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In addition to the five elements of integral theory, which comprise the basic foundation of the AQAL model, there is an another more advanced aspect that is important to mention. This aspect is less of a new element and more of a complexification of the first one (the quadrants). Each of the perspectives associated with the four quadrants can be studied through two major methodological families, namely from either the inside (i.e., a first-person perspective) or the outside (i.e., a third-person perspective). This results in eight distinct zones of human inquiry and research. These eight zones comprise what integral theory calls integral methodological pluralism (IMP), which includes such approaches as phenomenology (an exploration of first-person subjective realities), ethnomethodology (an exploration of second-person intersubjective realities), and empiricism (an exploration of third-person empirical realities). The above figure includes all eight zones and their respective labels.

Integral methodological pluralism operates according to three principles: inclusion (consult multiple perspectives and methods impartially), enfoldment (prioritize the importance of findings generated from these perspectives), and enactment (recognize that phenomenon are disclosed to subjects through their activity of knowing it). As a result of these commitments, integral theory emphasizes the dynamic quality of realities as being enacted through a subject using a particular method to study an object. That object can be a first-, second-, or third-person reality. For example, we can study first-person psychological realities as an object of investigation just as easily as we can study third-person biological realities.

- Sean Esbjörn-Hargens, Ph.D. (2009). AN OVERVIEW OF INTEGRAL THEORY: An All-Inclusive Framework for the 21st Century. Integral Institute, Resource Paper No. 1, March 2009, pp.16-17.

“Integral theory is an all-inclusive framework that draws on the key insights of the world’s greatest knowledge traditions. The awareness gained from drawing on all truths and perspectives allows the Integral thinker to bring new depth, clarity and compassion to every level of human endeavor — from unlocking individual potential to finding new approaches to global-scale problems.” (From the Integral Institute Website)

Reflecting on the current state of the industry, it seems to me that the Techno-Economic Base (T-E) of the industry is shifting from level 6 (Green/Pluralistic/Informational) to level 7 (Teal/Integral Systems/Trans-Informational or Virtual). This shift appears to be driven/co-created by a transition from separate/pluralistic media technologies and platforms (i.e.: Movies, TV, Gaming, Web, etc.) to more integrated, cross-media, and virtual technologies and platforms (i.e.: Material delivered/integrated across multiple convergent, immersive, and embedded mediums), represented by a shift from level 6 to level 7 in the Communication/Media (C/M) developmental line. As the nature of the medium is shifting, cinematic media artists are embracing these advances as a means to expand their artistic expression across these multiple platform environments. This in turn is shifting the Artistic/Aesthetic (A/A) line from level 6 to level 7 as well. While these three lines appear to be shifting in tandem, it also appears that the Business/Markets (B/M) line is stuck at level 5 (Orange/Rational), as the industry’s business community frantically tries to apply their old models of finance, distribution, and marketing to the emerging new techno-creative-communication environment (see chart below).

There are indicators of some potential shifts in the Business/Markets (B/M) line, including a major restructuring of Disney’s studio model to meet the changing media environment and the release of James Cameron’s Avatar, which appears to be attempting to cross the integral media threshold by offering content immersion (IMAX 3D), platform convergence (Theatrical/Game simultaneous release), and a foray into virtual aperspectivalism (Character-to-Avatar perspective shifts). It should be interesting to see if these forays will be part of a vertical rather than horizontal change. Either way, I believe the industry is poised at the edge of a tipping point between the relativistic/information age and the approaching integral/virtual age. Only time will tell if the American film industry will cross this threshold through a single major shift, or several smaller transitions, or a combination of both major and minor shifts, or if it will be a turbulent or peaceful transition. Since several members of the industry have already begun downloading the Integral Operating System (IOS) into their consciousness, I think we are in for a wondrous and wild ride.

References

Wilber, K., Pattern, T., Leonard, A., & Morelli, M. (2008). Integral life practice: A 21st century blueprint for physical health, emotional balance, mental clarity, and spiritual awakening. Boston: Shambhala.

American Motion Picture Industry Social Holon Sociograph

Types are the variety of consistent styles that arise in various domains and occur irrespective of developmental levels. Types can overlap or be incongruous. As with the other elements, types have expressions in all four quadrants.

