Was uns antreibt und bewegt (German Edition)

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  1. alessa records
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  3. antreiben translation English | German dictionary | Reverso
  4. Context sentences for "fortbewegen"
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Everybody, who is into Jazz will love this band! Mit ihrer samtweichen Stimme begibt sich Dorothea Jaburek nun in ihrem mittlerweile zweiten Soloalbum wieder auf Reisen. Finally I had the chance to play with him and we immediately got a great musical and personal connection. Right away we decided to start a quartet project together and agreed on inviting Ralph Lalama, who we both knew from several concerts and recordings, to join us as the featured tenor saxophonist.

Ralph is a solid fixture of the New York jazz scene since decades and respected world-wide, he embodies the best of the jazz sound ideal - great time, great swing, expressed through great melodic ideas, he is a first-class jazz soloist. In we did the first very successful European tour with the quartet, in return Ralph invited Helmut and me to New York.

We were joined by the great bassist Andy McKee who I first met as a student on a workshop in Italy in It was truly a big pleasure and honour for me, thank you Ralph, Helmut and Andy for this wonderfull experience! ALR The music you hear on this album is the result of an incredibly courageous recording session. Italian singer Anna Lauvergnac and her musical soul mate, German pianist Claus Raible, entered the studio with a well-rehearsed program. The music you hear on this album is the result of an incredibly courageous recording session. Italian singer Anna Lauvergnac and her musical soul mate, German pianist Claus Raible, entered the studio with a well-rehearsed program, ready to start the complex metamorphosis that transforms music from an intangible vision to physical reality.

For her new release Anna has chosen the most intimate and demanding of any musical line up: the duo. The song was not on their pre-arranged recording set list, just a beautiful composition they both know and love. The two musicians decided to abandon most of the planned material and embark on an extraordinary adventure: a recording built on instinctive interpretation and real time arrangements. It was a challenge that required not only profound music mastery but extraordinary sensitivity, two elements that allowed Claus Raible to envision and create some astounding on the spot arrangements.

There is such a strong emotional connection between the two that you can feel and hear this bond in every breath, every word, every chord and every note. The distinctive trait of this duo and this beautiful album is grounded in the awareness of the jazz idiom and the freshness of authenticity and individuality. At the age of eleven he began studying trumpet, and three years later the piano became his second and eventually main instrument.

By age sixteen, while still at high school, Claus had his first professional performing appearances, both as a sideman as well as a leader. Still in his early twenties he had the chance and honor to be performing with such stellar musicians as Art Farmer, Andy Bey, Mark Murphy to name a few.

alessa records

As a sideman he soon started appearing in many of the city jazz clubs with musicians such as Ben Dixon, Manny Duran, Jimmy Lovelace, Jon Faddis, and many others. It was in New York that he met, and later took master classes from pianist Dr. Barry Harris who has been a great influence on his writing and arranging.

In Claus returned to Munich, Germany, and began splitting his time between the USA and Europe, touring extensively with his own projects as well as a sideman. Claus has done numerous works on commission for small groups as well as for orchestra. He is among those piano maestros who feel especially indebted to the musical heritage of bebop pioneers Bud Powell and Thelonious Monk.

He never comes across as a musician who scoops things up second hand, slavishly copying and than regurgitating it back: rather, he lives what he plays. His music has nothing to do with nostalgia — it is about identity and integrity- and it is vital, gripping, moving. Magie statt Zeitgeist! She wrote songs and music for seven movies of Austrian director Xaver Schwarzenberger and she was featured on various radio shows and cultural events such as the opening to the Wiener Festwochen. In the following decade she appeared on hundreds of concerts with the band, performing at all the major European Jazz Festival as well as in China, Cuba, Canada and Russia.

Since then the band performed in clubs and festivals in Europe and recorded two CDs, both nominated for the German Critic Prize. The second one won the award in Her voice is a velvety and smoky rich alto, her singing is direct, emotional and passionate. Her unique sense of phrasing and the unaffectedness of her interpretation reveal a profound music personality that while being deeply rooted in the Jazz idiom maintains a strong personal approach and marked individuality.

