In the later Artaud's perception of existence as perpetual cosmological combat, one of his principal weapons is the scream. His deployment of this scream matures in the 1946–8 radio recordings, especially in To Have Done with the Judgement of God, which he saw as a successful ‘mini-model’ of the Theatre of Cruelty. Though often viewed as an ultimate failure, Artaud's screams, allied within a range of other ecstatic practices, are far more successful than his typically psychoanalytic critics would concede. Inseparable from his projected ‘body without organs’, Artaud's scream attempts an unanswerable, unrepeatable gesture, moving beyond any engagement with an audience.