D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation 1 Grant Agreement 621023 Europeana Food and Drink Europeana Open Innovation Challenge 2 Report Deliverable number D4.4 Dissemination level PU Delivery date September 2015 Status Final Author(s) Donatella Capaldi (Uniroma1) Mariella Guercio (Uniroma1) Silvia Ortolani (Uniroma1) Giovanni Ragone (Uniroma1)
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D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
1
Grant Agreement 621023
Europeana Food and Drink
Europeana Open Innovation Challenge 2
Report
Deliverable number D4.4
Dissemination level PU
Delivery date September 2015
Status Final
Author(s) Donatella Capaldi (Uniroma1)
Mariella Guercio (Uniroma1)
Silvia Ortolani (Uniroma1)
Giovanni Ragone (Uniroma1)
D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
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This project is funded by the European Commission under the ICT Policy Support Programme part of the
Competitiveness and Innovation Framework Programme.
D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
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Revision History
Revision Date Author Organisation Description
V0.1 May 2015 Donatella Capaldi
Uniroma1 First draft
V0.2 June 2015 Giovanni Ragone
Silvia Ortolani
Uniroma1 Incorporating suggestions
V0.3 July 2015 Donatella Capaldi
Uniroma1 Second Draft
V0.4 July 2015 Giovanni Ragone
Mariella Guercio
Uniroma1 Incorporating suggestions and changes
V0.5 August
2015
Donatella Capaldi
Giovanni Ragone
Uniroma1 Third Draft
V0.6 August
2015
Mariella Guercio,
Silvia Ortolani
Emmanuel Mazzucchi
Uniroma1 Contributions
V0.7 September
2015
Donatella Capaldi
Silvia Ortolani
Uniroma1 Incorporating suggestions and changes
V0.8 September
2015
Anna Busom CAT First Review
V0.9 September
2015
Angelika Leitner
ONB Second Review
D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
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Statement of originality:
This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both.
D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
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Contents
Europeana Food and Drink Open Innovation Challenge 2: The Outcomes (Part 1)..... 9
3.1.4 Quality standard ................................................................................................. 23
3.1.5 Glam’s Filter for UGC Content and Metadata Assessment ................................ 23
3.1.6 User-friendly Pre-arrangement of Metadata....................................................... 24
3.1.6.1 Required and Recommended Information to Generate a Metadata Set ...... 25
3.1.6.2 Challenge Selected Pre-Metadata Ingestion Model ..................................... 26
3.1.7 Open Access Encouraging ................................................................................ 27
4. Undertaken Activities to Realize Second Open Innovation Challenge ................... 28
4.1 Slow Food and EXPO 2015 in Milan ........................................................................ 28
4.1.1 Slow Food and WP4 Agreement ........................................................................ 29
4.2 Food and Drink Industries and Creative Industries: CNA Network for the Challenge ....................................................................................................................................... 30
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4.2.1 CNA Network and WP4 Agreement ................................................................... 31
4.3 Challenge Guidelines General Regulations .............................................................. 31
4.3.1 Second Challenge Schedule and Theme .......................................................... 31
D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation
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Europeana Food and Drink Open Innovation Challenge 2: The Outcomes (Part 1)
1. Introduction (Part 1)
This document exposes the main guidelines of Europeana Food and Drink Second
Challenge’s concept, organisation and execution, and reports about incubation activity
related to the first challenge. WP4 aim is to deliver a “Learning Track” of Europeana Food
and Drink by creating and promoting environments for collaboration and innovation
between the Creative Industries and culture sector organisations (museums, archives,
libraries and galleries). Under the Task 4.2 of the WP4, Uniroma1 scopes, coordinates and
delivers 3 Open Innovation Challenges to promote collaboration and innovation with digital
cultural content by Creative Industry organisations.
D4.4 part 1, ‘Europeana Food and Drink Open Innovation Challenge 2: The Outcomes' is a
report on the Second Challenge developing and results. This deliverable is based on the
Milestone 16 of Europeana Food and Drink1.
The D4.4 part 1, section 1 (Chapters 1-3), deals with some preliminary aspects concerning
challenge general concept and required steps for its execution. In detailed, video-
storytelling theories and best practices are exposed and pointed out as a suitable strategy
in order to experiment new aesthetic forms of food and drink promotion, to enhance food
and drink as sustainable production and to link food and drink activities to intangible
heritage; moreover, a general theoretical frame was focused related to the connection
between heritage and production, and between Creative Industry and Europeana.
All indispensable operations anticipating challenge design, contacts and agreements with
well-known International and National enterprise network are here reported and
emphasized, including the option of using EXPO 2015 in Milan for the Final Event.
The D4.4 part 1, section 2 (Chapters 4-9) peruses the numerous activities necessary to
launch the challenge. Namely, the design and structure, the 'grassroots strategy'
integrating the challenge general concept, and the resulting metadata policy. In addition,
the undertaken activities were listed and explained: communication, contest platform
customization, guidelines, evaluation system arrangement adjustment, award design and
sponsors.
The document then describes challenge execution phases: challenge launching, jury
board selection, awarded video-storytellers, and challenge final event taking place on 22
July 2015 at Expo in Milan. In conclusion, some final remarks about Second Challenge
results finish D4.4 first part (Chapter 10).
D4.4 Part 2 (Chapters 11- 15) ‘Europeana Food and Drink Open Innovation Challenge
Incubation Paths’ enumerates and illustrates incubation activities (March-September 2015)
1 See DOW: Ambrosia Europeana Food and Drink Grant Agreement n. 621023, version date: 2013-11-15, (CIP), MS16,
Annex 1, p. 37.
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related to First Challenge. After examining in details the incubation winner concept and
according Incubation plan, an incubation workflow was made up and submitted in order to
state an agreement with the winner about the activities to be undertaken (end of February
2015). A preliminary meeting for starting the incubation package occurred on March 19,
2015, and an agreement was signed in April (see Annex 1) with the incubation applicant.
For this reason general guidelines about incubation key-skills and stakeholders’ support
had been reported in WP4 - Deliverable 4.3 - submitted in February 20152. As requested
by the officer and reviewers3, the Deliverable 4.4 Part 2 includes now additional and up-to-
date information, detailed plans, schedule and other items concerning the tailor-made
incubation path designed for First Challenge winner: Expected incubation time will go from
March to December 2015 and outcome data will be delivered in D4.5.
