Analitical And Holistic Synthesis For Cultural Virtual Enterprises

ANALITICAL PARADIGM CULTURAL

A FO

HOLISTIC SYNTHESIS VIRTUAL

ENTERPRISES – A CHALLENGE Prof. Dr Niculae

The Romanian-born Eugène Ionesco, date of birth Nov. 26, 1912 [deceased 1994], is one of the foremost playwrights of the Theater of the Absurd. The son of a Romanian father and a French mother, he spent most of his childhood in France, but in his early teenage years returned to Romania, where he qualified as a teacher of French and married in 1936. He returned to France in 1938 to complete his doctoral thesis. Caught by the outbreak of war in

Ionesco was made a member of the Académie Française in 1970. He also received numerous awards including honorary doctorate from New York University As a man of letters, Ionesco is best known for his contributions to the theater, notably La Cantatrice Chauve (The Bald Prima Donna), Les Chaises (The Chairs) and Le Roi Se Meurt (Exit the King). Although Ionesco wrote almost entirely in French, he is one of Romania's most honored artists.

Two paradigm, the Analytical Paradigm (AP) AP which details the behavior of man, man and the Holistic Paradigm (HP) HP which prescribes the nature of organizations, organizations have evolved as scientific approach by which management action and structure are presently understand. Dialectically, an AP—HP synthesis has emerged from the analytic thesis and holistic antithesis. The juxtaposition of the primary elements of axioms of the two paradigm creates a conceptual framework portrayed by a matrix forming A*S specific management Action and Structural Relationship (ASR’s). ASR’s It is the argument of this essay that an essential requirement for understanding management in virtual organizations

Analytical

Holistic

the cube of information concerning the AP-HP Matrix

Elements, Variables and Relationships

Nevertheless, if the Goal of Eugène Ionesco, the founding member of the Theater of the Absurd, for example, is to show us that life as we know it has no rational explanation (would have understood-believing, as he did. He wisely chose to see its funny side. But not always. "When I want to write a tragedy, I make them laugh," he once explained. "When I write a comedy, I make them cry.” ), where are these data placed?

Two general classifications of relationships may be employed, i.e. those relationships which are measurable and those which are evaluative. evaluative Is the relationship between time and comedies, measurable? Could we calculate and accurately portray the way „Play writing Time“ affects „Goal: Comedies“? If the relationship is not measurable is it evaluative? To address all the relevant questions dealing with the selection of appropriate variables and the study of subsequent relationships require this AP—HP Synthesis and theoretical framework.

The Eugéne Ionesco’s plays are the following: La Cantatrice chauve (1950, The Bald Soprano), Les Salutations (1950, Salutations), La Leçon (1951, The Lesson), Lesson Les Chaises (1952, The Chaires), Chaires Le Maître (1953, The Leader), Victimes du devoir (1953, Victims of Duty), La Jeune Fille à marier (1953, Maid to Marry), Amédée ou comment s'en débarrasser (1954, Amédée, Amédée or How to Get Rid of It), Jacques ou la soumission (1955, Jack, Jack or the Submission), Le Nouveau Locataire (1955, The New Tenant), Le Tableau (1955, The Picture), L'Impromptu de l'Alma (1956, Improvisation), L'avenir est dans les œufs (1957, The Future is in Eggs), Tueur sans gages (1958, The Killer),

Scène à quatre (1959, Foursome), Apprendre à marcher (1960), Rhinocéros (1959, Rhinoceros), Délire à deux (1962, Frenzy for Two or More), Le Roi se meurt (1962, Exit the King), King Le Piéton de l’air (1964, A Stroll in the air), air Le Soif et la faim (1964, Hunger and Thirst), La Lacune (1966), Jeux de massacre

Which one is comedy? Because even the author confess in Nouvelle Revue Francaise, February, in 1958 that ”I have called my comedies "anti-plays" or "comic dramas" and my dramas "pseudo-dramas" or "tragic farces" because it seems to me that the comic is tragic and that the human tragedy is pure derision. The contemporary critical mind will take nothing too seriously or too lightly”. In this light Scène à quatre (Foursome), is anti-

There are in following, four types of relationships:

Basic, Bi-polar, both of them at Primary Level, Multiple and Universal. The Basic relationship is

that which is defined as occurring between two opposing Matrix Elements for example: I to 1 (The plays’s writing and Eugène Ionesco Goal), II to 6 (The essays’s writing and the feedback), III to 4 (Poetry writing Activity and Holistic Output), IV to 7 (Productions primary activities and the Environment), etc. The Bi-polar relationship are Basis ASR’s which are paired together, for example: II-6 with III-4 (The Enviromnent in which Essays and theoretical writing are produced and the Poetry process), or I-1 with IV-7 (The Goal of writing plays and writing

