,*APT] #d 
,PROMOT+ ! ,IMAGE AS ,OBJECT 

#aiggaigg 

,PEOPLE 3 

,AU?OR 3 ,RA\L ,VANEIGEM 

,TEXT 3 

#d4 ,PROMOT+ ! ,IMAGE AS ,OBJECT 

  
,LANGUAGE & ITS ,SUBV]SION 

  

,! ADV5TURE ( ! >TS 7PA9T+1 SCULPTURE1 POETRY1 LIT]ATURE1 MUSIC7 PASSES 9 ITS DECL9E ?R\< ?REE ESS5TIAL PHASES3 A PHASE ( SELF-LIQUIDATION 7,MALEVI*'S 0:ITE SQU>E01 ,MUTT_/,DU*AMP'S UR9AL REBAPTIZ$ 0,F\NTA901 ,DADAI/ WORD COLLAGES1 ,F9NEGAN'S ,WAKE1 C]TA9 COMPOSITIONS BY ,V>ESE72 A PHASE ( SELF-P>ODY 7,SATIE1 ,PICABIA1 ,DU*AMP72 & A PHASE ( SELF-TRANSC5D5CE1 EXEMPLIFI$ 9 ! DIRECTLY LIV$ POETRY ( REVOLUTION>Y MOM5TS1 9 !ORY AS IT TAKES HOLD ( ! MASSES1 OR 9 ?IS NOTICE PO/$ ON ,S>AGOSSA ,CA!DRAL BY ,ASCASO & ,DURRUTI1 & FOLL[$ UP BY ! ACTION ANN\NC$3 0,HAV+ LE>N$ ?AT 9JU/ICE REIGNS 9 ,S>AGOSSA1 ,ASCASO & ,DURRUTI HAVE COME H]E TO %OOT ! ,>*BI%OP40 

,SURREALISM P>TOOK ( EA* ( !SE ?REE T5D5CIES BUT GAVE ITSELF OV] TO NONE ( !M2 ON ! CONTR>Y1 IT DE=M$ !M TO ! B5EFIT ( ! SAME SEP>ATE >T & SEP>ATE ?\<T :OSE DEMISE !Y W]E 9T5D$ TO EMBODY4 ,H5CE ! REAL CONFLICT WAS TRANSMUT$ 9TO IDEOLOGY1 9TO A SY/EM ( IDEAS :I* WAS CUT (F FROM REALITY1 SIMULTANE\SLY CONCEAL+ & DI/ORT+ IT4 ,ON ! MORAL PLANE ?IS PROCESS CREAT$ A CONFRONTATION BETWE5 AN E?IC ( PURITY & A SURR5D] TO COMPROMISE2 ON ! ES!TIC PLANE1 SUBMISSION TO ! RUL+ LANGUAGE ( WORDS1 SIGNS OR >T /OOD OPPOS$ TO ! REFUSAL ( ?AT LANGUAGE1 ITS R$IRECTION1 SUBV]SION1 & REPLACEM5T BY ! MAGIC ( IMAGES & OBJECTS DRAWN FROM ! ADV5TURE ( EV]YDAY LIFE4 

,TRUE TO ,DADA1 ,FRANCIS ,PICABIA PASS$ DEF9ITIVE JUDGM5T ON >T :5 HE DESCRIB$ IT AS 0A PH>MACEUTICAL PRODUCT = IMBECILES04 ,& H]E IS ,>TAUD1 AS LATE AS #a#i#b#g1 9 ,LE ,PESE-N]F .<,! ,N]VOMET].>3 0,ALL WRIT+ IS PIG-SWILL4 ,PEOPLE :O COME D[N FROM !IR CL\DS TO TRY & SAY ANY?+ AT ALL AB\T :AT IS GO+ ON 9 !IR HEADS >E PIGS4 ,ALL LIT]ATI >E PIGS1 ESPECIALLY ?OSE ( ! PRES5T TIME40 

,BUT IT WAS NOT 9 ! SAME SPIRIT AS ,PICABIA OR ,>TAUD ?AT ,SURREALISM REJECT$ >T & WRIT+4 ,ITS REJECTION CONC]N$ ! WRIT+ ONLY ( AN ,&RE ,GIDE1 AN ,ANATOLE ,FRANCE OR A ,PAUL ,CLAUDEL1 ! >T ONLY ( ! ,CUBI/S1 ! ,AB/RACTIONI/S OR ! ,SALON PA9T]S4 ,EV5 9 #a#i#e#b1 SPEAK+ ON ,GIDE1 ,BRETON /ILL FELT COMPELL$ TO ASSAIL :AT HE CALL$ A 0M>VEL\S SPECIM5 ( A SPECIES ?AT WE ,SURREALI/S HAVE EV] WI%$ EXT9CT1 ?AT ( ! PR(ESSIONAL LITT]ATEUR1 ! 9DIVIDUAL P]PETUALLY GNAW$ BY ! NE$ TO WRITE1 TO PUBLI%1 TO BE READ1 TRANSLAT$1 COMM5T$ UPON - ! TYPE ( P]SON :O IS SURE ?AT HE WILL 0HOOK0 US1 & ?AT HE WILL 0HOOK0 PO/]ITY TOO1 ?R\< ! %E] QUANTITY ( HIS PRODUCTION1 JU/ SO LONG AS ?IS IS NOT ATTA9$ AT ! EXP5SE ( /YLE40 

,UN=TUNATELY ! DI/9CTION IMPLI$ IS A COMPLETELY FALSE ONE1 & 9DE$ ALL[S ! V]Y WOR/ V>IETIES ( LIT]ATURE TO ESCAPE REBUKE4 ,= PRO( ( ?IS1 W]E PRO( NE$$1 ONE HAS ONLY TO RE-READ ALL ! LIT]>Y TE/IMONIALS1 ALL ! EFFUSIVE PREFACES1 ALL ! BACKSCRAT*+ PUFF]Y ?AT ! ,SURREALI/S ALL[$ !MSELVES TO PRODUCE AS FAVORS TO FRI5DS2 ALT]NATIVELY1 ONE HAS ONLY TO CONTEMPLATE ! UNSPEAKABLE EX]CISES 9 /YLE PUBLI%$ 9 ! ,SURREALI/ P]IODICALS ( ! PO/W> P]IOD4 

,AT ! SAME TIME1 H[EV]1 !IR CREATIVE EXP]IM5TATION BR\<T ! ,SURREALI/S FACE TO FACE ) ! R$\BTABLE LANGUAGE :I* IS NOT M]ELY ! IDIOM ( ,GIDEAN LIT]ATURE BUT1 F> MORE BROADLY1 ! DOM9ANT MODE ( ALL COMMUNICATION1 ALL EXPRESSION4 ,!Y W]E ?US V]Y SOON DEAL+ ) TWO CORRELATIONS3 ?AT BETWE5 ?IS DOM9ANT LANGUAGE & ! =CES ( REPRESSION & DECEPTION1 & ?AT BETWE5 LIV+ SPEE* & REVOLT4 ,9 ,LEGITIME DEF5SE ,BRETON RIDICUL$ ,H5RI ,B>BUSSE1 ! ,P>TY 9TELLECTUAL1 :O WAS CALL+ = >TI/IC ,R5EWAL1 9 ! FOLL[+ T]MS3 0,:AT DOES ?IS >TI/IC R5AISSANCE MATT] TO US8 ,LONG LIVE ! SOCIAL REVOLUTION1 & IT ALONE6 ,WE HAVE A S]I\S ACC\NT TO SETTLE ) ! M9D1 WE >E TOO UNCOM=TABLE 9 \R ?\<T4440 

,PE]T ALSO TOOK AIM AT ! ALI5AT+ *>ACT] ( DETA*$ ?\<T & ( ! PREVAIL+ USE ( LANGUAGE3 0,!RE >E C]TA9 S5T5CES ?AT COMPLETELY PREV5T ME FROM MAK+ LOVE40 ,IMPLI$ H]E1 ( C\RSE1 IS ! EXI/5CE ( A LANGUAGE 7UND]/OOD BROADLY 5\< TO 9CLUDE ATTITUDES1 SONGS1 GE/URES1 SPEE*1 & SO ON7 :I* ON ! CONTR>Y 5C\RAGES US TO MAKE LOVE1 & 9DE$ TO MAKE REVOLUTION4 ,SURREALISM1 ?\< IT MAY NOT HAVE OV]LOOK$ SU* A LANGUAGE COMPLETELY1 CANNOT BE SAID TO HAVE COME V]Y CLOSE TO IT4 ,! MOVEM5T'S CONF9EM5T )9 CULTURE LIMIT$ IT TO DEVELOP+ & EXP]IM5T+ ) A M]E %AD[ ( ! REVOLUTION ( LANGUAGE1 & ?IS UND] /RICTLY ISOLAT$ CONDITIONS3 ! ,SURREALI/S *AMPION$ AN EMANCIPATION ( WORDS & IMAGES ?AT MI/OOK A C]TA9 AUTONOMY = REAL FRE$OM & *ANCE AB/RACT ASSOCIATIONS = REAL GANTLETS ?R[N D[N TO ! OLD WORLD4 

