"Imagine us watching dancers dance," arnheim cut to the chase: "Does our experience include the loss of time when actors dance? Do we really think that these behaviors come from the future and then go back to the past from the present? What parts of his action happened now and what parts happened a second ago? If all actions take place in the present, which moment before the actor dances should be regarded as the dividing line with the past? We can't find any answers to these questions because it's ridiculous. In this case, the time category is useless ... The whole dance, in our view, is a whole beyond time. " . Emphasizing that "the whole dance is a whole beyond time" is the starting point for arnheim to solve the above problems. Since it is a "whole", according to the theory of "gestalt", it is not the superposition of "moving human bodies" that change with time; As a complete visual style, the later "Moving Human Body" continues the video traces of the existing "Moving Human Body" and constantly changes. This "continuity" and "change" have also become the composition of the overall visual style of dance. For example, arnheim said: "Although dance presents a constantly changing process, from the overall structure of this changing process, it, like painting and sculpture, also determines and explains a constant pattern. This style is completely divorced from the special activities that make it up. "