![]() ![]() The problem with this third type of innovation is: until now, market monitoring tools have focused primarily on classic disruptors in order to identify a possible threat from digital unicorns at an early stage - but they do not take into account the danger posed by creeping changes by established competitors. These are developments in which evolutionary innovations by established companies lead to disruptive changes in the market over a longer period of time. In our day-to-day work, we observe that in addition to disruption and evolution, there is a third type of innovation, which we call disruptive evolution . But you are not interested in those details at this business level. ![]() Basically some sensor tells that a card is being inserted and it has to move the slider motor or whatever and read the card. piece s and the piece s are equal and the principle of actio et reactio is obeyed. The ATM has lots of sensors and actors to insert the card. where r is a vector joining P to the line element ds, o and y are. It's just the level of detail that makes you stumble. Established players, on the other hand, would rather focus on the evolution of their service portfolios, relying on incremental adjustments over a longer period of time.įor successful companies that are still posting record results today, the term "disruption" builds up an ominous scenario after all, they must fear being disrupted by digital unicorns as early as tomorrow and disappearing into irrelevance overnight. 1 Answer Sorted by: 1 This is fine that way. Christensen coined the term "disruption" to describe groundbreaking innovations through which young start-ups could drive existing products and companies out of the market. The colours, shapes and textures merge and interact with each other as the viewer immerses himself in the multi-layered compositions of the artworks – and allows himself to be carried away.In 1995, the famous American professor Clayton M. A dot becomes a line becomes a grid becomes a surface: basic elements of geometric forms, traces of technological achievements and expressive abstractions move rhythmically through the exhibition hand in hand, restrictive repetitions are alien to them. Light and matter waves experience each other as dual space-time metrics, thus establishing a unique model in field theory. The paintings and sculptures exhibited here do not stand on their own, but react to each other, creating a fascinating, transformative dynamic in the space. Light experiences dielectric matter as an effective gravitational field and matter experiences light as a form of gravity as well. However, the term can also be used metaphorically to describe paintings that can evoke a strong emotional response in the viewer: Actio et Reactio! In the context of this exhibition, the individual artworks are summarised and conveyed under the term “Responsive Painting” – a term usually used to describe paintings that contain interactive or technological elements. The sum of two parts is a combination of this and Isaac Newtons laws of Physics without which there would be no space travel. The group exhibition Responsive Painting includes the most diverse positions that can be assigned to the concept of abstraction, non-objective and concrete art. In the gallery’s cabinet, early works by Gottfried Honegger (1917-2016, CH) and a major painting by Victor Vasarely (1906-1997, F) from 1968 will be on display. Coinciding with the Zurich Art Weekend on 9, 10 and 11 June, Fabian & Claude Walter Galerie opens the exhibition Responsive Painting with works by Joanne Greenbaum (USA), Arnold Helbling (USA/CH), Hanspeter Hofmann (CH) and Hanna Roeckle (LIE). ![]()
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