes, monsoon drains, abandoned wells, gutters, stagnant ponds, poisoned streams, sanitation workers, laundrywomen, aquatic flora and fauna, pedestrians caught in thunderstorm, industrial carwash, glass & concrete urban gvs. 

• Archival footage or stills of severe drought (Afghanistan), destructive floods (China, Bangladesh), famine (Biafra), pestilence (Kosovo, Cambodia), street riots (Indonesia), massacres (East Timor), massive catatastrophes (Kobe, Gujarat), destitution and suffering (Iraq, Sierra Leone), poverty and neglect (Chennai, Chow Kit).

• General footage of industrial activity, environmental degradation, deforested hills, dust storms, physical and metaphysical desolation.

• Celebrants and mourners: candid portraits of emoting humans (can either be original footage or culled from magazines, photo albums, libraries, etc.) 

My preferred approach to cooking is to select and prepare the ingredients, look up the recipes of a few tried‑and‑tested dishes ‑ and then leave it to inspiration (and the random factor) to integrate and synthesize the elements, trusting that my artistic instincts will unerringly guide me to making the right decisions. This could prove a chaotic and messy process, but having emerged from a commercial background where artistic self‑indulgence must always concede to entertaining, stimulating and captivating the audience ‑ and being, incidentally, a Capricornian with a hardwired sense of internal order ‑ I have full confidence that I can come up with an immensely watchable and memorable 26‑minute docu‑poem that's aesthetically more adventurous than the straightforward documentary, but still accessible to a mass audience.

I began using a box camera at the age of 6 or 7 and have been an avid photographer most of my life. In the 1970s I had the use of a Super 8 cinecamera and made several experimental home movies which, alas, have all succumbed to the ravages of climate and time. Although I have yet to own a digital videocam, I've handled them occasionally with wholly satisfactory results. I'd like to buy or borrow a decent digital videocam so that I can gather special footage unobtrusively and at my own leisure ‑ leaving the betacam sequences to more experienced professionals. As such, I'd like to be writer, co‑camera‑operator, editor and director on The Aquarius Project ‑ but would greatly appreciate the logistical support of a competent production house.

[First posted 10 August 2012, reposted 3 May 2017]

The Road to Isengard... (revised & revisited)

In Tolkien's classic Lord of the Rings, we see the rustic charm of Hobbit culture theatened with extinction by the encroaching forces of industrialism and militarism, represented by the ceaseless clangor of Isengard (literally, Iron Fortress) under the misrule of the renegade wizard Saruman and his vicious, mindless Orc army.

In Malaysia the closest thing we have to Hobbit culture are the Orang Asli and their deep connection with their verdant ancestral lands. Substitute Saruman with Rais Saniman, Razak Hussein and their Umnoputra technocrats - and we have Mahathir's ominous Vision 2020, which threatens to transform the entire country into one sprawling Silicon Valley devoid of natural vegetation and free-ranging wildlife.


As I write this, the Civil Defence Army is encamped on the open field at the end of Pertak Village. A few days ago the regular army was here too for a one-day exercise in jungle warfare. At night the noise of generators and the glare of fluorescent lights are a grim reminder of the savage stupidity and gross insensitivity of the Orc mindset. Sweet, innocent young men and women are being turned into a robot army serving Sauron's cold-blooded reptilian design.

The incursion of low-grade consciousness into this high-grade environment can be traced to what happened in September 2010, when BN-aligned businessmen initiated a land grab disguised as an infrastructural upgrading project. They spent RM200,000 tarring a "road to nowhere."

The Orang Asli elders I met when I first relocated to Pertak in 1992 possessed residual traces of natural wisdom and they remembered their own tribal myths. Most of them have since passed on, returned to Pulau Buah (the Isle of Fruits or Paradise). The present generation of Orang Asli grew up watching RTM dramas and TV3 news. Not a single Orang Asli household in Pertak Village had access to the Internet until the era of the smartphone. They are, like Felda settlers, constantly subject to government propaganda via their TV sets which serve as the altars from which latter-day peasants may worship the false god of progress.

And "progress" - no thanks to mercenary contractors better at destruction than construction - has indeed come to Pertak Village in the form of speedbumps, streetlights, traffic signs, and cat's eyes embedded in a bitumenized showcase road.


