The large rolls of negatives held by the Aerofototeca of the ICCD form a parallel world of what has already been, kept in countless tins that share the same colour and a typography similar to Piero Manzoni's famous tin cans from 1961. The tins bear the name of Ferrania film, which gives the book its title. We will never know the contents of some of these tins: opening them, we find only small, dark, sticky monoliths. In others we find a universe of images conceived as supports for topographic data, pure non-contemplative documents, to which Barbieri gives new meaning. With these large negatives, now freed from the topographic coordinates that once confined them and no longer restricted by military law, dense with analogue photographic materiality, Barbieri attempts to make a sculpture: no longer journeys within a room or across a map, but a fantastical description of the code of what has already been. The book presents works made by Barbieri as part of the ICCD's artists-in-residence programme, organised in three series: the tins that hold the film reels, the giant sculptural rolls of negatives, and a final series revealing subjects preserved in the archive's holdings, including the Diavoli Rossi acrobatic patrol, forerunner of the Frecce Tricolori.