Finally, a further Incubation Package has been offered in the frame of Second Open
Innovation Challenge: ‘Video Storytelling. Enhancing Sustainable Food and Drink Heritage
and Production’ (Final Event: 22 July 2015 in Milan at Expo). The arrangement is providing
an Open Lab support for improving and perfecting the Second Challenge best video
reusing food and drink contents from Europeana. After an initial brainstorming (26 August
2015), an Incubation Agreement was signed: scheduling and activities have started in
September 2015 and will be in progress for the next two months. For this reason, a
detailed description of II Challenge Incubation path and work-flow will be exposed in D4.5
(Deadline February 2016).
2. Second Challenge's General Concept
2.1 Linking Open Innovation Challenges
In First Open Innovation Challenge deliverable (D4.3) some notable issues were carefully
reported concerning the relationship between GLAMs and Creative Industry, the content
reuse function and the social dimension role in the digital heritage value creation.
On this base, after launching first Challenge as a concept competition on Europeana
content reusing for Creative Industry context, the Second (and the Third) Challenge design
was intended as a concrete development example of digital heritage reuse; particularly,
Second Challenge should focus on video creation, whilst for the third one was decided to
hold a contest about products and processes of Europeana contents re-working and ‘re-
materialization’ into 2D and 3D objects.
In this way, a linkage among the three Challenges was established and their potential was
not dissipated: from exploring and suggesting items and procedures for producing an
innovative creative product (concept), to creating a concrete original product in the frame
of an video-communication (video storytelling), up to re-creating Europeana digital
contents into tangible objects. In short, the creation sequence was indicated as a concept-
communication-production.
2 Uniroma1, D4.3: Europeana Food and Drink, Europeana Open Innovation Challenge Report 1, point 12 , pp.35-38.
3 Technical Review Report (01-01-2014/31-03-2015), July 2015, p. 8.
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2.2 Second Challenge Policy
From the very beginning Challenge design tried determining a sinergical approach which
would link Creative Industry to digital heritage and would further relate media
communication to Food and Drink enterprises, Creative Industry and GLAMs.
Uniroma1 consequentially defined a general challenge policy able to transform food and
drink world in a story repository for:
-Reconstructing individual and collective identity
-Preserving traditional and native productions forms recalling the story of a community or a
territory
-Combining food as immaterial heritage with tangible heritage (monuments, art, books,
objects etc.),
-Respecting soil and landscape for enhancing innovative products telling people stories.
The challenge should test original way of telling stories inspired by food and drink, free
from stereotypical advertising methods, or from a usual mass-media talk-show of pseudo -
nouvelle cousin recipes, grumbling master chefs and fashionable kitchens.
For this reason, Second Challenge was based on three factors combined fostering high
quality in video storylines and realization and encouraging a more collaborative Europeana
attitude to user generated contents:
a) Enhancing innovative strategies and quality standards in video storytelling on food
and drink digital heritage
b) Increasing digital content available in Europeana in the field of food and drink, as a
means to promote the linkage of cultural heritage related to sustainable food and
small food production
c) Experiencing a simple methodology to increase relationships between Europeana
and creative companies or freelancers in the creation and reusing of digital content
on specific topics.
Determining the three above mentioned areas means in primis leading a benchmarking on
web about the best communication practises in food and drink sector by understanding
new media platform language and application criteria to storytelling increasing social
network communities and info exchange.
2.3 Food and Drink: a Communication Scenario
The main part of communication is nowadays audiovisual, and it is characterized by
increased hybridization between traditional mass media like TV and digital media (internet,
personal media, social media). Videos represent most exchangeable content “fragments”
to find online and in peer-to-peer communication. Videos are prevalent in advertising, in
social issue campaigns, in scientific divulgation and have been playing a rising role, even
in educational sector. In addition, a grassroots video production on social networks is now
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a viral phenomenon and strengthens the idea of instantly sharing and spreading UGC-
User Generated Contents as entertainment or denounce, life witnesses or narcissistic self-
promotions in spite of the low quality of resulting products. Besides, video promotion
strategies of products, of social issues, of heritage as well as of a museum are more and
more based at the present on storytelling methodologies. But how does storytelling work?
Which storytelling is more suitable for food and drink expression of a collective soul? How
should a video focus on food and drink without replying serial standards?
2.3.1 What is Actually Storytelling?
Telling a story allows creating identity and memory: as Roland Barthes remembers:
“Le récit ést present dans tous les temps, dans tous les lieux, dans toutes les société; le
récit commence avec l’histoire meme de l’humanité” 4.
Storytelling was born with human beings: Altamira frescos describe a collective story on
best technics, tools and sacral propitiatory path for hunting. And storytelling of gods
adventures consolidated myths as religion category spread. Storytelling may be then
values and knowledge transmission from universal myths as Homer’s epic teaches.
Human destiny, approach to unknown aspects of mind and unconscious, adventures for
discovering new worlds, systems to resist facing the society mechanization and
disintegration, description of social conflicts, they all are themes moving high literature
storytelling. However, narrative technique as shown by Propp in Morphology of the Folk
Tale 5has progressively been functional not only to literature: i.e. they were and are widely
used by politicians and their spin-doctors, you have only to think how propaganda told the
story of 20th century dictatorships, or in the last years how USA political power exploited
storytelling for justifying and legitimating Bush’s military aggressions to Iraq6. Furthermore:
increasingly since the 90s storytelling has been turned up into an instrumental marketing
technic important brands have been availing themselves of for a better product placement
and for the customer retention increase. Marketing aim today is not promoting products,
but stories products selves are representing7: In 1984 Apple was the first company to
apply storytelling to a new product and above all to a new and revolutionary way of
interpreting communication as an alternative to Microsoft8; an isolated case, followed after
ten years by Nike9. A trend has started. Brand storytelling represents a “Weltanschauung”
4 Barthes, Roland, Introduction à l’Analyse Structural des Récits, Communications, no. 8 (1966) : 1-27 (p.1) : ‘Storytelling
is present in every age , in every place , in every society; storytelling begins with the same human history’ .
5 Propp, Vladimir, Morphology of the Folk Tale, Austin: University of Texas Press, 1968 (1928): Propp individuates 31
tale functions as base for storytelling ( p.25).
