Codes exist as structured language intentions of particular groups, organizations, companies, or processes that purposefully connect those involved in internal communication. With the advent of mass communications techniques (digital {audio and visual} and print), culture itself produces codes that in fact are codes on top of codes: or OVERCODES. This makes for a saturated visual culture where the individual must recognize sign-forms even before understanding the logic or meaning of the code itself. (Such as we must recognize an "A" to know that it means "A".)
Somewhere, inside our heads, exists a space that contains the schematic textures of our contemporary world. We can almost literally make a series of blue prints out of this space onto which are inscribed the overloaded surfaces of image build-up, advertising residue, densified logos, and the general flak created by the visual and sonic explosions going off around us. Though each individual may arrange these elements differently on the surface, invariably the signforms of the language are objects and images known the world over . Our "secret" language, then, is merely a personal rearrangement of things that we all know . It becomes a language that communicates despite a private syntax.
Imagine these blue prints woven together, making a fabric or net which pulls in, at an unbelievable rate, the cultural signforms of the external world.