This article points out the importance of the microtonal writing system developed by Alois Hába, who Juan Carlos Paz believed was continuing Arnold Schönberg’s contributions to atonal composition; the rupture with tonality; and the twelve-tone technique. Although he understood that Hába’s theoretical works indicated courses of action to be followed, Paz did not agree with the type of synthesis proposed by the Czech maestro. He also believed that he manifested a certain local interest because he sought solutions from within his own limits and resources.

The nine issues of nueva visión. revista de cultura visual. Artes, arquitectura, diseño industrial, tipografía [New Vision, A Visual Culture Magazine: Arts, Architecture, Industrial Design, Typography] were published between December 1951 and 1957; the magazine was designed to operate as a space for the redefinition and dissemination of concrete art. Tomás Maldonado (b. 1922) served as its director. Although the editorial team varied in its composition over the years, it included: Carlos Méndez Mosquera (1930), Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito (1923–1993), the architect Horacio Baliero and Edgar Bayley. The first issue specified that Alfreo Hlito had created the typography for the magazine. Issue two–three stated: The magazine nv, nueva vision, is the property of Nueva Visión Editorial L.L.C. Although Tomás Maldonado served as director of the publication, issue nine identified him as its founder. Juan Carlos Paz (1897-1972) is an outstanding musician and critic born in Argentina. He worked as a composer, critic, essayist, pianist, organizer and promoter of twentieth-century music, which was linked to the beginning of the avant-garde at the end of the 1920s. He introduced the twelve-tone technique in Latin America and in 1937 he founded the Conciertos de la Nueva Música [New Music Concerts], which later became the Agrupación Nueva Música [New Music Group]. This document was selected because it testifies to the interest in disseminating the most innovative musical techniques of the era, which were part of the interdisciplinary framework of this political publishing house that examined the relationship between the different arts.