he Surrealists wanted to eject anarchy from their art form by elimination of the Dada fascists, the Surrealists finally embraced anarchy sending its seed on to their descendants.
             Just as Tzara suggested, sagacity and Dada or Surrealism are not associated and as the name Dada implies, the group went far beyond the surreal of the mind. What started as disillusionment art, during the post-war European revolution was in truth the political repercussion of World War I and its introduction of obliteration of humankind. Beneath the anarchy was the political aftermath of World War I, the first industrial war where the concept of annihilation of the human race was introduced.
             Advancements in technology made the mechanics of warfare efficient and self-perpetuating. While guns had not changed in a hundred and fifty years, airplanes were built by remanufacturing downed aircraft. Ordinary airplanes and ocean-going vessels were retrofitted with guns and bomb bays, adding them to the arsenal of war machines. This was the first time in history when weaponry had advanced beyond Gatling guns and cannons; industry designed weapons of mass destruction. (Boeing; Singer 349-367) Although the workers assembling these weapons were in support of the revolution over the bourgeois, faith in romantic ideals had died on a huge scale with The War to End All Wars, and the best expression of that death was through art. (Gombrich 592; Gowing 878; McQuade 1164-1167; Murray 135)
             The Dada-Surrealism movement is often referred to as a revolutionary movement against art, which was considered on more symbol of bourgeois power. Dada and Surrealism sought to destroy all that was real by going beyond it into the unreal. E. H
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