conflict-resolution
Conflict resolution strategies and mediation techniques for interpersonal and group communication. Covers conflict styles (Thomas-Kilmann model), interest-based negotiation (Fisher and Ury), de-escalation techniques, mediation process, restorative practices, workplace conflict, and cross-cultural conflict norms. Use when mediating disputes, analyzing conflict dynamics, preparing for difficult conversations, or building conflict-competent communication cultures.
git clone --depth 1 https://github.com/Tibsfox/gsd-skill-creator /tmp/conflict-resolution && cp -r /tmp/conflict-resolution/examples/skills/communication/conflict-resolution ~/.claude/skills/conflict-resolutionSKILL.md
# Conflict Resolution Conflict is an expressed struggle between interdependent parties who perceive incompatible goals, scarce resources, or interference from the other party. It is not inherently destructive -- unresolved conflict is destructive. Well-managed conflict surfaces problems, generates creative solutions, strengthens relationships, and drives organizational learning. This skill covers the frameworks, techniques, and practices that transform conflict from a destructive force into a productive one. **Agent affinity:** freire (dialogical conflict resolution and power-aware mediation), tannen (understanding how conversational style differences create and escalate conflict) **Concept IDs:** comm-respectful-disagreement, comm-consensus-building, comm-facilitated-discussion, comm-intercultural-communication ## Conflict Styles (Thomas-Kilmann, 1974) The Thomas-Kilmann model maps conflict behavior along two dimensions: assertiveness (concern for your own interests) and cooperativeness (concern for the other party's interests). | Style | Assertiveness | Cooperativeness | Best when | Worst when | |---|---|---|---|---| | **Competing** | High | Low | Emergencies, protecting rights, when you know you're right and speed matters | Relationships matter, the other party has valid concerns | | **Accommodating** | Low | High | The issue matters more to them, preserving the relationship is paramount | Your core interests are at stake, sets a pattern of giving in | | **Avoiding** | Low | Low | The issue is trivial, emotions are too hot for productive discussion, more information is needed | The issue will grow if ignored, others depend on resolution | | **Compromising** | Moderate | Moderate | Time pressure, roughly equal power, a temporary settlement is acceptable | An integrative solution is possible but compromise leaves value on the table | | **Collaborating** | High | High | Important issues, ongoing relationships, time for creative problem-solving | The issue is trivial, time is critically short | No style is always correct. Conflict competence means choosing the appropriate style for the situation and being able to execute all five. ## Interest-Based Negotiation (Fisher & Ury, 1981) *Getting to Yes* introduced the framework that transformed negotiation theory. The core insight: focus on interests, not positions. ### The Four Principles **1. Separate the people from the problem.** People and problems get entangled. "You're being unreasonable" conflates the person with their position. Instead: "I see the issue differently -- can we examine the facts together?" Attack the problem, not the person. **2. Focus on interests, not positions.** A position is what someone says they want. An interest is why they want it. Two people arguing over whether to open a window (positions: open vs. closed) may share the interest in comfort -- one wants fresh air, the other wants to avoid a draft. The solution (open a window in the next room) satisfies both interests without either position. **Questions to uncover interests:** - "Why is that important to you?" - "What would happen if we didn't do that?" - "What are you most concerned about?" - "What would a good outcome look like for you?" **3. Generate options for mutual gain.** Before deciding, brainstorm. Separate invention from decision-making. The tendency in conflict is to see a fixed pie -- my gain is your loss. Interest-based negotiation expands the pie by identifying options that serve both parties' interests. **4. Insist on objective criteria.** Base the agreement on fair standards (market value, precedent, expert opinion, legal principle) rather than pressure or power. "What standard should we use to decide?" shifts the conversation from "who's tougher" to "what's fair." ## De-escalation Techniques When emotions are high, the first task is reducing intensity so productive conversation becomes possible. **Verbal de-escalation:** - **Lower your voice.** A calm, slow, quiet voice is contagious. Matching the other person's volume escalates. - **Acknowledge the emotion.** "I can see you're really frustrated." Acknowledgment is not agreement -- it is recognition. - **Name the dynamic.** "It feels like we're talking past each other. Can we slow down?" - **Ask permission.** "Can I share how I'm seeing this?" asks permission instead of imposing. - **Take a break.