By Ole Thyssen
This booklet offers with the organizational use of aesthetic capacity. in keeping with the concept that businesses are structures of communique, it really is proven that consciously or no longer, businesses have consistently used aesthetic skill to enhance their communique.
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Each point in the triad is constituted by its relationship to the other two, so the isolation of one point is an artificial but effective abstraction. What is of interest here is the dynamic that can arise between the observer and what he observes, whether he observes himself, another or an object. It is easiest to isolate an attunedness in a musical experience or in the experience of non-figurative art, because attention is not complicated by an external object. Since Plato, music had been loved and feared for arousing powerful feelings.
The erotic and the religious are served by the same figure, so you give yourself up to an erotic experience to re-find yourself in a more intense form through the beloved, and, in the religious experience, you are at the mercy of the universe and lose your ordinary ego to receive a universal self. All three places transcend everyday experience, that is, its combination of constancy and variation. Art, the erotic, and the religious localize the source for such experiences very differently, so they take part in different contexts of meaning and action.
And, since Romanticism, morality has been put into parentheses in the art system in which everything is allowed, beautiful or sickening, protected by the label ‘art’. You can imagine all sorts of interference between the imaginary and the attuned, in wax and wane and everything inbetween. The interplay in-between work and receiver regularly evades control – in part, because the receiver’s reflection makes him unpredictable and, in part, because all the operations of the work are internal. com - licensed to ETH Zuerich - PalgraveConnect - 2011-03-08 26 Organizational Aesthetics 27 Basic forms of attunedness Attunedness has to do with the way in which a receiver is affected by communication’s mode, that is, not its empirical or normative content but the way in which information and values are presented.
Aesthetic Communication by Ole Thyssen