A video “transavant-gard artist”, is what Stefano Ronci can be called. The rhetorical figures used by him are those of Ground Zero in video art: of Andy Warhol’s film or the flow of images used in the early sixties by the Fluxus movement, years in which the video represented a story of anarchy where everything flowed without any control, without any subjective interpretation, by leaving inalterated the documentary coldness of the means. In the early seventies, in addition to the radicalism typical of the avant-gard movement, there was also the technical impossibility to accomplish improvements, modifications or cuts and enabling therefore to protect the ascetic quality of the work as was the case of Andy Warhol’s films which today are considered pre-video for the total absence of a narration. Ronci appears to want to return to that impersonal rigour of the means by choosing the same indifference and casualness combined to real time and therefore to movement and to the dullness of everyday gestures and actions in connection to the coming of consciousness of the intrinsic values concentrated in them. The full expressive multimedial liberty for a uniformity in language characterizes the work which, in the interpretation of the movement has been compared to the innovators of the Futurist movement.