,/ILL1 ! MORE RADICAL FELT ! TEMPTATION TO ID5TIFY POETRY1 AS ! MA9 C\NT]-LANGUAGE1 ) REVOLUTION>Y !ORY1 :I* DETA*ES ITSELF FROM ! REAL /RUGGLES ( ! PROLET>IAT1 !N REJO9S !M 9 ! %APE ( A RADICALIZ+ PRACTICE4 ,?US ,&RE ,?IRION & ,PI]RE ,YOYOTTE DID PRODUCE A NUMB] ( F9E ,M>XI/ ANALYZES1 EV5 IF CRITICAL ?\<T WAS NOT SIGNIFICANTLY ADVANC$ !REBY4 ,! NOTION ?AT ! TRUE LANGUAGE ( POETRY GOV]NS ACTION & CONTRIBUTES TO ITS FULFILLM5T MU/ 9 FACT BE S\<T ELSE:]E4 ,C]TA9LY SU* A LANGUAGE HAS NO?+ 9 COMMON ) ! V]BIAGE & ! ,/AL9IZ+ GULLIBILITY ( ,>AGON'S 0,R$ ,FRONT04 ,NOR DOES IT JIBE ) 9SULTS & S>CASM 7AS 9 0,JEAN ,CASS\1 ,DOG-,SAVANT2 ,M>CEL ,>L&1 ! ,T[N ,SEW]2 ,ALB]T ,?IBAUDET1 ,FRI5D TO ,TOO? ,DECAY2 ,MAURICE ,MAET]L9CK1 ,FEA!RLESS ,BIRD2 ,PAUL ,VAL]Y1 ,NATURAL ,BORN ,CL[N2 ,COCTEAU ! ,/9K+ ,BEA/01 ETC41 ETC471 UNLESS SU* 9SULTS FOLL[ OR ANN\NCE EV5TS CALL+ = AN IMM$IATE SC&AL\S OR VIOL5T RESPONSE4 ,A CASE 9 PO9T IS ! PAMPHLET ,A ,CORPSE1 PUBLI%$ ON ! OCCASION ( ! DEA? ( ,ANATOLE ,FRANCE 7#a#i#b#d74 ,9 %>P CONTRA/ TO ! ORD9>Y USE ( ! LIT]>Y 9SULT1 ,A ,CORPSE BROKE ) ! CONV5TION ACCORD+ TO :I* NO ILL %\LD BE SPOK5 ( ! DEAD1 & EFFECTIVELY REHABILITAT$ DESECRATION2 WORDS H]E W]E NOT SEP>ATE FROM ACTION1 9DE$ !IR ROLE WAS TO OCCASION ACTION1 & TO E/ABLI% A PREC$5T4 

,SIMIL>LY1 A G5U9ELY POETIC FUNCTION IS MET BY ! FOLL[+ L9ES1 PUBLI%$ UPON ! DEA? ( ,J(FRE1 BUT ?REE YE>S BE=E ?AT ( ,PO9C>E3  
  

,M>%AL ,J(FRE 

,M>%AL ,FO* 

,GEORGES ,CLEM5CEAU 

& ,PRESID5T ,PO9C>E 

WILL EV] 5DURE 9 \R MEMORY  
  

,PE]T & ,ELU>D /ROVE TO BRIDGE ! GAP BETWE5 POETRY & ! ACT 5VISAG$1 BUT IT HAS TO BE SAID ?AT !IR CALL TO MURD] 9 ! FOLL[+ PASSAGE LIES OP5 TO ! *>GE :I* REVOLUTION>Y TACTICS MU/ P]=CE LEVEL AT ANY GRATUIT\S T]RORISM3  
  

,9 ,FRANCE \R [N %I?\SE ,MUSSOL9I HAS ONCE MORE CRAWL$ \T ( ! SEW]4 ,PO9C>E PRESIDES AS ! 0AV]AGE ,FR5*MAN0 OV] BANAL EV5TS & ROTT+ /RAW M54 ,H[ MU* LONG] CAN HE /AY ! OBVI\SLY WILL+ H& ( ! ASSASS98  
  

,AS A RULE IT WAS ,PE]T :O UN]R+LY F\ND ! S5SUAL LANGUAGE ( ! TRUE CRY ( RAGE & EXECRATION4 ,HIS ,JE NE MANGE PAS DE CE PA9-LA PUTS ONE 9 M9D ( ! *ANTS 9TON$ BY ANCI5T ,WEL% B>DS1 :I* ACCORD+ TO ,JULIUS ,CES> /RUCK SU* T]ROR 9TO 5EMIES ?AT !Y HAD BE5 KN[N TO FALL DEAD ON ! SPOT4 ,R>ELY HAS ! P[] ( CONTEMPT1 9 ! /RUGGLE AGA9/ ! OPPRESSIV5ESS & /UPIDITY ( AU?ORITY1 ATTA9$ SU* AN 9T5SITY ( RAW ELOQU5CE4 ,! H]OISM ( ! PATRIOT WILL REMA9 A DEAD LETT] UNTIL WE =GET ! WORDS3  
  

,ROT ,CONDAM9E DE LA ,T\R 

,ROT Y\ SP9ELESS %IT4  
  

,& GREAT LEAD]S WILL HAVE TO POND] !IR WEI<T 9 HI/ORY SO LONG AS LITTLE *ILDR5 CONT9UE TO RECITE ,PE]T'S DITTY AB\T 0,TIG]0 ,CLEM5CEAU3  
  

,HE HAS CROAK$ 

,EAT HIM MAGGOTS 0TO ! LA/ DIT*0 

,DEV\R ?IS CORPSE 

,& LET HIS BONES :I/LE UP ! REVOLUTION4  
  

,:5 IT CAME TO ! LANGUAGE ( PRACTICE1 H[EV]1 ,PE]T DEALT M]ELY ) ITS MO/ DIRECTLY EMOTIONAL & IMM$IATE DIM5SION4 ,LIKE ALL ! ,SURREALI/S1 :OSE REAL PRACTICE WAS MORE >TI/IC ?AN REVOLUTION>Y1 HE NEV] TE/$ RADICAL !ORY1 R$UC+ IT 9/EAD TO A *ALL5GE TO ! RUL+ IDEOLOGICAL LANGUAGE ?AT WAS ITSELF C\*$ 9 IDEOLOGICAL T]MS4 

,BRETON IS ON ! WAY TO A S]I\S ANALYSIS ( ! LANGUAGE ( ! DOM9ANT IDEOLOGY 9 0,9TRODUCTION TO ! ,DISC\RSE ON ! ,PAUCITY ( ,REALITY01 :5 HE NOTES ?AT 0WORDS T5D TO GR\P !MSELVES ACCORD+ TO SPECIFIC AFF9ITIES :OSE G5]AL RESULT IS TO RECREATE ! SAME OLD WORLD OV] & OV] AGA904 ,BUT HE FAILS TO GRASP ?AT SU* A LANGUAGE IS SIMPLY ! MO/ HI<LY SOPHI/ICAT$ & P]SUASIVE =M ( ! IDEOLOGICAL SY/EM :I* P[] 7?AT ( ! RUL+ CLASS OR CA/E7 USES TO ASS]T ITSELF4 ,?US :5 HE GOES ON1 APROPOS ( WORDS1 0,IT IS 5\< ?AT WE DIRECT \R CRITICISM AT ! LAWS ?AT GOV]N !IR ASSEMBLY01 HE REFUSES TO UND]/& ?AT ONLY ! LANGUAGE ( TOTAL SUBV]SION - ONLY RADICAL !ORY OR PRACTICAL POETRY - CAN SUCCESSFULLY DE/ROY BO? ! DOM9ANT LANGUAGE & ! OLD WORLD4 ,BY CONTRA/1 TO ASS]T ?AT 0WORDS PLAY1 WORDS MAKE LOVE0 IS TO CLAIM TO BE COMBAT+ ! LANGUAGE ( P[] :ILE ACTUALLY R5EW+ & MOD]NIZ+ ?AT LANGUAGE & GIV+ IT A FRE% APPE>ANCE ( LIFE4 

,! MO/ LUCID T5D5CIES )9 ,SURREALI/ IDEOLOGY W]E =EV] SEEK+ TO RETRIEVE ! REPRESS$ RADICAL MOM5T ( ,DADA'S F9AL P]IOD1 & 9DE$ SEV]AL SU* T5D5CIES 7P>ALLEL+ DIFF]+ ATTITUDES T[>DS >T7 >E CLE>LY DI/+UI%ABLE1 9CLUD+ SELF-P>ODY1 ! HOPE = TRANSC5D5CE1 ! WILL TO DE/RUCTION1 & ! LIT]>Y OPTION4 

,! SUBV]SIVE NATURE ( ,DADAISM'S WORD-COLLAGES WAS 9H]IT$ BY ! ,SURREALI/S 9 ITS PLAYFUL ASPECT ONLY4 ,IT IS TRUE ?AT ,M>CEL ,DU*AMP'S DALLIANCE ) 9FECTI\S PHONETIC PUNS & WORDPLAY RETA9$ A C]TA9 DEMY/IFY+ P[]3 