6 It is the “Sheherazade strategy” explained by Karl Rove, Deputy Chief of President Bush’s Staff: in such a way: “When
policy dooms you, start telling stories – story so fabulous so gripping so spellbinding that the king (or, in this case, the American citizen who theoretically rules our country) forget all about a lethal policy.” In: http://mondediplo.com/2008/01/04scheherazade
7 Godin, Seth, All marketers are liars: the power of telling authentic stories in low-trust world: New York: Portfolio, 2005.
8 Apple’s first Macintosh commercial was directed by Ridley Scott: https://www.youtube.com/watch?v=OYecfV3ubP8.
References to George Orwell’s 1984, Fritz Lang’s Metropolis and Second World War are clear.
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making up clients behaviour, connecting customer individual stories to brand standards
and models10, directing customer emotional flows to brand “philosophy” identification.
During the last twenty years, no products but brands have been sold, and to traditional
advertising campaign have been added narrative sequences series able to tell the brand’s
story. As Christian Salmon states, a new narrative order (NON) is overbearing as a
‘desire’s format’, as a standardization of emotions11. All inputs are what a community can
share by supporting a brand in that way, and exchange stories about it. Or expanding
existing advertising stories by reusing and making them transmedial, i.e, readable, being
developed and completed on different templates in a real multiplication of marketing
activities12.
Summarizing, storytelling is a just an “open” shape, in which art, literature and cinema
obviously constitute the highest aesthetic level, but in which other mass genres are to be
considered: among them marketing strategies, communication agencies, advertising and
other ‘hidden persuaders’ have been imposed in a more and more invasive way13.
2.3.2 Food and Drink Video Coverage
Food and Drink Video production has been increasingly occupying mass media and
internet since the beginning of the 21st century, so that a kind of world-wide “gastromania”
is spreading on tables and screens.14 Some TV networks generally devote part of their
programming to cooking: one can think of audience successes as BBC’s 2005 renewed
version of MasterChef, Real Time’s Cake Boss, or Fox’ Hell’s Kitchen15. All programs have
reused tested and popular mass media formats such as talent and reality shows for setting
food and flavor competition. Food becomes a discovery and an enterprise, young chefs
challenge each other to oil (blood)shed duel, kitchen are transformed into taste paradise
according to Snow White or Grandma Duck, eye-agreeable blaze of chocolate and
whipped cream a Luis XIV style spark colours and lights. Food requires a smart staging
besides a delicate palate, it is a spectacle and a fight for well-being, healthy lifestyle,
salubrious ingredients (and lucrative business).
On the Internet, cooking is springing up, too: bloggers, communities, sites have been
engaging in frenetically suggesting homemade delicacies, new food creations, salutary
10
An attitude of Coca Cola collecting users stories referred to the beverage (http://www.coca-colacompany.com/stories/coca-cola-stories://), or Nutella, launching 2014: http://nutellastories.com where users can publish and share stories and anecdotes related to Nutella. 11
Salmon, Christian, Storytelling. La machine à fabriquer des histoires et à formater les esprits, Paris: Edition La Découverte, 2007 (VI cap.).
12 About transmedial storytelling: Jenkins, Henry, Convergence Culture: where old and new media collide, New York:
NYU Press, 2006; and Rose, Frank, The Art of Immersion: how the digital generation is remaking Hollywood, Madison Avenue and the way we tell stories, New York: Norton, 2011. 13
For a wider overview about see TED (Technolgy Entertainment and Design) platform: http://www.ted.com/topics/storytelling.
14Gianfranco Marrone, Università del Gusto, Pollenza, Interview: http://www.greeno.it/home/2013/05/i-tanti-gusti-del-cibo-
history, even cosmic rules. Food is then related not only to production and retailing, but
also to a territory cultural design. Organization as UNO’s FAO, and especially international
movements as Slow Food24, for example, have been stressing those intangible heritage
aspects and engaging in territorial preservation and requalification as well as sustainable
agriculture25.
21
www.urbanfoodstories.com illustrates i.e. individual and collective stories focusing on common farming and gardening.
22 Ariès Philippe, Introduction in Histoire de la Vie Privée (ed. Georges Duby & Ariès Philippe) Paris: Seuil, 1985-87, 5
vol., I
23 Douglas, Mary, Deciphering a meal. In: Implicit Meanings. Selected Essays in Anthropology, London: Routledge, 2003,
231-252 (p. 231). Daedalus, 101, 1 Winter 1972, 61-81. And obviously: Leví-Strauss, Claude, Mythologiques, T. I: Le Cru et le Cuit, Paris: Plon, 1964; Camporesi, Piero, Alimentazione, folclore e società, Parma: Pratiche, 1980. For an anthropological food theory: Stano, Simona, Cibo e cultura: dal Simbolismo alimentare al principio di incorporazione, Scienza Attiva, 2014/15: http://www.scienzattiva.eu/wp-content/uploads/2014/09/CICU_A_SimbolismoAlimentare-Incorporazione_STANO.pdf (accessed 2015-09-04).
24 http://www.slowfood.com/
25 Sustainability and food quality are issues brand companies are more and more using for marketing campaigns as a
way of exploiting food perception’s main stream and of attracting a new generation of consumers: i.e. http://www.mnn.com/money/sustainable-business-practices/blogs/6-food-companies-embracing-the-art-of-storytelling and related commercial videos.
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2.3.3.1 Reinforcing Cooperation with Slow Food
In this context, Europeana Food and Drink Challenge should not set aside such relevant
issues and should try entering into an agreement with international food network like Slow
Food, the most important non-profit organization active in all continents and engaged in
food sustainability questions and in traditional heritage enhancement with respect to
alimentary production. (see below point 2.6.1). In this way, the First challenge initial
collaboration with Slow Food concerning communication has been encouraged and
consolidated with a closer interaction for experimenting video-storytelling to awake public
opinion in an immediate and enthralling way to environmental problems and to an
alternative economic and productive model and cohabitation solution.
2.4 Main Challenge ‘Ingredients’
All that motivated the decision to set up a challenge in order to use storytelling and
narrative mechanisms able to connect food and drink contents with sustainable production,
regional respect and enhancement of tangible, intangible and natural heritage. Storytelling
strategies can help a mise-en-scène of food and food production in its historic,
anthropological, artistic, economic and social elements. At the same time, telling a story
about food contributes to the reconstruction of a cultural identity based on historic memory,
to recall local traditions and rituals, to understand social interchange and conflicts (see
point 2.2.a).