Not only she sings perfectly in tune, but her voice is full of pathos, energy, poetry and emotion. Available on all major download platforms like amazon, itunes, I have been fortunate to share that space with hundreds of young and gifted musicians travelling from different countries. The research include and contain four different ways and approach: two of them connected with traditions denominated Book of Songs and Book of Jazz and two aimed and directed to new music denominated Original Compositions and Tabula Rasa. This live record has been recorded in a beautiful small church on the border between Liguria and Tuscany and contain a small part of a huge work basically focussed on italian popular repertoire within Book Of Songs context.

We had a wonderful and very well setted Steinway D in the conch, the special sound of the stone of the church, with a musician as a sound engineer the trumpeter Luca Cosi , and surrounded by the peaceful landscape of south Liguria's hills all around us. It is a beautiful memory for me, and sometimes is just perfect to have the chance to keep the moment, to save the unforgettable on a record. Nach einer gemeinsamen Probe, an der auch noch der unvergessene Pianist Fritz Pauer beteiligt war nahm Art den jungen Harry zur Seite und lud ihn ein, gemeinsam mit ihm in seiner Wohnung ein wenig zu proben.

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Art ist seit nicht mehr unter uns. Williams ist einer der angesehensten Bassisten in den USA. Der in Los Angeles lebende John B. Bald kam die Nachfrage nach einer weiteren CD und John B erinnerte sich an seinen alten Lehrmeister Horace Silver in dessen Band er spielte und dem er viel zu verdanken hatte. Williams — bass, Billy Cobham - drums.

Was uns antreibt - CSL Behring Marburg Imagefilm

John B. Mixed 6. Later I came back to play mostly in trio again, besides my ongoing work with Argentine musicians for decades. That Michael Abene proposed to write arrangements of my compositions means an honour and another very important next page for me. It puts me in an unusual context but Michael — a true master - succeeded in keeping the meaning of my songs and enriched them with beautiful sounds and colors.

I would not have started this project without the support of my dear friend Sigi Feigl. His knowledge and dedication were indespensable to make everything happen.

Artikel auf goethe.de weiterempfehlen

I hope you enjoy! And almost since then an intense musical collaboration with Karlheinz Miklin had been along my way. Happy and proud in having been a part of this project! Doing that I had second thoughts. Here was this wonderful musician who has composed some very interesting music over the years but has very rarely been associated with big bands.

Various sizes of small groups yes. The challenge I faced is to try to write the arrangements in such a way as to leave Karlheinz free to play as he would in a small group. His compositions can vary from the craziness of a Joltz's Waltz, Monk-key to beautiful melodies such as Para Pochin and Palomar.

antreiben translation English | German dictionary | Reverso

Hopefully I have accomplished this. This was a fun and challenging recording to work on and hope you enjoy the finished project. Michael Abene, arrangements. To give praise at this point in his history would be redundant but equally justified. There are lyrics and one day I will record it with a good singer Billy Eckstine or Sarah Vaughn would be nice , ha!

All the other selections are favorites of mine either jazz standards or movie soundtracks. About the rhythm section I can confidently say I would have absolutely no reservations playing anywhere in the world with them. Thank you guys for your enthusiastic performances! This was truly a wonderful and special experience followed by many more through the last five years when we were touring Europe together with different projects and line-ups.

Thank you Don for all the musical and personal moments we shared through the years, I will never forget any of them and really learned a lot from you, as a musician and even more important as a human being! In , she founded her own trio - Jan Feco on bass and Marek Urbanek on the drums. She recorded the first demo tape and with her own original arrangements, the famous song Autumn Leaves J. Kosma won the competition Jazz Prix The international jury composed of R.

Dombrowski German music journalist , G. During the same year, a live recording of the bachelor concert by Kristina Barta was nominated by the Czech Radio as a member of the EBU European Broadcasting Union in the prestigious European competition for young jazz projects Euroradio Jazz Competition The band sounds optimistic, after the periods of nervous or depressive modern jazz, perhaps, this is a new trend. In Kristina Barta won with her song "Find peace of mind" which was performed and written by her sister Martina Barta, a competition for the best jazz composition which is annually organized by OSA Performing and Mechanical Rights Society.

