By Ole Thyssen
This ebook bargains with the organizational use of aesthetic ability. in response to the concept that corporations are structures of communique, it truly is proven that consciously or now not, organisations have consistently used aesthetic capacity to augment their verbal exchange.
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Extra resources for Aesthetic Communication
It motivated independently, without lifelines to other motives such as property, power, and faith. What we covet we are not free to observe aesthetically. If what Lawrence Durrell called the wily sex glands play a part, we are beyond aesthetics. This leads to murky situations in which the sources of pleasure are unclear and where there is no objective, only rhetorical means to clarify the question. And it is the nature of rhetoric that it can always present a good and a bad version of the same case.
Com - licensed to ETH Zuerich - PalgraveConnect - 2011-03-08 32 Organizational Aesthetics 33 1 We can assume that every attunedness has a ‘counter-attunedness’, just as every concept has a counter-concept. On the other hand, it makes no sense to deny attunedness in general. Even though you can distinguish between the quick everyday mode of observing and aesthetics’ slow mode, this is not the difference between being attuned and not being attuned. All observation is attuned. 2 We can further assume that aesthetic attunedness arises in pairs in which one has the character of attraction, the other repulsion.
The observer can yield to the seduction of the work, penetrate into its labyrinth, and open himself to an imaginary world on the other side of what is sensed but without much support in the work. Here, the semiological point holds true that the qualities of what is sensed must themselves carry the meaning. We find ourselves on the outside of the work, that is, on the sensed side of the sign of which the work makes use, even though it can be difficult and often impossible to undertake a ‘pure’ analysis of the sensed side of a work, separate from the sense it ‘makes’.