Food and Drink belongs to cultural heritage and can be referred to intangible heritage as
classified by UNESCO26 for enhancing a region/a community/a territorial area. At the other
hand, food and drink story should be combined with general global problems as preserving
biodiversity, supporting a sustainable model of development, stopping a wild environment
exploitation and pollution. Local food is reflecting the humanity crucial fights for defending
the environment and helping planet survival.
2.5 Video-making and Food and Drink Enhancement
Narrative language and technology are able to match the above mentioned three
approaches (see point 2.2) by making food and drink contents an engaging and absorbing
plot. Ways and forms of telling stories constitute an out-and-out technology based on
presenting cultural heritage contents in an organized and creative form through a screen-
play, characters, sketches etc. to immerge audience in food and drink production activities
and problems. Creating an immersive environment for the audience does not mean filming
a mere enumeration of ingredients and cooking expedients: it is rather modelling a space
through cooking sounds, tactile perceptions, kitchen rhythms, colours, cutting technique, in
order to make possible savouring and smelling. In addition, a food and drink story structure
may get inspired by literature and mass media genres, for example epics, adventure,
26
UNESCO, Convention for the Safeguarding of the Intangible Cultural Heritage, Paris 2003, in charge from 2006: http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022
In a grassroots logic, it was decided to set a pattern of pre-metadata definition, rights
management and a related tool easily usable by applicants, considered as potential
contributors with their UGC (User Generated Contents) to Europeana, or/and to
Europeana partners. In this case study contents were videos, but the tool able to support
metadata and right management should be reusable in other contexts.
The final scheme is:
Title
Description a short abstract – max 300 characters spaces included
Preview an image or the video cover
Video Subject
Applicant has to answer 4 questions:
Who? Who is the main person / character in the video? (Examples: 'a winemaker'; or: 'John Smith, a winemaker'; or: 'John Smith, a winemaker and James Brown, a vintner')
When? When is the story set? (Examples: 'XIX Century', '2012'; 'the 90's')
What? What is the video theme? (Examples: 'herding'; 'herding, cheese'; ‘herding, tradition, rituals’)
Where? Where is the story set (Examples: 'France?; 'France, Provence'; 'France, Aix en Provence')
Video length (in minutes and seconds)
Video date (video completion date)
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Video format As AVI, MPEG, etc. – Standard: MP4
Video Language
Video Author (s) generally the applicant; co-authors or organizations are admitted
Rights holder generally the applicant; co-authors or organizations are additionally admitted
Rights The rights holder must read all conditions and then he/she is required to declare that:
- Submitted video is original in all its parts (if any contents or elements were not original, applicant must always indicate the source and guarantee contents are in free domain or licensed under Creative Commons CC BY-SA 3.0 or CC BY 4.0)
- He/she authorizes Europeana video licensing under Creative Commons CC BY 4.0 or under Creative Commons CC BY-NC- ND 4.0
Uniroma1 built the schema above and implemented it through a tool on the contest
platform (adding explanations and instructions for each point) after consulting ICCU’s
expert Antonio Madonna who sent indications (3.1.6.1 below), which are compliant with
the main standards used in Europeana context (Dublin Core in particular, and the
metadata elements for interoperability but also for a better subject indexing).
3.1.6.1 Required and Recommended Information to Generate a Metadata Set
The selected metadata set, compliant with the main standards used in Europeana context
and in CulturaItalia (main Italian aggregator of digital cultural contents, and leading Italian
contributor for Europeana) is:
CulturaItalia required information (fields)
1. Title <dc:title>
2. Identifier <dc:identifier>
3. Link source <dcterms:isReferencedBy>
4. Link to the preview <pico:preview>
5. +Type <dc:type> with encoding scheme DCMIType vocabulary xsi:type:DCMIType
6. +Subject <dc:subject> with encoding scheme pico:Thesaurus
Notes:
“identifier” is a unique absolute value, composed by alphanumeric values.
“link of origin” is the absolute link that points to the page where the digitized resource
resides.
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“link to the preview” is the absolute link to where a thumbnail file of the resource is
available (for the videos it is recommended to pick out a frame and turn it into an image
file).
Field n. 5 refers to the type of metadata resource. If resources are consistent, you can not
map the field (intended function within CulturaItalia). If you intend to map it, the following
tag must be used: <dc: type xsi: type = "dcterms: DCMIType"> MovingImage </ dc: type>
Field 6 refers to the pico thesaurus available at:
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of Rome and ICCU (the Central Institute for the Union Catalogue of Italian Libraries),
both partners of Europeana Food and Drink Project.
In order to allow this, required information about the uploaded video will be compulsory
provided by competitors in the application.
Application requirements define the mandatory information required and a to-dos for the
interested parties and applicants.
Applicants have to insert in the platform some information about the product (see
Annex 2 ). They must also submit a short text describing each of the following
points:
Table 1: Application Description
Fields
Description
Vision Explaining in maximum 1000 characters (including spaces) the storytelling strategy developed for video
Product A video content description (max 1500 characters incl. spaces)
Production Way(s) of production, costs and time spent (max 500 characters incl. spaces)
Social impact Expected video impact for local or customer communities (max 700 char. incl. spaces)
Target
Applicants must indicate the potential target audience. They may also specify if the video will be re-used for the promotion of a territory, of an industry, of a GLAM (gallery, library, archive, museum); commercial purpose may also be the aim of the video (max 500 char. incl. spaces)
Applicants short profile Applicants’ competence in relation to the production of the submitted video. (max 300 char. incl. spaces)
4.4 Evaluation (and Grassroots Evaluation)
The evaluation process was to take place in two phases:
a) Assessment by a self-assessment and a possible exclusion for failure to meet
the requirements
b) Jury board evaluation (members using a tool on the platform and assigning
scores)
During the contest, a third phase was added (a ‘social’ evaluation: see below 4.4.1).
The evaluation frame was built modifying the scheme of the First Challenge (outcome
of an international benchmarking), according to the need for rewarding both aesthetic
and technical quality, and storytelling expertise/originality useful to promote sustainable
food and drink.
