of an image, "the shirtless workers" (los descamisados), as an alternative to the concept of the working class. This image had strong connections and connotations with the male worker, shirtless and, unrealistically, without much affliction. In a speech given 17 October 1946 at Plaza de Mayo, Perón addressed the workers in speeches as "mis queridos descamisados" (my loving shirtless workers). At this speech, he declared 17 October the "Day of the Shirtless Workers" and stated "I don’t want to govern over men but over their hearts, because mine beats in unison with the heart of each shirtless worker, which I interpret and love above all things". The use of representations to create propaganda opened up a clear target for the Madí artists to oppose. Origin of the name Gyula Kosice, who also operated under the pseudonym Raymundo Rasas Pèt, has explained that the name for the movement is derived from the Republican motto in the Spanish Civil War, "Madrí, Madrí, no pasarán" ("Madrid, Madrid, they will not make it in", i.e., the Francoist forces will not invade Madrid). The name is most typically understood as an acronym for Movimiento, Abstracción, Dimensión, Invención (Movement, Abstraction, Dimension, Invention). It could be an acronym for Movimento de Arte De Invención (because the group was against static arts) or Marxisme/Matérialisme Dialectique, but it could also be a nonsense word. Characteristics A Madí work is non-figurative and non-representational; it has a cut-out or irregularly-shaped form, which takes away the viewer's perception of spatial depth that a rectangular frame provides; its colors are flat and sharply defined; it is often three-dimensional and sometimes articulated and/or mechanical; and it is playful in spirit. Madí artists were concerned with creating artworks that were autonomous with functions that naturally transcend the physical features that constitute the work. Introducing elements of transformation and ambiguity were techniques commonly employed by these artists to avoid representation as well as avoid the fixity of representations. In painted works, some artists would intentionally lower the legibility of the design. The incorporation of unusual materials into artworks is seen throughout the art movement movement; this includes Plexiglas, fluorescent tubes, neon lights, water, metal, and other materials. An example of this is seen in Kosice's first hydraulic piece, La arquitectura del agua: Hidro-escultura (The Architecture of Water: Hydro-Sculpture), which utilized light and water interaction. Madí artists sought to combat representational forms because this art reflected and