The quotidian, the ordinary I agree for the surveillance camera. But Schrader also lumps in with Surveillance camera : the "walking" film, and the "anthropological" which are more subjective and emotional than a CCTV cam. GVS's Death Trilogy fits with the "walking" film.Schrader : All realistic non-narrative films vector the same direction. The more pure they become, the less editorial, the more objective they are; the more they resemble the surveillance camera. That is the end point of Bazin's "objective reality." The unending, all-seeing eye of the closed-circuit camera. "Pure cinema."
The "Surréalisme" waypoint is not the textbook manifesto, it's more a quadrant of oneiric, dreamlike, mannerist, baroque, symbolist, impressionist kind of contemplative cinema. Which is at the opposite of Bazin's "Realism", so it's contemplative but not in a real world aspect.
The "Documentary" waypoint represents the non-fiction side of contemplative cinema. Many auteurs are making proper documentaries with the Contemplative Cinema conventions. But they are documentarists
Tsai is wonderful (a pity he quited cinema making). To start I recommend "What Time Is It There?" (2001)