Defining characteristics of what may constitute an integral cinematic work are mapped out and developed into a set of evaluation criteria using the works of Dulac, Gebser, and Wilber. A test of these evaluation criteria with the viewing of several motion pictures is summarized; the results suggest that several past and recent films demonstrate qualities that could be said to constitute an integral cinematic work.
This article investigates music’s ability to facilitate flow states of consciousness as peak experiences. The research first uses two first-person methods, phenomenology and structuralism. The results of two second-person methods, hermeneutics and ethnomethodology, are then detailed. The final research section uses two third-person methods, empiricism and systems analysis. The empirical section utilizes a survey, while the systems analysis section investigates factors that contributed to the phenomenological research method. Results focus on tracking a conceptual understanding of the terms flow state and peak experience.
Using Integral Theory as my framework, I explore the four quadrants or fundamental perspectives of reality with respect to writing. This consists of inquiry into the use of subjective, objective, intersubjective, and interobjective perspectives to better understand and express writing. My thesis is that together these interrelated perspectives comprise the whole writing space: an Integral writing space. I also identify three developmental levels within each quadrant (e.g., three increasingly complex subjective perspectives, objective perspectives, etc.). This results in a total of twelve unique perspectives that map the horizontal breadth and vertical depth of the territory of writing. I offer experiential exercises for each of these writing perspectives in order to help the reader recognize them. My conclusion is that each of these perspectives is already present within our experience and is vital for a comprehensive understanding and expression of writing.
This article briefly outlines a general definition of art and the main approaches of art theory andpractice. It then illustrates how those approaches coherently fit together via the four quadrants of AQAL theory. The article concludes that Integral Art preserves the important truths of these approaches (while negating their more extreme versions). Therefore, nothing short of an Integral approach will suffice in both tuning artists to their fullest expression and reminding critics of their widest embrace.