The transition between a partnership and a Singularity requires having a machine like foundation as its base. The object is to have an interaction between the partners within the Singularity. Within the Singularity there is freedom, interpretation, spontaneity, interaction, music and feeling. The dancers are independent partners operating within the Singularity. The dancers are rule book driven, but with their own interpretation of the rules. Dancers have the freedom of not being mirror image. This is where the "Out Of Control" comes into play.
The definition of "Out Of Control" is: "An action where the results are not always predictable." Example: When two gears in a machine are operating together, there is a single action and reaction. Each gear rotates in the opposite direction from the other. The outcome is always predictable. The gears cannot be out of control. Another example: In a football game, the quarterback throws a pass. The intention is for the receiver to catch ball. The direction and the accuracy of the throw can vary. He can throw it to a spot, throw it long, short, high, wide, hard, soft, etc., etc. The receiver can adjust to the variations in the throw. The receiver can slow-up, speed-up, move side-to-side, jump up, bend down, etc., etc. The receiver can turn and catch the ball, catch it over his shoulder, catch it two handed, catch it one handed, do a pirouette before catching the ball, etc., etc. The outcome of the pass and catch is rarely precisely predictable.
The rock solid machine like fundamentals of Ballroom Dancing is what makes "Out Of Control" possible. The fundamentals allow variations in the actions within the Singularity. In the example above, the football catch is successful even though there is a conundrum of variables. The basic fundamentals are adjusted to accomplish the catch. In Ballroom Dancing there is a tendency to never vary from the clearly defined fundamentals. Bending the fundamentals causes an adjustment within the Singularity to compensate for the action. These results are unpredictable because of the variations of the fundamentals. This creates spontaneity and unexpected variety within the Singularity.
A simple example would be the "Backward Hover" (Hover 3, Open Impetus) in Waltz or Foxtrot. The lady can dramatically dip her left temple away from her partner on the 1st step. This creates a powerful swooping rotational action on the 2nd and 3rd step. The Leader must unexpectedly adjust the counter balancing action on all three steps. Here is another "Backward Hover example. By the book, the "Backward Hover" (from the leader's point of view) rotates from backing line of dance to diagonal center (120 degrees). The leader, however, has the ability to adjust the rotation anywhere from "0" to "180" degrees. Now it's the ladies turn to make the unexpected adjustments. As demonstrated by the examples, there can be a lot of interaction going on within the Singularity. This is just a small sample of the possibilities.
The Ballroom Dance fundamentals are critical for the success of the "Out Of Control" actions. Instead of maintaining a strict mechanical action of the Singularity, we want an interaction within the Singularity. This makes the simplest elements and patterns unexpected, interesting and enjoyable. The ultimate goal is to develop interest within the Singularity instead of an interest in the nuts and bolts of the elements or patterns being danced.