The Multiple relationships are developed by juxtaposing a Basis ASR with a selected array or other Basis relationships: e.g. I-6 with III-4, III-4 I-7, I-7 V-7 (The Feedback of writing Plays with the Output of Poetry, writing Plays and Novels and stories

Environment). The Universal relationship is created by integrating a Basis ASR with all other Basis ASR’s in the Matrix. Approaching an analysis from anything other than a Basis ASR complicates exponentially.

Were do we take into consideration this input (Holistic Input): I do not write plays to tell a story. The theater cannot be epic… because it is dramatic. For me, a play does not consist in the description of the development of such a story—that would be writing a novel or a film. A play is a structure that consists of a series of states of consciousness, or situations which become intensified, grow more and more dense, then get entangled, either to be disentangled again or to

Also, Ionesco’s theater is a poetic theater, a theater concerned with the communication of the experience of states of being, which are the most difficult matters to communicate; for language, consisting largely of prefabricated, congealed symbols, tends to obscure rather than to reveal personal experience. ... That is why Ionesco has spoken of his own work as an attempt to communicate the incommunicable. (from Eugčne Ionesco, journal entry quoted in Martin Esslin, Theatre of the Absurd, 1961).

Classifying relationships challenges the imagination and exhausts the challenger. Relationships are political, economic and social, existing without number in the environment. environment On the other hand, they can be physical or metaphysical, metaphysical predictable or unpredictable, unpredictable good or bad, bad progressing or regressing, regressing mundane or crucial…, crucial or just plain ornery. ornery We will search for meaningful relationship in the jungle of the AP—HP Matrix, with only „defining attributes“ as our flimsy

If a man’s work who developed a Theatre of the Absurd Problem is chosen as the subject of study, for example, then the Secondary Level of analysis can be used by applying the Paradigm Elements to the cultural, tehnological, geo-politic concepts. To wit; what are the relationships between Play writing time within a Constraint Cultural Environment and Eugène Ionesco’s drama Goal; or restated in the Matrix nomenclature; if „PIA“ is play writing time and „S1“ is cultural, „1d” is drama Goal what is the „PIA/S1:H1d“ relationship? Play writing experience within a Constraint Historical, and Eugene Ionesco’s participatory Goal and Geo-politic

The Tertiary Level of analysis could be broken down into at least three different approaches using the AP—HP Matrix: Common Denominator Analysis whereby certain units of measurement (time, money, information, energy, etc.) are used to quantify all ASR’s; Comparative Analysis, Analysis which provides for a comparison between essential variables or attributes relationaships. States, Rates, measure the Rates and Behaviorwhich Behavior behavior of an virtual organization as its transitions from one state S1 to a second state S2 (Secondary Level) over a specified period of

time to determine the rate of Change or informational gains over the type of relatioship meaning spurious, hidden, in positive or negative

THE SHORT PIECE, FOURSOME OF EUGÈNE IONESCO ANOTHER APPROACH: INFORMATIONAL STATISTICS CHALLENGE Onicescu Informational Statistics in a Multiple Data Processing Methodolgy

Components of AP-HP Matrix applied in Foursome Primary Level Already common knowledge, the very short piece

Foursome, on stage in 1959, greet us with an absurd

world which seems immediately comic but, on second glance, turns out to be disturbing and even tragic.

In January 29, 2002 at Sackville, NB, writings about ONE-ACT COMEDIES AT WINDSOR THEATRE, note that Eugène Ionesco shows us the glaring inadequacy of language and our inability to communicate effectively. It is also common saying that Foursome takes us into a full-scale, absurd, “war of wits involving three performers who argue pointlessly over everything from the existence of a cigar to the ownership of the Pretty Lady”.

Other personalities appreciates that Ionesco’s style sticks the absurdity of our own world under a looking glass, leaving us with a bizarre environment that is strangely familiar yet nearly incomprehensible. But the most important element of Ionesco’s world: the fact that it is our own. „Where would we humans be without our words?”asked words?” Barry Pineo writing in ARTS in October 27, 2006, Arts Review, „Words are what we use to provide shape and form to our world, to express our most deeply felt emotions, to connect to others and to the world around us, and to assist us in performing the most mundane of daily tasks. Words make us what we are – and yet also unmake us, for words just as easily can be used as a mask, a cover, a barrier to truth.”