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General rules for the assessment and evaluation criteria for the Juryboard were:
The project application will be allowed on the basis of the specific requirements:
Each applicant can only submit one project per Challenge
Enterprises having offices or subsidiaries in different countries may only
apply through one country
Applications must be written and submitted in English
Applicants must submit videos and all required texts and information
through the online platform selected for the Challenge (see
http://contest.upeurope.com)
The deadline must be met
Partners of Europeana Food and Drink Project cannot submit any video
product.
The jury will verify that all requirements are met. Should this not be the case, projects will
be excluded from the competition.
The evaluation will be executed on the basis of selected criteria specified below.
Before starting the evaluation process, the jury may further define the specific weighting
of criteria.
The jury will assign an overall score of max 60 points for:
Consistency with the objectives of the challenge: the video must be consistent
with the objectives and policies declared in the Challenge Guidelines (see in
particular Annex 1)
Compatibility: the video fits the values and needs of the target group described
in the author's text
Creativity in storytelling: the video is made by a well-conceived and creative
storytelling concept and design
Aesthetic Quality: the video is original and non-trivial in form and content, it
shows a good aesthetic quality and it’s technically well made.
The Jury will assign an overall score of max 40 points for:
Scalability: the video could foster multiplier effects and new productions and
innovations
Communication effectiveness: the video should be recognizable and have
appeal
Usability: the video should be easily enjoyable and understandable
Trialability/Reuse: the video’s contents are easy to be re-used.
A fixed score of 10 points will be assigned if the video re-uses Europeana digital
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11.2 Open Lab “Cultura” as Incubation Player
Europeana Food and Drink Open Lab “Cultura” is grounded by Sapienza University
of Rome DigiLab Center (Uniroma1)38. Although Open Lab does not represent a
structured incubator, its growth has furtherly been fostering Sapienza strategy for
developing incubation initiatives; as a result, Uniroma1 has been supplying the lack
of a specific budget for incubation in Europeana Food and Drink project with
engaging researchers in testing methods, innovative strategies, and in finding
policies on the field. Indeed, crucial aims for Open Lab and University should be
creating a real academic and scientific incubator with a close connection to
enterprises and regional institutions funding; or at least should be co-participating in
a mixed co-working, incubator and accelerator structured system by supplying
competencies in science and management. Uniroma1 is currently engaged as a
training partner in the Creative and Cultural Industry (CCI) incubator BIC Lazio, an
initiative related to the EU/BICS network39. In effect, for Europeana Food and Drink
Project, Uniroma1 researchers and their enterprise network partners have been
involved in incubation best practices studies as well as in incubation design,
management, training, communication and in building relations so that the winner
concept could be perfected and accompanied towards the market access.
11.3 Incubation Goals
As UNIROMA1 intention was incubating a young creative team project, incubation
program design was not only targeted to meet some objectives related to a specific
incubation training, but at the same time to build a general frame partially reusable as
a model by other incubation initiatives. The main aims to be pursued were
preliminarily identified as follows:
• Supporting and developing the concept of a young creative team
• Identifying key-skills for the project improvement
• Using Europeana Food and Drink and Europeana Labs as a creative environment
38
See Open Lab Cultura description in WP4 - Uniroma1, D.4.2., Europeana Open Labs (new) Partnership Agreement, September 2014, pp. 6-12.
39 European Business and Innovation Centre Network was grounded in 1984 as initiative of European
Commission and European Industry. Network consist of over 250 BICs in Europe and is engaged in increasing Small and Middle Enterprises (SME) activities all around Europe and even in some countries of Middle East as Lebanon and Morocco: http://www.ebn.eu. About Bic Latium: http://www.biclazio.it and http://www.ebn.be.
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• Experiencing specific re-use of Europeana contents
• Encouraging an entrepreneurial attitude
• Encouraging a g/local strategy
• Fostering net income from Investors
11.4 Incubation Training Premises
Next step should define a specific incubation program for a young creative team/
free-lance according above mentioned general objectives. For this purpose, two
central factors were to be taken into account:
- Winner’s real competencies in a wide range of fields (as for example
Europeana reusing tools and legal frames; technological skills;
communication and marketing skills and so on as required starting level of
knowledge)
- The need to establish a network between different players (UE Open Labs
and Creative Industry partners) having a consolidated experience in
enhancing learning process.
Under these conditions, a tailor-made learning path was designed which would lead
to gradually acquire useful skills for concept refining, especially by providing
suggestions and counseling to realize its main assets. Such a strategy is also
generally recommended by best practices experts: incubators should provide
different programs depending on client needs, typology, aims and requirements40 .
That is particularly requested by Culture and Creative Industries (CCI) how EU-BICs
experience points out:
However, CCI entrepreneurs hold specific characteristics that may make it difficult
and inefficient to use a standardized business support approach, thus more specific,
and tailor-made services, might need to be set up41.
As a consequence, a schedule was arranged including a sequence of different
activities and assistance of various partners. Finally, concerning the required time for
an effective tailor-made incubation process, it was calculated a period of 6-9 months
according to key-skill achievements and to the winner’s effective availability of time
(see below, chapter 13).
40
Grimaldi , Rosa and Grandi, Alessandro, Business Incubators and New Venture Creation: an Assessment of Incubation Models, Technovation, 25 (2), 2005, 111-121.
41 See Creative BICs. A Pratical Guide to Tailor Services to the Creative Industries, Eubic, EBN Technical Note
04, Brussels, November 2014, p. 3: http://ebn.eu/downloads/TechnicalNote04CreativeIndustries.pdf
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11.5 International Best Practices
Before starting the incubation program, Europeana Food and Drink Open Lab
“Cultura” faced some different incubator patterns based on reports, papers and
proceedings from international incubation best practices in the USA and European
Union42.
11.5.1 Providing Incubation Services: a USA example
U.S. Department of Commerce with University of Michigan, University at Albany and
National Business Incubation Association (NBIA) surveyed in 2009-2010 a selection
of 376 among 1171 USA incubator case studies in order to testify the most
efficacious incubation services for enterprises. Results stressed main factors for a
successful incubation, according to interviewees opinion, as follows (from 4,4 to 3,3
points in a rank scale 1 minimum/ 5 maximum43):
High speed internet
Business plan development
Marketing assistance
Specialized equipment
Links to Higher Education
Comprehensive business training programs
Accounting and financial management
Shadow boards
Access to venture capitalists
Accessing non- commercial loan fund
Tech-commercialization
42
A Resume of most important incubation theory from the beginning to 2004 is to find in: Hackett, Sean M. and
Dilts, David, ‘A Systematic Review of Business Incubation’, The Journal of Technology Transfer, February
2004, 55-82.