** "I want to continue this conversation, but I think we both need a few minutes. Can we come back at 3:00?" **What NOT to do:** - "Calm down" (invalidating) - "You always..." or "You never..." (absolutes trigger defensiveness) - Sarcasm (contempt is the most corrosive force in conflict) - Bringing up past grievances (stay on the current issue) ## Mediation Process Mediation is structured conflict resolution facilitated by a neutral third party. The mediator does not decide -- the parties decide. The mediator manages the process. ### Stage 1 -- Opening The mediator establishes ground rules: - Each person speaks without interruption - No personal attacks - Everything said is confidential - The goal is agreement, not victory ### Stage 2 -- Storytelling Each party tells their story without interruption. The mediator paraphrases to ensure understanding and models active listening. The parties hear each other's full perspective, often for the first time. ### Stage 3 -- Problem identification The mediator identifies the issues and underlying interests from both stories. Reframes positions as interests. "So the core issue isn't the schedule itself, but whether both of you feel your time constraints are being respected." ### Stage 4 -- Option generation The mediator facilitates brainstorming. No evaluation during this stage -- quantity over quality. The parties generate as many options as possible. ### Stage 5 -- Agreement The parties evaluate options against their interests and select the ones that best serve both. The mediator helps reality-test: "Can you both live with thi
Major art movements and their historical context for art education. Covers 12 movements from the Renaissance to contemporary art, their defining characteristics, key artists, signature works, and the intellectual/social forces that produced them. Use when analyzing artworks in historical context, understanding stylistic lineages, identifying influences across periods, or connecting studio practice to art-historical precedent.
Color theory principles for art education. Covers the three color properties (hue, saturation, value), color mixing systems (subtractive and additive), color relationships (complementary, analogous, triadic, split-complementary), color temperature, simultaneous contrast and the relativity of color perception, and practical palette construction. Use when analyzing color in artworks, planning color schemes, understanding optical phenomena in painting, or investigating Albers's Interaction of Color experiments.
The creative process in art from idea to exhibition. Covers five phases of creative work (inspiration, incubation, exploration, execution, reflection), sketchbook practice, artist statements, critique methodology (formal and conceptual), portfolio development, and the studio as a working environment. Use when guiding students through project development, facilitating critique sessions, developing artist statements, curating portfolios, or understanding how professional artists structure their creative practice.
Digital art tools, techniques, and workflows for art education. Covers raster and vector workflows, digital painting, photo manipulation, generative and procedural art, 3D modeling and rendering, pixel art, the relationship between traditional skills and digital execution, and ethical considerations of AI-generated imagery. Use when working with digital tools, evaluating digital art, or bridging traditional art concepts into digital practice.
Observational drawing and visual perception techniques for art education. Covers contour drawing, gesture drawing, negative space, proportion and measurement, value mapping, spatial depth cues, and the cognitive shift from symbolic to perceptual seeing. Use when teaching drawing fundamentals, analyzing observational accuracy, or developing visual literacy in any medium.
Three-dimensional art and sculptural thinking for art education. Covers additive and subtractive sculptural processes, armature construction, modeling in clay, carving principles, casting and moldmaking, assemblage and found-object sculpture, installation art as expanded sculpture, and the conceptual transition from pictorial to spatial thinking. Use when working with three-dimensional media, analyzing sculptural form, understanding spatial composition, or investigating the relationship between sculpture and site.
Celestial coordinate systems and sky positioning. Covers horizon (altitude-azimuth), equatorial (right ascension-declination), ecliptic, and galactic systems; epoch and precession; coordinate transformations; planisphere use; and practical sky-locating from any latitude and date. Use when locating objects, planning observations, converting catalog coordinates, or teaching the geometry of the sky.
Observational cosmology from Hubble's law to the CMB. Covers redshift, Hubble expansion, the cosmological parameters, the cosmic microwave background, large-scale structure, galaxy rotation curves and dark matter, Type Ia SNe and dark energy, and the current state of Lambda-CDM. Use when reasoning about the large-scale universe, interpreting cosmological surveys, or teaching the Big Bang evidence chain.