in every expressive shape 
created by man made manifest
through which poetica is transmitted
and one diseminates liberations,
we can more or less
distinquish the works
that totally realize the innovating attempt of their authors.
These accomplished works, moreover,
render accessible to the perceptive stimulis
of the emancipated
a previously unknown freedom in fruition.

This is a draft of the works of the inisti.

These authors expose in theatre-like pictures
self-made poetic compositions of objects
or recite full poetries of colors
that others would not be able to imagine 
outside the architectonic within. 

Such works confer meaning to the primary target characterized from the inista idea, 
the new one to feel, 
the new one to make.

The inisti habitually affect tapes and discs with the shapes and volumes of poetry that, before them, 
could only be painted or  carved. 

In fact, the inisti will by any means necessary
operate to express their disposition 
for the awareness and complete overcoming 
of the methods in which up to now, 
the unit of poetic expression has been crushed. 

Such methods have determined in poetry 
a tangible reduction of energies and creative resources. 
 

The inisti engagement targets every expressive shape 
that can return to poetry, 
beyond that offered by energies and resources,
a wider meaning than the making of one art. 

For reasons of clarity 
(through which we have placed the start of the written present), 
the obviousness of how much would also have to appear 
turns out to be insufficient 
the by now customary (and destitute) definitions of 
poet, writer, artist, musician, 
in order to delineate who really is the inisti? 

di.là.dall' 
the obvious answer offered by " exponents of the Inismo ". 

To even trace a simple historical note 
on the creatrice current in which they belong 
would not much help to connote the inisti. 

We turn over, then, all points of reference: 
the same purpose becomes much easier in case points 
in the first place, 
to frame the way in which these authors 
have operated for eighteen years.

To individuate in another, 
the dominions of operating words. 
 

creativity, when applied in an intentional and systematic way, 
does not remain only an idea 
rather, it puts into effect 
complete expressive freedom. 

For the inisti, the abstract componimento constitutes the necessary complement of the previous phrase on the operations plan. 

In short, the separated poetica, 
to understand which one is the common denominator, 
connotes every inista realization. 

Only the poetica has within all its operating dominions
(between the many, the Inia, the Narratinika, the Videoinipoesia) 

the understandings 
like fundamental elements*, 
to contribute in a cooperating fashion, 
to the attainment of one poetry that is total and absolute. 

* (a mathematician could observe that the superimposition of plans put into effect by the inisti for the interrelations that it determines, are more than a multiplication, they are the key to power)

Between the operating dominions of the inisti, it detaches the Inia. Because it is sign. Their sign. Through the sign, the inisti distinguish the " word " from the " terms ". 

The word, 
understanding in the sense of that it gushes from an idea, 
once discovered, becomes also and above all a new relation, 
an action of creation 
from contrapporre to the term 
(than instead it characterizes the stereotype, the convention, the repetition). 

To the sign, in fact, 
the inisti have always given creation value, not of imitation. 
More in a generalized manner, the Inia encloses and expands - also in the name - the inista concept of sign. 
The Inia is also the necessary derivation 
(but more than the effect than one simple filiation) 
of the idea to adopt the symbols of international phonetics, 
a new solution applied to the abstract poetry from the beginning 

from the inisti in order " to fix " on the support chosen – 
in way univoco and commonly fruibile – 
the sonorous and oral elements of every possible vocal articulation. 

The Inia simultaneous orchestrazione of feelings and thoughts, 
are multiple and total vision. 

We have pointed out, over, also to the Narratinika and the Videoinipoesia. 

Before it is performance of ideas, not technical. 

the dynamics compenetrazione between poetici, novellistic and phonetic elements in a directed process to establish unknown relationships between Inie and one fabula on various formal and esegetici plans. 

If in the Inia it was " only " the sign, here it is " to make " narratiniko that it produces and it multiplies the meant ones, determining a new one to feel, a new one to know, a new one to transmit. 

The realization narratinika, freest, up to now 
invests pertinenze 
(fragmented between novel, theatre, music, linguistica, glottologia but, equally liberations), 
and exceeds the wide capacity of dynamic synthesis 
 
 

In the territory of the Narratinika it is, as an example, 
possible to distinguish (never to delimit) 
sure homogenous applications within. 

Between all, particularly beloved to the inisti, 
is constituted from the inista odeporica Literature. 

