The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Irradiador magazine—subtitled, “Avant-garde magazine: an international project devoted to the new aesthetic, directed by Manuel Maples Arce & Fermín Revueltas”—was published in Mexico City in 1923. El restorán [The Restaurant], a drawing by Revueltas, illustrates the cover of the first issue. In the magazine’s first essay, titled “Irradiación inaugural,” which is presented in the form of a manifesto, the Estridentistas declare themselves to be “noviangularmente irradiales” [neo-angularly irradiant]; they praise the urban aesthetics and advise the reader, whom they address as one stricken with a social disease, to consult Dr. The Unbelievable in order to have an “irradioscopy,” and undergo “Stridentotherapy.” This first essay includes a poem jointly written by Diego Rivera and the writer and poet Julio Torri in the form of an advertisement for “Stridentina,” as an infallible cure against academic, conservative intellectuality.
Irradiador was the first Estridentista magazine to experiment with advertising and used photography as well as an extension of the avant-garde language; even Edward Weston (1886–1958) was among its contributors. The two subsequent issues of the magazine appeared in October and November 1923. Calligraphic poems, like the one by Gonzalo Deza Méndez published in the second issue of Irradiador magazine, were closer to the Frenchman Guillaume Apollinaire’s "calligrammes." The one by Diego Rivera (1886–1957) and Julio Torri (1889–1970) sketches forms with words that are seasoned with a sense of irony to produce the confrontational language against the conservative groups and turn the poem into a sort of ideographical manifesto.