Special issue of Integral Review

[Edward theurj Berge]

European Academic Trends and Contributions to Integral Studies

 

Special Issue Editors:  

Marc G. Lucas and Matthew Rich-Tolsma

 

 Volume 11, No. 3

September 2015

 

Direct link to this Issue on integral-review.org

 

Editors’ Introduction to the Special Issue

Marc G. Lucas and Matthew Rich-Tolsma

 

Re-viewing Self and Societal Development from a Postformal Perspective: An Artistic De-concealiation, Reconciliation and Trans-formation

Marc G. Lucas

 

The Generality of Adult Development Stages and Transformations:

Comparing Meaning-making and Logical Reasoning

Tom Hagström  and Kristian Stålne

 

Laske’s Dialectical Thought Form Framework (DTF) as a Tool for Creating Integral Collaborations: Applying Bhaskar’s Four Moments of Dialectic to Reshaping Cognitive Development as a Social Practice

Otto Laske

 

Reviewing the Practice Turn in Social, Organizational and Leadership Studies from an Integral Perspective

Elke Fein

 

‘Inter-Bridging’ Bridges and Bridging as Metaphors for ‘syn-integrality’ in Organization Studies and Practice

Wendelin Küpers, Jürgen Deeg, Mark Edwards

 

Collaborative Learning Processes in Teacher Training: Benefits and Costs

Ellen Aschermann  and Jennifer Klenzan

 

The Yalla Program - Integral Framed Support for Young Leaders from Egypt and Germany

Adrian Wagner

 

Transformative Learning for Climate Change Engagement: Regenerating Perspectives, Principles, and Practice

Gary P. Hampson  & Matthew Rich-Tolsma

[Edward theurj Berge]

See the discussion of compression and leverage in this previous post related to tai chi and dance. Then see this wiki entry on dance connection. E.g.:

"When creating frame, tension is the primary means of establishing communication. Changes in tension are made to create rhythmic variations in moves and movements, and are communicated through points of contact.^[1] In an open position or a closed position without body contact, the hands and arms alone provide the connection, which may be one of three forms: tension, compression or neutral.

• During tension or leverage connection, the dancers are pulling away from each other with an equal and opposite force. The arms do not originate this force alone: they are often assisted by tension in trunk musculature, through body weight or by momentum.
• During compression connection, the dancers are pushing towards each other.
• In a neutral position, the hands do not impart any force other than the touch of the follower's hands in the leader's."