,LE SY/EME METRITE P> UN TEMPS BL5ORRHAGIEUX 

,! METRITIC SY/EM .<NOT ! METRIC SY/EM.> DUR+ BL5ORRHAGIC 

.<AS OPPOS$ TO ORAGEUX1 OR /ORMY.> WEA!R 

,DU DOS DE LA CUILL] AU CUL DE LA D\RAIRI]E 

,FROM ! BACK ( ! SPOON TO ! ASS ( ! D[AG] 

,LA BAG>RE D',AU/]LITZ 

,! DU/-UP .<NOT ! ,BATAILLE1 & NOT ! ,G>E.> ( ,AU/]LITZ 

,RROSE ,SELAVY TR\VE QU'UN 9SECTICIDE DOIT C\CB] AVEC SA M]E AVANT DE LA TU] 

,RROSE ,SELAVY FEELS ?AT AN 9SECTICIDE \<T TO SLEEP ) ITS MO!R BE=E KILL+ H] 

,LES PUNAISES SONT DE RIGUEUR 

,FLEAS >E REQUIR$ 

,MI*EL ,LEIRIS USES A SIMIL> ME?OD TO ILLUM9ATE ! MY/]I\S ANALOGIES ?R[N UP BY ! REV]IES ( SUBJECTIVITY1 BY ! SECRET AG5CIES ( ! M9D1 AS WITNESS !SE TWO PLAYS ON WORDS FROM HIS 0,GLOSSAIRE3 J'Y S]RE MES GLOSES0 .<,GLOSS>Y3 ,:]E ,I ,KEEP ,MY ,GLOSSES.>3 

,EPAVES3 ELLES PAV5T LA M] 

,WRECKS3 !Y PAVE ! SEA 

,FANTOME3 5FANTE P> LES HEAUMES 

,<O/3 SOME?+ BORN ( HELMETS 

.<,! SECOND 0DEF9ITION0 H]E CONTA9S A COV]T REF]5CE TO ! FANTA/IC SC5E 9 ,HORACE ,WALPOLE'S ,! ,CA/LE ( ,OTRANTO :]E A GIGANTIC HELMET APPE>S 9 ! CA/LE Y>D4.> 

,:]EAS ,LEIRIS S\<T TO UNCOV] A LANGUAGE :OSE FLUIDITY ALL[$ IT TO EXPRESS ! VICISSITUDES ( SUBJECTIVITY1 :OSE RESONANCES REF]R$ US TO ! 9N] LIFE ( ! 9DIVIDUAL 7SEV]AL ( ,LEIRIS'S BOOKS ANALYZE LANGUAGE AS ! RECEPTACLE ( A P]SONAL MY?OLOGY71 ,BRETON = HIS P>T FO/]$ BELIEF 9 AN OBJECTIVE C\NT]-LANGUAGE 9 :I* ! CONNECTIONS BETWE5 WORDS C\LD ESCAPE ! CONTROL ( ! DOM9ANT LANGUAGE & ITS RATIONALITY4 ,! ,SURREALI/S CLE>LY BELIEV$ ?AT ! REIGN+ LANGUAGE-9-ITSELF C\LD BE SUCCESSFULLY CONTE/$ BY MEANS ( AN AB/RACT =M ( LANGUAGE-=-ITSELF4 ,?AT !RE IS SU* A ?+ AS LANGUAGE-=-ITSELF IS AMPLY DEMON/RAT$ BY ! LANGUAGE ( REVOLUTION>Y MOM5TS4 ,! SIGNS ( ?AT LANGUAGE >E MANY & V>I\S1 & !Y ALL T5D T[>DS UNIFICATION 9 A G5]AL 9SURRECTIONAL MOVEM5T1 9 A GLOBAL TRANSC5D5CE4 ,LEIRIS %[$ ?IS T5D5CY AT WORK 9 ! 9DIVIDUALS ! >T ( *ILDR5 & ! >T ( ! MAD EXEMPLIFI$ IT 9 A P>TIAL WAY4 ,BUT IT WAS ONLY 9 SU* FRAGM5T$ OR EPIPH5OM5AL MANIFE/ATIONS1 UN=TUNATELY1 ?AT LANGUAGE-=-ITSELF WAS P]CEIV$ BY ,SURREALISM4 

,! ,SURREALI/S CONCEIV$ ( A C\NT]-LANGUAGE-:I* TO BEG9 ) NEV] ANSW]$ TO ANY?+ BEYOND A NE$ TO GET \T ( ! RUT ( TRADITIONAL POETRY1 TO WRITE A DIFF]5T K9D ( POETRY-AS AN IMM$IATE GIV54 ,?IS 5TIRELY LIT]>Y REQUIREM5T GAVE RISE TO RESE>* ( TWO K9DS3 RESE>* 9TO ! AUTONOMY ( ! RELATION%IPS BETWE5 WORDS & RESE>* 9TO ! PSY*OANALYTICAL UNITY ( ?OSE RELATION%IPS4 

,LAUTREAMONT'S EVOCATION ( 0! *ANCE 5C\NT] ( A SEW+ MA*9E & AN UMBRELLA ON A DISSECT+ TABLE0 WAS ! />T+ PO9T = ! ,SURREALI/S' LABORATORY EXP]IM5TS ) LANGUAGE4 ,! GAME ( ,EXQUISITE ,CORPSE WAS BAS$ ABOVE ALL ON ! PR9CIPLE ( OBJECTIVE *ANCE4 ,IT IS DEF9$ 9 ,BRETON & ,ELU>D'S ,DICTIONNAIRE ABREGE DU SURREALISME .<,ABRIDG$ ,DICTION>Y ( ,SURREALISM1 #a#i#c#h.> AS FOLL[S3  
  

,A FOLD$-PAP] GAME 9 :I* S5T5CES OR PICTURES >E CREAT$ BY SEV]AL PEOPLE1 NONE ( :OM CAN TELL :AT ! CONTRIBUTION ( ANY PREC$+ PLAY] MAY HAVE BE54 ,! CLASSIC EXAMPLE1 :I* SUPPLI$ ! NAME ( ! GAME1 IS ! FIR/ S5T5CE EV] OBTA9$ 9 ?IS WAY3 0,! EXQUISITE CORPSE %ALL DR9K ! NEW W9E40  
  

,BRETON PROCE$$1 9 ,COMMUNICAT+ ,VESSELS1 TO TRY & ID5TIFY AN 9T]NAL LOGIC COMMON TO ALL S5T5CES ?US G5]AT$4 ,! MODEL1 ONCE AGA91 WAS ,LAUTREAMONT'S PHRASE3  
  

,ANYONE :O CONTEMPLATES ! EXTRAORD9>Y P[] ?AT CAN BE EX]T$ UPON ! READ]S M9D BY ,LAUTREAMONT'S CELEBRAT$ =MULATION1 0AS BEAUTIFUL444 AS ! *ANCE 5C\NT] ( A SEW+ MA*9E & AN UMBRELLA ON A DISSECT+ TABLE01 & :O IS WILL+ TO CONSULT A KEY TO ! SIMPLE/ ( SEXUAL SYMBOLS1 MU/ QUICKLY CONC$E ?AT ?IS P[] D]IVES FROM ! FACT ?AT ! UMBRELLA H]E CAN /& ONLY = A MAN1 ! SEW+ MA*9E ONLY = A WOMAN 7?IS W\LD BE TRUE1 MOREOV]1 = ALMO/ ALL MA*9ES1 A RE9=C+ FACTOR 9 ?IS CASE BE+ ?AT SEW+ MA*9ES1 AS IS WELL KN[N1 >E (T5 PUT TO ONANI/IC USES BY WOM571 & ! DISSECT+ TABLE ONLY = A B$ - :I* IS ITSELF ! COMMON MEASURE BETWE5 LIFE & DEA?4  
  

,:5 ONE COMP>ES ,BRETON'S OBS]VATIONS ) ,LEIRIS'S APPROA*1 ! DIFF]5CE IS QUITE /RIK+4 ,LEIRIS S\<T TO CIRCUMSCRIBE ! LANGUAGE ( DESIRE1 :]EAS ,BRETON WANT$ TO E/ABLI% & EXPLICATE A NEW K9D ( BEAUTY - TO PROMOTE1 9 %ORT1 A MORE HUMAN ES!TIC4 ,BRETON HAD ONE FOOT 9 LIT]ATURE & ! O!R 9 REALITY AS DIRECTLY EXP]I5C$4 ,HIS 5TIRE WORK BE>S ! TRACES ( HIS RESULT+ DISCOM=T1 EV5 ?\< HE HAD ! WIT TO TRANS=M ?IS HOBBL$ /ATE 9TO A ?\<T ( GREAT ELEGANCE4 

,TO ! POLITICAL RI<T ( ,BRETON1 ! LIT]>Y OPTION C>RI$ ! DAY4 ,9 ! CASE ( ,ELU>D1 = 9/ANCE1 ?AT *OICE WAS UNMI/AKABLE3 0,LOV]S >E NOT NECESS>ILY ! AU?ORS ( ! MO/ BEAUTIFUL LOVE POEMS1 & EV5 :5 !Y >E !Y DO NOT MAKE !IR LOVE RESPONSIBLE = IT40 ,H]E DIRECT EXP]I5CE IS DEEM$ LESS IMPORTANT ?AN ITS REPRES5TATION1 ?AN ITS IMAGE - A P]FECT EPITOME ( ! ALI5ATION ( LIFE BY CULTURE4 

