Dadaism and surrealism … represented the intoxication of total license, the intoxication in which the mind wallows when it has made a clean sweep of value and surrendered to the immediate. The good is the pole towards which the human spirit is necessarily oriented, not only in action but in every effort, including the effort of pure intelligence. The surrealists have set up non-oriented thought as a model; they have chosen the total absence of value as their supreme value. Men have always been intoxicated by license, which is why, throughout history, towns have been sacked. But there has not always been a literary equivalent for the sacking of towns. Surrealism is such an equivalent.

Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.

With Dada I.. ..have in common a certain mistrust toward power. We don't like authority, we don't like power, To me art is a form of manifest revolt, total and complete. It's a political attitude which doesn't need to found a political party. It's not a matter of taking power; when you are against it, you can't take it. We're against all forms of force which aggregate and crystallize an authority that oppresses people. Obviously this is not a characteristic of my art alone - it's much more general, a basic political attitude. It's a clear intention, more necessary today than ever, to oppose all forms of force emanating from a managing, centralizing political power.

I find myself lined up with the surrealists because Surrealism means freedom for the creative side of man, for surprise & discovery & life, for an opening out & widening of mans consciousness, for changing life & against conserving worn out traditions, for variety not a uniformity, for opening not closing.

The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism.. .In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.

The difference between me and the surrealists is that I am a surrealist.

..more significant, perhaps, was the fact that during the war [1940-1945] many of the Surrealists came [from Europe] to America and we were able to see them as just other human beings like ourselves and not as mythical characters who had superhuman capacities and talents. I think that there was a feeling after meeting them [a.o. Marcel Duchamp, Andre Masson, André Breton, Max Ernst ] personally that, well, if these men can have these great achievements and talents, there is hope for us [younger American artists]

Surrealism was a genuine addition to the repertoire of avant-garde arts, its novelty attested by the ability to produce shock, incomprehension, or what amounted to the same thing, a sometimes, embarrassed laughter, even among the older avant-garde.

America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?

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.

I categorically refused to consider the surrealists as just another literary and artistic group. I believed they were capable of liberating man from the tyranny of the 'practical, rational world'. I was going to become the Nietzsche of the irrational. I, the obsessed rationalist, was the only one who knew what I wanted: I was not going to submit to irrationality for its own sake, to the narcissist and passive irrationality others practiced. I would do completely the opposite. I would fight for the 'conquest of the irrational'. In the meantime my friends would let themselves be overwhelmed by the irrational, succumbing, like so many others, Nietzsche included, to that romantic weakness.

The twentieth-century Surrealists operated in a territory without clear moral order: a dreamship adrift in the ocean of the unconscious. … The visions of the Surrealists help to define a dream realm where any bizarre juxtaposition is possible. A profound truth resides in such strangeness, for these visions can shock us into deepening our acknowledgement and appreciation of the Great Mystery.

Surrealism had a great effect on me because then I realised that the imagery in my mind wasn't insanity. Surrealism to me is reality.

Surrealism in its first period offered specific methods for approaching the images of concrete irrationality. These methods, based on the exclusively passive and receptive role of the surrealist subject, are now in liquidation and giving place to new surrealist methods of systematic exploration of the irrational.