European Academic Trends and Contributions to Integral Studies

 
Special Issue Editors:  
Marc G. Lucas and Matthew Rich-Tolsma
 
 Volume 11, No. 3
September 2015
 
 
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

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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."

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What paths lie ahead for religion and spirituality in the 21st Century? How might the insights of modernity and post-modernity impact and inform humanity's ancient wisdom traditions? How are we to enact, together, new spiritual visions – independently, or within our respective traditions – that can respond adequately to the challenges of our times?

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