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    Brotchie Alastair Gooding Mel Eds A Book of Surrealist Games 1995 PDF

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    “le may puzzle the more pompous as co why chis body of ‘men and women, these ardent revolucionaries uf the spirie spene so much time engaged in occupations usually con Sidered more suitable tos bored chilelren on wee afer: noons The answer 8 hye Surtcalise play is more bike @ Kind of provocative magic, that at breaks the chread of discursive though and, above all, helps © confiem the primary Surrealist belief in whut chey called objective Chance or che certaincy of hazurd. ‘These games will prove € you chat, aot only as Lauercamone justified as inoetty; one covld add ricler: Surrealism too ean be made by all” “London Times Literary Supplement ‘This delightful collection allovrs everyone to enjoy firsthand the provocative methods used by the artists and poets of the Surrealist school to break through conventional thought and behavior to a deeper truth. Invented and played by such artists as André Breton, René Magritte, and Max Ernst, these games stil produce results ranging from ‘the hilarious to the mysterious and profound, 401995 stambhalePubicatlon, ne ¢ SHAMBHALA Boston & London JENNIFER BATCHELOR JOUIAN ROTIENSTEIN {849 400ISHEDOUIN, VINCENT HOUNOU [ROGER CARDINAL AURELIEN DAUGUEE, BKKL AND GUY JEAN MICHEL GOUTIER (MMOND, EDOUARD acEL MARES JAGR, ALENT EYRIARD,JOUNIXLE INSTONY MEIVILLE, RENE PASSERON, MICHAEL Sch is cA SERA RACESTHLA AR INCLUDING THE LITTLE SURREALIST DICTIONARY COMPILED AND EDITED RY ALASTAIR BROTCI EDITED BY MEL GOODING. ¢ SHAMBHALA REDSTONE EDITIONS BOSTON & LONDON 1995 SURREALIST SHAMBHALA PUBLICATIONS, ING, HORTICULTURAL HALL 30 MASSACHUSETTS AVENUE BOSTON, MASSACHUSETTS 02115, ITTP/WWW SHAMBHALA.COM © 19) By REDSTONE PRESS, LONDON ‘coPYiUGiT HOLDERS FOR FERMISSON TO REPRODUCE MATERIAL ALAS PRESS, As DE BENJAMIN PERE, ‘nate JOSE CORT, EDEIONS DU SELL MIS D. BURG, [EnGPECTVE CAVALIER, ANDRE BRETON, 17, TOLJOURS LS SURREALSNE, ANDRE BRETON, 1986; AND MUTS SAS UENO, DIGI LIM, 95; AND TO SPADEMIADIGE, ARS. {SD DAC, LONDON, FOR WORKS BY MAX ERNST [AND RENE MAGRIFTE ‘ua RERODCCED I ANY FORM OR BY ANY MEANS, ‘@rrs EDITION Is PONTE ON ACID REE PAPER THAT MEETS THE “AMERICAN NATIONAL STANDARDS INSTITUTE 2348 STANDARD. A BOOK OF SURREALIST GAMES CONTENTS SURREALIST GAMES, MEL GOODING. 4, LANGUAGE GAMES © AUTOMATISM rakes (¢ CHAIN GAMES ‘The Faguiste Corpse “The Game of Defations The Game of Coons “The Game of slogsns “The Game of Opposites Echo Poems — = “The Game of One nto Another “The Game of Variants — “Transition Poems = “The Game of eo Pale Sores ‘¢ OTHER WAYS OF MAKING TEXTS ‘To Makea Dadaist Poem Found Poem a Breton Poem = “ToMake a Sureais Story “The Method of Raymond Roussel ee Directions for Use 2. VISUAL TECHNIQUES. © MANIPULATING CHANCE. Automatic Deswing — mage Frowage Decalcomanis| = “Torn Paper Collage aa Some Orie Automatic Techniques RE-ASSEMBLING REALITY. Surrealist Collage Photomontage fnimage 7 “Text Nontage - “The Paranoic Critical Method ‘The Exquiste Compe Potatoand Paper Cuts 3. RE-INVENTING THE WORLD. INQUIRIES ‘Thought for the Day —_ Would You Open the Door? Scoreboard. of Scholarly Notation The Truth Game 1# PROVOCATIONS Religion — Priguette # OBJECTS Some Categories of Srrealit Object Objects o Function Sylically — Experiments with Objects — ‘To Desermioe the lrational Caractere of Objects Certain Possibitcs Relating othe Irational Embellishment of City [Experiment Relating to Objective Perception Automate Seuipure (al Description of Objects Perceived by Touch [Examination of Certain Actions SURREALIST RE INVENTIONS ‘The Maseles pack cans “The New Game of Lao Proverb for Toy New Superstitions New Myahs : “The Next Game Surrealist Biography — |. DOCUMENTS: Sources, aotes, explanatory texts Key to Initials Arevitons ‘Omitted Games Further Reading ia Engh SURREALIST GAMES ‘Poetry should be made by alt (Lautséamont) “The Surrealist initiated the most radically berating critique of reason ‘of the century. Their brilliant investigations were conducted through fart and polemic, manifesto and demonstration, love and politics. But ‘most specially and remarkably twas through games, play, techniques. fof surprise and methodologies of the fantastic that they subverted scademie modes of enquiry, and undermined the complacent certain- ties of the reasonable and respectable. Playful procedures and systema tie straugems provided keys to unlock the door to the unconscious and to release the visual and verbal poetry of collective ereativity ‘These methods and experiments were at the centre of the Suerelist provocation of bourgeois normalities. They borrowed children's [pames, invented techniques t exploit the unpredictable outcomes of Chance and accident, and discovered new and creative uses for sutomatisn, To faeilitte thelr own researches into the secrets of the hhuman heart and mind they appropriated, with magisterial insouciance, procedures of enquiry from the academic disciplines of psychology, sociology, anthrepology and philosophy. They arbitrarily tranformed innocent objects into magical images, and reinstated the fetish in the ceremonies of at. ‘Surrealist games and procedures are intended (o free words and images from the constraints of rational and discursive order, substiut Jing chance and indeterminacy for premeditation and deliberation, Sar realism takes the logic and continuity of the dream to have a truly _given significance, equalled only by the revelatory power of the unex pected analogy, the marvellous conjunction: ... maily love ever’ {bing that adventurously breaks the thread of discursive thought and ‘suddenly ignites a flare illuminating a life of relations fecund in ‘another way wrote Breton. Such ‘chance encounters’ transgress eductive laws and transcend the logical systems of classical “rationalism, Such relations — the spontaneous, extra-lucid, insolent rapport «between one thing and another... which common sense bestates fo confront — may be discovered in dreams, inthe mental play of poe tic revere, in the induced trance and the systematic disordering ofthe ‘senses famously presribed by Rimbaud, and in the practice of automa luc techniques. To these solitary exercises of the imagination, signi: ntl fred in each case from the composing tues of logical discourse, ‘the Surrealists added the absorbing and ordered procedures of creative collaboration and the game. These activities they valued especially for their emphatic repudiation of individualistic artistic value, and their potential for collectively achieved revelation, They have those characteristics of games defined by Roger Calls, the French critic associated for a ime with the Surreaiss: they are freely entered into; separated from the run of ordinary “serious ie, they are circumscribed by their own time and space; they are