,TO ,BRETON'S LEFT1 MEAN:ILE - IF WE EXCEPT ,LEIRIS1 :OSE RESE>*1 ?\< ( G5U9E 9T]E/1 DID NOT LEAD TO ANY SOCIAL PRACTICE1 & SO DEG5]AT$ 9TO POSITIVISM - ! MEMORY ( A POSSIBLE TRANSC5D5CE %AP$ TWO CONTRA/+ TRAJECTORIES1 ?AT ( ,PE]T & ?AT ( ,>TAUD4 

,AP>T FROM ?AT PORTION ( HIS WORK 9 :I* HE S\<T TO PU% POETIC 9VECTIVE AS F> AS IT W\LD GO 7NOTABLY ,JE NE MANGE PAS DE CE ,PA9-LA71 ,B5JAM9 ,PE]T DEVOT$ HIS 5]GIES TO ! CON/RUCTION ( A K9D ( L+UI/IC ,*ATEAU DE ,SILL+ :]EBY1 MU* AS DE ,SADE ASPIR$ TO PRODUCE AN EXHAU/IVE CATALOG ( SEXUAL FANTASIES1 HE /ROVE TO 9V5TORY EV]Y CONCEIVABLE METAPHORICAL COMB9ATION4 ,PE]T WAS UND\BT$LY ! ONLY P]SON EV] TO CREATE A C\NT]-L+UI/IC WORLD1 A WORLD DIRECTLY ACCESSIBLE TO ALL *ILDR5 & IMP5IT5T DREAM]S1 & A WORLD :I* CRIES \T = SOCIAL REVOLUTION AS ! ONLY NATURAL MEANS ( EXPOS+ ITS PR(\ND BANALITY TO ALL3  
  

,IT WAS A GREAT RAGE - ! GREAT RAGE ( A FAD$ FL[] TOSS$ UPON A *UR* RO( - ?AT N[ %OOK ,NE/OR4 0,JU/ ?9K10 ,AM]ICA HAD TOLD HIM1 0,I AM ,WURTEMB]G40 ,& :5 ,NE/OR HAD REPLI$ ?AT ,NEW ,YORK WAS NOT 9 ,WURTEMB]G1 ,AM]ICA HAD RETORT$ ANGRILY ?AT ,NEW ,YORK HAD 9DE$ BE5 ! CAPITAL ( ,WURTEMB]G EV] S9CE ! SEA LEGG$ SQUID HAD DRAGG$ 9TO ITS P9C]S1 KN[N AS T5TACLES1 A *ILD HANG+ FROM A BRAN* ON ,F\RTE5? ,AV5UE LIKE A *]RY FROM AN OLIVE TREE4 ,NE/OR1 SURE ?AT HE WAS 9 ! RI<T1 LIT UP A PIPE ?AT HE HAD PREVI\SLY LOAD$ ) PE>L OY/] %ELLS1 :I* ALL[$ HIM TO SAY ) PRIDE1 0,I SMOKE ONLY PE>LS40 ,LI<T+ A PIPE IS NOT 5\<1 ?\< - Y\ ALSO HAVE TO SMOKE IT4 ,NE/OR SOON F\ND \T ?AT ?IS WAS AN IMPOSSIBILITY4 ,HIS PIPE WAS SMOK+ BUT HE WAS NOT4  
  
  

7FROM ,LA ,BREBIS GALANTE .<,! ,AMOR\S ,EWE.>7  
  

,! DISCOV]Y ( AUTOMATIC WRIT+ COMP5SAT$ = ! LACK ( CONSI/5CY 9 ,DADA'S NEGATIVITY1 BUT IT MEANT ?AT ! ASPIRATION TO A LANGUAGE ( ! TOTALITY WAS N[ AB&ON$ 9 FAVOR ( ! SE>* = A M]ELY L+UI/IC TOTALITY4 ,AUTOMATIC WRIT+ WAS ,>TAUD'S />T+-PO9T TOO1 BUT HE TOOK ! OPPOSITE TACK TO ,PE]T1 DIRECT+ HIS ATT5TION TO ! 9N] LIFE ( ! M9D1 TO ! DRAMA ( ALI5AT$ CONSCI\SNESS4 ,?\< JU/ AS F> REMOV$ AS ! O!R ,SURREALI/S FROM ! HI/ORICAL DIM5SION ( ! ANTAGONISM BETWE5 SPONTANE\S V]BAL ASSOCIATIONS & LANGUAGE-9-ITSELF1 ,>TAUD DID SUCCE$ 9 ISOLAT+ ?IS CONTRADICTION & TREAT+ IT AS AN ONTOLOGICAL MALADY1 AS ! CURSE ( BE+ 7:5CE HIS CONT9UAL CA/+ AB\T = EXORCISMS ( ONE K9D OR ANO!R74 ,A MANUSCRIPT ( HIS P9PO9TS ! ORIG9 ( ?AT OSCILLATION )9 :I* HE SITUAT$ HIMSELF1 SOME:]E BETWE5 ! DISA/] ( WRIT+ ON ! ONE H& & SPIRITUAL & PHYSICAL DISA/] ON ! O!R3  
  

,9 ! REALM ( ! DET]M9ATE1 ONLY ?OSE PHRASES :I* FL[ DIRECTLY FROM ! UNCONSCI\S CAN EV] REA* FULL FL[]4 ,BUT IF P]*ANCE MY CONSCI\S M9D AWAKES1 EI!R BECAUSE .<LACUNA 9 MANUSCRIPT.>1 OR BECAUSE ( AN EXT]NAL EV5T1 !N ,I BECOME AW>E ( ! OB/ACLES ?AT /& 9 ! WAY ( ! FULFILLM5T ( MY ?\<T4 ,SU* OB/ACLES >E ALWAYS ( ! SAME ORD]3 IDEAS >E /RIPP$ ( !IR MEAN+1 ( !IR NEURONAL OR AFFECTIVE CONT5T1 AT :ATEV] PO9T 9 !IR =MATION OR MAT]IALIZATION ONE APPREH5DS !M1 AT :ATEV] PO9T ONE BECOMES AW>E ( !IR DEG5]ATION1 !IR DEFLATION - & 9 :ATEV] S5SE ONE *OOSES TO UND]/& ! T]M 0IDEAS04 ,A K9D ( AMNESIA IS 9VOLV$ H]E1 BUT IT IS A PHYSICAL AMNESIA1 AN 9HIBITION ( ! CURR5T ?AT BE>S EXPRESSION ALONG4 ,A SUDD5 UPSET OR BLOCKAGE OCCURS1 ! LUCID /ATE PRODUC$ BY ! ACTIVE EX]CISE ( ! M9D IS BRUTALLY DISPELL$1 & IDEAS >E ?R[N 9TO TURMOIL BECAUSE !Y CEASE BE+ GRASP$1 BECAUSE ( ! DISSIPATION & DISP]SAL ( :O KN[S :AT VITAL MAGNETISM4 ,WE 5T] A /ATE ( MAJOR CONFUSION :I* WE >E TEMPT$ TO BLAME ON A *AOS ( ! M9D1 ?AT IS1 TO TREAT ! M9D AS A GREAT UNREGULAT$ MASS1 :]EAS 9 REALITY IT IS SIMPLY A VOID1 & TO SEEK REM$Y = :AT WE ASSUME TO BE A TRANSI5T M5TAL P[]LESSNESS1 A MOM5T>Y /UMBL+-BLOCK ?AT CAN SWIFTLY BE CORRECT$ = BY ! PSY*E'S C5TRAL FUNCTION4 ,WE TRY *ANG+ ! OBJECT ( \R 9TELLECTUAL ACTIVITY1 IMAG9+ ?AT SU* A *ANGE 9 ORI5TATION1 BY BR++ ! M9D TO BE> ON A NEW & BETT] *OS5 REALM1 MU/ P]=CE RE/ORE ITS VITALITY1 BUT WE >E PLUNG$ 9/EAD 9TO AN ATROCI\S DESPAIR1 A DESPAIR R5D]$ ALL ! MORE FRI<TFUL 9 ?AT IT C5T]S ON NO?+1 9 ?AT IT IS NO LONG] CONNECT$ TO ! G5]AL DESICCATION ( ! 9N] LIFE ( ! EMOTIONS2 A DESPAIR1 TOO1 ?AT IS TRULY ABSOLUTE1 BECAUSE WE P]CEIVE ?AT IT IS ! ORGAN ( 9TELLECTUAL ACTIVITY ITSELF ?AT HAS SUFF]$ A TRAUMA1 ?AT ?\<T IS DEG5]AT+1 ?AT ! IMPULSE TO ?9K HAS BE5 PREJUDIC$1 ?AT \R ANIMAL MAGNETISM IS ESCAP+ 9 EV]Y DIRECTION1 FAIL+ TO OV]COME ! OB/ACLES 9 ITS PA?1 PET]+ \T AT ITS S\RCE1 WEAK5+ ) EV]Y R5EW$ EF=T4 ,:AT IS MORE1 AL?\< A BELAT$ ANALYSIS ( \R /ATE ( CONFUSION & EXAC]BAT$ WEAKNESS MAY BE )9 \R MEANS1 WE >E P]FECTLY 9CAPABLE ( DESCRIB+ ! DYSFUNCTIONS IT PROVOKES OR ( %[+ H[ EV]Y COMPON5T ( ! P]SONALITY IS DRAWN 9TO ! DEBACLE1 H[ EV5 ! V]Y FEEL+ ( ! EGO'S EXI/5CE IS OV]:ELM$ BY ?IS DESPAIR ( ! EGO & ITS POSSIBILITIES4  
  

