Hains attended “Lettrist” performances, particularly appreciating the work of François Dufrêne, Isidore Isou and Daniel Pomerand. In 1950, he devoted himself to creating a representation in plastic of the written outputs at the heart of the Lettrist movement, shredding the Letters with the fluted glass lens, in this way inventing the “Ultra-letter” concept. Mesmerized by the design and the sound of letters, he played with names such as Camille Bryen or Jacques Villeglé and experienced the meaninglessness of the word once exploded, letters contending, extending, exploding to the point where language lost all coherence.