In the UL quadrant there are personality types. There are numerous systems that map the number of different personalities, including Keirsey (4 types), Enneagram (9 types), and Myers-Briggs (16 types). In this quadrant there are also the gender types of masculine and feminine. In general, individuals have access to both masculine and feminine qualities and thus tend to have a unique combination of traits associated with each type. In the UR quadrant there are blood types (A, B, AB, O) and William Sheldon’s well-known body types (ectomorph, endomorph, mesomorph). In the LR quadrant there are ecological biome types (e.g., steppe, tundra, islands) and governmental regime types (e.g., communist, democracy, dictatorship, monarchy, republic). In the LL quadrant there are types of religious systems (e.g., monotheism, polytheism, pantheism) and different types of kinship systems (e.g., Eskimo, Hawaiian, Iroquois, Omaha, Sudanese).

- Sean Esbjörn-Hargens, Ph.D. (2009). AN OVERVIEW OF INTEGRAL THEORY: An All-Inclusive Framework for the 21st Century. Integral Institute, Resource Paper No. 1, March 2009, pp.15.

In addition to levels and lines there are also various kinds of states associated with each quadrant. States are temporary occurrences of aspects of reality (lasting anywhere from a few seconds to days, and in some cases even months or years). They also tend to be incompatible with each other. For example, you cannot be drunk and sober at the same time, a town cannot experience a blizzard and a heat wave on the same day. Above are a few examples of the kinds of states associated with each quadrant.

- Sean Esbjörn-Hargens, Ph.D. (2009). AN OVERVIEW OF INTEGRAL THEORY: An All-Inclusive Framework for the 21st Century. Integral Institute, Resource Paper No. 1, March 2009, pp.13.

LEVELS

Within each of the four quadrants there are levels of development. Within the interior, Left-Hand quadrants there are levels of depth and within the exterior, Right-Hand quadrants there are levels of complexity. The levels within each quadrant are best understood as probability waves that represent the dynamic nature of reality and the ways different realities show up under certain conditions.

Additionally, each quadrant’s levels are correlated with levels in the other quadrants. For example, a goal-driven executive (UL) who has high blood pressure (UR) will most likely be found in a scientific-rational culture or subculture (LL), which usually occurs in industrial corporate organizations (LR). In this example, all of these aspects of the situation are occurring at the same level of complexity and depth within their respective quadrant and are therefore correlated at level five in figure above. The inclusion of levels is important because they allow us to appreciate and better interface with the realities associated with each quadrant. Each quadrant serves as a map of different terrains of reality. The levels within each quadrant represent the topographical contour-lines of that terrain. This helps us to identify the unique features of that particular landscape, which enables us to travel through it more successfully and enjoy the amazing vistas along the way.

LINES

Lines of development are another way to describe the distinct capacities that develop through levels in each aspect of reality as represented by the quadrants. So if levels are contour-lines on a hiking map for reality, then lines of development represent the various trails you can take to transverse the vast wilderness of human potential. For example, in the individual-interior quadrant of experience, the lines that develop include, but are not limited to, cognitive, emotional, interpersonal, and moral capacities. These capacities are often thought of as the multiple intelligences that each person has. The idea being that each of us is more developed in some areas than others. Integral theory uses a psychograph (below) to depict an individual’s unique assortment of development in various individual lines.

Similarly, a sociograph is used to represent the various lines of development within a family, group, culture, or society (Below).

The kinds of lines found in cultures include things like kinesthetic capacities, interpersonal maturity (e.g., absence of slaves, women’s rights, civil liberties), artistic expression (e.g., forms of music, government funding for the arts), cognitive or technological capacities, physical longevity (e.g., healthcare systems, diet), and polyphasic maturity. Polyphasic refers to a culture’s general access to different states of consciousness. For example, many indigenous cultures embrace access to and cultivation of different kinds of states of awareness while rational Western societies tend to emphasize rational waking consciousness at the exclusion of other modes of experiencing reality.

Here are some of the lines present in the four quadrants:

- Sean Esbjörn-Hargens, Ph.D. (2009). AN OVERVIEW OF INTEGRAL THEORY: An All-Inclusive Framework for the 21st Century. Integral Institute, Resource Paper No. 1, March 2009, pp.7-11.

Over his illustrious 60-year career, Bob observed that the perceptual consciousness of the cinematic audience appeared to advance along with the cinema in the ability to communicate more information, in more abstract forms, within shorter durations of time. He explained that when he first started in the film industry the motion picture audiences required very clear linear story structures, and that gradually throughout his career, the audiences seemed to develop the ability to more readily and quickly project meaning across discontinuous and non-linear cinematic structures.

