"STUDY NO. 12 is pure Hans Fischinger. ... Hans' streamlined, eel-like figures execute slow movements to the 'Torch Dance' from Rubinstein's Bride of Corinth. The leisurely pacing makes this an excellent companion-piece to Oskar's STUDY NO. 11. A comparison will remind us (among other observations already noted with STUDY NO. 9 and NO. 10) that Hans tends to treat the screen as a relatively flat area with the figures moving on a shallow stage or plane surface, whereas Oskar handles the screen as a window opening on deep, dark space with figures moving through it in three dimensions." - Dr. William Moritz, Film Culture