Barry Pineo also said that „Eugène Ionesco was very much about the end of words, in terms of both their purpose and their futility. One of the primary purveyors of what became known in the mid-20th century as theatre of the absurd, Ionesco often built his plays around the arbitrary quality of words, the difficulty of communication and connection, and the conformism that pervades modern society. Most important, he made them outrageously funny and, thus, eminently entertaining.” entertaining

The short piece Foursome (Scène à quatre), on stage in 1959 but like the many others short pieces who was conceived around the ’50, it is an style lesson and an exceptional experiment), picks up the tragicomic sendup of language. Two foilfighters of words incessantly volley "But I said yes"/"But I said no," seemingly oblivious of their point of contention, though locked ludicrously at loggerheads. Another foilfighter of words joins them, reminding them repeatedly to "mind the flowerpots," while expanding the disagreeing duo into a brawling trio. Finally, an unsuspecting woman enters and, after entreating the men to stop fighting, has her limbs ripped from her body by the merchants' competitive solicitations.

Foursome performans

Dupont

Durand

Martin

Pretty Lady

Foursome as Anti-thesis of The Chairs? YES! Let’s summarize some ideas of John Heilpern concerning The Chairs, Ionesco’s masterpiece-which coincided with Waiting for Godot, originally written by the Irishman Samuel Beckett in French. It takes place in a black hole, a feudal tower on an island, with several doors. A decrepit husband and wife, aged 95 and 94, live there. What the Old Man is planning it is a Last Statement-a crucial message-to the world. They're expecting a crowd of important people, including the Emperor or God, to turn up to hear the message. The Old Man, lacking an actor's talent, has hired a distinguished orator to deliver it for him. The guests arrive, but we neither see nor hear them. The couple greet them ingratiatingly, the guests are imagined or invisibly real. The two hosts manically fetch more and more chairs for the swelling crowd, until the entire stage is filled

Instead, the theme of the play Foursome is the Grand Illusion. Illusion Contrary as in The Chairs, on Foursome the actors make the Ionesco’s concrete void, the visible invisible. We believe that they (players) lives only in ones imagination and not feel the Grand Illusion. In Foursome, all three (Dupont, Durand, Martin) cannot communicate with each other (being only one, n.b.) but all them Ego love an spurious, illusory, unexisting probably Pretty Lady. We have not a clue about what Dupont and Durand is fighting with words from the first active lines of the script "But no "/"But yes," (we codify Denying /Assertion). But could we not imagine that both of them are obsessed by the Pretty Lady and they are waiting for her? (to rippe her appart!). Even Martin recommend her as being his fiancée and helped the other two to destroy her!

Information energy arguments for existing only ONE (Dupont) Martin silent

Dupont 13.7

12.5 Durant

Durand silent

Dupont 13.4

12

Martin

Dupont silent

Durand 13.4

12

Martin

Pretty Dupont Martin Durand Lady

Information energy arguments for Pretty Lady an illusion quite if she is on stage On stage

Dupont 1.9

1.6 Pretty Lady

On stage

Durand 1.9

1.4 Pretty Lady

On stage

Martin 1.3

1.1 Pretty Lady

Dupont silent Durand 4.1 Durand silent Dupont 3.8

3.1 Pretty Lady 3.1 Pretty Lady

What they are talking about? Pretty Lady as obsesion Any man

8.6

6.6 Pretty Lady

Pretty Lady silent Dupont

10.2

10 Durand

Question: What do you see on stage in Foursome? Potential Answer : 2-3 and then four players (actors). Informational Statistics’ answer: No, it’s only one! Question: How many flowerpots are? Probable Answer: three. Informational Statistics’ answer: No, it’s only one! Question: Enter of stage a Pretty Lady at its end? Probable Answer: Yes, it is the fourth and last player. Informational Statistics’ answer: No, it’s an Illusion. Illusion

Results: One man

walking around a table with a flowerpot on it, while making assertions and denying them, being simultaneously

ego

and

superego,

ego,

an

alternative

fantasizing about Pretty Lady

us Eugene Ionesco smiles and say: Let’s “finaly, they find imagine above us, one of mythat secrets Eugene Ionesco

and

“finally, they find one of my secrets”

Let’s imagine

that somewhere above us Eugene Ionesco smiles and say: “finally, they