Marinetti, F.T.; Masnata, Pino
«LA RADIA»

LA RADIA MUST NOT BE

1. theater because radio hos killed the theater already defeated by sound cineme
2. cinema because cineme is dying (a) from rancid sentimentalism of subject matter (b) from realism that involves even certain simultuneous sytheses (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 guilly of having made humanity myopic implies something heavy strangled stifled fossilized und frozen (only the great freeword tableaux shall live, the only poetry that needs to be seen)

LA RADIA ABOLISHES

1. the space and stage necessury to theater including Futurist synthetic theater (action unfolding on a fixed und constant stage) und to cinema (actions unfolding on very rapid variable simultaneous and always realistic stages)
2. time
3. unity of action
4. dramalic character
5. the audience as self-appointed judging mass sytematically hostile und servile always against the
new always retrograde

LA RADIA SHALL BE
1. Freedom from all point of contact with literary and artistic tradition Any attempt to link Ia radia with tradition is grotesque
2. A new art that begins where theater cinema und narrative end
3. The immensifiration of space
No longer visible and framable the stage betomes universal and cosmic
4. The reception amplification und transfiguration of vibrations emitted by living beings living or dead spirits dramas of wordless noise-states
5. The reception amplification und transfiguration of vibrations emitted by matter
Just as today we listen to the song of the forest und 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 possissiblity of rereiving broadrost stations situated in various time zones and the lack of light will destroy the hours of the day
und night
The reception und 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 und the infinite variety of concrete/abstract und 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 und gesture
The word must he recharged with all its power hence an essentiel und totalitarian word which in Futurist theory is called »word-atmosphere»
Words in freedom children of ihe aesthetics of machines contain an orchestra of noises und noise-chords (realistic und abstract) which alone can aid the colored und plastic word in the lightning-fast representation of what is not seen
lf 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 und 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 gradations of appoggiature crescendo und decrescendo which will become strange brushes for painting delimiting und coloring the infinite darkness of la radia by giving squereness roundness spheric geometry in short
17. The utilization of interference between stations and of the birth und evanescente of the sounds
18. The delimitation und geometric construction of silence
19. The utilization of the various resonances of a voice or sound in order to give a sense of the size of ihe place in which the voice is uttered
The characterization of the silent or semisilent atmosphere that surrounds und oolors 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 und demaging influence


Source: Excerpt taken from Douglas Kahn, Gregory Whitehead, Wireless Imagination. Sound, Radio, and the Avant-Garde, Cambridge (MA), London, 1992, translated from the Italian by Stephen Sortcreili.
Original text: F.T. Marinetti, Pino Masnata, LA RADIA, published in La Gazzeta del Popolo (Turino), 22.09.1933.