Aesthetic Communication by Ole Thyssen

By Ole Thyssen

This booklet bargains with the organizational use of aesthetic capability. according to the concept firms are platforms of verbal exchange, it truly is proven that consciously or now not, businesses have regularly used aesthetic potential to enhance their conversation.

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Theme shift and tempo shift are important tools for holding his feet to the fire, so no particular attunedness is stifled by satiety or flattened out into routine. The rhythm among many forms of attunedness itself helps attune the observer, so the work acquires a special time pattern. Rock music shifts between hard and soft numbers, action films love to shock with sudden transitions from idyll to horror, and a speech can shift between appeals to swooning and energetic beauty and, thus, fulfil the longing for creamy passivity and crystalline activity.

But within the framework, there are new frameworks. There are special boundaries – the stage or the picture frame – that attract attention, because the conventions of the art system tell us that everything that takes place on the stage, at special times, is information, while everything else is noise. The audience may cough, rustle their programmes, chew popcorn, and slurp cola. 19 Birds may chirp and the sun may go down, while you attend a concert, and all these impressions are noise, not information.

It is just another way of saying that we are talking about a passion, which is activity and passivity, hypothesizing, testing, and imitation at one and the same time. Even though the adult may consider the child’s game as a rehearsal for the future – for the child, the game is a means to something else. com - licensed to ETH Zuerich - PalgraveConnect - 2011-03-08 Organizational Aesthetics 15 Aesthetic Communication rhythm, which Charles Fourier called the butterfly passion – to flit from one activity to another, governed only by what captures, enchants, and holds the attention.

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