Signalism (Serbo-Croatian: Signalizam or Сигнализам ) was a neo-avant-garde literary and art movement that emerged in Yugoslavia in 1969. Founded by the poet and artist Miroljub Todorović, the movement aimed to radically transform art and poetry by dismantling traditional linguistic structures and incorporating elements from modern science and technology. The name "Signalism" refers to its focus on the "signal"; the fundamental unit of communication, such as a letter, a number, a symbol, or a mathematical sign. The goal was to create a new, universal language that could transcend the limitations of conventional speech and explore the visual and material properties of language itself.

Drawing inspiration from mathematics, computer science, and linguistics, Signalist artists engaged in extensive experimentation across various media. A primary form of expression was visual poetry, where text, punctuation, and symbols were arranged on the page to create visual compositions, treating language as a concrete material rather than just a vehicle for meaning. Artists also utilized collage, photography, and performance, and were active participants in the international Mail Art network, which allowed them to bypass official art institutions. Through its journal, Signal, the movement connected with like-minded experimental artists across the globe, becoming a notable hub for neo-avant-garde activity in Eastern Europe during its time.

The visual language of Signalism is characterized by a dense fusion of linguistic, scientific, and abstract elements. A central practice is visual poetry, where text is treated as a material substance rather than just a vehicle for meaning. Compositions often feature distorted, duplicated, or cluttered text arranged into complex visual fields or "text labyrinths." These linguistic experiments are combined with a vocabulary of signs and symbols drawn from science and technology, including mathematical formulas, arrows, celestial charts, and abstract geometric shapes. The overall aesthetic often resembles a chaotic diagram or a machine schematic, reflecting the movement's interest in technology and visual communication systems. This visual language is frequently rendered in a stark graphic palette of black, white, and red, though other colors are also used. While primarily a literary and graphic movement, some Signalist activities also included performance art.

The philosophy of Signalism WAs centered on the experimental exploration of language and communication. Its founder, Miroljub Todorović, proposed that traditional art and poetry were insufficient to capture the reality of a modern, technological age. The movement's core idea was to break down language into its most basic units (the "signals") such as letters, numbers, punctuation, and scientific symbols. By treating these signals as raw material, artists aimed to create a new, universal language that could transcend cultural and linguistic barriers. This "scientification of poetry" involved a rejection of traditional aesthetic concerns like beauty and personal expression in favor of objective experimentation. Signalists believed the artist's role was to be a researcher who investigates the structures of communication, using methods and inspiration from fields like cybernetics, mathematics, and linguistics to push the boundaries of art.