,SOME?+ ?AT ,>TAUD & ,PE]T HAD 9 COMMON WAS A BELIEF 9 >*ETYPES4 ,= BO? ( !M ! IMPOSSIBILITY ( ATTA9+ TOTAL BE+ OR ( ACC$+ TO ! TOTALITY ( LANGUAGE UND]LAY A METAPHYSICS 9 :I* A B\NDLESS SOLIPSISM ALL[$ ITSELF TO BE SATISFI$ ) 5TITIES PREEXI/5T TO ALL REALITY :OSE DISCOV]Y & DEF9ITION1 & ! MODIFICATION ( :OSE SIGNS1 >E POSSIBLE ONLY BY WAY ( ACTS ( CLAIRVOYANCE4 ,?US ,>TAUD'S ANALYSIS ( ! HIDD5 MEAN+S TO BE F\ND 9 ROCK =MATIONS1 9 HIS ,VOYAGE AU PAYS DES ,T>AHUM>AS .<,VOYAGE TO ! ,L& ( ! ,T>AHUM>AS.>1 HAS A P>ALLEL 9 ,PE]T'S DISCUSSION ( ! PA9T] ,WILF$O ,LAM 7AL?\< ,PE]T DOES FEEL ! NE$ = SOME K9D ( MAT]IAL UND]P9N+73  
  

,! TRUE MISSION ( ! >TI/1 :E!R PA9T] OR POET1 HAS ALWAYS BE5 TO R$ISCOV] )9 HIMSELF ! >*ETYPES ?AT UND]P9 POETIC ?\<T1 & TO RE9VE/ ?AT ?\<T ) A FRE% EMOTIONAL *>GE SO ?AT BETWE5 HIMSELF & HIS PE]S A CURR5T ( 5]GY MI<T BE SET 9 MOTION :I* WILL BE ALL ! MORE 9T5SE 9ASMU* AS !SE REACTIVAT$ >*ETYPES EM]GE AS ! CLE>E/ & NEWE/ EXPRESSION ( ! DET]M9+ FACTORS 9 HIS BACKGR\ND4  
  

,MIDWAY BETWE5 ,>TAUD & ,PE]T1 & GIV5 TO VOIC+ RES]VATIONS AB\T /RAI<T=W>D LIT]>Y OR PICTORIAL WORK PRECISELY BECAUSE HIS DE FACTO POSITIONS T5D$ TO JU/IFY !M1 ,BRETON DEVOT$ A GREAT DEAL ( HIS ATT5TION TO ! METAPHOR AS SU*1 ?AT IS1 TO ! METAPHOR AS AN ES!TIC FACTOR4 

,AN ANTI-ES!TIC ES!TE1 ,BRETON WAS (T5 CONT5T TO REVIVE ! WORM-EAT5 ATTRACTIONS ( MOD]N >T'S GRAVEY>DS4 ,HIS FAM\S SLOGAN1 0,BEAUTY WILL BE CONVULSIVE OR WILL NOT BE AT ALL01 IS MORE VALUABLE 9 ITSELF ?AN ANY ( ! EXAMPLES HE (F]S 9 SUPPORT ( IT4 ,P]HAPS AT SOME FUTURE HI< PO9T 9 ! F9AL /RUGGLE ?IS SLOGAN WILL 9DE$ BECOME ! WAT*WORD1 BUT 9 ! CONTEXT ( ,SURREALISM ITSELF IT WAS NEV] MORE ?AN A GLITT]+ TRACE ( SUBJECTIVITY & ( EV]YDAY ADV5TURE 9SCRIB$ ON ! TATT]$ FABRIC ( ! RUL+ LANGUAGE4 

,! FIR/ ,MANIFE/O PROCLAIM$3 0,! M>VEL\S IS ALWAYS BEAUTIFUL1 ANY?+ M>VEL\S IS BEAUTIFUL1 9 FACT ONLY ! M>VEL\S IS BEAUTIFUL40 ,WE W]E ALREADY 9 ! L& ( ,FANTOMAS V]SUS ,LAFCADIO1 ,N]VAL V]SUS ,LAM>T9E1 ,J>RY V]SUS ,ZOLA - ! L&1 9 %ORT1 ( EV]Y?+ ?AT N[ CON/ITUTES LEFT-W+ CULTURE3 CLE>] IDEAS 9 ! S]VICE ( A MORE G5]AL IDIOCY4 

,9 ,BRETON'S M9D ! M>VEL\S WAS ALSO ! F\NDATION ( ! CULT ( ! METAPHOR1 CA/+ BEAUTY 9 A NEW LI<T4 ,METAPHORS1 ( :I* ! :OLE ( ,SURREALI/ POETRY 79 ! N>R[ S5SE7 IS A MANY SPL5DOR$ CELEBRATION1 COMB9E TWO SP>KS3 ! SP>K1 PRODUC$ BY ! 9T]ACTION ( CONTRA/+ ASSEMBLAGES1 :I* DE/ROYS CONGEAL$ LANGUAGE1 & ! SP>K1 PRODUC$ BY ! CLA% ( SUBJECTIVE SYMBOLS1 :I* CREATES A NEW LANGUAGE4 ,! TWO BECOME ONE 9 ! LI<T ( ! METAPHOR1 9 ! CONVULSIV5ESS ( BEAUTY4 

,! SY/EM ( METAPHOR & IMAGE 9 PA9T+ ?US CON/ITUT$ AN IDEOLOGICAL RUSE :]EBY ,SURREALISM MANAG$ = A TIME TO AVOID ! FALL\T ( CULTURAL FRAGM5TS G5]AT$ BY ! EXPLOSION ( #a#i#a#e-#a#i#b4 ,?IS WAS :AT KEPT ! MOVEM5T AP>T FROM MA9/REAM LIT]>Y & >TI/IC PRODUCTION1 :I* WAS CONDEMN$1 9 A PITIFULLY REGIM5T$ WAY1 TO ! REHA%+ ( ! 5D ( ! NOVEL AFT] ,JOYCE1 ! 5D ( PA9T+ AFT] ,MALEVI*1 ! 5D ( SCULPTURE AFT] ,DU*AMP1 & ! 5D ( EV]Y?+ AFT] ,DADA4 ,IT WAS ALSO ! MEANS :]EBY ,SURREALISM SUCCESSFULLY CONCEAL$ BO? ! BANKRUPTCY ( CULTURE AS A SEP>ATE & ALI5AT+ SPH]E & ! COROLL>Y NE$ TO ADVANCE FROM ! >*AIC NOTION ( A LIV+ >T TO ! REALITY ( AN >T ( LIV+4 

,METAPHOR & IMAGE >E SELF-SUFFICI5T4 ,!Y >E ! BASIS ( A CULTURAL CLOS$ CIRCUIT :OSE SEEM+ EMANCIPATION FROM ! SWAY ( CULTURE IS NO?+ BUT A MASK = ! FACT ?AT1 SO F> FROM ?REAT5+ CULTURE'S HEGEMONY1 IT ACTUALLY RE9=CES IT4 ,QUITE AP>T FROM ! CONTRIBUTION ( ! >T ( FASC9AT+ IMAGES TO ! GR[+ VOYEURISM ?AT ATT5DS ! EXPANSION ( AN ECONOMY ( OV]-CONSUMPTION :I* MU/ DISPLAY :AT IT HAS TO 0(F]0 & CAN SELL ONLY :AT IT DISPLAYS1 IT IS WOR? PO9T+ \T ?AT APPEAL+ TO ! M>VEL\SNESS ( ! METAPHOR SY/EM W\LD BE MEAN+LESS \TSIDE ! CONTEXT ( AN IDEOLOGY TAK+ ON MORE & MORE ESOT]IC OV]TONES & T5D+ TO BECOME 9DI/+UI%ABLE FROM A H]METIC DOCTR9E4 

,P>ADOXICALLY 7& RA!R AS AL*EMY DISCOV]$ SULFURIC ACID 9 A PURELY S]5DIPIT\S WAY71 ! %IFT FROM ! MAGIC ( LANGUAGE TO ! LANGUAGE ( MAGIC PRODUC$ A G5U9E TOOL ( DEMY/IFICATION1 NAMELY ! TE*NIQUE ( DIV]SION1 OR DET\RNEM5T4 ,ADMITT$LY ,BRETON NEV] DEF9$ ?IS TE*NIQUE AS PRECISELY AS ! ,SITUATIONI/S DID LAT]1 AS = EXAMPLE 9 ,9T]NATIONALE ,SITUATIONNI/E1 ,NUMB] #c 7,DECEMB] #aiei .<,DET\RNEM5T AS ,NEGATION & ,PRELUDE.>73  
  