uncer fain, theis outcomes not predetermined; they re economically unpro- Uuctive and not concerned with material interests, they are governed Dy rules; they are associated with imaginative projection and make- Delieve. In elaborating the famous definition provided by Huizinga in HOMO LUDENS thus far, Caillois might have added that they are ‘entered into for pleasure, and may bring unpremeditated insights. In ‘any of these aspects they have much in common with art. In one particulae and important respect Surrealist play is more like a ‘nd of provocative magic. Tis sin its irepressible propensity to the Iansformation of objects, bchaviout and ideas. In this aspect of is [proceedings Surrealism makes manifest its underlying political pro: Jgramme, its revolutionary intent. The Rast Manifesto ends: It [Sur ‘realism leads 10 the permanent destruction of all other psychic ‘mechanisms and to Hs substitution for them in the solution of the ‘principal problems of life Sweeping and vague as itis, i cannot be ‘Gouibed that this grand ambation Was serious. Subsequent publications and manifestos developed and elaborated a complex of insights relat ing the life ofthe individual psyche tothe dynamics of society and his tory, some powerfully original, some simplistic, some absurdly fextreme or utopian, This is mt the accasion fora history of Surrealist, political interventions and provocations, aor forthe re-telling of the ‘complex story of its own political travail, the bitter arguments, con {rontations, expulsions and reconciliations, Bur there iso other move ‘ment in the history ofthis troubled century, surely, which has linked ‘ideas of revolutionary political change so closely to the operations of ‘magical transformation i at an poetry, andl sought to subvert familie soci relations and received ideas in every sphere by subjecting them to rigorously witty and fantastic interrogations Here collected for the first time is a compendium of Surrealist ‘eames, strategies and procedures. Its for those who wish to employ for themselves the techniques of Surrealist enquiry and discovery sets out the rules and directions for playing the games. There has been ‘nothing lke it: much ofthe material gathered here has been previously documented only ia obscure journals, or in magizines long since ‘defunct and dificult to come by. tis presented in the sprit of ls sub> ject, £0 ofr the means to full those alms (among others) of Sur realism described by is early historian, Julien Levy To explott the mechanisms of inspiration. To tntensify experience We have lived for (00 long ia the dreary region of bomo ‘economics, our lives shadowed by principles of velFinterest, uit Flan ‘necessities’, instrumental moraltes. But we are permitted (0 hope; to revive those great and optimistic words of Breton: Perhaps the imagination ton the verge of recovering is rights. We must wel come, #5 did the Surrealist, the re-entry ito moder life of bomo Thudens, the imaginative man at play, the ineutive visionary. LANGUAGE GAMES ¥ ‘He Realistic, Demand the Impossible!” ——AUTOMATISM "TIE PRIMARY METHOD OF SUKREALISM. AS A PROCEDURE IT FORMS PART OF MANY OF THE GAMES AND ACTIVITIES DESCRIBED IN THIS BOOK. SOLITARY AND COLLECTIVE AUTOMATIC TECHNIQUES, AND THE UXPLOITATION OF CHANCE ARE CENTRAL TO MANY SURREALIST (GANIS. THE ORIGINAL SURREALISTS SOON CAME TO REALIZE THE LIMITATIONS OF “PURE AUTOMA TIC TECHNIQUES [MAY DE USED AS A BEGINNIN ACTIVITY, TO STIMULATE AND ENCOURAG! [ITY OF UTTERANCE OR IMAGE-MAKING. = AUTOMATIC WRITING Automatic writing isthe most direct of Surrealist tecbniques Sitata table wit pen and paper, put yourself in a receptive’ ame Lf min, ana start writing. Continue writing without thinking about What is appearing beneath your pen. Write as fast as you can If for Home reason. the flow stops leave a space and tmmediately begin Iya 2p ertting down the prs letter ofthe next sentence Choose this Inter at random before you begin, for instance t, and alas begin Wis new sentence with at Altbough inthe purest version of automatism nothing is ‘corrected Dre-writien, the unexpected matertal produced by this metbod can Die used as the basis for further composition. What ts crucial isthe Wnpremedtitated frecasoctation that ereates the baste text. Apart Pion the passage by Breton and Soupaut, the examples bere bare Dyer re-worked 10 a greater or lesser estent. They ave been chosen t0 Henonstrate a range of automatic writing from the humour of Péret To the magical stories of Desnos to the more ageressive stance of the Black poet Aime Cesaire The fist example is from THE MAGNETIC HIWLDS, the first Surrealist book of purely automatic ext HONEYMOON A what are mutual atractions duc? There arc some jealousies more Touching than others. 1 willingly wander in such bailing darkness 3s That of the rivalry hetween a woman and a hook. The fin Ste forehead isnot the barrel ofarevolver.Lelieve that although we Paid heed to each other's thinking, the automatic ‘OF nothing” that i ‘ue proudest denial did not once need to Be uttered during the whole Werkding spre. Lower than the stars there is nothing to sare at. No Matter what tran you may be travelling in, itis dangerous to lean out of The carriage-door window. The stations were plainly distributed about Aay. The sea that to the human eye is never so beaut 38 the sky did Hot leave us. In the depths of our eyes disappeared neat reckonings Dearing on the future like those of prison walls » FROM THE HONOURABLE MINISTER OF DELIC: INSTRUMENTS TO MISS LANTERN My dear fiend, Believe me that was sincerely aficted when I learned ofthe fos: ‘you have sufere:a steam powered urinal isnot easily rephiced. Yours, ‘which had among other precious peculiarities, the ability to sing the Marseiliaise when in use, was certainly worthy of the esteem yo ‘pestowed upon it So, itis easy for me to understand the despa that ‘your sister felt when it became evident that the urinal was definitively Tost Nevertheless, from that to suicide is quite a step! And, although | nove that many fond memories were asociated with its possession, cannot but condemn sich a fatal resolve, But this censure does not [prevent me from profoundly deploring her sid end, A suicide salways for those close to the deceased, tragic and agonising event; but when itis accomplished by means of jam, one cannot be less than terrified. Never would Ihave believed that your sister could resolve to die ‘embedded ina vat of jam! And yet, ll those unlucky enough to befriend thee knew of her almost morbid attrition to jam, even in jars. Do you remember how she could not contain berselt when she saw it with Uesserts, how she had to caress it even before serving herself? Numer fous incidents of this nature should have aroused our suspicion; but, bind that we were, we never understood their profound significance. fer love of jam was inthe end bat the love of deat by jam; andi took the completion of her fatal gesture for us to understand ital, Nonethe- fess, shiver atthe thought of how her last moments must have been. Please believe that I share your pain, and approve of your decision 0 ‘banish jam from your lif. This is healthy reaction and I can only com: ‘mend it from the bottom of my heart. It demonstrates both your deter: mnination, and your courage in overcoming pain, aswell as your instinct for self preservation. 