Innovation is a process of a review of new concepts, products, services and processes in to an organization or perhaps the outside marketplace. It is an essential part of competitive strategy and helps companies meet up with customer requirements, satisfy expense and return on investment requirements, improve employee pleasure, and increase product quality.

Merchandise innovations put value to a product or service and create demand for the new providing. Examples of innovations include the arrival of a light bulb, an ipod device, or GPS navigation systems.

Promoting innovations develop new ways to trade products and services, which includes advertising and promotions. They are often more effective, much easier to execute and cheaper than previous strategies.

Architectural innovative developments take existing expertise and skills, such as digital ecosystem orchestrators, to enter a new market or perhaps develop a new business model. These types of innovations are usually known as digital disruptors, and can be seen in the cases of Amazon moving into the medical care discipline or Alibaba creating a digital ecosystem pertaining to retail.

Procedure innovations improve creation, delivery, or customer conversation, thereby making a product more efficient or budget-friendly to use. In most cases, process creativity is less significant than product creativity in terms of scientific breakthroughs, but it surely can still give a major competitive advantage and long-term benefit to the enterprise.

The speed of change is increasing, as is your competition between businesses. In response, many companies are trying to be a little more innovative and re-invent themselves. They may be doing this by developing fresh technologies, using multiple stations, combining diverse skills and technology, and developing a new type of organization.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.