Also the Videoinipoesia characterizes the limits of one philosophy
though perhaps not as well as used for practical means 
(it is for this reason, videopoesia appears limiting or misleading) 

there is never a finished multimedia approach through inisti 
if the same approach adds new dimensions to the art work. 

Especially if before the work synthesis and exposure, 
becomes hours of analysis and discovery. 

Also in this case, in order to make use totally of the work 
it is necessary to pick in simultaneità 
the pathos from its multiple expressive plans. 

Those cited constitute only some examples 
of the members of the Ini work, 
of which examples are 
their operating dominions (mediums). 

Also omitting every intention of esaustività, we must add, at least, the optical Anagram, 
the inista area fotografika, 
the Inika sonorika, 
the inista Libroggetto. 
 
 
 

The first one, in its simpler shape, consists than of two writings geometrically contrapposte 
from which it is possible to gain, 
with perceptive-interpretativa simultaneità 
(therefore, through one perception alternative of the same diagram-optical elements), 
a third reading, distinguished from the previous ones. 
It becomes easy to intuit as the process can be repeated more times, identifying one poetry on various planes. 

The inista area fotografika comprises 

the inista Photography, 

when the work is realized with the single photographic means, 

the Photoinigrafia, 

if to the realization of the image - poetry - participations that exceed those photographic exclusively, however present concur, 

and the Inigrafia, 

in which the poetica is favored as an example 
in an extensive way 
the average offers from the new technologies 
for realization of the image (, the digital diagram) 
and/or from unknown uses of other expressive instruments. 
 

The inista area fotografika is the extension of the Inia beyond the mediums of plastic, pittorico and computer science; 
it is pathos vision. 

Drafts operate an overcoming of the mere visual fruition 
of the poetica (the visual photography and limbs of traditional understandings), for one discovered creative action above all else 
in the moment of perceptive, mental and emotional fruition. 

The Inika sonorika,

 from the song, its scinde the word in its phonetic, 
oral, sonorous elements organizes them, 
processes them - sovrapponendoli between them 
and stratifying in their new thickness 
ulterior polifoniche emotions 
- until giving back to the fruitore primigenia 
the anarchy of feeling and, therefore, discovering. 

The philosophy of the libroggetto condenses, in the inista idea, 
the attitude to the unknown approach, 
the superimposition of plans, 
the creative handwriting, 
the orchestrazione of visions, feelings, words 
(also and not only pittoriche, oggettuali, photographic). 

The poetica of the collage exceeds the previous settorialismi 
(book object and livre of artists, 
by now a lot tires and crystallized from renderli 
ideal land for ripetitività and common places). 
 
 
 

The libroggetto, with the Inismo and through it, 
it returns to be poetry, action of creation " without fixed railroads ". 
" new Readings " that emancipate the readers demand, 
the iniste works are substantially creative poetry shapes 
on various plans. 

The suggestions of the new poetica 
give back to the use of the fruitore quality 
and creatrici resources that otherwise would remain confined 
in the latenza. 

It is without this attention, 
previously drawn from reason, 
that the inisti direct towards the widest interpretative freedom. 

For they, by the overcoming of rules and conventions 
constitute a formidable point of departure 
for an uninterrupted process of creation. 

*** The Inismo, more often called sovente Ini (or I.N.I.) 
is an international movement that has accepted the definition of " vanguard ", 

understanding like inner attitude, 
in its simpler meaning that it wants to indicate, above all, difference in the comparisons of the official art, 
recognized from the society. 

In reason of such differences, the Inismo is necessarily also " against ", but draft more than effect that than scope. 
 
 
 

The true nature of the objective pursued from the inisti manifest in the constant and aware application of the creativity in the art of making (this is wanted to be said poetry), 

without to impose barriers to the expressive freedom 
and the inventive abilities, 
therefore in absolute independence from models or conventions. 

Inismo derives from Ini, or I.N.I., the initials of the terms that since the origin have defined the movement: 

International Novatrice Infinitesimale. 

The road covered subsequently will impose for such name
 an able semantic expansion to exceed borders 

that, with the exception of how much happened 
in the history of other movements, 
had not been intentionally prefixed. 

Of the rest, which limits could contain a name composed of three indicating elements, all, extension? 

While the first one is commented alone, 
of according to term we observe 
that it is the latineggiante shape of the most recent " innovatrice ", 

but it coincides with its French equivalent and approaches better, phonetically, the English shape novator. 

We believe, instead, opportune to dedicate one particular attention to the third party, the most debated, most technical also and, in so far as, more characterizing. 
 

