"All art is collaboration" J M Synge  "Film is a collaborative art form: bend over." David Mamet

Yes, sorealism. That isn't a misprunt.

What is sorealism? Good question. Want to help us to answer that? From Marcos' first inspiration three years ago, the concept of sorealism has grown in our minds, and become sharper and more attuned. We use it all the time to describe events and styles which are not predictable, non generic or typical, and yet somehow tell us about the world, about human psychology, in a fabulous way that avoids all fables.

Unlike the surreal, the SOreal is focused on both the outer and the inner worlds. There's absurdity there, to be sure, in abundance. But while the absurd has a cold bleak humour, he soreal is capable of warmth as well. Come and join our growing movement at sorealism.com [sorealism.com] and help write the manifesto, shape the ideas. To begin with, add comments and ideas for our SOREAL WIKIFESTO.  

 If you're in need of some inspiration, why not check out the original surrealist manifestos over the flip

Declaration of January 1925

 With regard to a false interpretation of our enterprise, stupidly circulated among the public, We declare as follows to the entire braying literary, dramatic, philosophical, exegetical and even theological body of contemporary criticism:

1. We have nothing to do with literature; But we are quite capable, when necessary, of making use of it like anyone else,
2. Surrealism is not a new means or expression, or an easier one, nor even a metaphysic of poetry. It is a means of total liberation of the mind and of all that resembles it.
3. We are determined to make a Revolution.
4. We have joined the word surrealism to the word revolution solely to show the disinterested, detached, and even entirely desperate character of this revolution.
5. We make no claim to change the mores of mankind, but we intend to show the fragility of thought, and on what shifting foundations, what caverns we have built our trembling houses.
6. We hurl this formal warning to Society; Beware of your deviations and faux-pas, we shall not miss a single one.
7. At each turn of its thought, Society will find us waiting.
8. We are specialists in Revolt. There is no means of action which we are not capable, when necessary, of employing.
9. We say in particular to the Western world: surrealism exists. And what is this new ism that is fastened to us? Surrealism is not a poetic form. It is a cry of the mind turning back on itself, and it is determined to break apart its fetters, even if it must be by material hammers!

Bureaus de Recherches Surréalistes,
15, Rue de Grenelle

Signed: Louis Aragon, Antonin Artaud, Jacques Baron, Joë Bousquet, J.-A. Boiffard, André Breton, Jean Carrive, René Crevel, Robert Desnos, Paul Élaurd, Max Ernst, et al.

Breton's 1929 Surrealist Manifesto

 Breton's 1929 Surrealist Manifesto states three central conditions:

1.      Whether we like it or not, there is enough there to satisfy several demands of the mind. All these images seem to attest to the fact that the mind is ripe for something more than the benign joys it allows itself in general. This is the only way it has of turning to its own advantage the ideal quantity of events with which it is entrusted. These images show it the extent of its ordinary dissipation and the drawbacks that it offers for it. In the final analysis , it is not such a bad thing for these images to upset the mind, for to upset the mind is to put it in the wrong. . . . But the mind which relishes them draws therefrom the conviction that it is on the right track; on its own, the mind is incapable of finding itself guilty of cavil; it has nothing to fear, since, moreover, it attempts to embrace everything.

2.      The mind which plunges into Surrealism relives with glowing excitement the best part of its childhood. For such a mind, it is similar to the certainty with which a person who is drowning reviews once more, in the space of less than a second, all the insurmountable moments of his life. . . . From childhood memories, and from a few others, there emanates a sentiment of being unintegrated, and then later of having gone astray, which I hold to be the most fertile that exists. It is perhaps childhood that comes closest to one's "real life". . . .

3.      I do not believe in the establishment of a conventional Surrealist pattern any time in the near future . . . Everything is valid when it comes to obtaining the desired suddenness from certain associations.

The Futurist Manifesto: 1909

1. We want to sing the love of danger, the habit of energy and rashness.

2. The essential elements of our poetry will be courage, audacity and revolt.

3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.

4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.

6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.

7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.

8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.

9. We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.

10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.