Other dancers usurped those platforms for “Accumulation” (1971). Here there was music (the Grateful Dead’s “Uncle John’s Band”) and more of that liquidity of phrasing. Brown’s work was always concerned with unorthodox physical coordination: In “Accumulation,” each dancer stayed vertical while arms, pelvis, legs and feet all play separately rhythmic roles. The effect was sensuous, sexy, purposeful, like some strangely seraphic disco routine. Again, to see glimpses of the same dance echoed by other dancers further along the grove was breath-catching. The dancers became the true inhabitants of the forest, the audience mere visitors.

Wackiest was the “Floor of the Forest” (1970). A rope network was stretched, three or four feet above the ground, like a loose canvas (or like a forest’s floor) suspended within a horizontal framework. Items of clothing were threaded into the ropes. Two men spent 15 minutes putting on the items of clothing, inserting themselves into sweaters and trousers, then hanging there in these garments — like sloths or bats — before moving onto the next pieces of apparel. This was dance as physical task or problem solving. Performed in a businesslike way, it became memorably comic.

Spectators were then led back to a different part of the “Cells of Life” landscape, where the green-turf-tiered mounds had views over four lakes. On two of the nearer lakes, four dancers were afloat, each motionless on a raft as if lifeless on a bier. On Friday, the sunset glow of the evening sky was reflected in the water. Then the four dancers began “Raft Piece” (1973) — remaining horizontal, mainly on their backs, lifting knees, stretching legs, extending arms, sometimes turning onto their sides.

There was no music; or rather they became the silent music, the sole source of phrasing. (Occasionally a bell rang; a few birds flew over.) Their movement made the rafts gently travel; the ripples in the water fragmented the reflections of the sunset. The movement proceeded with its own inner tranquil motor-rhythm: all four amazingly in unison for most of the piece, the pairs on each lake later developing a separate dance. Fifteen minutes of this idyll passed, quietly transporting. These four dancers, lying there on the water, became the soft pulse of the surrounding Scots Lowland scenery.