Contemporary to the Berlin Dada manifesto of which Hausmann was one of the founders, this outcome was dictated by the necessity for destructive radicality. In the years that followed, Hausmann’s interest for phonetic poems never ceases to grow. He develops it jointly with Kurt Schwitters (1887-1948) who was in fact inspired by Hausmann’s antecedents for his Ursonate. Later it was from the convergence of light and sound that the “optophone” emerged and with it the desire to physically feel the sound. Typography, poetry, diction, typescript, manuscripts, collage and painting were the modes the artist experimented with all his life to “find the new primordial signs”. From avant-garde prints to “optophonetic” poems via the later canvases, this selection from the archives and the works in the Raoul Hausmann collection is devoted to this research.