,! TWO BASIC PR9CIPLES ( DET\RNEM5T >E ! LOSS ( IMPORTANCE1 & 9 ! EXTREME CASE ! COMPLETE DISAPPE>ANCE1 ( ! ORIG9AL MEAN+ ( EA* 9DEP5D5T DIV]T$ ELEM5T2 &1 SIMULTANE\SLY1 ! ORGANIZ+ ( ANO!R MEAN+FUL :OLE :I* CONF]S A NEW SIGNIFICANCE UPON EA* ( ?OSE ELEM5TS4  
  

,BRETON M]ELY OBS]V$ - 9 ,PO9T DU JOR .<,BREAK ( ,DAY1 #a#i#c#d.> - ?AT 0,ALL ?+S >E B\ND TO BE PUT TO USES = :I* !Y >E NOT USUALLY DE/9$01 BUT HE C]TA9LY APPLI$ ! PR9CIPLE ( DET\RNEM5T1 AS = 9/ANCE 9 0,NOTES ON ,POETRY01 WRITT5 9 COLLABORATION ) ,PAUL ,ELU>D 7,LA ,REVOLUTION ,SURREALI/E1 ,NUMB] #a#b1 #a#i#b#i74 ,VAL]Y HAD WRIT T51 0,A POEM MU/ BE A FEA/ ( ! 9TELLECT01 & 0,POETRY IS A SURVIVAL04 ,!SE $ICTS N[ BECAME3 0,A POEM MU/ BE A DISA/] ( ! 9TELLECT0 & 0,POETRY IS A PIPE04 ,IT IS ALSO WOR? RECALL+ ! HUMOR\S USE MADE ( DET\RNEM5T BY ,]NE ,MAGRITTE :5 HE REPLAC$ ! FIGURES 9 CLASSICAL PA9T+S BY C(F9S4 ,9 ! ABS5CE ( A GLOBAL CRITIQUE1 ! TACTIC WAS NEV] EXPLOR$ FUR!R OR APPLI$ TO ! REVOLUTION>Y /RUGGLE4 ,DET\RNEM5T WAS ONE ( ! WEAPONS ,SURREALISM LEFT BEH9D = ITS HEIRS TO PUT TO AS GOOD A USE AS !Y C\LD4 

,! ,SAVAGE ,EYE & ! ,CIVILIZATION ( ! ,IMAGE 

  

,!RE W]E TWO REASONS = ,BRETON'S VIOL5T REACTION TO ,PI]RE ,NAVILLE1 :51 AS $ITOR ( ,LA ,REVOLUTION ,SURREALI/E1 ! LATT] DEF5D$ ! IDEA ?AT !RE C\LD BE NO SU* ?+ AS ,SURREALI/ PA9T+3 ! REQUIREM5T ?AT ! METAPHOR !SIS BE 9T]NALLY CONSI/5T1 & ! MONEY ?AT SEV]AL ( ! ,SURREALI/S MADE BY DEAL+ 9 >T4 ,IF ,SURREALI/ PA9T+ WI%$ TO DEMON/RATE A COMMITM5T TO RADICAL POSITIONS OR TO REVOLUTION>Y VIOL5CE1 IT C\LD NOT PO9T1 AS POETRY C\LD1 TO A CRITICAL OR MORDANT DISC\RSE ( ITS [N4 ,ON ! O!R H& IT WAS READILY COMPATIBLE ) ! SAME IDEOLOGY AS ! METAPHOR1 =1 JU/ LIKE ! METAPHORS1 ITS EFFECT ON ! FL[ ( DISCRETE SYMBOLS & VEIL$ WI%ES1 AS ON ! *ANCE 5C\NT]S ( OBJECTIVE =MS1 WAS TO PRODUCE COND5SATIONS4 ,&1 UNLIKE POETIC WRIT+1 IT HAD A M>KET4 ,BRETON WAS WELL AW>E ( ?IS1 &1 :ILE HE 9V>IABLY CONDEMN$ ! O/5TATI\S PURSUIT ( FAME OR WEAL?1 HE NEV] MADE SO BOLD AS TO DEF9E PA9T+ QUITE SIMPLY AS A POETIC OCCUPATION4 ,RA!R1 HE JU/IFI$ ! ,SURREALI/ APPROA* TO ! PICTORIAL ) ! SAME >GUM5TS ?AT HE HAD US$ 9 CONNECTION ) METAPHOR3 JU/ AS WORDS PLAY$ & MADE LOVE1 SO ! EYE 0EXI/$ 9 ITS SAVAGE /ATE0 7,SURREALISM & ,PA9T+1 #a#i#b#h74 

,TO PROCLAIM ! 9NOC5CE ( >T 9 A P]IOD :5 >T C\LD BE 9NOC5T ONLY IF IT W]E TRANSC5D$1 ONLY IF IT W]E REALIZ$1 WAS TO MISAPPREH5D ! SIGNIFICANCE ( ,DADA & TO UND]E/IMATE ! FETI%ISM ( ! COMMODITY4 ,! PROPOSITION ?AT 0! EYE EXI/S 9 ITS SAVAGE /ATE0 WAS SELF-GLORIFY+ 9 TWO EQUALLY UNJU/IFI$ WAYS4 ,9 ! FIR/ PLACE1 ?IS WAS A TIME :5 ADV]TIS+ & ! NEWS M$IA 7NOT TO M5TION ! FASCI/ 0HAPP5+S0 ( ! MOM5T7 ALREADY KNEW P]FECTLY WELL H[ TO MANIPULATE CLA%+ IMAGES1 H[ TO MILK 0FREE0 REPRES5TATIONS = ALL !Y W]E WOR?2 IT WAS !RE=E QUITE PR$ICTABLE ?AT ! RUL+ SY/EM W\LD CO-OPT ! NEW WAY ( LOOK+ ?AT ,SURREALISM WAS SO BUSILY PROMOT+4 ,SECONDLY1 IT %\LD HAVE BE5 PLA9 - TO ANY AVANT-G>DE WOR? ! NAME AT LEA/ - ?AT ! ORGANIZATION ( SOCIAL PASSIVITY1 9 ITS CONC]N TO M9IMIZE ! REC\RSE TO POLICE & >MY1 WAS B\ND TO FO/] ! CONSUMPTION ( 9CREAS+LY LIFELIKE & 9CREAS+LY P]SONALIZ$ IMAGES1 ! AIM BE+ ?AT ! PROLET>IAT %\LD MOVE ONLY TO ! EXT5T REQUIR$ = ! CONTEMPLATION ( ITS [N 9]T CONT5TM5T1 ?AT IT %\LD BE R5D]$ SO PASSIVE AS TO BE 9CAPABLE ( ANY?+ BEYOND 9FATUATION ) V>I$ REPRES5TATIONS ( ITS DREAMS4 

,PA9T+ WAS A PRIVILEG$ SECTOR ( ,SURREALI/ ACTIVITY2 IT WAS ALSO ! SECTOR MO/ ?OR\<LY CO-OPT$ BY :AT ! SOCIOLOGI/S1 9 !IR EAG]NESS TO AVOID ANY ANALYSIS ( ! SPECTACLE & ! COMMODITY SY/EM1 LIKE TO CALL 0! CIVILIZATION ( ! IMAGE04 ,?US1 = ALL ITS APPEAL1 ,BRETON'S /ATEM5T ( #a#i#b#i1 ACCORD+ TO :I* 0,ONEIRIC VALUES >E CLE>LY N[ PREPOND]ANT1 & ,I 9SI/ ?AT ANYONE %\LD BE TREAT$ AS AN IDIOT IF !Y /ILL REFUSE1 = 9/ANCE1 TO SEE A HORSE GALLOP+ ACROSS A TOMATO01 MU/ BE PLAC$ 9 ! CONTEXT ( ! IMAGE-AS-OBJECT DI/ILL+ ! COMMODITY'S P[] TO ATTRACT1 CONCEAL+ ! ALI5AT+ RELATION%IPS ?AT ! COMMODITY 5TAILS1 & REPRODUC+ ! COMMODITY AS PURE IDEOLOGICAL APPE>ANCE4 

,!RE CAN BE NO D\BT ?AT BY ! 5D ( ! #a#i#bS ,SURREALISM HAD ALREADY UNRESI/+LY ACCEPT$ ! 9FLAT$ VALUE PLAC$ ON VISION4 0,EV]Y DAY10 SAID ,MAN ,RAY1 0WE >E ! RECIPI5TS ( OP5 CONFID5CES2 \R EYE CAN TRA9 ITSELF TO COMPREH5D !M )\T PREJUDICE OR CON/RA9T40 ,& H]E IS ! ,CZE* ,J9DRI* ,/YRSKY3 0,MY EYES >E =EV] DEM&+ ?AT FOOD BE ?R[N !IR WAY4 ,!Y SWALL[ IT ) BRUTAL EAG]NESS4 ,& AT NI<T AS ,I SLEEP !Y DIGE/ IT40 

