La Radia

La radia is an action that was performed in Oaxaca México in December 1999 as part of the “Arte Correo 2000” exhibition organized by the MUFI museum.

The action had place at the old studio of a radio amateur that had an incredible collection of more than 100 antique radios and gramophones. I did a transmition from a radio station with different sound works belonging to sound artists from different decades of the XXth century that relate to the radio communication language. The action was inspired by the manifesto “La Radia” (1933) by Futurist Tomasso Marinetti and Pino Masnata here quoted.

The sound gallery of opens with this sound exhibition, more sound exhibitions will have place in the near future.



John Cage / Radio Music

Jose Iges / La ciudad resonante

Luz María Sanchez / Radio 1

T.A. Edison + DeMarinis / Mary (whisper machine)

C. Amirkhanian / Chu Lu Lu

Jio Shimizu/ Sounds from the telephone line

Claude Shryer / Vagues d'excès

Anonymus / Hebrew Vaudeville

Antonio Fernandez Ros / Onda Corta

Crawling with tarts / Early American Scratch

Toshiya Tsunoda / Camberlitas Istambul

Steven Curtins / On a text by Chris Mann


Manuel Rocha Iturbide / (+ * -) = -


T. Marinetti / La battaglia di Adrianopoli


Joseph Beuys / Sonne Stat Reagan



Yoko Ono / Toilette Piece




LA RADIA Tomasso Marinetti & Pino Masnata (1933)


1. theater because radio has killed the theater already defeated by sound drama
2. cinema because cinema is dying (a) from rancid sentimentalism of subject matter (b) from realism that involves even certain simultaneous syntheses (c) from infinite technical complications (d) from fatal banalizing collaborationism (e) from reflected brilliance inferior to the self-emitted brilliance of radio-television
3. books because the book which is guilty of having made humanity myopic implies something heavy strangled stifled fossilized and frozen (only the great freeword tableaux shall live, the only poetry that needs to be seen)
1. the space and stage necessary to theater including Futurist synthetic theater (action unfolding on a fixed and constant stage) and to cinema (actions unfolding on very rapid variable simultaneous and always realistic stages)
2. time
3. unity of action
4. dramatic character
5. the audience as self-appointed judging mass systematically hostile and servile always against the new always retrograde
1. Freedom from all point of contact with literary and artistic tradition. Any attempt to link la radia with tradition is grotesque
2. A new art that begins where theater cinema and narrative end
3. The immensification of space. No longer visible and framable the stage becomes universal and cosmic
4. The reception amplification and transfiguration of vibrations emitted by living beings living or dead spirits dramas of wordless noise-states
5. The reception amplification and transfigurahon of vibrations emitted by matter. Just as today we listen to the song of the forest and the sea so tomorrow shall we be seduced by the vibrations of a diamond or a flower
6. A pure organism of radio sensations
7. An art without time or space without yesterday or tomorrow. The possibility of receiving broadcast stations situated in various time zones and the lack of light will destroy the hours of the day and night. The reception and amplification of the light and the voices of the past with thermoionic valves will destroy time
8. The synthesis of infinite simultaneous actions
9. Human universal and cosmic art as voice with a true psychology-spirituality of the sounds of the voice and of silence
10. The characteristic life of every noise and the infinite variety of concrete/abstract and real/dreamt through the agency of a people of noises
11. Struggles of noises and of various distances that is spatial drama joined with temporal drama
12. Words in freedom. The word has gradually developed into a collaborator of mime and gesture. The word must be recharged with all its power hence an essential and totalitarian word which in Futurist theory is called word-atmosphere. Words in freedom children of the aesthetics of machines contain an orchestra of noises and noise-chords (realistic and abstract) which alone can aid the colored and plastic word in the lightning-fast representation of what is not seen. If he does not wish to resort to words in freedom the radiast must express himself in that freeword style which is already widespread in avant-garde novels and newspapers that typically swift quick synthetic simultaneous freeword style
13. Isolated word repetitions of verbs in the infinitive
14. Essential art
15. Gastronomic amorous gymnastic etc. music
16. The utilization of noises sounds chords harmonies musical or noise simultaneities of silence all with their graduations of appaggiatura crescendo and decrescendo which will become strange brushes for painting delimiting and coloring the infinite darkness of la radia by giving squareness roundness spheric in short
17. The utilization of interference between stations and of the birth and evanescence of the sounds
18. The delimitation and geometric construction of silence
19. The utilization of the various resonances of voice or sound in order to give a sense of the size of the place in which the voice is uttered.
The characterization as the silent as semisilent atmosphere that surrounds and colors a given voice sound or noise
20. The elimination of the concept or the illusion of an audience which has always had even for books a deforming and damaging influence.



LA RADIA Tomasso Marinetti & Pino Masnata (1933)

traducción parcial al español

La Radia debe ser:
1 Libertad de toda relación con la tradición literaria y artística. Cualquier intento de ligar la radia con la tradición es grotesco.
2 Un nuevo arte que comienza en donde el teatro el cine y la narrativa terminan.
3 La inmensificación del espacio ya no visible y encuadrable, el escenario se vuelve universal y cósmico.
4 La recepción amplificación y transfiguración de vibraciones emitidas por seres vivientes, espíritus vivos o muertos, dramas con estados de ruidos sin palabras.
5 La recepción, la amplificación y la transfiguración de vibraciones emitidas por la materia. Del mismo modo que hoy escuchamos la canción del bosque y del océano mañana estaremos seducidos por las vibraciones de un diamante y de una flor.
6 Un organismo puro de sensaciones de radio.
7 Un arte sin tiempo y espacio sin ayer y sin mañana. La posibilidad de recibir estaciones situadas en varias zonas de tiempo y la falta de la luz destruirán las horas del día y la noche La recepción y amplificación de la luz y de las voces del pasado con válvulas termoionicas destruirán el tiempo.
8 La síntesis de acciones simultaneas infinitas.
9 Arte humano universal y cósmico con una verdadera espiritualidad y psicología de los sonidos de la voz y del silencio.
10 La vida característica de cada sonido y la infinita variedad de lo concreto / abstracto y de lo real/soñado a través de la agencia de agentes de sonidos.
11 Luchas de ruidos y de varias distancias, es decir, drama espacial conjuntado con drama temporal.
12 Palabras en libertad La palabra se ha desarrollado gradualmente en un colaborador de la mímica y del gesto La palabra debe de ser recargada con todo su poder y convertirse en una palabra esencial y total que en la teoría futurista llamamos “palabra-atmósfera” ....
13 Repeticiones aisladas de palabras, de verbos en el infinitivo.
14 Arte Esencial.
15 Gimnástica gastronómica amorosa etc. música.
16 La utilización de sonidos de ruido acordes armonías musical o simultaneidades de ruido de silencio todas con sus graduaciones de apoyatura crescendo y decrescendo que se convertirán en pinceles extraños para pintar delimitar y colorear la oscuridad infinita de la radia mediante la cuadratura geometría esférica en corto.
17 La utilización de interferencia entre estaciones y el nacimiento y la evanescencia de los sonidos.
18 La delimitación y la construcción geométrica del silencio.
19 La utilización de varias resonancias de una voz o sonido para poder dar un sentido del tamaño del lugar en el que la voz es articulada.
20 La eliminación del concepto o de la ilusión de una audiencia que siempre ha tenido una influencia deformadora y nociva de los libros.