Abstract
When we speak of organizations and organization, we necessarily have recourse to the idea of form. Our Judaeo-Christian culture has pressured us towards what is stable, certain, invariant: this to keep from sinning. We drastically need to create objects that remain independent and indefinitely without us, so that we can preserve them and reference them as signs of reality. But what is it that remains, and what is it that changes when we refer to organizations? We are talking in a world of the unseen, the relational process, of which we cannot say anything complete, anything referring to moments of certainty; it appears to us in a ghostly, hidden, and playful way. It is of this world whose condition of uncertainty we have not been able to live, and where nothing is more than the opportunity to know, of this world in a spiral that the authors discuss in this final chapter.
TopIntroduction
In one way or another, the sense of this book has been centered on the value of intangibles and the shape organizations take relationally. Faced with change, there arises a need to develop new forms of value propagation which will necessarily be those emerging from collaboration, learning and those generating a heterarchical type.
The form we have referred to as an aesthetic interface, that which shows up as a kind of spiral, is a special kind of affective semiotics which allows humans to consolidate structural linkings in their entorno. Such an interface, not only produces a symbiosis of the inner and the outer, own and not own, but is the matrix where meta-outlines are inscribed. In other words, patterns that arrange or organize other simpler forms, including distinctions ‒figures‒ and affects ‒valorization‒: for all of them to be usable by the group and the network, relative stability must be maintained. Until now, the modeling of culture through linguistic coding theory, or informational digital interface, has hindered the development of instruments which operate at the relational level, that is, at the informational analog interface. Digital scientific descriptions have artificially separated the observers from the observed and, while doing this, they have excluded him or her from participating in a connotative or aesthetic semiotics, leaving as remains only their descriptive and explicative possibilities. They begin with the observation that cultures themselves develop as expressive matrices to inscribe in the imaginary group the aesthetic experience of their organization.
The purpose of this chapter is to develop the use of aesthetic interfaces and non-discrete matrices that can be used as analog modelers in order to understand new complex cultural structures.