Sitney, Visionary Film

p. 229- “In his film Diagonal Symphony, figures move along alternative diagonal lines, crossing the screen from upper left to lower right and from upper right to lower left. At the same time, they seem to move in depth from the surface of the screen to an imaginary receding point at its center, as Richter’s squares had, and back again. Finally, Eggeling’s shapes evolve in straight and elaborately curved lines while they pursue their diagonal and emerging-receding movements. The musicality of Diagonal Symphony comes from its exhaustive use of reciprocal movements. An elaboration along one diagonal axis is mirrored immediately along the other; the growth at one end of a figure is matched by its disunion at another end; a movement into the screen precedes one out of it.”