43 U.S.Department of Commerce, Economic Development and Administration, Incubating success. Incubating
best practices that lead to successful new ventures, Authored by David A. Lewis, Elsie Harper-Anderson, Lawrence A. Molnar, Ann Arbor, University of Michigan. 2011: p.45, Table 9: Importance of Services to Client Success. The list shows the first 16 entries for score: http://www.nbia.org/docs/default-source/research/download-report.pdf?sfvrsn=0
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Linkage to strategic partners
Assessing commercial loans
Intellectual property protection
Management team identification
Presentation skills
According to that report the ‘with walls’ solution – i.e. attending an on-site lab space –
is generally considered the best choice by clients for an incubation program;
otherwise a ‘virtual incubation’ is deemed to be possible only when services and no
on-site space are offered to the client; or when an additional on line environment
allows peer to peer collaboration among clients.
11.5.2 Incubation EU Policies
Concerning the EU attitude to incubation’s role in economic development, some
different incubator models have been emerging since 2002 in Europe, as EU
provided the first benchmarking report about incubation. The suggested incubation
frame has been showing some interesting aspects, still valuable now-a-days.44
44
European Commission, Centre for Strategy and Evaluation Service, Benchmarking of Business Incubation.
Final Report, February 2002 (reviewed 2006): see appendix 3 and 4. Figure: p. 25, http://www.cses.co.uk/upl/File/Benchmarking-Business-Incubators-main-report-Part-1.pdf
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Figure 1: Business Incubator Model
(Source: European Commission, Benchmarking of Business Incubation, 2002, p. 25)
Attention to regional dimension, networking between incubation stakeholders and
enterprises, and management skills, indeed indicate crucial elements for Europeana
Food and Drink Incubation setting up, particularly because implemented by further
EU experiences on the field: i.e. the above mentioned European Commission
Business and Innovation Centers (EU-BICs) Incubators, which have confirmed the
trend, especially since their strategy has been addressed to improving Cultural and
Creative Industries (CCI)45. As a result, physical labs were grounded where creative
45
As recommended by: European Commission, The Entrepreneurial Dimension of the Cultural and Creative Industries, Utrecht: DG Education and Culture, 2010.
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startups have been developing concepts and prototypes as well as acquiring
business competences and entrepreneurial mentality46. Now-a-days, BICs offer an
important support for Creative Sector; although it generally consists of microbusiness
or at the most of Small /Medium Enterprises (SME), it represents a driving sector with
an increasing turnover ensuring a regional economic growth47.
Another stimulating aspect of incubation policies, useful for designing Europeana
Food and Drink Incubation, is represented by 3C4 Incubator partnership48 which
promotes Creative Industries as territorial development and economic-social
innovation, and encourages EU-BICs and partner Labs exchange; moreover, it
fosters a wider connection among labs, CCI, local policymakers and EU in order to
create an International network permitting to Small and Middle Enterprises’ (SME)
access to new and international markets.
Finally, the close relationship between Creative Industries and Higher Education
Institutions for improving innovation and training has added another crucial element
to Europeana Food and Drink Incubation plan, whose central position the LEC
(Learn-Engage-Create) EU program has been showing since 2010, after starting
SUPORT program49.
11.5.2.1 Special Program for Startups
If an incubator boosts young creatives to develop a startup, prior needs and related
training activities have to be individuated and employed for carrying on the most
suitable operating procedures. Creating an incubation ecosystem can be helpful to
refine and perfect concept and projects in view of forming a prototype being
presented to the market. In this case the main needs are50:
46
Creative BICs. A practical Guide to Tailor Services to the Creative Industries, Bruxelles: EuBIC/EBN, 2014
(Technical Note November 2014), especially pp. 9-12 , http://ebn.eu/downloads/TechnicalNote04CreativeIndustries.pdf.
47 For more detailed information see: Staines, Judith and Mercer, Colin, Mapping of CCI Export and
Internationalisation Strategies in EU Member States, EENC Report, February 2013, pp. 4-7: http://www.kulturradet.se/Documents/Verksamhet/Internationellt/JStaines_CMercer_Mapping_CCIExportStrategies_updated_Feb2013.pdf
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indicates general categories grouping the main services an incubator should
supply52:
• Incubator as a provider of an easy passage to FabLab, broadband and Information
Technology (IT) and at the same time of specific skills training (equipment, facilities)
• Incubator as cooperation among sector SMEs, research centers, industries aimed
to experiment partnerships or product/services development.
• Incubator as a support for making up an efficacious business plan and boosting
initiatives to SMEs’ international launching
• Incubator as an internal management system whose players are taking part in
international projects and are closely connected to enterprises in order to better
explore the sector’s needs.
• Incubator as a basis to explore national and international financing opportunities,
and to develop a strategic approach to effective value chains.
Figure 3: Incubation Value Chain
(Source: Growth Creative, Incubators for Creative Entrepreneurs, 2011, p. 19)
52
ECIA (European Creative Industries Alliance), Best Incubation Practices Aimed to Supporting Creative and Digital Businesses. A Report by Cluster 2020. (Connecting with Efficient Practices across Europe. WP2: Efficient and Sustainable Businesses within an Efficient Cluster)’, Bruxelles 2015, p.10: http://www.eciaplatform.eu/wp-content/uploads/2014/06/Best-Incubation-Practice_EBNReport_Cluster2020_FINAL.pdf
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11.5.2.2 Virtual Incubation
Incubators embedded in a territory and connected with enterprise network -
especially SMEs - are often intended as on-site and co-working spaces offered to
entrepreneurs in order to accelerate programs and to more easily reach the market.
Another practiced incubation asset regards a virtual, “without walls” range of
incubation activities occurring without on-site space. Such a system should
encourage a networking between different incubation players and enterprises acting
as an environment where potential cooperation, peer-to-peer learning and contact
facilities are dynamized.
