Before arriving to Vaslui some DAMTPs had a wish to meet Laurențiu Ginghină, who got some fame from a recent movie, telling a story how non-aggressive form of off-football was invented. Inventor himself called it Infinite Football. So far none from DAMTP‘s succeed to contact the inventor nor [probably] even tried. So the arriving into Vaslui was not accompanied with any pre-planned actions: the promise of the concept of Infinite Football already gave some expectations that there is enough to kick a ball and things will develop themselves. DAMTPs arrived into town in the morning of the working day, enjoyed everydayness of the traffic jam, hardly but eventually got parked the cars and walked all the road along the town watching for any situation to kick a ball into. There they found a stadium and down leading stairs to its entrance. This was a pitch with slight allusion to Odessa steps from Eisenstein’s movie. DAMTP’s did a game, Ginghină did not appeared, so psychic workers choose more revolutionary movie instead. And it revealed that Eisenstein’s notorious principles for film editing and montage in fact are based on triolectics and lettrism.
Marxist Eisenstein saw montage as a process which operated in the same way as a Marxist dialectic - which is a way of looking at the course of history as the perpetual conflict in which a thesis or force collides with an anti-thesis or counterforce to create a new phenomenon called a synthesis.
DAMTP triolectic provides 3 conflict situations instead of one in hegelist-marxist binarist thinking and ensures one conflict perpetually present.
Eisenstein saw the collision of a one shot or montage cell with another as creating conflict that produced a new idea. This new idea would become it’s own thesis and collide with another anti-thesis (or not necessary) creating yet another synthesis, which is not a synthesis anymore but a new idea. Again and again these dialectics build up in a film like a series of controlled explosions in an internal combustion engine, driving the film forward. In a very similar way it happens with the DAMTP self-organization – it was a triolectical game to reveal that its engine works.
On the subject of editing Eisenstein lists methods of montage or how these collisions between shots can be created each one building up in complexity. “Still is not a letter, but a hieroglyph rather” - Eisenstein used to say, and that is very close to the lettrist concept.
Space montage based on approximately equal possibilities to each team to concede a goal by summing up all (dis)advantages: for Vaslui there were staircase steps, handrail structures.
Time montage or Rhythmic – rotation principle, ball bumping down the stairs.
Class (Eisenstein called it dialectical) montage - creates relationships and self-organization between opposing visually-intellectual concepts. Eisenstein succeed to supersede the bourgeois style of continuity of “understandable” space and time as promoted by Griffith, but have reduced it to mere ideology (abstraction) and manipulation (symbolism). Class is neither abstraction nor symbolism.