1am truly glad that without jam, you do not indeed, risk letting yourself be compelled to follow the example of your sister Northen town thre was an mssog barometer o which toms il sun and snow would come for tc instructions, One ay the dina can waves thse that athe desert lan andthe Ones ich washerwomen do thelr lndry, wanted to sce mysterious wo ruled over equinone ad shipwrecks, Tey came ring attack the town For scien dys and seven igs the inbbants themselves wih if snd cannon sna wha they called the ibararan. They were overcome andthe eighth days obeint illumined their compres, presided over ther decompoaition and the majestically pace waves thong to bring ther tribute of 31 the tant barometer which, amconccne by atch homage, dered how far away-—and saved by the foams sacrlice—a blonde thd a prate cad in ple Bue dan were embrac Ind actos the seated which had en deserted by is water at very moment that the S.S. MARVEL, on which they were traveling, down, ROBERT DESNOS BENJAMIN PERET NOON KNIVES |When Niggers make the Revolution they start by uprooting gigantic ‘ces ftom the Champ de Mars they hurl them a¢ the skys face like howling i the warmest ae they take alm at pure streams of cool birds and fire blanks at them. They fire blanks? Yesindeca because this white ines i exactly the controversial colour ofthe blackness they carry in their hearts and which never ceases to conspire in the tiny to- perfect hexagons of their pores, The white gunshots then plant in the sky ‘eautfal whores who are not unrelated othe cos which the Sisters of Saint Joseph de Cluny scrub beneath the wine and hosts of noon amid the sola jubilation of topical soap, ‘Noon? Yes Noon that disperses inthe sky the subservient cotton wool that muifes my words and traps my’ screams. Noon? Yes Noon almond ‘fright and tongue berween my pepper fangs Noon? Yes Noon which ‘arries across its shoulders ofan outeast an glazier all the sensitivity for hatred and ruins that matters. Noon? Of course Noon whieh Contes ses with my lips the moment of blasphemy and a the cathedral limits of Taziness puts down on every line of every hand the trans that repen tence held in reserve in the strongboxes of righ time. Noon? Yes sump tuous Noon that absents me from this world Sweet Lord! pllessy I spit Into the face ofthe starvers, into the fice ofrevilers, nt ce of the embalmers and the eviscerators. les Lord! sweetly I whistle; whistle sweetly ely like the glass of catastrophe fey like the greatcoat of bird feathers that vengeance wears aft fly like the greeting of tiny waves surprised in theie petticoats in {chambers of the manchineel ly ikea iver of mandibles and the parr’ eyelid the cudavers of croaked dogs Irom which hummingbirds By out, the day for ou fraternal feet for our hands without rancour for our breathing without misteust for ous faces to be shameless Niggers go searching inthe dust—with jewels in theieears sing 4s they can-—for the shards which mica is made from which fate made feom 20d the lamellated slate fom which sorcerers ict the intimate ferocity of the stars, ste roman meas oan’ and white AIME CESAIRE 2» a SIMULATION A modification of automatic writing isthe technique of sivulation Instead of assuming a passive or veceptiv’ frame of mind one can swith practice assume an active mental state notone's oun. Given this ‘mental set—for instance, that of a delirious mental ‘iiness'—one ‘attempts to write from within it ‘Toe outcomes of simulation are not always solemn. ATTEMPTED SIMULATION OF MENTAL DEBILITY ‘Among all'men, at the age of twenty four, realised that crise 0 the postion ofa respected man one need have no more consciousness of ‘one’s own value than I had, | maintained a long thme ago that virtue is not appreciated, but that my father was right when he wanted me 10 raise myself high above his contemporaries utterly fll to see why they should give the Legion of Honour to foreign personalities passing through France. [feel that this decoration should be reserved for offic crs who have dane deeds of valour and mining engincers who graduate fom the Polytechnique. In fact the grand master of the Order of Chivalry mast be short of common sense ifhe recognises merit where there isnone Ofal distinctions, that of oficer ithe most Mattering But ‘one cannot do without diploma. My father gave his five children, boys land girls, the best education and a good upbringing. And not so that they would accept barely-temunerated job in an administation Which does not pay. And the peoofis that when someone is capable, like other, who has appeared on several occasions in the papers, bullseye against bachelors of arts and bachelors of science, {you ean say you have someone to take after, But sufficient unto the day, fs the proverb goes, In the inside pocket of my summer jacket {have the plans of a submarine that | wish to offer to the Ministry of Defenee. The captain's Cabin is drawn in ged ink and the tompedo cannons are the latest hye fulic model, with artesian control. Cycling champs donot show greater energy than me. I make no bones about my fim conviction that this invention must be a success. Everyone is a supporter of Liberty, Equality and Fraternity, and, may Tadd, mutual Solidarity. But that is a0 reason not to defend ourselves against attack ffom the sea. I have ‘written a seee’ letter on vellum paper tothe President ofthe Republic, requesting to see him. The Mediterranean Squadron i right now ers: {ng off Constantin, but the admiral i giving too much leave. However hhumbly a soldier knees before his CO,, orders are orders. Discipline is best when the leader is just, but fem, Stipes are not awardedat random land Maréchal Foch thoroughly deserved to be Maréchal Foch, Free thinking made the mistake of not devoting ise to the service of France Talo (eel strongly that another name shouldbe found forthe Marine Infantry. have also approached the League or the Rights of Man in this regard, The name isunworthy oftheir sailor's collars. Besides, its upto them to make themselves respected. The Greece of Lacedaimon 38 ‘made of sterner stuf. SU, man believes in God! and the toughest nuts have been known to ask for extreme unction, which isa step in the right direction, ANDRE BRETON AND PAUL ELUARD. CHAIN GAMES “TSE ARE GAMES TO DE PLAYED COLLECTIVELY, AND CAN BEDLAYED [BY ANYONE. THE STRANGE CONIUNCTIONS, HUMOKOLS OR POETIC "THAT THEY GENERATE GIVE THEM THEIR POINT. NO ONES EXCLUDED FROM THE QUEST FOR REVELATION. "TE FIRST FIVE GAMES USE THE TECHNIQUE