Jerome Rothenberg & Pierre Joris (2002) eds. and trans. _Kurt Schwitters: pppppp (poems performance pieces proses plays poetics)_, Cambridge: Exact Change. 

In the Dadaist tradition of montage, Schwitters describes his method of combining diverse elements to undermine if not erase the boundaries between art forms: 
'I pasted words and sentences together into poems in such a way that their rhythmic composition created a kind of drawing. The other way around, I pasted together pictures and drawings containing sentences that demand to be read.' (2002: xv)

The integration and equivalence of diverse elements seems in keeping with digitisation. This operates across art forms but also genres. For example, his text-based works include poems, plays, prose, and so on, across various languages (rather than simply in his native German). Connection is also made to the Wagnerian idea of 'Gesamtkunstwerk' (total work of art) in combining various elements from artistic genres synthesised through the technique of assemblage. As Schwitters explains:
'These materials are not to be used logically in their objective relationships, but only within the logic of the work of art. The more intensively the work of art destroys rational objective logic, the greater the possibilities of artistic form. Just as in poetry word is played off against word, so in this instance one will play off factor against factor, material against material.' (2002: xvii)

The materials derive from everyday life and politics, what he refers to as the 'banalities' of objects and language (in other words, 'dada' - or more accurately that banalities contain dadaistic nonsense).  This underpins the language experiments with unusual combinations and lack of referentiality. 'Ur Sonata', for example, is a thirty five minute sound poem without words performed by Schwitters. The politics of this is covert in comparison to the overt politics of other dadaists, embedded in the times and life in general (and of course the rise to power of the Nazis). Schwitters contentiously claimed: 'Art is too precious to be misused as a tool' (2002: xxvi) but reveals the political dimension of speech, writing and coding.