Svensken på Cabaret Voltaire: DN skriver om Viking Eggeling. Hans diagonala symfoni finns givetvis på Youtube.

Eggeling set the line in motion. His films are like warped Emile Cohl cartoons that have gone beyond figuration, lines twisting and turning, forming spirals, musicless because the movement of the shapes is in itself a visual symphony and need no accomapniement. These spirals hold the centre of the screen, and the film frame seems like the space of a concert hall. A master shape and its variations are traces onto paper or tin foil, or painted on thin sheets of rubber, and animated under the camera by slicing away minute strips and shooting in stop-motion a single frame after each slicing. As in music, modelling from nature was to be excluded. Eggeling devised what he called a Generalbass der Maelerei, a "thorough bass of painting". Since polarity reconciled Analogy with Antithesis, polarity was conceived as its unifying principle. The likeness and unlikeness of component parts of any artwork need to be displayed for the whole work to figure a unity. If the work is incomplete, its identity is destroyed. The shapes shift position, light intensity, proportions, at varying speeds, all transpiring in strict regulated sequence. Dominants alternate. With the elaboration of one motif, in rhythmic counter-movement, another dwindles.

(Esther Leslie, Hollywood Flatlands, s 54)