OF PAPER FOLDING TO. HIDE PREVIOUS PLAYERS’ CONTRIBUTIONS, AND ALL HAVE. THE EXQUISITE CORPSE yra minima of three players ‘The players sit around a table and each writes on a sheet of paper definite or indefinite article and an adjective, making sure their urs cannot see them. The sheets are folded so as to conceal the ‘and passed round to the nex player Each player then writes a nun, conceals it, and the process is repeated with a verb, another nite or indefinite artcte and adjective, and finally another noun. ‘paper ts unfolded and the sentences read out. Players may agree tall changes lo ensure grammatical consistency ‘This ts the simplest version ofthe game, more complicated sentence tures can be agreed beforehand. The game acquired its name from the first sentence obtained inthis ye exquisite corpse shall drink the new wine ber examples: wounded! women distur the guillotine with blond hate 10 sa lovely bitch: lazy asa dormouse and gloved in glass 0 a8 40 have to do a thing, she strings pearls t pay the piper avenge topaz shall devour with kisses the paralytic of Rome ye Name coloured breast surpasses by one step, one finger, ome xh, the melodious breasts 1 endless sex sleeps withthe oxthodox tongue. 2s DEFINITIONS OR QUESTION AND ANSWER For two or more players The procedure is similar to that of the previous game A question is ‘written down, the paper folded to conceal tt rom the next player sd The paper is unfotded to reveal the result Remarkable facts emerge What is equality? Itis.a hierarchy like any other, ‘What is reason? A cloud eaten by the moon. ‘What is suicide? Several deafening chimes. ‘What is physical love? Half of pleasure. Why go on living? Because at prison gates only the keys sing. What is absence? Calm, limpid water, a moving mirror. What is military service? ‘The noise of a pair of boots tumbling down a staircase. What is day? A.woman bathing nude at nightfall, ‘hat is a torrent of blood? Shut up! Delete that abominable question. CONDITIONALS For two or more players The same procedure as before, but inthis case the first player must terite a bypotbetical sentence beginning with If or When, then con- cea it The second player trites a sentence in the conditional or future tense there were no guillotine ‘Wasps would take off their corsets. When children strike their fathers All young people will have white hair. If octopi wore bracelets Ships would be towed by flies. I your shadow's shadow visited 2 hall of mierors atilthenext issue. ‘The sequel would be postponed indefinitely If mercury san ull it was out of breath Believe me, there'd be trouble. SYLLOGISMS | For three players {sing the same procedure asthe preceding games the three players construct a syllogism. The frst player rites dou the firs premise proposition beginning with ‘All, then conceals tt by folding the Paper. The second player writes down the second premise and conceals it The tind player writes the conclusion, beginning with ‘Therefore: The syllogism is then read out All aristocrats look with terror a the seal ‘There's nothing at all on the deserts ari palm. “Therefore the falling salt is a handkerchict. OPPOSITES For a minimum number of three players ‘The first player writes a sentence, a question oF a statement, atthe bead of a sheet of paper ana passes tt tothe next player This player “rites the absolute opposite of this sentence, phrase by phrase, cording to any idea of ‘opposite. He then folds the sheet to cover Cnty the first sentence. This has the effect of transforming the nega mn inion affirmation, which the third player must, in turn, negate sfore passing on the sheet, this player also folds i but onty sos to ver the previous sentence Ths process may continue as long as the yers desire, or the paper allows. When my mochce swigs champagne My father’s corpse gets drunk on chiant ‘Our mothers infants dry up tearessly ‘The moribund waters my fatherland, An infant dessicites our universe ‘An old corpse waters thet afterlife, ‘Two infants absorb what precedes death, 2» ECHO POEMS 7 ONE INTO ANOTHER For one, two, or more players The aim isto write « poo whose two halves, lald out in two ‘columns, echo one another. The echo” may be achieved in various tuxys: by the phonetic correspondences of riyme or balf rye. by ‘puns, by rearranging spllabtes or by methods which do not depend in ‘any way upon the phonetic propertiesof the words. One might us, for ‘example, the literal or free-associating ‘opposites’ of the previous game, asin the poem below Write the frst sentence inthe left-band column. The last part ofthis sentence is then transformed into the fist part of the sentence in the right-hand column (in the example, ‘the migrant tangles’ become ‘the circular suggestion’) The second sentence s then completed low ever ome chooses, and this part generates the frst a of the second sentence in the lefcband column (fickle fleeces’ become faithful Plumage’ etc} and s0 on. The poem's ttl is the echo" of the final phrase. me ates this pre ttt ‘ais treathimpened upon he tigant ingen The circularsugestion hiberates within the eke Neeces tbat quiver And he courts ek eet the tonsure of granite, sks atavour ofthe Astor tit plumage Wsicedupby thetake ott ‘fw capt ep inp ‘Questing eapdoor spiders Tecan sexurchins pardon Litettom soll compact ithe ny oversee glances ADHELIEN DaLuET For a minimum of three players, altbough a larger number is - preferable ‘One player witbdraues from the room, and chooses for bimself an ‘object (or a person, an idea, etc.) While be fs absent the rest of the (players also choose an object. When the first player returns be fs told what object they bave chosen. He must now describe bis oun object terms of the properties of the object chosen by the otbers. making the comparison more and more obvious as be proceeds, until they are ‘able to guess tts identity The frst player sbould begin with a sentence such as ‘Tam an Conjeci) ‘Lama very beautiful male BREAST, particularly long and serpentine. ‘The woman bearing it agrees to display it only on certain nights, From fis innumerable nipples spurts 2 luminous mille Few people, poets excepted, are able o appreciate its curve. BeNTAMIN Pee ‘Lam a CHRISTMAS TREE seen several days after the festivities, My top Is triangular like all christmas trees Like them I hold some surprises in store for children, but also continue to affect a cereain category of "dults in that I participate simultaneously in times past and present. 1am a hardened SUNBEAM that revolves around the sun $0 a8 to ‘release a dark and fragrant rainfall each morning, a litle ater midday tnd even once night has fallen ae Draw seausen ama gleaming NECKTIE knotted around the hand so as to run across se throats at which I'm place. 