Incubators primarily consist of a development program and a range of business
development services. These are basically advice and may be what constitutes a
’virtual incubator’. A full-flowered incubator, however, also offers a physical location
and a geographical focal point for networking, collegiate nearness and specific area
coverage.53
In brief, the virtual incubation should make up a real ecosystem54 of relationships
among incubated projects, incubation stakeholders and related partners, enterprises,
higher education institutions and research centers. Grounding such a networking
actually means exploiting the advantages 2.0 web can provide. In this grassroots
context European project VOICE55 shows an original approach to design a new
incubation model as “a virtual open, collaborative crowd innovation and
entrepreneurship ecosystem that facilitates the development and rapid
commercialization of business ideas and prototypes; forming this way virtual-
collaborative startups or what we call ‘crowd-ventures’”. VOICE has extended Henry
Chesbrough’s theory to incubation practice56: from a ‘closed’ idea of innovation to an
open innovation paradigm. The resulting VOICE’s ‘open incubation model’ is going to
manage incubation steps in crowdsourcing, co-working, and crowdfunding. It might
53
Such a definition is to be read in Creative Growth, Incubators for Creative Entrepreneurs based on 27 Case Studies, (Ed. Majbritt Chambers & Knud Erik Serup) Vejle, Denmark 2011, p. 3: http://www.creative-growth.eu/Portals/10/Creative%20Growth%20TWG%20report%20on%20INCUBATORS.pdf
54 Ecosystem as players connection was focused in: Liam Boogar, Report on How the European Commission
can Support Web Entrepreneurship in Europe Based on the inputs from the open consultation organized by the European Commission in November-December 2012 in relation to Horizon2020, European Commission 2013, pp 18-19.: https://ec.europa.eu/digital-agenda/sites/digital-agenda/files/13-03%20-%20Liam%20Boogar%20%20Consultation%20on%20Horizon%202020%20innovation%20and%20financial%20aspects%20-%20Final.pdf
55 http://www-voice-project-eu/about.html
56 Chesbrough, Henry, The Era of Open Innovation, Mit Sloane Management Review, Spring 2003 and Open
Innovation: Researching a New Paradigm, Oxford: Oxford University Press, 2006.
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be an interesting strategy contacting the VOICE project for creating synergies with
Europeana Food and Drink incubation.
11.5.2.3 Crowdfunding Opportunity
EU new policies foster crowdfunding system as a support service for startups to
boost the crowdfunding environment in Europe addressed to web entrepreneurs,
especially SME57. The European Crowdfunding Network58 is engaged in designing
European crowdfunding policies and regulations as a relevant modelling of an
European Crowdfunding Service, despite member states’ diversity and different
views on the alternative finance market. Enterprises’ increasing necessity of using
alternative funding forms to traditional banking and capital market has been furtherly
stated by a notable University of Cambridge benchmarking research about
Crowdfunding platforms in the UK and in the rest of Europe. Its aim was comparing
European crowdfunding structures and establishing a systematic taxonomy about it.
Excluding UK, during the last three years nearly 10.000 European startups and SMEs
were supported in early stage investments or as growth capital59: Crowdfunding is
spread in Europe particularly in the UK, France, Germany, Holland and Spain, and in
comparison with 2013 a growth by 144% was observed in 2014.
57
ECB-European Commission (2014) SMEs’Access to Finance Survey, Frankfurt 2014: https://www.ecb.europa.eu/pub/pdf/other/accesstofinancesmallmediumsizedenterprises201404en.pdf?da920468528300ff549d8cc95522eb81.
58 Startup Europe Crowdfunding Network. Final Report Brussels, 19 April 2014 (Deliverable 4: Final report for
the Service Contract with the European Commission): http://www.eurocrowd.org/files/2014/05/20140519_Final-Report_Startup_Europe_Crowdfunding_Network.pdf
59 Robert Wardrop, Bryan Zhang, Raghavendra Rau and Mia Gray, Moving Mainstream The European Alternative
Finance Benchmarking Report, Cambridge: University of Cambridge, February 2015, pp. 9-10:
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Figure 4: Crowdfunding Platform in Europe
(Source: Cambridge University, Moving Mainstream, 2015, p. 14)
Both reviews show the relevance of funding alternative system for startups as an
opportunity of accessing a start capital; for this reason an incubation path preparing a
startup should not underestimate the chance to launch the concept/ project - once it
has been improved - on a crowdfunding platform.
11.6 Summarizing Emerging Issues
According to a review of best USA and EU incubation practices, some of emerged
key findings may be useful also in designing possible strategies in other contexts.
More successful factors and best policies seem to be:
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Cooperation among different subjects and institution building a network, and
taking part in structured incubator advisory boards (i.e. entrepreneurs,
representatives of finance and commercial communities, local economic
authorities; linkage to high schools and other educational institutions is
recommended)
Intervention of a structured incubation agency, mainly not for profit models,
embedded in a community, and supported by the local government orienting
funding sources towards incubation activities
Co-funding from the public sector (governments, public agencies, universities,
etc.) and from service fees charged to the incubation subject (client). For
example, Ca 85% of incubation programs in the U.S. is annually funded by
public support60, even though the actual trend tends to reduce public funding,
especially in Europe
Business service increase for startups and SMEs
Available budget for the incubator agency activities and revenues investment in
engaging experts and launching new programs
Time spent by experts with the client (coaching and mentoring program)
Stress on multidisciplinarity by mixing technological and cultural aspects
Services as business training, access to investment capital, linkage with local
higher educational institutions, supporting to R&D, frequent contact with
incubation managers, administrative support, office equipment, communication
support
External independent evaluation on outcomes and processes.
11.7 Lessons Learnt and Possible Applications
International studies show points of reference for embarking on an incubation
program. It is evident that the absence of a dedicated budget and of a structured
incubation agency compels to select only some of the suggested services range. As
a result, at least points a), f), g) and h) of the above listed recommended best
practices (see 1,6) have been pursued. Namely:
Networking strategy
Time spent by experts with the client (coaching and mentoring program)
Stress on multidisciplinarity by mixing technological and cultural aspects
60
Lewis, David A. and Frisch, Michael, Modeling the performance of technology business incubators at the
international scale: Entrepreneurial policy development in regional context, Chicago: Association of Collegiate Schools of Planning, Conference Proceedings, 2008.
