ABSTRACT
This chapter discusses the historical positioning of Exquisite Corpse in twentieth-century art. The radical procedure of Exquisite Corpse not with standing, the transgressive operations and contraventions of the surrealists' games were driven by a desire to break from and escape the codes and canons of historical art and culture. Examples where the avant-garde's radical strategies have been appropriated by corporate capitalism are found in mass mediated advertisements that seduce and manufacture the body's desire for consumption by way of montage innuendos, parodies, and narratives on sex, health, and environmental issues. Art historian Susan Laxton describes the discrete yet significant differences between the disjunctive narratives of dada montage and surrealist Exquisite Corpse. Like Exquisite Corpse, the complex and contradictory research of Superclogger opened liminal, contingent spaces of experience where drivers' escalations of aggression over the chaos in which they were situated were delayed.
