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Surreal humour AI simulator
(@Surreal humour_simulator)
Hub AI
Surreal humour AI simulator
(@Surreal humour_simulator)
Surreal humour
Surreal humour (also called surreal comedy, absurdist humour, or absurdist comedy) is a form of humour predicated on deliberate violations of causal reasoning, thus producing events and behaviours that are obviously illogical. Portrayals of surreal humour tend to involve bizarre juxtapositions, incongruity, non-sequiturs, irrational or absurd situations, and expressions of nonsense.
Surreal humour grew out of surrealism, a cultural movement developed in the 20th century by French and Belgian artists, who depicted unnerving and illogical scenes while developing techniques to allow the unconscious mind to express itself. The movement itself was foreshadowed by English writers in the 19th century, most notably Lewis Carroll and Edward Lear. The humour in surreal comedy arises from a subversion of audience expectations, emphasising the ridiculousness and unlikeliness of a situation, so that amusement is founded on an unpredictability that is separate from a logical analysis of the situation.
Surreal humour is concerned with building up expectations and then knocking them down; even seemingly masterful characters with the highest standards and expectations are subverted by the unexpected, which the scene emphasises for the viewer's amusement. Either the "goofball" or "straight" character in the scene can react with dull surprise, disdain, boredom, or detached interest, thus heightening comic tension. Characters' intentions are set up in a series of scenes significantly different from what the audience might ordinarily encounter in daily life. The unique social situations, expressed thoughts, actions, and comic lines are used to spark laughter, emotion, or surprise as to how the events occurred or unfolded, in ways sometimes favourable to other unexpectedly introduced characters.[citation needed]
Surreal humour in theatre is usually about the insensitivity, paradox, absurdity, and cruelty of the modern world.[citation needed] Absurd and surrealist cinema often deals with elements of dark humour, disturbing or sinister subjects like death, disease, or warfare are treated with amusement and bitterness, creating the appearance of an intention to shock and offend.[citation needed]
Surreal humour is the effect of the illogical and absurd being used for humorous effect. Under such premises, people can identify precursors and early examples of surreal humour at least since the 19th century, such as in Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass, both of which use the illogical and absurd (hookah-smoking caterpillars, croquet matches using live flamingos as mallets, etc.) for humorous effect. Many of Edward Lear's children's stories and poems contain nonsense and are basically surreal in approach. For example, The Story of the Four Little Children Who Went Round the World (1871) is filled with contradictory statements and odd images intended to provoke amusement, such as the following:
After a time they saw some land at a distance; and when they came to it, they found it was an island made of water quite surrounded by earth. Besides that, it was bordered by evanescent isthmuses with a great Gulf-stream running about all over it, so that it was perfectly beautiful, and contained only a single tree, 503 feet high.
In the early 20th century, several avant-garde movements, including the dadaists, surrealists, and futurists began to argue for an art that was random, jarring and illogical. The goals of these movements were in some sense serious, and they were committed to undermining the solemnity and self-satisfaction of the contemporary artistic establishment of the time. As a result, much of their art was intentionally amusing.
One example is Marcel Duchamp's Fountain (1917), an inverted urinal signed "R. Mutt". This became one of the most famous and influential pieces of art in history, and one of the earliest examples of the found object movement. It is also a joke, relying on the inversion of the item's function as expressed by its title as well as its incongruous presence in an art exhibition.
Surreal humour
Surreal humour (also called surreal comedy, absurdist humour, or absurdist comedy) is a form of humour predicated on deliberate violations of causal reasoning, thus producing events and behaviours that are obviously illogical. Portrayals of surreal humour tend to involve bizarre juxtapositions, incongruity, non-sequiturs, irrational or absurd situations, and expressions of nonsense.
Surreal humour grew out of surrealism, a cultural movement developed in the 20th century by French and Belgian artists, who depicted unnerving and illogical scenes while developing techniques to allow the unconscious mind to express itself. The movement itself was foreshadowed by English writers in the 19th century, most notably Lewis Carroll and Edward Lear. The humour in surreal comedy arises from a subversion of audience expectations, emphasising the ridiculousness and unlikeliness of a situation, so that amusement is founded on an unpredictability that is separate from a logical analysis of the situation.
Surreal humour is concerned with building up expectations and then knocking them down; even seemingly masterful characters with the highest standards and expectations are subverted by the unexpected, which the scene emphasises for the viewer's amusement. Either the "goofball" or "straight" character in the scene can react with dull surprise, disdain, boredom, or detached interest, thus heightening comic tension. Characters' intentions are set up in a series of scenes significantly different from what the audience might ordinarily encounter in daily life. The unique social situations, expressed thoughts, actions, and comic lines are used to spark laughter, emotion, or surprise as to how the events occurred or unfolded, in ways sometimes favourable to other unexpectedly introduced characters.[citation needed]
Surreal humour in theatre is usually about the insensitivity, paradox, absurdity, and cruelty of the modern world.[citation needed] Absurd and surrealist cinema often deals with elements of dark humour, disturbing or sinister subjects like death, disease, or warfare are treated with amusement and bitterness, creating the appearance of an intention to shock and offend.[citation needed]
Surreal humour is the effect of the illogical and absurd being used for humorous effect. Under such premises, people can identify precursors and early examples of surreal humour at least since the 19th century, such as in Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass, both of which use the illogical and absurd (hookah-smoking caterpillars, croquet matches using live flamingos as mallets, etc.) for humorous effect. Many of Edward Lear's children's stories and poems contain nonsense and are basically surreal in approach. For example, The Story of the Four Little Children Who Went Round the World (1871) is filled with contradictory statements and odd images intended to provoke amusement, such as the following:
After a time they saw some land at a distance; and when they came to it, they found it was an island made of water quite surrounded by earth. Besides that, it was bordered by evanescent isthmuses with a great Gulf-stream running about all over it, so that it was perfectly beautiful, and contained only a single tree, 503 feet high.
In the early 20th century, several avant-garde movements, including the dadaists, surrealists, and futurists began to argue for an art that was random, jarring and illogical. The goals of these movements were in some sense serious, and they were committed to undermining the solemnity and self-satisfaction of the contemporary artistic establishment of the time. As a result, much of their art was intentionally amusing.
One example is Marcel Duchamp's Fountain (1917), an inverted urinal signed "R. Mutt". This became one of the most famous and influential pieces of art in history, and one of the earliest examples of the found object movement. It is also a joke, relying on the inversion of the item's function as expressed by its title as well as its incongruous presence in an art exhibition.