Based on an extremely broad understanding of economics as an exchange of values, Boris Groys in his revolutionary book "On the New" proposes to understand innovation as an act of negative adherence to tradition, that is, as a dialectical act of interrupting the retention of a particular historical form of production and exchange. Negative adherence to tradition, or the creation of new works contrary to traditional patterns, translates the banal and ordinary from the plan of everyday life into a cultural context and thereby changes the disposition of the old and the new. An ideal example of such a metamorphosis is Groys's redi-maid Marcel Duchamp, who becomes in his book an example of the dialectics of the new and the old, ordinary (banal) and cultural (valuable).