Note 1 - Stage Sequences

A sequence in this context can be given two radically distinctive interpretations, which in dynamic terms always interact with each other.

In the linear view - which as we shall see corresponds to the differentiated appreciation of a stage - a sequence moves unambiguously in one direction.

However from the circular perspective - which corresponds with the integral appreciation - a sequence is paradoxical having simultaneous opposite interpretations.
So it now moves both in both a forward and backward direction.

The following illustration may be useful as a means of distinguishing both interpretations.

Imagine a (partial) journey between two destinations say New York and Boston. Here a linear notion of direction is appropriate. Direction is asymmetric in that moving closer towards one's destination (Boston) thereby means moving further away from the starting point (New York).

However if we conceive of a (whole) journey around the world a circular notion is more appropriate. Direction here is paradoxical and symmetric in that moving further away from one's starting point equally entails moving closer towards this same point (as one's destination). Thus whereas in the linear approach start and end points are clearly separated, in circular terms, ultimately they directly coincide.

A deeper understanding of linear directional sequences leads to the realisation that they are always necessarily defined with respect to arbitrary reference frames (where the opposite interpretation using the other frame is equally valid but unrecognised).

Again this can be easily illustrated using the simple example of two drivers (A and B) moving from a common starting point in opposite directions.

Now if both define direction with respect to their own journeys (in isolation) then movement for both drivers will be forward.

However when we attempt to combine simultaneous reference frames (in dynamic relation to each other) then a different notion of direction applies.

Thus if A is moving forward (with respect to B), then - relatively - B is moving backward (with respect to A).
However if we switch reference frames defining forward movement (with respect to B), then as B moves forward (with respect to A), A is thereby moving backward (with respect to B).

So what - in linear terms - is forward movement (with respect to one reference frame) is backward movement (from the opposite frame) and vice versa.

This example is deeply relevant to the dynamics of development, which is always conditioned by (opposite) polar reference frames.

So moving from a (partial) linear to a (whole) circular perspective involves bi-directional understanding combining each linear with its opposite (mirror) interpretation.

Thus to sum up, the linear (unambiguous) sequence of a stage comes from interpretation based on isolated polar reference frames.
The circular (paradoxical) sequencing of a stage comes from interpretation based simultaneously on bi-directional reference frames (i.e. that relatively move in opposite directions from each other).

Both interpretations must be combined in development.