Heves megyei aprónyomtatványok 13/H
order of thoughts. That may well hold a “beauty” of its own. All those elements, demonstration aids, pictures and diagrams, etc. which serve the demonstration purpose, already carry “aesthetic” formulations, e.g. if one thinks of their very formulation and style. Therefore, during the analysis, it would be useful to arrive at an answer to the cpiestion as to what extent does the conscious, deliberately and aesthetically well-formed character of the movements of the programme assist the effectiveness of the transmission and communication of knowledge. In our hypothesis, the aesthetic motives can represent an important contribution to the fact that recognition should “employ” not only the intellect, but by increasing the emotional motivation of the recipient, it should make the whole personality interested in the activity. In this way, the aesthetic elements provide extensive support for the integration and interiorization of knowledge and in the final analysis the coordination of the new material into a humanized and mastered system of knowledge. Programmes that present human activities and work processes, aimed at orienting people in choosing a career, affect another, but no less important area of the aesthetic quality. They make the beauty of human action and work perceptible. Programmes aimed at serving the purposes of education for family life, can be combined with the process of aesthetic education—taken in a wider sense—by stressing the aesthetic qualities of human relations and the beauties of human conduct. 3. A decisive question of both types of programmes is: what kind of possibilities the medium itself has concerning aesthetic aspects. Our debate will not be concerned with the problems of television works of art (telefilms and teleplays). However, in our opinion it is possible to come across the phenomena of such elementary aesthetic qualities in every good programme, during the picture sequence construction, and the composition of the full audio-visual process. The proportion, the rhythm within time and space, the parallelism and constrast, the harmony and disharmony, as well as the alteration of tension-dissolution, tempo, dynamics, the relation between the part and the whole, and the entire order of all these things—these are all such aesthetic elements. In this context, the discussion should also cover how the possibilities, inherent in the medium, can be used in a more conscious way, on one hand, in the formation of programmes of an aesthetic theme, and on the other, in the formation of programmes of other themes. 4. it is known that the communicators, the participants of the programmes, exercise a major impact on the recipient. 27
