The shifting, the transformation, of the relationship between individual artistic components became the central issue in Formalist investigations. […] It was the Formalist research which clearly demonstrated that shifting and change are not only historical statements (first there was A, and then A1 arose in place of A) but that shift is also a directly experienced synchronic phenomenon, a relevant artistic value. The reader of a poem or the viewer of a painting has a vivid awareness of two orders: the traditional canon and the artistic novelty as a deviation from that canon. It is precisely against the background of the tradition that innovation is conceived. The Formalist studies brought to light that this simultaneous preservation of tradition and breaking away from tradition form the essence of every new work of art.
—Roman Jakobson, “The Dominant” (final paragraph) (my emphasis)