3 THE GAME OF VARIANTS For any numberof lagers ‘spy ibe aro gcne ‘Chinese Whispers: The company susin cc eft lays tet a enence To is nel tno wipers tse sentence te ext payer and son Theft ‘ond lt tener bn compare Iie? I t love of life or lees of love? life? st fetine? Or demise? Is it love? Isic love? Is ‘You must dye blue the pink bags fthomed by orange parapets Atal costs forget the fith paragraph of Paradise Lost ee ee TRANSLATION POEMS For any number of players (This game ean also be played by post.) This is realty an advanced form of the Game of Variants. ‘A poem ts sent by the frst player to tbe next who translates i into another language, sending this version on fo the next player, and so ‘on. At the conclusion, each poem is regarded as an original work in lis own right, created collectively by the processes of inadvertent transformation. (The extraordinary effects of these processes can be ‘est sen ifthe fina version in th sequence is in the same language 1s the frst.) "invariant ofthis game the transformations can be exaggerated ‘iy the introduction of arbitrary procedures, like those used in other ‘ames such as phonetic echoes ‘opposites oe THE GAME OF ILLOT-MOLLO For two, or preferably thee or four, players A method for writing prose texts. The players begin writing and as they do 30, each ft turn instr rotation, speaks aloud a word from ‘the phrase be is writing at that moment. The otber players must incor Pontte this ‘marker word into their text, immediately coupling tt ‘with another word, which remains secret Proceeding thus (mater Word + secret word), each player writes a text which parallels that Of the other players. The marker-words and the secret words may be ned in whatever way the players choose. 40 the examples below, marker words are italicised. Player A ‘Your hair of rare feather swims inthe vulnerable night that spreads upon fol of inaccessible fog. This evening I'm bogged down and your np sbontiders end up burying me under the gaze of the reited bird of smiles and mad fanghter. Come at daybreak, under the munerons lames, drowsy from homecoming. Boredom leaks fom the tvs ind your devil's eyes, in which the glow.worm i born. Here 1 lesignate under the strength of unknown territories. the latleknoun scord of hands patted on an eye, the lipid open eye of the night. ayer B air of Death is rare in the right, the night, night wherein it ads 00 fog ‘The fogis dismal, the evening too, and shoulders sob, an end vo chil AA gaze reached us through the rei! and I laughed suddenly. Full: * pethaps. Flame and love. To drowse tomortow from boredont lnieved from its well of ferns where devils danced, ‘The glow-tvorm ofthe seas designates is victims a the feritories oot pints are own in the town, where ou wakings are painted. ene wends its way there and opens opens 8 For tao, preferably three or four players: ‘Similar to the previous game, but simpler. Once again the players ‘each writea textand must integrate into 1¢'marker words’ which are ‘announced in tusn by the players In this case there is no rule con: Coming bidden words and the frequency of the ‘marker words’ is not necessarily specified “Alternatively the ‘marker-svords’ may be announced by someone ‘outside of the game, or may be recorded on a tape-recorder beforehand in this example, ‘markerwords” are ttaliczed in the text of the layer who introduced them into the game ‘THE PEANUT Greek fir in the drenvers of thought, what then dos the otter think? “This star which dies in the shoe-tree that an estuary of furs opens with stampeding cries ultered upon the canoe pavements of thought ‘Theyre everywhere, the black insects spring devours — substitute, space isa iqueue—_ 1 drink tthe stroke of fate. The caste overflows ‘wih sharks which the dogs presence excites, among the artichokes of mnadiness. Whereas the fencer Nlashes with ague that a bayectin com Imumnicates to the compass card. I's here says the gravedigger guiding s shears into the sells piled up on the wireless set. T!m not 2 baker sone of them without conviction since the scarf around his neck is ig him while ahammer wakes him up. MICHELINE BOUNOURE 90, not ata it was a drawer fll of shoemees which resembled the 1¢ Estuary at low tide when the vases uncovered the dead jumbers in the green canoes like substitutes for mint spit ina glass space grew greater further out inthe shar’s direction a he eircu ed, alert as an artichoke flowering in the wind of fune peopled with sin the guise of binds and haywains that waddied along playing at ‘on the crania of the children ofthe baker who rightly dashed mn his bammer VINCENT BOUNOURE old ladies’ drawers serve as shoetrees in the estuary ofthe canal s0 to lock the substitute canoes ofthe sailing billiards. The free space ‘as the shaeks laden with baskets of artichokes destined for the ‘who are seated on the haywains. Armed with shears they must the crania ofall the bakers who are hammer-throwing on the RENAUD |) /AYS OF MAKING TEXTS To make a Dadaist poem Take a newspaper. Take a pair of scissors. Choose an articte as long as you are planning to ‘make your poem. Cut out the article Then cut out each of the words that make up this article and put them in a bag. Shake it gently Then take out the scraps one after the otber in the order in which they left the bag. Copy conscientiously The poem will be like you. And bere you are a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar TRISTAN TZARS by, Workers. of the American. Jype Founda. Anarchist WRESTLES EUROPEANS Demonstrate Graduating SCHOLARS Prompted doy Dold TURKISH BULODGS HORAN SURVIVOR Crt Dai "uu rin Mang arco at nus Samy nt TO MAKE A SURREALIST STORY Tout pourrait s'arranger si bien Take a news magazine book cu an paste wil PARIS EST UN : Tas sy ne sets fom to tondon Evening Baath CRANDAAERCE bine 50 Surveill Le few qui couve, reer es ti PPIERE ‘Over two thousand people had taken tickets for this season's murder. Du beau temps Indian incense perfused room where peopl stat en round bls crated wi erence es cede ete net Sachez que 4 succession of appetising meals and boiling bathwater up to 2am, One s ee ‘es ages vais Dicto desi and cues ares He went away seca oa era i sch “Ace en yuan dnc putt ges tno apt a high rae is the tendeney to rush forward which, in the case of big men, ends in cracking; remember that my leys were exceedingly long LE PREMIERJOPRNAL BLANC tnd my hai is outlined with electric light for the occasion F HASARD His wife, a debutante tis year, asked for «hot bath, which Miss latch, the analy, prepared for her in the bathroom, upon which the 4 Searchlights beat, uniforms marched, trumpets and drums and bugles: Le rouge sera played, and caparisoned horses cantered. *T do hope I sall not have to walt long she sald; could take the to ter crown back to England amurderer is composing an oper forthe Coro ou EST-1 ? ation which desis with members of the Royal Family, Ministers of State, representatives ofthe Church ane members ofthe Opposition dans la, mémoire ‘They make their entry, as they did to this vale of sorrow, one at atime, taassa main ssovnting the dot ceasing the aes and nti te whole world. Trends with a riotous shooting mat . au bil des Ardents Ircndship of English speaking peoples : She returned and ite Tater Went upstairs, to disappear into the Se fais, {emoke andthe din curain of the approaching bate ed*dansent The King gave his opinion frankly. 