In poetry, the infinitesimale encloses the idea of a disowned and difficultly imaginable infinite. 

As in physics they have been caught up the separation of the atom and the particles of which it is composed 

(and beyond, in a process of which is difficult to notice the conclusion), 

the inisti have aimed, systematically, to the " division " of the elements that constitute the word. 

In poetry, the process was begun with Baudelaire that gives the amplitude of the anecdotal work as an example (, a poema) was passed to a creative concentration that regarded the single composition, the short componimento, the fragment. 

The same directive promoted in the successive years 

Verlaine, Mallarmé, Rimbaud, 

turning their attention towards more and more small and dense lyric nuclei gradually, respective: the back, the word, the letter. 

*** The official foundation of the Inismo happened to Paris 
3 January 1980. 

The main protagonists were 
Gabriel-Aldo Bertozzi and Laura Aga-Rossi. 

Little days after, the action was repeated to Rome thanks also to the incessant activity of Giulio Tamburrini. 
 
 

In september of 1980, in the same two capitals 

the I.N.I. published the first manifesto 
of the current (Qu' east-ce que - Che cos' is the I.N.I.). 

To those first months he goes back also 
the complete adhesion of Angelo Merante and Moreno Marks. 

The first iniste works came while exposed to Paris 
(3ème Salon Lettre ET the Signe, september-October 1980). 

The first inista extension in Italy, devised and directed from 
another protagonist of the first phase of the Inismo, 

Antonino Russo, 

had place in April 1981 to Naples. 

The interest provoked from the new creatrice current 
and its first initiatives already pushed some authors, 
sure most sensitive and emancipati, 
to contribute in varied ways 
to the dissemination of the iniste requests 
through books, reviews, newspapers, official notices print, 

that is through the adhesion. 

The iniste extensions interested several cities of Italy 
and the number of authors whom since then they had intentional to address to the " creation on railroads not rigidly prefixed 

" at least a phase of their artistic activity was increased. 
 
 

The single directory would have lengthened a lot 
the historical part of the present text without adding 
to the trattazione meaningful elements. 

Moreover the banns of the first representatives of the Ini 
were written up and distributed. 

Between all, a particular attention deserves Qu' east-ce que 
the I.N.I. - Cahier 1980, 

cured from Laura Aga-Rossi, 
containing theoretical declarations in numerous languages, 
creative works, programs. 

The complex of these events marks the beginning of the so-called pioneering phase of the Ini. 

While also from foreign countries 
(mainly Argentina, United States and Spain) 

attention beacons reached towards the ideas and the activity of the new movement,

Bertozzi, Aga-Rossi, Merante and Marchi represented the Inismo in the international encounter, 

as an example participating like " care hosts " to the main organized manifestations from the exponents of the vanguard slow combustion stove 

(Lettre ET the Signe dans the art contemporain, 1981; Salon Écritures, 1982), or sending their contributions to Spanish banns that already left to presagire the imminent plebiscite of the Madrilenian Movida towards the Inismo. 
The income in the movement of George Mattioli, director and actor, created the ideal coordinates for the birth of the Ini. Theatre to signal the realization of Inisfera, a pièce directed from represented Mattioli and to Rome in 1984, 

whose script was constituted (with initial anguish of the actors) from poetries and realized abstract pictures from the inisti. 

With the sonorous materials of Inisfera 
the same Mattioli realized, the following year, a L.P. stereo. 

Still in 1984, another elegant publication cured from 
Laura Aga-Rossi, the Sekondo Kwaderno Ini, 
collected the new iniste productions. 

Between these, a inista novel that the reader to an active fruizione of the work invited and to construct liberations - through the work - own the unknown spaces of abstraction 
(City Introduction to a new novel concept, of Merante); 

two scenarios for vanguard film, realized from Peter Ferrua; 

two theoretical participations of George Mattioli (Ini Theatre) 

and Colored person Mark (to Ini Philosophy) and other novatori contributions. 

From 1985, the inisti emphasized their participations of abstract fonetizzazione. 

Bertozzi had already applied the techniques of collage of voices and the sounds with amazing creative outcomes, while Mattioli had addressed on the use of the human voice its better expressive abilities. 

Merante, in the meantime, through the sovraincisione, created unknown vocal processings and, by means of voices filtered or manipulated from electronic instruments advances, added new poetiche dimensions to the sonorous synthesis. 

