By Ole Thyssen
This booklet bargains with the organizational use of aesthetic skill. in line with the concept firms are platforms of verbal exchange, it really is proven that consciously or now not, organisations have consistently used aesthetic skill to enhance their verbal exchange.
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Extra info for Aesthetic Communication
Thus, a distance arises between observer and feeling, which punctures the intuitive attunedness. A speech can work with musical rhythms in many ways: by shifting between summarizing and elaborating, assertion and omission, speech and silence, slow and fast speech, sound and stillness. The speech can also be divided into blocks, each with its own theme, which are in turn connected either directly (by using key words in the various blocks) or indirectly (simply by being a part of the same text). ‘Words that work’ do not do so simply by addressing the listener’s apparent interests but also by dramatizing shifts between sounds and associations, so it becomes a piece of music that attunes listeners – exciting them, soothing them, orienting their attunedness toward particular topics and objects, so feelings arise that can ‘move’ and, thus, ‘motivate’ to act.
This resistance has disappeared in adult routines around observation in which recognition has been made automatic, because it saves time. Attention to the now – the moment – is limited in order to liberate attention to the future, so the increased time span of observation is paid for by a lack of presence. For busy people, the moment is not something that is to be lingered over but something that is to be put behind quickly in order to get to what is essential, which is always out there, in the future.
2 We can further assume that aesthetic attunedness arises in pairs in which one has the character of attraction, the other repulsion. It is an open question whether we can differentiate further if we want to stick to intuitive and, thus, language-less attunedness. The more nuances, the more language, and the more movement from a general attunedness to a concrete feeling for. 3 Finally, we can assume that, if attunedness has a direction, it also has a source – not a specific object but rather a general field of objects that can be identified from the poles of the communicative triad.
Aesthetic Communication by Ole Thyssen