This thesis, and the implications that it originates, has been greatly reinforced in 2016 with the publication of the original reconstruction of kinematic synchronism according to it in the so-called "Canonical version". This version, made with the collaboration of the Ensemble Modern, and from the few truly reliable and objective data that have reached today, searches through algorithms computer the exact copy of the film and the correct Antheil score, which they both joined together in 1935 (the only time they know that proper 'timing' occurred, according to themselves). Since the various copies that have come to us from the Ballet Mecanique are different from each other (some a lot), because it seems that Léger was, little by little replacing the original images of Man Ray and Dudley Murphy until almost the end of his lifetime. Thus, in each period, a slightly different copy of the Ballet has circulated: no two are alike. That is to say, that the film was going from dadaist to cubist, gradually, which explains, in part, doubts about its ascription to a certain aesthetic.