Karel Ruzicka and Vit Kristan. She teaches for several years at music schools in Prague. EMA29 debut album was released in by Kristina Barta at the Austrian Alessa Records in cooperation with the Austrian promoter Peter Guschelbauer among others in the years - he was the promoter of the Austrian Joe Zawinul. He has exhibits in Seattle, Houston and Beirut. This uncompromising and decadent photographer reveals and underscores the interiority of music, which I am introducing to you", Kristina Barta. Kurz: ein Duo wie jedes andere.

Musik, die in keine Schublade passt, verstaubt meistens in der Schublade. Jede Nummer ist ein neuer Kosmos. It makes so much fun after all these years to play this great, great music and above all, that we could enlarge our trio to a 12 piece band with 6 horns and thanks to Christoph Cech, the shock arranger, the horns sound awesome and exciting, as I never heard it in a jazz rock formation before. So I want to thank all the musicians for their musical contribution and overwhelming musicality, hope we can still play some decades. Peter Guschelbauer. Auch die Verbindung von Jazz und Lyrik hat ihren Platz.

ALR This hard-hitting, jaw-dropping trio, features 3 extremely virtuoso musicians from 3 different parts of the world. This hard-hitting, jaw-dropping trio, features 3 extremely virtuoso musicians from 3 different parts of the world. The list of world jazz stars he has been performing with is endless and his collaboration with legendary drummer Roy Haynes lasted for over 20 year.

ALR Das Ihre einzigartige Musik spiegelt den historischen und kulturellen Hintergrund ihrer Heimat, an der Kreuzung zwischen dem Osten und dem Westen, des Mittelmeerraumes und des Balkans. Mixed and mastered by Christoph Kapfer. Immer neu, immer frisch! Jure und ich kennen uns seit fast 15 Jahren! CD's eingespielt…. Es dauerte…, war es soweit!! Recording engineer: Dusan Novakov. Mixed by Rudi Mille. Ja, ich behaupte: triple ace - colours in jazz setzt neue Standards!

Peter Guschelbauer, Alessa Records. All band members remain true to the spirit of Bebop, speaking its language with originality and natural ease. Recorded, mixed and mastered by Christoph Amann. Schneider - E - Gitarre.

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  • The central idea behind this body of theory was that all languages worked in a similar way and that therefore expressing a specific thought was possible in any given language [25]. Thus, in the revealing words of Breitinger, translations were feasible because the things, which humans treat in their thoughts, are the same and equal all over the world; because the truth, which they seek to find through this preoccupation, is only of one kind; and because the possibilities of the human mind are limited in the same manner; thus there must be a necessary sameness among the ideas of humans […] [26].

    Thus, the manifold epistemological problems involved in trying to transfer ideas from one language into another were neither mentioned nor examined in these texts. As the above quotation suggests, philologists believed in the sameness of different languages which implied an automatic similitude in ways of thinking throughout different language communities. This universalism did not mean that the theorists entirely disregarded the importance of cultural factors.

    Nor did they reflect in greater detail about the deeper intricacies of translating textual artefacts produced by one culture into the language of another. Such an interpretation of language had crucial implications for the practice of translation. Herder maintained that sentence structure, conjunctions, and the grammatical gender of words varied strongly between different languages and thus had a crucial impact on the way thoughts were organised and expressed.

    No reader, no matter how well acquainted with the society that had produced a text, was able to liberate themselves from their own language and culture. Hoping to fully understand an original text was, therefore, nothing more than an illusion.

    Context sentences for "fortbewegen"

    Herder was thus among the first to recognise that texts were intrinsically tied to the specific place and period in which they had been produced, and that this made the act of translation always problematic [30]. By formulating these ideas, Herder distanced himself clearly from the universalistic linguistic approach of the early translation theorists.

    His considerations, however, were not meant to imply that translation was a futile exercise. Instead, he innovatively suggested that the task of a translator was to function as an intermediary between original text and vernacular reader. A translator should thus fulfil the role of a scholar who communicated his expert, yet subjective understanding of a text and its broader socio-cultural context to the reader. In his own translations, Herder tried to stick to this rule by providing the reader with annotations and commentaries which he used to explain and justify his personal choices [31].

