In 1959 he founded with others “Antipiugiù”, magazine of experimental literature, that he directed until 1966. In 1964, with the musician Enore Zaffiri and Sandro De Alexandris, he founded the "Studio of Formazione Estetica" for the research of interconnections between visual and spoken poetry, plastic and electronic music and for the spread of costructivist works.
In 1966 he founded and directed “Modulo”, magazine of contemporary culture, curating the first number as international anthology of concrete poetry. In the same year he curated the exposition of visual poetry in the Faculty of Architecture of Torino and the next year, with Adriano Spatola and Franco Verdi, spokespeople of visual poetry in Italy  “Esposizione internazionale di poesia sperimentale” at Università Popolare of Castelfranco Veneto. In 1969 he curated the exposition of concrete poetry in Cà Giustinian, in the range of the Biennale of Venezia. With Sergio Cena in 1978 Lora Totino organized and curated, on behalf of “Cramps Records” of Milano, “Futura, poesia sonora”, anthology of seven cds LP, with historic-critic presentation from Futurism to Contemporary researches. With the same Cena in 1993 he published “Gazzetta di gazzarre, gazzarra di gazzette” (Sapiens, Milano), work in verses and prose. From 1974 he elaborated a series of performances in “poesia ginnica” and “poesia liquida” and from 1976 a series of pantomime-declamations of texts of historic avantgarde, from Futurism to Dada, from russian Zaum to Expressionism, from Lettrism to Concretism. In 1980 Lora Totino curated for the second channel of RAI TV the show “Il colpo di Glottide” made of 13 episodes about spoken poetry. He published many texts about visual poetry both in black and white and colours or in plexiglass in three dimensions too: “Fonemi plastici” (Multiart, Torino, 1967), “Situazioni plastico-verbali” (Studio d'Informazione Estetica, Torino, 1969), “Il liquimofono, congegno generatore di musica liquida e la poesia liquida, inflessioni tuffate dell’idromegafono" with Pietro Fogliati (id.e Scheiwiller, Milano, 1968), “Cromofonemi iridescenti” (Tuttagrafica, Torino, 1977), “Incandescenza, itinerari litoranei” (La Nuova Foglio, Macerata, 1978; Sapien, Milano, 1992), “Les roseraies à rosaces”(Il Trisegno, piacenza, 1983; Sapiens, Milano, 1992); “Musica Musiva” (Ed. Elleci, Roma, 1985); “Fluenti traslati, concertazione drammatica in 4 tempi” (Morra Edizioni, Napoli, 1988), “Luce ombra” (autoed., Torino 2001), “Typewriter art dattilogrammi poèmes mécaniques” (autoed., Cherasco, 2001). In 1996, on behalf of the Regione Piemonte, the critic Mirella Bandini curated a retrospective of the activity of Lora Totino in the “Circolo degli Artisti” of Torino. In 2016 a wide anthological of his works from 1962 and 1982 was held at the gallery “Barriera” of Torino, by Giorgio Maffei and Patrizio Peterlini.