1 think she has a very good ‘chance, he said; Te was only afew minutes after {heard the last sound | inthe bathroom that heard the organ playing. We did not think she on a fait, ce quon va faire Ce ge seriously meant to go swimming because the water was so cold “A lite Inter, according 1 reports from Batavia, she was dead, “The body was let Iying on the pavement of Downing Street and was, damaging to Me Baldwin's reputation. When they saw it Si Samuel’ fiends said thatthe assassination was 2 dastardly deed. "The inquest was held next day and a verdict of accidental death was returned. [Now Mr Baldwin has taken the body back into the Cabinet Room t ‘contains an exhortation to read "The Daily Worker’ and a form for join ing the Communist Party THE METHOD OF RAYMOND ROUSSEL This method of urtting stories was invented by Raymond Rousset (Choose a number of words tbat bave double meanings Join tbe together until you havea phrase which makes some sort of sense This ‘phrase witl have atleast tw distinct meanings Your task # now 10 rite a narrative in which the phrase constitutes the first and last words ofthe narrative, Rousse allowed bimselfto altera single letter jn one of the words chosen. (In the example, prune becomes brune,) ‘THE GREENISH SKIN “The greenish skin ofthe ripening plum [La peau verdéure de la prune lun peu mire... Nooked 38 appetsing as anyone might wish. I there fore chose this frit rom amongst the various delicacies made ready on asilver platter for the seoras eum. ‘With the point ofa knife made an imperceptible hole in the delicate ‘peel and, taking a pial from my pocket, | poured in several drops of a ‘quick working poison. "You betrayed me, Natte’ I said in an expressionless voice. ‘Now meet your fate’ And I replaced the fata frit | as stifling in my picador's costume, my wig and the great hat. The ‘drawing-room chandeliers evalled the footlightsin brilliance, dazzling me. The doors were loaded with black garments, and across the rows oF silded chairs, low necked, glatering evening gowns were strewn. This {eat Spanish lady lacked! for nothing, Suddenly, the sound of sleigh bells and the crack ofa whip from the wings indicated Natt’ return, 1 quickly seized my voluminous cape, cast over a ehaie on my fetrance, and sprang upon the bed, whose closely drawn curtains per mitted me to wateh without being seen, [Natte appeared, the lady ofthe house in person, till beautiful despite her fortysix years, thanks to artificial means, in particular, to the ‘miraculous dye she employed to preserve the brilliant and intense blackness other har, Her features, however, were unfortunately begin hing to fade a litle, and make-up could not conceal a number of weink- Jes at the corners of her eyes and mouth, Lite Madame Dé, charming a8 an Andalusian soubrette, had also centered. Dismissed by Natt alter a brief exchange, she departed with hher mistress's cloak. Left alone, Natte sat down to her supper, “Turquoise, O Turquoise, how Hove you! she exclaimed, her voice ‘rembling Turquoise was a young muleteer with whom Natte was deceiving Ime, An intercepted letter, telling all, had impelled me to murdce “ow sweets the thought of you, Turquoise, O my young lovee! sit Nate again, her gaze dreamy unfixed ‘Then rising in agitation ‘Lord God, if Mirfiton knew — he'd kill me! Minton, Tam he, the abandoned picadoe. To dispel her fears, Nate Dewan to eat. The Spanish type to perfection, she had two beauty spots, ‘one on her chin, one on her cheek, and her magnificent black hai electing the stage lights, obliteratedall thought ofher ageing features “What is Turquoise doing at this moment” she murmured, between & lece of layered cake and a small art. "He is thinking of me, as fh. From my observation post, I attentively watched her supper lminish, Natt sought to calm herself. Mirligon knows nothing, he loves me, trusts me absolutely Se had just finished an apecot; nothing bur the fatal fruit remained, She took it henween 16 lagers. ‘What if Misiton knew,’ she continued ina hollow voice. Then she bit The eect was instantaneous She rose to open a window, as if suf {ocating, turned about several times beating the aie with her acm and fell dead upon the carpet. 1 was on the oor with a single Bound and ran to extinguish the can les burning in two silver candlesticks on the table. AL once all the lights went down, the chandeliers and footlghts a8 wel. single broad ‘beam of moonlight shone through the open window upon the corpse. took my cape from the bed, the great black cape in which T was accustomed to envelop myself, and completely covered Nate's body. ‘Then I knelt beside her in silence Motionless, she was as of marble. The black cape covered her ‘entirely, The head alone was visible, its black hair gleaming, the ageing, face amidst dazzling hair, pallid beneath the moonlight which poured, almost greenish, through the window. ‘The effect was tragic. (ne thing was visible, only one “The sallow complexion ofthe brunette past her prime Ws peau verve de la rune un peu mire... | RAYMOND ROUSSEL DIRECTIONS FOR USE Using te style and format ofthe Directions to be found on the labels of bousebotd products, DLY. Ris and otber ondinary étems. apply them to Hems that do not require such instructions. The following ‘examples are all by Jean-Claude Silberman. Hk HEAR § To resin its perfect reshness, koop THE HEART sy. UNLIKE siilar 3) produ, THE HEART WL EXPAND WHILE DRMING OUT. Al stions performed wih THE HEART are therefore defnve. 2 PREPARATION OF SENTIMENTS: To one measur of delim dé 27 ‘measures of HEART, Siu a sentimental solution forms. Allow 0 stand for one night While you sleep, the sentiment wil ake onthe desired consistency (ream ily or malleable. Donat prepare mot HEART than you can vse immediate, since even in shor space of time it teres to cig IMPORTANT: THE HEART acs ike @ coment, so deliiam must never ‘be added to prev prepared sentiment no should it be “dwelt on too long, THE HEART hardens in two haus Inrease the dosage of HEART nthe first fow seco you desea sentiment witha fimet consistoney. ott ‘THE HEART casts a sel satisfied glow over generous and Kind ind viduals ‘When applied to meaner personalities however especialy i alowed topanetrate the wile beng it tends tobe csipated throughout the pares and beoones totally wanspren. THE GREAT MYSTERY DIRECTIONS: For Middle-aged or Young Novis \Wih the addon of platitudes, apply THE GREAT MYSTERY, ensuing the pints well stoped in ardstore away ina dark place save the novice fra last twenty or ht yar to dry ut, or nt alls apnians ae fly blackened. His spit should then be amttlod (ey colour. f