,M>X US$ TO SAY TO ,5GELS1 AS !Y /ROLL$ AB\T ,LONDON1 0,?AT'S !IR ,WE/M9/]1 ?AT'S !IR ,P>LIAM5T01 & SO ON4 ,H[ IS IT ?AT ! ,SURREALI/S NEV] REALIZ$ ?AT BY PA9T+ 0!IR0 BUILD+S 7EV5 HAD !Y DEVA/AT$ !M ) IMAGES ( DESIRE - SOME?+ :I* !Y NEV] DID1 !RE BE+ 9 ,SURREALI/ PA9T+ NO?+ REMOTELY COMP>ABLE TO ,PE]T'S ,JE NE MANGE PAS DE CE PA9-LA71 ?AT BY PA9T+ 0!IR0 P>KS & COV]+ 0!IR0 DECORS ) FACES \T ( DREAMS1 !Y W]E JU/ R$O+ ! FACADE ( ! OLD WORLD4 ,( C\RSE1 ?IS REPROA* W\LD HAVE NO =CE :ATSOEV] HAD NOT ,SURREALISM LONG$ SO PASSIONATELY TO BE REVOLUTION>Y4 

,:5 NOT REPRESS$ 5TIRELY BY ! ,SURREALI/S1 ! MEMORY ( ,DADA'S RADICALISM MANIFE/$ ITSELF LESS 9 ! =M ( SC&AL\S IMAGES ?AN 9 ! =M ( TE*NIQUES ?AT PLAC$ PA9T+ )9 EV]YONE'S GRASP4 ,?IS IS H[ ,MAX ,]N/ DESCRIB$ HIS DISCOV]Y ( 0,FROTTAGE0 9 #a#i#b#e3  
  

,/>T+ FROM A *ILDHOOD MEMORY444 9 :I* A FAKE MAHOGANY PANEL OPPOSITE MY B$ HAD S]V$ AS AN OPTICAL CATALY/ = A VISION :ILE HALF-ASLEEP1 & N[ F9D+ MYSELF AT A SEASIDE HOTEL ON A RA9Y DAY1 ,I WAS /RUCK BY ! OBSESSIVE FASC9ATION ?AT ! FLOOR1 ITS CRACKS ACC5TUAT$ BY UNC\NT$ SCRUBB+S1 WAS ABLE TO EX]CISE UPON MY DI/RACT$ GAZE4 ,I RESOLV$ TO 9VE/IGATE ! SYMBOLIC MEAN+ ( ?IS OBSESSION1 & TO ASSI/ MY CAPACITY = M$ITATION & HALLUC9ATION ,I MADE A SET ( RUBB+S ( ! FLOORBO>DS1 POSITION+ %EETS ( PAP] ON !M AT R&OM & US+ GRAPHITE TO BR+ UP ! PATT]N4 ,:5 ,I C>EFULLY 9SPECT$ ! RESULTS1 SOME >EAS ( :I* W]E QUITE D>K :ILE O!RS W]E BUT LI<TLY %AD$1 ,I WAS TAK5 ABACK BY A SUDD5 9T5SIFICATION ( MY VISION>Y FACULTIES1 & BY A HALLUC9ATORY SEQU5CE ( CONTRADICTORY IMAGES1 EA* SUP]IMPOS$ UPON ITS PR$ECESSOR ) ! P]SI/5CE & SPE$ ?AT ONE ASSOCIATES ) MEMORIES ( LOVE4 

,CURI\S1 9DE$ 5?RALL$1 ,I 5D$ UP US+ ! SAME ME?OD TO EXPLORE ALL SORTS ( MAT]IALS ?AT HAPP5$ TO 5T] MY VISUAL FIELD3 LEAVES & !IR VE9S1 ! FRAY$ $GES ( SACKCLO?1 ! BRU%/ROKES ( SOME 0MOD]N0 PA9T]1 ?READ UNRAVEL$ FROM A BOBB91 & SO =?4 ,MY EYES !N P]CEIV$ HUMAN HEADS1 V>I\S ANIMALS1 A BATTLE ?AT 5D$ UP AS A KISS 7,! ,FIANCEE ( ! ,W9D71 SOME ROCKS1 ,! ,SEA & ! ,RA91 E>?QUAKES1 ! ,SPH9X 9 ITS /ABLE1 SOME ,LITTLE ,TABLES ,>\ND ! ,E>?1 ,CES>'S ,PALETTE1 SOME ,FALSE ,POSITIONS1 A ,%AWL ) ,FRO/-,COV]$ ,FL[]S1 ! ,PAMPAS1 ETC4  
  

,?US 9 A S5SE FROTTAGE BECAME ! EQUIVAL5T ( AUTOMATIC WRIT+4 0,IT IS AS A SPECTATOR01 ,]N/ ADDS1 0?AT ! CREATOR1 :E!R 9DIFF]5TLY OR PASSIONATELY1 WITNESSES ! BIR? ( HIS WORK & OBS]VES ! /AGES ( HIS [N DEVELOPM5T40 ,9/EAD1 !N1 ( EMPHASIZ+ ! POSSIBILITY ( A TE*NIQUE ( ?IS K9D BE+ US$ BY ALL1 ,]N/ /RESS$ ! PA9T]S TRANS=MATION 9TO A PASSIVE SPECTATOR1 9SI/+ ON ! JOY ( CONTEMPLATION & NOT ON ! JOY ( CREATION4 ,IT IS H>D NOT TO CONCLUDE ?AT ! ,SURREALI/ PA9T]S FELT ?REAT5$ BY ANY T5D5CY TO TREAT >T AS A GAME1 & ?AT1 AS PA9T+ & SCULPTURE ACKN[L$G$ !IR AFF9ITY ) ! WORLD ( *ILDHOOD & W]E SECUL>IZ$ BY A SPIRIT ( PLAYFULNESS1 !SE >TI/S SUDD5LY S5S$ A *ALL5GE TO !IR DIGNITY - ! DIGNITY ( HONORS & PR(IT - & FELT OBLIG$ TO MOVE HEAV5 & E>? IF NE$ BE TO MAKE SURE !IR PRODUCTS DID NOT LOSE ! AURA ( ! SACROSANCT4 

,BRETON'S DESCRIPTION 7#a#i#c#f7 ( DECALCOMANIA1 9V5T$ BY ,OSC> ,DOM+UEZ1 BETRAYS ! SAME URGE TO R$UCE ! TE*NICAL RELICS ( ,DADA'S DISSOLUTION TO A ,SURREALI/ 0MAGICAL >T03  
  

,*ILDR5 HAVE TRADITIONALLY 5JOY$ FOLD+ %EETS ( PAP] AFT] BLOTT+ !M ) WET 9K SO AS TO PRODUCE ! ILLUSION ( ANIMAL OR VEGETABLE 5TITIES OR GR[?S1 BUT ! ELEM5T>Y TE*NIQUE ( :I* *ILDR5 >E CAPABLE IS F> FROM EXHAU/+ ! RES\RCES ( SU* A PROC$URE4 ,9 P>TICUL> ! USE ( UNDILUT$ 9K EXCLUDES ANY SURPRISES 9 T]MS ( 0SUB/ANCE0 & LIMITS ! RESULT TO A CONT\R$ DESIGN :I* SUFF]S FROM A C]TA9 MONOTONY RESULT+ FROM ! REPETITION ( SYMMETRICAL =MS ON EI!R SIDE ( AN AXIS4 ,C]TA9 WA%-DRAW+S BY ,VICTOR ,HUGO SEEM TO PROVIDE EVID5CE ( SY/EMATIC EXPLORATIONS 9 ! DIRECTION :I* CONC]NS US H]E2 C]TA9LY AN EXTRAORD9>Y P[] ( SUGGE/ION IS OBVI\SLY EXPECT$ TO EMANATE FROM ! 5TIRELY 9VOLUNT>Y ME*ANICAL DETAILS :I* PR$OM9ATE1 BUT ! RESULTS >E MO/LY LIMIT$ TO ,*9ESE %AD[S & CL\DY APP>ITIONS4 ,OSC> ,DOM+UEZ' DISCOV]Y BR+S PRECI\S ADVICE ON ! ME?OD TO FOLL[ 9 OBTA9+ IDEAL FIELDS ( 9T]PRETATION4 ,H]E WE CAN R$ISCOV] 9 ALL !IR PURITY ! ROCKS & WILL[S ( ,>?UR ,RACKHAM :I* 5*ANT$ US :5 WE W]E AB\T TO LEAVE *ILDHOOD BEH9D4 ,ONCE AGA91 WE >E (F]$ A RECIPE )9 EV]YBODY'S GRASP1 A RECIPE :I* DEM&S TO BE 9CLUD$ AMONG ! 0,SECRETS ( ! MAGICAL SURREALI/ >T0 & :I* MAY BE =MULAT$ AS FOLL[S3 