    Especially the appearance of German translations of English travel literature during that time stimulated wider reflection about the differences between cultures [33]. Breitinger, Johann J. Band 2 Zurich, , Titelblatt. I would thus argue that this major shift in translation theory did not merely take place at this precise historical moment because of a purely intellectual paradigm change.

    Such a combination of early nationalist ideas with language did not necessarily have to correlate with a degradation of other languages. Yet, it would flourish through its contact with foreign languages. As these statements suggest, German scholars at the turn of the century, influenced by core ideas of the Enlightenment, stopped seeing translations as mere literary exercises. Like Herder, Schleiermacher understood the cultural complexity of languages and believed that the customs of a certain people during a particular period were always reflected in language. In brief, Schleiermacher was advocating a translation method which did not fall into the pitfalls of domestication, but rather openly foreignised the original [44].

    Thus, this period saw an increase in the preoccupation with translation theory as such rather than a decrease as has been sometimes suggested in the literature [48]. This crucial change did not escape the attention of perceptive contemporaries. Johann Wolfgang von Goethe observed in that there had been three historical periods of translation. During the first period, he argued, foreign texts had been introduced to German readers for the first time through a purely literal translation which eschewed any poetic pretensions.

    In a second epoch, texts had been completely domesticised and adapted to local expectations and customs. Learned translators were quick to adapt to the theoretical paradigm shift occurring duwww. Yet, this shift in translation theory did not necessarily have an immediate impact upon the general practice of translation.

    Authors detached from the intellectuals elites of the time seem to have often been unaware of any of these theoretical considerations, so that a discrepancy between image and reality might be said to have persisted at the end of the long 18th century [52]. However, in the course of the 19th century, such intellectual postulates would eventually trickle down to ordinary translators and thereby fundamentally shape the art of translation. Jahrhundert Leipzig, , 27— Jahrhunderts Munich, , — For a dated, but still valuable study on Gottsched and his circle, see Waniek, Gustav: Gottsched und die deutsche Literatur seiner Zeit Leipzig, Jahrhundert Bonn, , Breitinger, Fortsetzung der Critischen Dichtkunst Zurich, , i-x, here i.

    See Kelletat, Andreas F. Jahrhundert Frankfurt am Main, , — VI Berlin, , See Burke , Ein Umstand, der uns hinsichtlich der wissenschaftlichen Herangehensweise vor eine schwierige Aufgabe stellte. Was macht Stimmungen im Allgemeinen und Todesstimmungen im Besonderen aus? Juni stattfand integriert im aktuellen Triennium Morwww.

    Exemplarisch vereinten sich hierin drei wesentliche, Todesstimmungen kennzeichnende Merkmale: ihre Unterschwelligkeit, ihr partizipatorisches Moment und ihre handlungsorientierende Ausrichtung. Michael Besitz ergriff. Ins Leben gerufen wurde a. Auch nach deren Auslaufen im Sommer wird a. Dazu beitragen sollen zudem besondere Angebote von a. Ferner hilft a. Insgesamt bietet a. Reisebericht a. The Logic of a City out of Control, Im Moment ist der Tahir ruhig, wenn man einmal von dem wie so oft zusammengebrochenen Verkehr mit seinen lautwww.

    Wobei hier Im Kunstpalast findet im Moment der Aufgrund von Renovierungsarbeiten, wie mir ein Mitarbeiter am Eingang des Museums versichert. Eine weitere wichtige Station meiner Forschung bildet die Townhouse Gallery, ein im Herzen von Downtown in einem traditionellen Arbeiter- und Mechanikerviertel gelegenen Kunst- und Kulturzentrum. In meinem ersten Jahr bei a. Am Ende bin ich Taxi gefahren. Essen dagegen muss man immer — warum es also nicht direkt angenehm gestalten? Und: In der Grundausstattung jedes Forschungsreisenrucksacks sollten Visitenkarten, Steckdosenadapter und Ohropax auf gar keinen Fall fehlen.