whist marks appear, due to an excess of satis pos ‘Sie terrae them by rbig lightly with whatever comes to mind lumps appear, brush revive and makea second lca application The novice is than ina positon to begin specchiyng, employing all ‘he words customarily used fr external purposes. stad of speaking rect he ean use a protective steer Our scronolourless or bac ‘may be used indoeitly WARNING Stairs resuting from THE GREAT MYSTERY coming into cortact with day ie must be removed inmeditely with runing wate, For Eley nvies a proininary sub with the wie ush of ics is necessary to remove scales and as many prejudees apostle DHAT Et lis combination of instantaneous and eternal action ensures that DEATH is absolutely harmless to man or mommals. DEATH DOES NOT STAIN DIRECTIONS Remove the self:preserving seal, hold DEATH verti- cally, valve upwards, and apply by pressing the stopper. For heart complaints: Use DEATH centre-stage. A few seconds only is sufficient For gambling debls, dishonour, tedium vie etc: Apply DEATH liberally around the edges of the room, neor skiding-boords, in cracks in the floor, in any dork cranny. Repeat every four to five hours. For mystical ecstasy: Use DEATH having placed yourself approximately one metre from clothing, curtains, carpets, DEATH can be used in wardrabes and wall-cupboards. Shu! them immediately after each application, DEATH is recommended in Spring, from April onwards. DEATH IS GOOD FOR YOU, NON-TOXIC. VISUAL TECHNIQUES {ts notto bedespised, n my opinion, if after gazing fixedly ataspot fon the walk, coats in the grate, clouds, a flowing stream, if one Temembers some of thelr aspects and tf you look at them carefilly you will discover some qutte admissable inventions. Of these the “genius ofthe painter may take full advantage 10 compose battles of ‘men and animals, landscapes or monsters devils and other fantastic things. {LEONARDO DA VINCI (Treatise on Painting) How to Open at Wil the Window onto the Most Beautiful Landscapes fn the World and Elsewbere ANDRE BRETON (on Decalcomania) “THE PURPOSE OF SURREALIST VISUAL TECHNIQUES ISTO OPEN A \WINDOW ONTO TIE MARVELIOUS THAT LIES CONCEALED BEND “TE EVERYDAY, HS REVELATION CAN BE ACHIEVED BY DIFFERENT [MEANS BY MANIPULATING MATERIALS, OR BY PLAY WITH IMAGES, [WHETHER GIVEN OR FOUND. “TIE PIRST CATEGORY OF TECHNIQUES INCLUDES THOSE THAT ARE ESSENTIALLY AUTOMATIC, THES: FREEZE CHANCE EVENTS IN ‘WHATEVER MEDIUM IS BEING USED, TO CREATE ARTIFICIALLY LEONARDOS ‘BLOTS’ AND CLOUDS, AND IN THS WAY THEY ‘PROVOKE SPONTANEOUS IMAGES FREE OF CONSCIOUS INTENTION, (ONCE THESE IMAGES APPEAR THEY CAN BE ELABORATED IN MARCEL [FANS WORDS, THEY PROVIDE "THE POINT OF DEPARTURE FOR POETIC HALLUCINATION’ {INTO THESEGOND CATEGORY FALL VARIOUS METHODS OF DIRECTLY [INTERPRETING EXISTING IMAGES TO PRODUCE NEW, MORE PROVOCATIVE OR BEAUTIFUL VISIONS, DELIRIOUS AND MONSTROLS AMALGAMATIONS. 4 MANIPULATING CHANCE AUTOMATIC DRAWING As wit antomatc writing put yourself in a eee frame of min tren without tinting and avo onsets control der the age ecping your pent on te pape a el he la ‘fechaomati drs so of accel oF ttefid ening nth ines and unpre mages be Ia appt an date ba for rr sp 7 FROTTAGE This isthe same technique as that of rass-rubbing. A sbeet of paper bs Placed on any natural or manufactured surface possessing avelef or incised pattern. The paper is rubbed with crayon, a soft pencth ‘charcoal, te By combining fottages from different surfaces complex ‘effets can be achieved within one drawing The pattern or tmage ‘obtained can be coloured, cut up, or combined with other materials DECALCOMANIA (WITH NO PRECONCEIVED OBJECT) Spread gouache, ik oF oft patint, diluted in some places, on to any Suitable non-absorbent surface (coated paper, glass tc.) press on to this, your sheet of paper or canvas. then lift or peel aay Decalcomania is related to other games ana procedures that resem De the celebrated Robrschach Test used by psychologists. in wbich an Ink bot is folded in two to ereate a roughly symmetrical image, The ‘parlour game equivalent is called GHOSTS OF MY FRIENDS, in which players’ signatures are folded in two wbile still wet The resulting Image is tnterprete for revelations about the signatory ‘A Larlation of decatcomania ts écrémage, a form of marbling: In his an image is drawn into an ofly tiquid with a water based igment (or vice wersa) A sheet Of paper is then placed upon or made to slide across this surface, and the image lifted or creamed off the | Hiquia HANS ARP, Tom Pipes, 1932 TORN PAPER COLLAGE This form of collage was invented by Hans Arp Paper is torn or cut up, randomly or in shapes, and the pleces dropped on toa sheet of paper. These random configurations are then sed with glue ‘In a variation of this technique, the torn paper already bears an Image, which is thus dislocated and re-assembled unpredictably ‘according 10 the fall of the paper: 1 can then be‘re-interpreted” by subsequent working over with pencil or brush, SOME OTHER AUTOMATIC TECHNIQUES GRATTAGE The proces of scraping wet or dried paint (or a mixture of both) from fa canvas or other surface with a blade SAND PAINTING GGhuc is frstrandomly smeared on the canvas, then sind sprinkled upon It Ie may be left to dry a i falls, or further manipulated w knives etc FROISSAGE. A sheet ofpaper is screwed up, then smoothed out again. When soaked In coloured inks, the creises take up the colour, creating a veined cele COULAGE A variety of three dimensional decalcomania created by pouring mol- ten metal (usualy lead) or other molten materials sich as wax OF thocolate into water. The material solidifies ino fantastic shapes. anes aes RS (TA LIFE (1911), 8 book Surrealist collage was anticipated by WHAT A LIFE (1911). Ponto, the watch dog, seemed dazed. He greatly enjoyed hy the Surrealist. had been drugged, the detective said. He also pointed out that the horse’s neck | was strangely swollen. UNION IS STRENGTH MAUSTRATED BY WHITELEY'S 4 WHAT A LI Tt was Lord Crewett who won the Derby with “ Salad Days, Che eccentric Sir William Goosepelt was a friend of mine Among his other odd ways he often indulged in the luxury of a treacle bath LONDON IN THE OLD DAYS 45 Sir William's ears were so large that he required a chin-strap to keep his hat on. From this circum- stance he earned an unenviable reputation for im- politeness towards! ladies. His wife, dear Lady Goosepelt, was a chronic invalid, and lived at Bournemouth in a charming villegiatura THE PARANOIAG M CRITICAL rHOD ‘The Paranotac-crtieal method was the invention of Salvador Dali ‘and isan extension ofthe method of Simulation into the fleld of is: tual play based on the idea of the ‘double-image “According to Dali, by simulating paranoia one can systematically undermine one's rational view ofthe wortd, which becomes continu ‘lly subjected to associative transformations. For instance, one can ‘see, or persuade others to see, al sorts of shapes