The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

The world of physics is essentially the real world construed by mathematical abstractions, and the world of sense is the real world construed by the abstractions which the sense-organs immediately furnish. To suppose that the "material mode" is a primitive and groping attempt at physical conception is a fatal error in epistemology.

The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

If a work of art is a projection of feeling, its kinship with organic nature will emerge, no matter through how many transformations, logically and inevitably.

To trace the development of mind from earliest times ... requires ... not a categorical concept, but a functional one.... The most promising operational principle for this purpose is the principle of individuation.

Speech is the mark of humanity. It is the normal terminus of thought.

As comedy presents the vital rhythm of self-preservation, tragedy exhibits that of self-consummation.