The aesthetic concept of montage finds its origins in film and film theory. Montage, as understood by Sergei Eisenstein, is not only a mechanical linking at random, a “sticking together” of pictures from scenes and shots. The basis of montage is dramatic and dialectical; among the elements of the montage chain there are contradictory relationships, and from these new meanings develop what the separate elements do not contain. “Any two pieces, put side by side, are inevitably linked together and form a new idea, which arises from this comparison as a new quality.” The inception of new meanings through a mere connection of parts arises from the perception of a montage of parts as one unit, even though the connection was only arbitrary.