,9 ORD] TO OP5 ONE'S W9D[ AT WILL UPON 

! MO/ BEAUTIFUL L&SCAPES 9 ?IS OR ANY O!R WORLD 

,) A BROAD BRU%1 SPREAD SOME BLACK G\A*E1 MORE OR LESS DILUT$ 9 PLACES1 ON A %EET ( :ITE GLAZ$ PAP] & !N COV] ?IS IMM$IATELY ) A SIMIL> %EET :I* Y\ WILL PRESS D[N LI<TLY ) ! BACK ( Y\R B&4 ,TAKE ?IS UPP] %EET BY ONE $GE & PEEL IT (F SL[LY AS Y\ W\LD DO ) AN ORD9>Y TRANSF]1 !N CONT9UE TO REAPPLY IT & LIFT IT AWAY AGA9 UNTIL ! COLOR IS ALMO/ DRY4 ,:AT Y\ HAVE 9 Y\R B&S N[ IS P]HAPS NO?+ MORE ?AN ,LEON>DO'S P>ANOIAC ANCI5T WALL1 BUT IT IS ?IS WALL P]FECT$4 ,ALL Y\ NE$ DO N[ IS /UDY ! RESULT+ IMAGE LONG 5\< = Y\ TO F9D A TITLE ?AT CONVEYS ! REALITY Y\ HAVE DISCOV]$ 9 IT1 & Y\ CAN BE QUITE SURE ( HAV+ EXPRESS$ Y\RSELF 9 ! MO/ COMPLETELY P]SONAL & VALID MANN]4  
  

,! TE*NIQUE ( DET\RNEM5T WAS LIKEWISE 9CORPORAT$ 9TO ! AL*EMY ( ,SURREALISM'S PICTORIALI/S1 & ?US R5D]$ 0OCCULT0 9/EAD ( BE+ POPUL>IZ$ 9 EV]Y =M1 AS BY RI<TS IT %\LD HAVE BE54 

,! PA9T]S CLIQUE 9 ,SURREALISM WAS MU* PRONE TO APOLITICISM 9 ! /RICT S5SE1 & TOGE!R ) ! NEO-LITT]ATEURS CON/ITUT$ ! RI<T-LEAN+ FRACTION ( ! MOVEM5T4 ,ASIDE FROM A H&FUL ( M$IOCRE CAMP FOLL[]S1 MO/ ( ! ,SURREALI/ PA9T]S 0SUCCE$$02 FEW AMONG !M DISPLAY$ ANY SCRUPLES AS TO H[ !IR SUCCESS WAS A*IEV$1 & MANY HAD NO HESITATION AB\T QUITT+ ! GR\P AS SOON AS !Y W]E LAUN*$ - OR AS SOON AS ! LACKEYS ( ! OLD WORLD TOSS$ !M A BONE4 

,9ASMU* AS ,SURREALISM DID 9DE$ 9H]IT FROM ,DADA ! PROJECT ( ! TRANSC5D5CE ( >T 7& EV5 IF IT DEALT ) ?IS 9H]ITANCE SOLELY ON AN AB/RACT PLANE71 IT IS TO TWO NON-,SURREALI/ PA9T]S1 ,GIORGIO DE ,*IRICO & ,PAUL ,KLEE1 ?AT CR$IT %\LD GO = CONVEY+ ! UNCONSCI\S MEMORY :I* MADE ! AGONIZ+ DECOR ( \R REIFICATION & ! RETURN TO ! S\RCES ( CREATIVITY 9TO ESS5TIAL ASPECTS ( ,SURREALISM'S MO/ IMPORTANT >TI/IC WORKS4 ,NO ONE BETT] ?AN DE ,*IRICO 7?\< HE SOON RETREAT$ 9TO S5ILITY LIKE ,RIMBAUD FLEE+ TO ,H>>7 HAS P]CEIV$ ! 9VASION ( ?+S1 ! PROLIF]ATION ( /UCCO1 ! SPREAD ( HUMAN ABS5CE1 ! DISAPPE>ANCE ( FACES1 & ! 9CREAS$ BURD5 ( ANXIETY BORNE BY ! *EAP GOODS & !ATRICAL PROPS ?AT CR[D >\ND US4 ,NO ONE BETT] ?AN ,KLEE1 ) HIS EV] VIGILANT 9TELLIG5CE1 HAS CAPTUR$ ! MOVEM5T ( CREATIVITY 9 ITS FULL FRE%NESS & SPONTANE\SNESS2 HIS WORK MAY WELL ONE DAY S]VE1 JU/ LIKE ,PE]T'S1 AS ONE ( ! F9E/ AV5UES OP5 TO FUTURE G5]ATIONS WI%+ TO UND]/& ! CULTURE ( ! PA/4 

,SURREALI/ PA9T+ PIT*$ ITS T5T BETWE5 ! TWO P9NACLES REPRES5T$ BY DE ,*IRICO & ,KLEE ON ! ONE H& & ! ,DADAI/ ABYSS ON ! O!R4 ,MAX ,]N/ DECK$ DE ,*IRICO'S ANG/ ) HIS *>ACT]I/IC M9]AL CONCRETIONS & LUXURIANT VEGETATION2 ,MIRO R$ID ,KLEE 9 A FAKE-*ILDI% & MORE SOPHI/ICAT$ MANN]2 & ,MAGRITTE1 ! PA9T] MO/ CONC]N$ ) ! IMAGE AS POETIC METAPHOR1 (F]$ ! BE/ RESPONSE TO ! IDEA ( A W9D[ OP5+ AT EV]Y 9/ANT ONTO A /RANGE EV]YDAYNESS & ITS OBJECTS - OBJECTS :I* EV]Y HUMAN DREAMS ( HUMANIZ+4 

,AMONG ! 0LITT]ATEURS 01 ,PICASSO1 A TIRELESS & T$I\S CREATOR ( GIMCRACK]Y :O EV5TUALLY 9DE$ 0HOOK$ US BY %E] QUANTITY01 /&S ELB[ TO ELB[ ) ! CANNY ,DALI1 :OSE WORK1 D$ICAT$ TO ! GREAT] GLORY ( ! MORONIC1 ! DELIQUESC5T & ! IMPOT5T1 RESONAT$ REM>KABLY WELL ) ! S(T5+-UP TE*NIQUES ( ! SOCIETY ( ! SPECTACLE1 & AS A COROLL>Y 5SUR$ ,DALI SUPPORT FROM ! MO/ HI<LY PLAC$ CULTURAL & M$IA FUNCTION>IES4 

,!RE IS A S5SE 9 :I* ,DALI EPITOMIZES BO? ! FAILURE & ! SUCCESS ( ,SURREALISM3 ON ! ONE H& ! D]AIL+ ( CREATIVITY AS A REVOLUTION>Y =CE1 ON ! O!R A SEAMLESS 9TEGRATION 9TO ! OLD WORLD4 ,NEV] OPT+ FIRMLY EI!R = A POETRY MADE BY ALL OR = ! V5ALITY ( ! RUL+ SY/EM1 ,SURREALISM TOOK SOME?+ ( BO? & PRODUC$ AN IMPOV]I%$ CULTURAL HODGEPODGE4 ,! MOVEM5T'S 5TIRE DISC\RSE IS ONE LONG SELF-CONSOLATION :OSE GR[+ PA?OS1 ACCOMPANI$ BY AN EV] MORE PRESS+ APPEAL TO ! MI/S ( MAGIC1 BECOMES ONLY TOO COMPREH5SIBLE :5 WE HE> ,BRETON CONDEMN+ ! DICTATOR%IP ( ! RATIONAL & CALL+ 9/EAD = 0MA*9ES ( MO/ +5I\S DESIGN DE/9$ = NO P>TICUL> USE0 7A CALL :I* ,T+UELY1 = ONE1 W\LD ANSW]1 CON/RUCT+ JU/ SU* MA*9ES )\T1 H[EV]1 REMOTELY AFFECT+ ! EV] TI<T] GRIP ( ! RATIONALITY ( ?+S72 OR1 AGA91 :5 WE F9D JEAN ,S*U/]1 9 #a#i#f#i1 QUITE WILL+ TO WRITE ?AT 0,ALL IMAGES >E DANG]\S1 BECAUSE !Y FACILITATE ! CIRCULATION ( IDEAS40 

,AS = ,SURREALI/ FILMS1 !RE IS NOT MU* TO BE SAID1 SAVE P]HAPS ?AT ! MOVEM5T'S TWO MA/]PIECES1 ,UN ,*I5 &AL\ & ,L',AGE D'OR1 HAD A PR(\ND 9FLU5CE ON ! C9EMA 7,DREAMS ,?AT ,MONEY ,CAN ,BUY1 BY ,MAN ,RAY1 ,HANS ,RI*T] & ,MAX ,]N/1 IS A FILM ?AT DES]VES TO BE BETT] KN[N 9 ,FRANCE74 ,L',AGE D'OR EMBODI$ A VIOL5CE1 ALBEIT ONE CLOAK$ 9 ES!TICISM1 ?AT SEEM$ AT ! TIME TO PRESAGE A LAT] DEVELOPM5T 9 :I* ! ,SURREALI/ FILM1 BY TAK+ ITS DI/ANCE FROM ! PICTORIAL P]SPECTIVE1 W\LD A*IEVE =MIDABLE AGITATIONAL & DEMY/IFICATORY P[]4 ,BUT EV]YONE KN[S :AT BECAME ( ,DALI2 & ,BUNUEL BECAME :AT ONE MI<T HAVE FE>$ = ANYONE :O TAKES PRIDE 9 BE+ CALL$ A C9EA/E4 

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