What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust.

Gala Gradiva - 'tista, ki hodi spredaj, 'brezmadežna intuicija' - je imela spet prav. Danes lahko rećem, da izmed vseh mojih prepričanj le dveh ne zmorem razložiti s svojo voljo do moči: eno je znova najdena vera leta 1949, drugo pa, da bo imela Gala glede moje prihodnosti vedno prav.

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Surrealism in its early period offered specific methods to bring images closer to concrete irrationality. These methods, based on the exclusive passive and receptive role of the 'surrealist subject', are bankrupt and are giving way to new surrealist methods for the systematic exploration of the irrational.. .The new delirious images of concrete irrationality suggest their physical, real 'possibility'; they go beyond the domain of psycho-analysable fantasies and 'virtual' representations.. .Against the dream memory and impossible, virtual images of purely receptive states that one can only recount, the physical facts of 'objective' irrationality with which one can already hurt oneself.

Shit scared them [the Surrealists]. Shit and arseholes. Yet, what was more human and more needful of transcending! From that moment, I know I would keep on obsessing them with what they most dreaded. And when I invented Surrealist objects, I had the deep inner fulfillment of knowing, while the [Surrealist] group went into ecstasies over their operation, that these objects very exactly reproduced the contradictions of a rectal sphincter at work, so that what they were thus admiring was their own fear.

Iskustvo me je naučilo da se čovek, svaki put kada nešto želi da pobedi i u tome ne uspe, razboli. Oni koji gospodare situacijom nisu nikada bolesni, čak i ako je njihov organizam u stvari, svakim danom sve slabiji.

Paranoiac-critical activity is an organizing and productive force of objective chance. Paranoiac-critical activity no longer considers surrealist phenomena and images by themselves but, on the contrary, as a coherent whole of systematic and significant relations.

Ever since the French revolution there has developed a vicious, cretinizing tendency to consider a genius (apart from his work) as a human being more or less the same in every sense as other ordinary mortals. This is wrong. And if this is wrong for me, the genius of the greatest spiritual order or our day, a true modern genius, it is even more wrong when applied to those who incarnated the almost divine genius of the Renaissance, such as Raphael.

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