The Chinese bamboo contractor used to send his lorry in to pick up bamboo three or four times a month. Of late the lorry has been roaring through the forest spewing diesel fumes, spoiling the tranquility of the morning, churning up and dropping big chunks of mud, almost every day. Bamboo grows extremely fast, it's true, but I doubt it can survive the present frenetic rate of overharvesting. In a couple of years, with the bamboo groves reduced to stumps, the forest will start losing more and more topsoil, and hillslopes will crumble.

Azreen Zainuddin (photo by Shane Nunis)

Even though they are being grossly exploited by the towkay - who only pays them RM1 (USD22 cents) per 20-foot length - the Orang Asli seem glad to be earning more cash these days. But most of their income goes towards modifying their motorbikes (to make them noisier) and pickling their brains with cheap plonk at RM3 a bottle. Alcoholism has taken a steep turn for the worse since one of the villagers started selling bottled spirits from her house. In the old days they had to travel 8 miles to town to replenish their supply of alcohol - now it's just a 2-minute stagger down the road.

With increased drunkenness comes increased aggression and violence. The younger males have succumbed to the slimy, nefarious influence of JAKOA, the Orang Asli Affairs Department, now essentially an extension of JAKIM (the overfunded Islamic Inquisition) who constantly remind them that they are materially backward compared to other races - and that the only way they can integrate with the modern world is to join forces with their Malay Muslim brothers against the kaum pendatang (migrant communities like the Chinese, Indian, Eurasian and Caucasians).

In recent years there have been more cases of cats and dogs being poisoned or slashed to death by villagers. Overindulgence in alcohol makes the Orang Asli susceptible to temporary bouts of demonic possession during which the most brutal, ignoble and violent aspects of their personalities emerge. This is a crucial part of the insidious work of the JAKOA - to enfeeble the Orang Asli psyche and make them easy prey for government propaganda. Of course, free meals and cash incentives are an important ingredient in the long-term plan to destroy Orang Asli culture and assimilate them into the lowest strata of mainstream Malay society.

Since 3 April 2009, when Najib Razak was appointed crime minister and his ambitious wife Rosmah achieved her dream of becoming the uncrowned Queen of Putrajaya, the psychic atmosphere throughout the country has tangibly deteriorated. A dark cloud of despair and pessimism hangs over the land. Envy, hostility and resentment have further divided communities resulting in greater discord within families. It is as if the soul of the land has been poisoned.

A nation ruled by voodoo can never attain peace, prosperity and harmony. When people no longer know the meaning of integrity and dignity - and lose all reverence for the sanctity of the natural landscape - you can be sure it is headed towards Isengard, a powerful metaphor for hell on earth.

Many continue to do battle against this evil on the political front - but it is a seemingly futile struggle as their own comrades succumb one by one to the poison and turn treacherous. We see this happening with increasing frequency amongst the Harapan Rakyat coalition, especially in the ranks of PAS and Parti Keadilan Rakyat.

Do we give up the ghost and surrender to Sauron? Never! The unbridled lust for money and power is the seed of darkness and deviousness found within each individual who cannot see beyond his or her own physical survival. We have to acknowledge that "evil" is an integral component of our own psyches - it is really just our own id - and the only way we can transcend our own ignoble tendencies is to become whole by embracing a holistic perspective.

We must gain sufficient spiritual maturity to be able to view even the nastiest miscreants as wayward children. The way to deal with wayward children is not to fear or hate them - but to grow into our own adulthood and firmly prevent them from further harming themselves and others. It matters not what game these wayward kids are playing - some are posing as ministers, some as sultans, and others as police officers and triad bosses. Those of us who have the capacity to comprehend the greater evolutionary plan must now step into our full power as Awakened, Conscious Humans focused on realizing our own divine destinies as fractal embodiments of Supreme Intelligence, Love and Wisdom.

In other words, we must reclaim our original sovereignty as kings and queens in exile and accept the scepter of our spiritual power as divine humans. Only the noblest and wisest among us must be allowed to ascend the throne of worldly authority.

That's how we can all get off the road to Isengard and get back on track to manifesting heaven on earth.

[First posted 15 October 2010. Reposted 18 June 2014, 23 May 2015 & 18 September 2016]