Illogical in the context of "Surrealist"

Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I in which artists aimed to allow the unconscious mind to express itself, often resulting in the depiction of illogical or dreamlike scenes and ideas. Its intention was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality. It produced works of painting, writing, photography, theatre, filmmaking, music, comedy and other media as well.

Works of Surrealism feature the element of surprise, unexpected juxtapositions and non sequitur. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic automatism" Breton speaks of in the first Surrealist Manifesto), with the works themselves being secondary, i.e., artifacts of surrealist experimentation. Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as communism and anarchism. It was influenced by the Dada movement of the 1910s.

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.