During the 1960s, Nono's musical activities became increasingly explicit and polemical in their subject, whether that be the warning against nuclear catastrophe ("Canti di vita e d'amore: sul ponte di Hiroshima" of 1962), the denunciation of capitalism ("La Fabbrica Illuminata", 1964), the condemnation of Nazi war criminals in the wake of the Frankfurt Auschwitz trials ("Ricorda cosi ti hanno fatto in Auschwitz", 1965), or of American imperialism in the Vietnam War ("A floresta é jovem e cheja de vida", 1966). Nono began to incorporate documentary material (political speeches, slogans, extraneous sounds) on tape, and a new use of electronics, that he felt necessary to produce the "concrete situations" relevant to contemporary political issues. The instrumental writing tended to conglomerate the 'punctual' serial style of the early 1950s into groups, clusters of sounds—broadstrokes that complimented the use of tape collage. In keeping with his Marxist convictions as 'reinterpreted' through the writings of Antonio Gramsci,) he brought this music into universities, trade-unions and factories where he gave lectures and performances. (The title of "A floresta é jovem e cheja de vida" contains a spelling error, the word "full" is "cheia" in Portuguese, not "cheja".