Between its more important recordings on magnetic tape realized in this period, signals Knarja' ò to; from it, in fact, taken to start the Inika sonorika. 

In the meantime, to the foreign country other Iniste Headquarters were being organized. 

They will quickly reach to delineate Inismi various for a Inismo that are not one school, neither tantomeno a group. 

Rather, movements, if - time for time - we circumscribe them geographically; a running width, if we will have picked it in together. 

The French Inismo, which in truth voluminosa trattazione for esporne in exaustive way the complex would be up one and continues evolution, was the first nucleus after that Italian. 

Also for historical reasons (the official constitution of the movement had happened to Paris, therefore like in the same city the first manifesto was published and was exposed for before the time iniste works). 

We will limit ourselves therefore to emphasize the presence of numerous iniste requests to Paris already endured after the foundation, thanks to the contribution of Jean-Paul Curtay and Alain Borer, and to remember two entire iniste, svoltesi extensions in 1985, near the University of Poitiers, under the direction of Angelo Merante. 

In the same year, moreover, iniste works figured also in one great international exposure on the vanguard, Signes-Écritures dans the art actuel, realized to the Grand Palais of Paris. 

To the end of 1986, Bertozzi coordinated, to Paris, 

a series of encounters 
with the French representatives of the movement 
and with several exponents of the vanguard, 
contributing to the ulterior strengthening, 
it is on the theoretical plan that on that operating one, 
of the Inismo in France. 

In 1985, Peter Ferrua had founded the American Inismo. 
Between the most active exponents, beyond the founder, they were signaled endured Paul Thaddeus Lambert and Lex Loeb. 

The successive year, the 22 July, Julio Carreras h., Esteban Olocco, Hugo Fiorentino and Daniel Doñate published the Primer Argentine Manifiesto INI, obtaining endured adhesions also in other countries of the Latin America. 

The evolution of the Argentine Inismo would have culvert, in successive years (1990 and ' 91), to the publication of others important manifestos. 

The first manifesto Spanish, published from the Koiné review and signed from Encarna Galan and F.co Juan Molero Prior carried the date of 1 January 1987. This last one, with the valid collaboration of M. Luz Bermejo, Luis Campal, 
 
 
 
 

In the Bitter and many other authors, would have constituted Spanish and thrown a Inismo active quickly, through César Figueiredo, also the bases for successive iniste activities in Portugal. 

The Inismo, than since the origin had emphasized the importance of computer science means and audiovisual aids in the poetry, contributed in determining way to the full realization of the interactive art. 

In 1986, Angelo Merante and Furio De Mattia 
(entered officially to the Inismo from the end of the previous year), 

from the French Cultural Center of Rome, connected for means of computer with other artists of foreign cities, 

have devised and realized, sended and received, 
rielaborato and transformed total works creative simultaneità, 

valicando the geographic distances. 

On a depositor nearly parallel, applying and expanding a characterized directive already in its first manifesto, the Inismo rivoluzionava and finally resolved the annoso problem of the translation, proposing the only possible solution to creative level, the abstract translation. 

Other adhesions added to new voices and new sensibility to the Italian Inismo; between most meaningful, those than Giovanni Agresti, François Proia, Iniero Garesto. 
 
 
 
 

Moreover, the strengthening of the French Inismo maintained consisting to the inista participation to the main exposures slow combustion stoves: Désécritures (1986), Décodages (1987) and Salon Comparaisons (still to the Grand Palais, 1988). 

*** To the Inismo the merit is up to have formulated a series of historical and critical revaluations (Bertozzi but has specified that it is not one or the other student to discover that such or talaltro poet of the past, but is the society that has caught up the level of their language, permettendone " riscoperta "). 

E' the case of Charles Cros, the poet who invented the phonograph, before Edison, in order to give back the sound to the poetry. To the Inismo they must, between the other, an innovative critical trattazione on meant of the work of Cros 
(the dark role, test of Bertozzi) and, little years after, the first Italian edition of its complete works 

(cure and Aga-Rossi translation). 

More in a generalized manner, the evolutionary poetica, 
its dynamics, premonitory and the their role 
have been for the inisti object of particular studies and reflections. 

In such sense, the more valid and articulated contribution, has been without offered doubt that one from Gabriel-Aldo Bertozzi, 

accomplices its inexhaustible inventiveness and the multiple valences of novatore, theoretical poet of the vanguard, 

specialist of French Literature and Comparatistica, 
university teacher 
(are Preside of the Faculty of Foreign Languages of the University of Pescara) 
and director of necklaces and reviews 
(in particular, remember Bérénice, review of careful French Literature to the new requests of the poetry, before, review dedicated entire to the international vanguard, then). 

