7 min. In Symphonie Diagonal (1925), Eggeling applies an objectively analyzed movement of forms emphasizing line in a series of contrasts – vertical and horizontal, straight and curved, light and dark, strong and weak, disappearing and emerging. Various ‘expressions’ of line are presented at a controlled, mechanical tempo, revealing the film’s acute observation of the organization of time intervals. Richter later wrote, “The principle of counterpoint in mind is not limited to music. For us it was more than a technical device; it was a philosophic way of dealing with the experience of growth.” Eggeling referred to his early drawing experiments as ‘orchestrations’ and the film’s title suggests musical associations. Visual imagery has a melodic quality, like a musical composition visually expressed.