    Mai bis 8. Als Bindeglied zwischen Kunst und Wissenschaft soll er ein breiteres Publikum dazu einladen, sich mit dem Thema der Ausstellung auseinanderzusetzen. Gleichzeitig bestimmt der Dialog zwischen den einzelnen Akteuren aus Wissenschaft und Kunst das Konzept des Ausstellungsprojekts. Seiten umfassenden Skripts geschaffen wurde.

    Das serielle Prinzip ihrer Fotocollagetechnik zeichnet dabei zugleich ein Ordnungsmuster. Im Rahmen des Medien Die Arbeit widmet sich der Problematik des Raumes, in dem Kunst ausgestellt wird. Wie jedes Jahr wird auch die kommende Ausstellung in ein umfassendes Rahmenprogramm eingebettet sein. Flankiert von Vernissage Mittwoch, Mai Symposium: Freitag, 4. Arts, Humanities and the Value of Interdisciplinary Thinking a. PhD Candidates present their research in Venice May , In the last year of the a.

    PhD program, the students present the results of their research to their peers within the framework of a conference which they conceive of amongst themselves and then organize together. Jahrgang had the chance to do this in Venice. It meant intertwining intense scholarly exchange with different cultural experiences in a fascinating city full of history and art.

    Every a. PhD candidate spends at least three years developing a research project within a community of peers who work — with very different topics and methodologies — in the vast range of the Humanities. After three years of research, meeting within a. The complex of Santa Fosca was founded as a monastery in by Servi di Maria. After having been the home of illustrious scholars such as Paolo Sarpi and Galileo Galilei who experimented there with the lenses to be used for his telescope!

    We spent the next day in the garden and in the medieval Lucchesi chapel, in which our conference started. In the evening, the student community gave us a tour of the wonderful building and welcomed us with drinks and pizza. We spent the evening in Campo Santa Margherita, enjoying plenty of Venetian specialties, good prosecco and red wine. The Querini Stampalia collection, amongst which one can find important works by Giovanni Bellini, Giandomenico Tiepolo, Pietro and Alessandro Longhi, is on view in the original apartment of the family.

    Besides being hosted in a beautiful Venetian palace, it has extended opening times and, as Count Giovanni wished in his testament , it is open also when the other libraries in the city are closed. We dedicated our Saturday to exploring the Lido by bike. On Sunday we cruised the lagoon, visiting the medieval church of Santa Fosca on the island of Torcello and strolling through the colorful Burano. Then it was time to say our goodbyes to Venice and head back to the airport. Graduate School for making this possible! And last but not least, a heartfelt thank you from everybody in a. Jahrgang to Francesca Valentini for the excellent organization and the dedication of so much of her time!

    Impressionen vom Kolloquium des Jahrgangs nach dem Orientierungssemester Oktober Graduate School bekommen hatte. Ich zwang ihn das Briefgeheimnis zu verletzen und mir endlich vorzulesen, was im Schreiben stand. Erstaunte Gesichter drehten sich nach mir um. Aber das war mir egal. Zweifel an dem richtigen Lebensweg meinen Eltern ist zum Teil bis heute. Ich hatte nun einen gesicherten Platz Ich nutze vor allem das Angebot des internen Weiterbildungsprogramm von a. So habe ich einzelne Aspekte aus meinem Dissertationsprojekt.

    Auch hier war das a. Gut, dass jetzt alles vorbei ist, sage ich da nur. So richtig realisiert hatte ich erst nichts. Auch jetzt noch kommt es mir unwirklich vor. Sehr feierlich! Aber auch nervenaufreibend. Feier in der a. Neun weitere Stipendiaten und Kollegiaten hatten mit mir zusammen abgeschlossen. Danach Die a. Doch neben den ganzen finanziellen, wissenschaftlichen und beruflichen Vorteilen, die die a. Lilith Apostel a. Dominik Baumgarten a. Bernd Hamacher. Elisa Bazzechi a. Dietrich Boschung. Judith Bihr a. Betreuerin: Prof. Ursula Frohne. Walter Pape.

