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This article investigates how codes and signals were employed in avant-garde poetry and art in the 1960s, and how such attempts were performed in the wake of cybernetics and (partly) through the use of new media technologies, such as the tape recorder and the computer. This poetry*as exemplified here by works by Å ke Hodell, Peter Weibel, and Henri Chopin*not only employed new materials, media, and methods for the production of poems; it also transformed the interface of literature and the actdoi:10.3402/jac.v4i0.18614 fatcat:6dddgg657bczxipgtquozq2vvy