Longstaff, Jeffrey Scott (2005) Page of
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Icosahedron. Using dimensional-planes implies an icosahedron since linking corners of the planes reveals an icosahedron around the outside edges (Fig. 10).
While the icosahedron is well known in later works (Bartenieff & Lewis, 1980, p. 33; Laban, 1966, p. 105; Preston-Dunlop, 1984), in Choreographie it is not discussed and its identity with dimensional-planes never stated. The word “icosahedron” does appear once, in the first of twenty-two plates spread throughout the book (Figs. 11, 12, 13, 14). Later, Laban recounted discovering the icosahedron “very early”, perhaps just during this time of writing Choreographie, as it appears in photos but not in the text: . . . crystalline structure of man’s movement possibilities. I found this out very early . . . that people, in spite of their differences of race and civilisation, had something in common in their movement patterns. This was most obvious in the expressions of emotional excitement. I observed that in these patterns certain points in space around the body were specially stressed. In joining these points, I arrived at a regular crystal form . . . an icosahedron . . . Man is inclined to follow the connecting lines of the twelve corner points of an icosahedron with his movements in travelling as it were along an invisible network of paths. (Laban, 1951, pp. 10–11)
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