With its determining participation, the turn of horizon of inista surveying on the genesis and the development of the vanguard has been able to estend from the dissacranti written ones of the Zutistes to poetries dada of Francis Picabia, passing through the roles - before " dark " - of naturisti, parossisti, impressionisti, simultaneisti and of many other authors been involved in the cultural ferments from which the great season of the historical Vanguards would have been originated. 

Brave the theoretical and critical contributions, 
I do not shave revolutionary, 
of Bertozzi have traced the interpretative coordinates of movements, groups and single authors, revealing implications little unknown notes. 

Their value has been and continue to be fundamental, 
it is for the inisti that this makes a true bench mark theoretical, 
if not for their intrinsic scientific value. 

Exemplary case is that one of Introduction, 
text that carries out the delicate task exactly to introduce the reader to the topics of its collection of tests on the vanguard, the 
unknown sense, but it could also - in future - be remembered 
like a manifesto of the Inismo. 

The inista attention on the role of the premonitory ones 
has allowed to reconstruct and to motivate with adequate document support the evolution of the poetry process 
that previous theories had become simpler in excessive way, outlining events and interrelations. 

In fact, according to the analysis of Bertozzi, 
than the Inismo all it has made own: 

" after the word (Mallarmé) 
and the letter (Rimbaud), 

there is fonema (the Marinetti and the futurist ones) ". 

For who it knows 
the theories that have preceded the Inismo,
the differences between the inista appraisal 
approximately the evolution of the " poetico material " 
and those previous ones are obvious. 

For who then, it had picked the limits (sometimes, consisting) 
of the theories that have preceded the Inismo, 
such differences become quite enormous and determining

Without addentrarci in a argument that alone would occupy many pages, limitiamoci to specify 

that the Inismo began its " reasoned revolt " 
leaving from the fonema 
(in this optical, appears nearly superfluous to ribadire the not occasional use of the symbols of international phonetics and the formalizzazione of the Inia or the Inika sonorika) 

and proiettandosi beyond the word, that is covering to the contrary the autumn of a process of " concentration of the poetico material " and trasformandolo in the spring of an uninterrupted expansion
 
 
 
 

 *** With their novatrici works, 
the inisti had quickly demonstrated 
through creativity are possible 
a liberation from conventions and common places. 

This achieved, a sure confirmation 

that in every man a poet exists to discover. 

For trovarlo, it was necessary therefore to try the better way for rendering aware (or more aware) 
the existence of many still unexpressed potentialities, made unusable or, worse, badly employed. 

The constant exercise of that precious resource 
that is that creativity expects from everyone 
the best of their own abilities. 

The scoglio more difficult to exceed 
is often localized in the passage from a new idea 
to the aware action that would have conseguirne. E' necessary, then, to find the creative gesture from contrapporre – 
case for case, blow on blow – 
to the excessive intrusiveness of stereotypes 
and homologations. 

The inisti, projected ahead, 
comprised before that in such direction 
the main effort had to be concentrated, 

yes to demonstrate - to all – 
than are not necessary transactions 
 
 

because everyone can appropriarsi better 
(, to riappropriarsi) 

than one’s own poetic dimension. 

In such circumstances, the inista work became more and more decidedly, for the fruition, 
a liberation, emancipation vehicle. 

Through that it would have helped it to riaccostarsi 
to the ancient power of the word, 

to pick the difference between this 
and that term in one unknown perceptive 
and realizzativa simultaneità 
and total (inappagato dream of many premonitory ones). 

In short, from the second half of years ' 80, 
the inisti extended with greater incisività 

their " multiple and total vision " to all the aspects of the life, addressing their better energies in order to accelerate a directed process to lead the man towards one new taken of conscience. 

They were applying in an aware and systematic way

if one polishes the reflection of Bertozzi, 

the creator today 
will make the poet tomorrow. 
 
 
 
 

They had comprised that in these coordinates 
the true " copernicana " revolution of the new poetry resided 

and that from the process in action they would not have had to be omitted or to be diminished already the virtually contained ethical aspects in the idea of " art of making ". 

Consequently, to aware not only operate 
for the realization of an objective chased 
(from the vanguard, but above all) 
they give beyond a century, 
they acted renewing the poetry in order to change the life. 

