1. In a famous and highly influential essay ‘The Television Discourse---Encoding and Decoding’ (1974) Hall, Stuart used the notion of coding to map the different and potentially oppositional ways in which TV producers and consumers make and receive texts. Television producers may encode a text one way only to find that the audience decodes it in a completely different way (decoding in this sense is equivalent to Bloom, Harold’s notion of creative misreading). Studies of fan culture, particularly the so-called slash versions of texts created by fans---that is, texts which appropriate characters from a popular show like Star Trek and write new stories in which they are made gay or bisexual---bear this out. Hall was particularly interested in trying to discern the ways in which the hegemony viewpoint is embedded in texts in a natural-seeming fashion. 2. In his late work S/Z (1970), translated as S/Z (1974), Barthes, Roland attempted to classify all the different types of signifieds (see sign) to be found in a literary text according to five codes: the hermeneutic code (the posing of an enigma or riddle---the standard forms are: What has happened? What is going to happen?); the semic code (the multiple meanings or connotation specific words, phrases, and scenes may contain); the symbolic code (reversibility and transformation, the logic of dreams, fantasies, and the body); the proairetic code (code of action sequences, genres and tropes); and lastly the cultural code (the sum of tacit knowledge required to interpret a particular text, e.g., the stereotypes, proverbs and such like by which a culture gives itself particularity). The five codes are not mutually exclusive and it is possible (indeed almost impossible for it to be otherwise) for two or more codes to be present in the one place at the one time. 3. Deleuze, Gilles and Guattari, Félix deploy the notion of coding in L’Anti-Oedipe (1972), translated as Anti-Oedipus (1977), to analyse the way desire is captured and channelled by social institutions. Coding subordinates the individual to the collective. It takes both an actual and virtual form---tribal tattoos, scarification, and so forth which renders group identity visible, but also collective belief in higher powers such as totems, and gods. They specify three separate processes: coding (the installation and policing of belief), decoding (separation from specific codes, either by means desacralization or secularization---it does not mean interpretation, as in Hall’s use of the term), and overcoding (the super-inscription of new codes over old---for example, the celebration of Easter incorporates both Christian and Pagan elements).