located at precisely this level. On the other hand, however, morphing is also the cheap show effect we are familiar with from the pre-cinematographic era and, in Eisenstein's variation, especially in the way it must be an essential part of the great discontinuous aesthetics of montage arts. As is generally known, as Meyerhold's assistant Sergej Eisenstein developed his enthusiasm for fairground and circus effects in the theater; using these intentional interruptions and level changes he developed his modernist montage theory. Morphing belongs at precisely this kind of digital fairground, whose being kissed awake for artistic self-reflexive confusion is still outstanding. However, it remains questionable whether the arrival of such a second morphing phase is only dependent on the right artist, who takes on this theme. Or whether it depends on someone somewhere wanting to build another Soviet Union, which at the moment is not really on the agenda.

 

Translation: Rebecca van Dyck