in cloud: a bors, ‘Duman body, a dragon, face, a palace, ud so on. Any prospect oF object of the physical world can be treated in this manner, from which the proposed conclusion is that its impossible to concede any tralue whatsoever to immertiate reality, since # may represent or ‘mean anything at all (Marcel Jean) The point isto persuade oneself ‘or others of the authenticity of these transformations in such a way ‘that the rea! world from uibich they avise loses its walidity. The mad logic of Dal’ method leads to world seen in continuons fl asi bis paintings of the 1930s. in which objects dissolve from one state finto another, solid things become transparent, an things of no st stance assume form The Paranolac critical metbod i ths the reverse of the chitdren’s ‘picture puzzles’ in which people are hidden in drawings of tees ee ‘and resembles move the ‘double mages’ employed by psyebologist: ‘the two faces that become a vase, and otber similar ilusions such as {faces seen in rocks, landscapes in marble and the anthropomorphic Jorms of plants such as the mandrake root None is perhaps so striking as the face discovered by Dali in the ‘photograph opposite. whose true orientation is indicate. VYARENTINE HUGO AND THO OTHERS, ety 580% 7 THE EXQUISITE CORPSE For three or more players This, the most celebrated Surreatit game of all is based on the same principle as that of the written ‘exquisite corpse Its parlour game equivatent is Heads, Bodies and Legs in English and Petits Papers in France Lach player recelues a sheet of paper and folds it into equat ‘sections as many as there are players, and usually with the tines bor zontal 10 the proposed picture The sheets are smootbed out and each Player draws whatever be will n the top section, allowing the lines to ‘ross the crease bya few millimetres. The sheet is then refolded back ‘nto this crease to conceal the drawing and passed tothe next player ‘who begins the next section from these ines. And so.on, until tbe last section, when its unfolded and the result reveated (he sheet may be passed back forthe first player to furnish i with 4 title before the picture fs reveaied.) {ETA KNUTSON, VALENTINE HUGO, ANDRE BRETON, TRISTAN ZARA, 1938 73 RE-INVENTING THE WORLD Transform the world, said Marx; change life, satd Rimbaud: for tus these two watebwords are one. ANDRE BRETON E Set Gem einrn) pare =P % 101i eR a 3° “re wrk in he Sree cr 1929 THE GAMES AND PROCEDURES IN THIS SECTION ARE IN THE SPIRIT OF BRETON'S ‘WATCHWORDS:. THEY AIM TO TRANSFORM, "AND REVALUE THE CATEGORIES INTO WHICH WE HABITUALLY ‘ORDER THE FAMILIAR WORLD, AND SUBSTITUTE A SURREALIST VIEWPOINT FOR THE CONVENTIONAL ONE. METHODS OF INTERPRETATION AND ALTERATION, THEY TAKE A NUMBER OF FORMS, INQUIRIES’ OR QUESTIONNAIRES; EXPERIMENTS WITH REAL Ok IMAGINED OBJECTS; OUTRIGHT PROVOCATIONS; IRONIC OR FANTASTIC PLAY WITH CONVENTIONS OF DEFINITION AND CLASSIFICATION AS FOUND IN DICTIONARIES, [BIBLIOGRAPHIES AND ENCYCLOPEDIAS, COMIC SUBVERSIONS OF FOLK WISDOM (PROVERNS, SUPERSTITIONS: NEW VERSIONS OF [EXISTING GAMES, INQUIRIES Many Sorat games depend on questions and an Inauiy is intend to throw p te ieee. ad as eel tinnspected ed perp fandamental information eto ie er Sons responding Sureain tna number of se proces pater tbe inguiy tothe pot of tngutstio, Sih a mae es games xtreme uncomfontabteexperioncee ‘THOUGHT FOR THE DAY? you ready to assist in the escape ofa convicted eximi youre ‘scape ofa convicted criminal, regardless fould you welcome the complete disappearance of night? Or of day? ‘would the certainty ofthe human race’ annihilation in the com> araively near future transform your conception of life? lave you had the experienc fr nternga eam a the pdt where eft off, one or more days before? 7 i {sit that taking knife co bisect an apple so frequently ends in a tribution similar to that of a queue, = 4 queue, which seems so unlikely a {you had the opportunity to change sex at regular intervals, eg one sy im seven, would you accept? Then whit would you do? th: Male of Female? 8s WOULD YOU OPEN THE DOOR? or five or more players, each with pencil and paper: Players are asked t0 imagine this situation: they are dreaming. there isa knock atthe door, they open itand, recognising the visitor, they must make an immediate decision fo either le the visitor in or close the door. What do they decide and why? ‘Each player takes in turn to announce the visitors name, and the others site ether yes or no, plus a brief comment which must be the {fies thing that occurs to them. The vistior maybe famous infamous, “ving or deat: or perlsaps someone known to all the players. Results ‘are red out and compared. (be identity ofthe players inthe game in the example, and of those ‘the gannes that follow, ts glven by tnttals, «key to which will be found on p. 139.) Trendy tit ererreperentetentperpenen cezaywe No, conned wo the textbooks 1] Yes hough wang to get over with (R B] No, nothing to say to each thee. [A'B] Not vos {ugh pins thon (8) Novscnssomachet in! (ADY Ne 0 diearyt{GG].Yes sppine soar eomeraton mig een, Di thin UG] No, borg [6 1} No, get ugh | No ek aid hs itenons preje Ms aint [WEE Noonan 152] No.thwvemy window JP] "Novnetimcto wane [bay Ne ate sples}s]No.sncelnoreappen [A]. Nee IT} No, Ike fruit too much. [M 2) ' : = Marx Yes cool: LB]. Yes out of obligation [RB] No, fom weariness [80] Ys ucinstec [EB] Yeh wehsteanold bone topiceven $0.[A D] Yes, though exhaustion [6 G] No, looms excang pe ict) G]_ No, real to separate om ns contbution ne IG U1 Yex to ofr him + ite red win [SH] No, hie doeeine spawned the mot oppressive eligton [WP] Yes eects cones IP] Yextwasexpectingyou JP] No, withapsinges we 19 ask him the question How she got wih ne? 8] Ny ea horeeachother {45}, Yes very warmly [1] Yerthow sre you [sens SCOREBOARD, OR SCHOLARLY 4,5 )B ae NOTATION Bruen (p [Cobia wo For any manterf people many as pace pau V3 fial al ale Toepartcpantstraupa or ope object oleae con poe Ad ala i tare Bech player gles bem metas ona tale fom 3200-20 ai (250 ~ carl proces O= ue taifremee “20 © toa! Franke '/2)-fo|-19- | eaminatn) Toe mens ae colic en tba eon Maco /o|"9l 3 i pee a 2) Es hi moe = ee fe a moa eS comamh een cae PER ea | op oes are. F Caen) fled Oss ie) Eee rabies | ane PLC re (oye nese ane fa ays Wednes = - 1-4 -10 “17 -$ -1 4015 an | as 26 Imagnaion 19 8M Rega 4) Teg Sue eB BB BI Prince: -10 t 0-19 6-20 2% 5 1 by tet BS 8 te Md at ke 36 ee acl te aad 13 aL Ub 3 bo eS % “G t oe, eee a eee ead re: 4 =a aes oO Brko Jy Pur C hero os we em ae A See el ot al 12 Greats $6 %, “Madness: 9 8 9 4 18 -2% -15 15 13 Tyata 10 ey sarees Prameg 4 Try IOP culty 080-10 8 4 begs” yes el sate eae ae ee et ee ape! example ofthe game onthe reiou pagel 4 much retuced racer) eis ol ant chee Oa guine played i tbe nly 1920 Tos patent vaste mee Rees cog ae th te ong table nbd player ceeatonevoan = -0

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