mis
sio
n
1.
confli
ct
3.
2.
twist
media
act
imp
1 | CONFLICT
Analysis of the initial situation on the basis of interviews with
stakeholders at various hierarchical levels (individually or in a group).
Focus on precisely those issues that tend to be swept under the rug in
regular business operations: pain points, recurring problems, and simmering
conflicts. In keeping with dramaturgical „obstacle design,“ this is exactly
where we apply the problem-solving lever – thereby achieving the greatest
possible momentum.
Visualization of the identified problem areas as Conflict Maps.
Finally, focus on a central conflict – in the sense of a common view
of the problem upon which the stakeholders can agree.
2 | TWIST
The central conflict is „twisted“ using dramaturgical devices.
In doing so, a change of perspective is introduced through a
re-contextualization that takes the focus off the actual conflict at issue.
This shift in focus creates a narrative conflict, which allows for
communicative and therefore economical conflict resolution, rather than
cementing in previous positions.
The result is a Conflict Map of the narrative conflict, which serves
as a basis for the media processes in the following step.
3 | MEDIA
Development of a dramaturgical strategy to transpose the narrative
conflict into measures for media implementation.
Generating a signal pattern across multiple channels – for example,
board speeches, management events, employee newsletters,
viral learning videos, and corporate video.
The message is not merely „transmitted,“ but perceived
as an immersive experience.
contextual conflict resolution
BENNOGASSE 24/2/14, 1080 VIENNA, AUSTRIA
sonovista.com
The Divisive
Premiss of the
Active Party
The
Active
Party
The Divisive
Premiss of the
Passive Party
The
Object
of
Conflict
The
Passive
Party
The Binding Premiss
contextual conflict resolution
BENNOGASSE 24/2/14, 1080 VIENNA, AUSTRIA
sonovista.com
contextual conflict resolution
BENNOGASSE 24/2/14, 1080 VIENNA, AUSTRIA
sonovista.com