By Ole Thyssen
This ebook bargains with the organizational use of aesthetic potential. in keeping with the concept that companies are structures of communique, it really is proven that consciously or no longer, enterprises have continuously used aesthetic potential to augment their verbal exchange.
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The artistic, the erotic and the religious The combination of powerful presence and powerful absence, great activity and great passivity, is not only an aesthetic matter. 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.
Even though Burke limits himself to sensible qualities and precludes any love that has to do with ‘desire or lust’, he admits readily that aesthetic and erotic love may sometimes operate together. The cooperation between desire and aesthetics is important for aesthetic communication in organizations. Here, aesthetics is not pure but in principle mixed with other interests – in both the sender and the receiver. Before we look at this mixed phenomenon, we must look more closely at the time and space of aesthetic seduction.
They can support each other, so the pleasure that unfolds in the work’s imaginary universe attunes the receiver positively. But the work might arouse disgust. 25 In the Renaissance, it was accepted that morally repulsive topics such as war or rape could be aesthetically acceptable by virtue of the way they were produced. 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.