The exponents of the current, feeling that for the Inismo an " operating phase " of wide capacity began, decided " to mark " the moment with the publication of a manifesto. 

According to Ini Manifesto, written up in the first days of september 1987 in the campaign umbra, to S. Apollinare, september) introduced to Perugia was ready 

(5, in Sala Brugnoli. 

The document, entitled Apollinaria Signa, 
in homage to Guillaume Apollinaire 
(between main the premonitory ones of the Ini) 

and to the locality that had accommodated them 
in the course of the drawing up, 

beyond introducing inista ethics, 
repeated a determined refusal of all the sperimentalismo shapes 
 
 

and marked the definitive conclusion of the " pioneering phase ". 

*** The inisti events of the new phase of the Inismo are distinguished from intentional executive rapidity. 

Other official adhesions extend ulteriorly, 
between 1988 and the ' 94, 

the geographic and cultural areas invested from the Inismo. 

Between the others, Lisiak Land-Diaz (Perù); Krister Follin (Sweden); Sandro Ricaldone, Eugene Giannì, Paola Di Pancrazio, Christmas Cuciniello, Argentine Capriotti (Italy); Marinisa Bove (France); Pedro Juan Gutierrez (Cuba). 

The manifestations were articulated, like preannounced, on several ideativi and realizzativi plans. 

Between the main exposures of works, we remember: Alphabet DES Astres, international Extension of libroggetto (the Chieti, Palace of the Province, 1988); Extension and debate on the Inismo (University of Florence, Magna Classroom of the Faculty of Mastery, 1988); Primera Feria Inista (Madrid, 1989); Inismo. 1980-1990 (Rome, 1990); Art Embotellado (Turon, España, 1990); The Inismo (cycle of exposures in the centers of the Alliance Française to Bologna, Bari and Venice, 1990); Rimbaud and the Vanguard (Torre Ciarrapico, Francavilla to Sea, 1991-' 92); Inismo. Of the vanguard fonema (the Aquila, 1992). 

To the American Inismo several initiatives for all 1993 were dedicated. Culminating event, an extended I.u.N.s.I.a extension. (Pinacoteca Barbella, Chieti) and the relative catalogue, with witnesses of Bertozzi, Loeb, Lambert and Gasbarrini, whose singular layout very approached it a livre objet. 
English: In 1994, from the end of june to the August end, one had place great inista multimediale manifestation near the Kemi Art Museum (Finland), Inismi: the I.N.I. Avant-Garde. Works of the main Italian, Spanish inisti, Americans, French, Argentines, Cuban were introduced: poetries, film, books, videoinipoesie, inike sonorike, inista apparel, theoretical witnesses, documents, reviews. 

The rich catalogue of the manifestation, cured from François Proia and Antonio Gasbarrini, being be realized before the extension, could not obviously render account (neither was this its intention) of the great participation of the public and the Finnish critic to the exposure. 

Color photographs to full page riprodussero 
the " inisti dresses " signed from Laura Aga-Rossi 
and other works its and of others exponents of the international Inismo.

 *** An argument that invests the events of the second phase of the Inismo cannot naturally limitarsi to the exposures, even if these often constitute important occasions in order to assert, above all through the banns that in such contingencies find reason of being, the ideas and the thought in a much more persistent shape. 

E' the test case of Bertozzi Che cos' is the Libroggetto, written up in occasion of the extension Alphabet DES Astres, than, exceeding " the catalogue " contingency ideal, a fundamental instrument for who remains wants to face the esegesi of two " poetici kinds ", the book object and the book of artist, and quite superarli, in the inista vision (once again, as well as " unitary ", being poetry, how much " total multiple and ", possessing always multiple creative and realizzative valences) of the Libroggetto. . Between " it catalogues " true and own that one published for the Inismo exposure 1980-1990 and that one for the cycle of extensions can be indicated the Inismo. 
The first one brings an introductory text of Bertozzi (the inista sign); the other, one very documented presentation of Sandro Ricaldone. And, still, we remember the publication Made INItaly, a precious collection of 13 postcards realized from the Italian inisti, cured from De Mattia in occasion of the first ten years of activity of the current. De Mattia, still continuing its activities in the area of the Interactive Art, represents the Ini to the international manifestation Transmission Points (and), devised and coordinated from Christmas Cuciniello (Naples, 1990); Bertozzi and Merante participate to the international exposure Librismo 1896-1990, a wide cured review give Mirell 

INI HQ