    Johannes Breuer a. Irmela Schneider. Martin Breul a. Saskia Wendel. Evelyn Buyken a. Frank Hentschel. Johanna Cremer a. Jahrhunderts Betreuerin: Prof. Susanne Wittekind. Elisa Dal-Chiele a. Andreas Speer. Diana Di-Segni a. Kai Enzweiler a. Dorothea E. Anne-Maria Fehn a. Bernd Heine. Katarina Fritzsche a. Michael Bollig. Luke Galea a. Martine Grice. Felix Hedderich a. Kim-Kristin Hemmers a. Karl Ubl. Patrick Hohlweck a. Poetologien der Latenz in der Moderne Betreuer: Prof.

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    Erich Kleinschmidt. Michael Homberg a. Torsten Hahn. Viviane Huppertz a. Anna-Helena Klumpen a. Marta Kondracka a. Claudia Riehl. Marianne Kreuels a. Betreuer: Prof. Thomas Grundmann. Wolfgang Lange a. Leila Behrens. Ana-Laura Lemke a. Barbara Potthast. Andreas Lerch a. Thomas Lienkamp a. Eine Untersuchung am Beispiel der Heeres-Propagandakompanie Betreuer: PD Dr.

    Valerie M. Lukassen a. Hans-Joachim Ziegeler. Santiago Maraia a. Hanjo Berressem. Laura Massetti a. Julia Maxelon a. Stefanie Lieb. Laura Morris a. Paula Niemeier a. Gudrun Gersmann. Bastian Persohn a. Gerrit J. Stephan Regh a. Gregor Reimann a. Nikolaus P.

    Matthias-Josef Reith a. Hillard von Thiessen. Birte Ruhardt a. Michael Heinzelmann. Jule Schaffer a. Jahrhunderts Betreuer: Prof. Alexander Scheufens a. Pascal Schillings a. Jakob Vogel. Norbert Finzsch. Judith Schulte a. Ekaterini Kepetzis. Matilde Serangeli a. Our values Our strategy You experience a tough competitive situation? Time to change direction? Consulting from the future. A driving force for structural change. TED Conferences. I have a dream. What drives us? Companies, organizations and institutions are as individual on the one hand and, with reference to the requirements on their competitive environment, so regular otherwise.

    Companies, organizations or institutions first of all also are living always in no small way from the people behind, who gives each success of a company, an organization or institution their touch. We have made it our job, equal to our clients needs and the requirements of their competitive environment, offering our advisory services, supporting our clients and organizing the information relevant to them, that is available in the world and make it accessible. Intervention at the margins will in principle be only then, whenn the process parameters get out of control. Studies have shown that extremely successful companies, organizations and institutons in spite of those elements of similarity as structure, strategy and system, distinguish themselves first of all in simple fundamental virtues of their activities.

    So "people" as a parameter can have a stabalizing effect on the system, as long as strategy, process and technology can stand the competitive pressure within a defined range. To ensure that the scenario for the competitive development in a company, an organization or institution is managed within a clearly defined range, the parameters strategy, process, technology and people in the projection to the 7 elements of the 7 S Framework, which are essential for shaping a company, an organization and institution, will be defined in a way, so that these parameters will reflect the competitive forces and with it the competitive development inside a defined bandwidth.

    We know the goal that we need to get to, and we have to recognise that sustainability is a process that needs to have clear goals. The line of action is the line that indicates the position of a force in space. Together with the sense of direction, it gives the direction. Impact on "parallelogram of forces of the container". Alongside this "line of direction" descriped above, a strength may be moved without that the effect of this energy on the container is changing.

    Impact on "client's competitiveness". Alongside this "line of action", "competitive forces" can take effect within a defined range of variation as a dynamic process on companies, organizations and institutions without that these forces are a risk for the sustainability of a company, organization or institution mainly in a tough competitive situation. Working points: Working points for the invisible hand of the competitive forces are existing at every stage of the performance process and in all functional areas.

    Also unique of these functional areas can turn into a "working point" for competitive forces and consequently a flash point for mad competitve forces and an attacking play, that spreads unchecked by itself.