By John Joseph Martin

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Sample text

All the patterns of the dance must be space-time patterns. Now a space-time pattern is quite a different thing from a space pattern and a P pattern operating together. A cube is not a combination of six plan& at the proper angles; its very cubicalnes rats upon the existence of a new dimension. A sphere perhaps presents a more fitting illustration, for though it possesces both width and height, it has no two-dimensional aspects; no two-dimensional surfaces, so to speak. As in the case of the cube, i c ~ cubicalness is not interfered with by the fact that it has in addition flat surfaces complete in themselves, so in the dance there may be perfectly valid space patterns and time patterns; they are merely incidental, however, as the faces of the cube are incidental.

As in the case of the cube, i c ~ cubicalness is not interfered with by the fact that it has in addition flat surfaces complete in themselves, so in the dance there may be perfectly valid space patterns and time patterns; they are merely incidental, however, as the faces of the cube are incidental. Again, flat surfaces may be put together without forming a cube, and similarly time patterns and space may be put together without forming space-time patterns. Unfortunately, this frequently happens in the dance.

We know that when in geometry we refer to a line as having no dimension except length, we are speaking theoretically; what we mean is that for the moment we are considering no other dimension. In the dance we may likewise consider one dimension at a time, we may even emphasise one deliberately at the expense of others in the interests of certain results in composition, but we cannot compose without actually utilising them all. These thin& appear commonplace and obvious when set down thus for consideration; we need only look at the dance itself, however, to see how they have escaped the notice of composers.

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