Everything tends to make us believe that there exists a certain point of the mind at which life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease to be perceived as contradictions. Now, search as one may one will never find any other motivating force in the activities of the Surrealists than the hope of finding and fixing this point. From this it becomes obvious how absurd it would be to define Surrealism solely as constructive or destructive: the point to which we are referring is a fortiori that point where construction and destruction can no longer be brandished one against the other. It is also clear that Surrealism is not interested in giving very serious consideration to anything that happens outside of itself, under the guise of art, or even anti-art, of philosophy or anti-philosophy — in short, at anything not aimed at the annihilation of the being into a diamond, all blind and interior, which is no more the soul of ice than that of fire.
. . . The simplest Surrealist act consists of dashing down the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd. Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in that crowd, with his belly at barrel level . . .
. . . let us not lose sight of the fact that the idea of surrealism aims quite simply at the total recovery of our psychic force by a means which is nothing other than the dizzying descent into ourselves, the systematic illumination of hidden places and the progressive darkening of other places, the perpetual excursion into the midst of forbidden territory . . .
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