art with a normative-aesthetic demand on all of the arts.

Bürger notes—and fittingly so—that in film (and everywhere else montage belongs to the constitutive practice for the genre) montage can do the preliminary work for the illusion. What is more, other inconsistencies stand out immediately: On the one hand, montage emerges as a factor of the irreconcilable, on the other hand as the communicating of differences with the aim of a dialectally synthetic closure by means of processing.

Montage as an enlightening practice: Disclosure of contexts of origin

If one nonetheless removes a substrate from these various uses of the term montage, certain ideas remain which prove to be particularly persistent. On the one hand, one observes that montage is a process that uses the new technologies and their associated processes for an enlightening and enlightened treatment of design media. In the montage, as are its seams, its contexts of origin are recognizable and thus the creative or artistic practice itself. All origins and

sources have been exposed and no longer lay claim to a higher originality. Regardless of whether one uses the argument that in the montage interpreted in this way it is not the origin that counts, but rather that the combination or the montage is the true origin, or if one uses the argument that there are no different degrees of production. Both arguments cause categories of the primary in art to collapse.

The discernible synthesized quality of art is now not only the result of a new use of new media, it is also a use that no longer conceals—as masterly, as natural, as a sheer reflection of reality. No, the producers' position and media are marked and displayed and for their part are up for discussion. Thus montage means using new technology for something desirable for social-ethical reasons (enlightenment, democratization) and for aesthetic-ethical reasons (disillusionment), that is for something that could have already have been formulated without technology but first appeared to be possible or at least greatly simplified through the use of new technology. What plays a large role in this is the dialectic relation between the illusionism coefficient heightened by film