To illustrate one aspect of this evolution, Bob used the example of a cinematic sequence that has a character driving to another character’s house for a meeting. In the old days filmmakers had to show the person driving the car, stopping the car, getting out of the car, walking up to the house, knocking on the door, and then going inside. Gradually over time, the audience has advanced to the point of being able to accept a direct cut from a person driving a car to them suddenly being inside someone’s house. Wise believed that these advancements in both cinematic expression and the perceptual consciousness of the cinematic audience were the product of an interdependent and co-evolutionary relationship between the cinema and the audience. This observation appears to concur with Jean Gebser’s (1986) contention that artistic movements and trends have a tendency to influence and be affected by the evolution of consciousness.

At the end of our time together, Bob was called away quickly, but before he left the editing room, he paused to compliment my work and then sweetly and genuinely said, “I hope I helped you a little bit…” Of course, I profusely thanked him and sincerely assured him that his help was beyond measure. As Bob walked off, I thought about his last words to me and felt a mysterious shift inside me. In that brief moment, it seemed as though I had received a kind of shaktipat, or life-lesson-energetic-transmission, from this amazing man. After all the awards, honors and accolades, Bob Wise was still a sweet and deeply humble human being, and his living presence and example penetrated me in ways I still cannot describe. I will never forget that moment, and every moment I was blessed by his presence. In my heart and mind, I believe Bob Wise was a true Cinematic Bodhisattva.

REFERENCES

Gebser, J. (1985). The ever-present origin (N. Barstad & A. Mickuns, Trans.). Athens, Ohio: Ohio University Press. (Original work published 1949)

During my studies into the application of Integral Theory to cinematic media, I attempted to look at an evolutionary or unfolding display moment in Hollywood filmmaking history through the lens of the three Integral Methodological Pluralism (IMP) principles of Nonexclusion, Unfoldment, and Enactment. The evolutionary moment in Hollywood filmmaking history I chose was the making of the first Star Wars (1977). A film that, according to most members of the various Hollywood knowledge communities, revolutionized the creative, technical, business, and critical evaluation aspects of the industry.

These areas of advancement represents the four general knowledge communities within the world of Hollywood movie making, each with their own, often conflicting, paradigms/practices/injunctions and constructs of what makes a “good” movie. There is the Cinematic Artists Community, which tends to view the goodness or success of the cinematic work by how much of the artist’s subjective vision (UL) is translated onto the screen. There is the Cinematic Technicians Community, which evaluates the degree of technical/material/objective (UR) quality of the cinematic work. There is the Cinematic Business Community, which appraises the success of the cinematic work by its market reach and profitability within the economic system (LR). Finally, there is the Cinematic Analytical Community (Critics, Historians, Theorists), which evaluates the quality of the cinematic work by the contextual effectiveness of its cinematic language (LL).

Conflicts often arise between these communities, and their seemingly contrary social practices/injunctions and the constructs generated by them. In the case of the first Star Wars (1977), the Cinematic Business Community (every studio) turned down the script at least once, even though many of the executives personally loved it (UL). The reasoning behind their choice was that their marketing models (LR) clearly showed that a science fiction film could not be profitable. What they failed to see was that George Lucas had crafted a cinematic vision that would ultimately transform the paradigms and constructs of all four knowledge communities (see below).

Finally, one of the executives at 20th Century Fox, Alan Ladd, Jr., was able to join Lucas in ENACTING a different world by seeing the other dimensions of Lucas’ work (taking a leap of NONEXCLUSION), and by heroically putting his job on the line for the script (George Lucas, personal communication, 1978). In the end, the film shattered box office records, transformed Hollywood’s marketing models; saved Fox from bankruptcy, and gave Ladd and Lucas their own companies (LR). It created a new genre (trans-genre) within the cinematic lexicon (LL) by including many different genres (Science Fiction, Westerns, War Movies, Mythical Adventures, etc.) into a cohesive blend that transcended all of them (UNFOLDMENT). Stars Wars also helped usher in the return of mythology to American cinema and American culture (LL) by blending mythological archetypes with modern and postmodern story and thematic elements. Lucas and his technical team also managed to advance cinematic technology (UR), making it easier to translate the creative visions of cinematic artists (UL). The effect of Star Wars’ genre hybridization, techno-creative advancements, and rebirthing of mythic cinema on the cinematic audience was something the traditional business and marketing models could not prehend (LR).

For additional reflections on the elements and conditions which made Star Wars such a unique and profound phenomenon, see my previous post and comments: My Cinematic Structuralism Emancipation at Integral Life.

*Previously published at Integral Life