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Services as business training, access to investment capital, linkage with local higher educational institutions, supporting to R&D, communication support
In detail, the designed Europeana Food and Drink Incubation consists of a tailor-
made program identifying critical points and aspects to being improved in a project.
Scheduling incubation activities, Open Lab Cultura of Uniroma1 considered relevant
and at the same time feasible:
Attending Lab’s space and training
Communication skills
Marketing and business plan development assistance
Legal counseling
Linkage to strategic partners and possible access to venture capitalists
High speed internet, and links to higher education are obviously assured by DigiLab
Sapienza University of Rome.
11.8 Incubation Management
According to the previous international benchmarking review, the incubation
management was set up including :
Concept elements analysis and right competences identification for its development
Competences (skills)-gap analysis
Concept critical points analysis (with useful suggestions for its improvement and feasibility)
Agreement with Incubation winner about mission and exit criteria
Europeana -labs networking action
Offering training (in labs and/or on line)
Presentation to professional Creative Industries and factories
Arranging contacts with funding providers
Participation in communication events
Documentation
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12. Starting Steps
12.1 First Challenge Incubation Winner and Runner-up
First challenge project incubation winner was the “concept” submitted by Mr Mahbir
Thukral, a young freelancer from Cyprus. A brief description of the project called
‘Pafos with Bite’ was enclosed as Annex to Deliverable 4.3. After examining it in
detail a tailor-made incubation schedule was made up and submitted in order to state
an agreement with the winner about the activities to be undertaken.(February 27,
2015).
Mr Thukral unexpectedly communicated Uniroma1 he would not start an incubation
program because of work problems despite the Award (March 19, 2015). He would
have preferred receiving a start capital for developing his concept. But Europeana
Food and Drink Project actually does neither include the possibility of supplying
incubated projects with a start capital, nor with a scholarship for acquiring specific
skills directly in Open Lab. Indeed, provided incubation activities consist of a series of
experts’ suggestions and consulting, as clearly specified in the First Challenge
Guidelines (see D4.3 Annex )
As a result, Uniroma1 decided to propose the incubation package to the Runner-up
in the First Challenge young creative free-lance category. Nevertheless, Uniroma1
has been afterwards offering support to Mr Thukral, by recalling him and making
proposals of collaboration in order to mitigate his position (June 15, 2015). He
reaffirmed his request about funding necessity of Euro 10.000 for further steps of the
project. He would present it in November in ‘Cyins of Creativity’, a Workshop in
Cyprus (June 26, 2015). Uniroma1 agreed with him, a start capital should be
introduced in European projects as part of incubation proceedings and would have
advised the Officer and the Commission about it, at least for future initiatives.
Anyway, Uniroma1 intends to advise the Cyprus Food Museum (partner of
Europeana Food and Drink Project) to promote the project presentation in that
workshop. In addition, we suggested Mr Thukral again to seek the requested start
capital through crowdfunding, for example being supported by ‘Goteo’, managed by
the Europeana Creative Lab ‘Platoniq, with the direct endorsement of Sapienza
University of Rome and Europeana Food and Drink Project (July 18, 2015). He
answered (July 23, 2015) judging this opportunity not fast enough in order to seek
the necessary start capital.
Meanwhile the incubation package was assigned to the Runner-up, the project
“FoodNode” presented by Mr. Riccardo Sonnino (see point 13.2). The Incubation
program has then been addressed to a young student forming a creative team with
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the intent of developing and improving his idea. Final aim might be grounding a
startup and being (and working) in close contact with Creative Industry, Europeana
and Food and Drink enterprises on one hand; on the other hand stating and
exploiting the central role of communities acting in creative 2.0 enviroments.
12.2 Tailoring the Path: the Key-skills
Incubation preliminary procedure requested to review concept elements and to
specify related indispensable competencies. They were compared with young
startups general needs as recently checked by the EU Commission (see above,
figure 2, point 11.5.2)61:
In this way, necessary key-skills were identified, and furtherly integrated with ones
ability to fill relevant concept gaps as far as possible. General key-skills list consists
of following areas:
61
An item deepened by European Digital Agenda, see Further Information on: http://ec.europa.eu/digital-agenda/en/startup-europe.
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Europeana structure and services
-Approach to Europeana Digital Contents, to using search filters and to finding suitable digital contents
-Information about legal frame and licensing for a correct content reusing
-Europeana Api’s
Technology applied to content reusing
-Data persistency system
-Repository design
-Application design
Communication
-Communication best strategies for promoting product
-Storytelling based both on imagery product can evocate and on user expectations a story about the product can arise
Food and Drink Cultural Heritage Enhancement
-Food and Drink connection with tangible, intangible and natural heritage
-Food and Drink tourism route design
Marketing and Business
-Best practice of commercial content reuse (i.e. Cultural institution best practice to promote digital heritage, or Creative Industry examples of cultural reusing)
-Marketing strategies
-Business plan to making project and product more feasible and competitive
-Presentation to investors and Enterprise networks (Creative Industy, Food and Drink business etc.)
-Funding strategies
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Testing and Usability
Cooperation Europeana Projects, Creative Industry Network etc.
Moreover, concept review focused on several crucial points for incubation as i.e. food
and drink cultural heritage enhancement by reusing Europeana digital contents and
operating methods of launching the resulting product or service on the market. These
aspects involve central topics requiring a multidisciplinary starting level of knowledge.
According to that plan, some key-skills have been consequently interrelated during
Incubation for reaching an acceptable multidisciplinary preparation: i. e Europeana
reusing involves Storytelling strategies, Heritage enhancement policy and
Communication. On the other hand, under each single general key-skill among the
above described patterns, some specific operations and activities requested by
concept needs have been selected: i.e. using SWOT analysis (see below point
13.3.1) under “Marketing and business” in the sector “Business plan to making
project and product more feasible and competitive”.
Next points explain each mentioned item.
12.2.1 Europeana Structure and Services
For a better reuse of Europeana Food and Drink contents, some training activities
and tutorials are to be planned as an introduction in Europeana tools and services.
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Key –Skills Mentoring
Europeana structure and Legal frame
Technology for Content Reusing
Storytelling and Communication
Food and Drink Heritage Enhancement
Business Plan, Commercial Content Reuse, GLAMs Marketing Strategies
Testing, Usability
Contacts
Partners role:
-EFD Open Lab Cultura (Uniroma1)
-EFD Open Lab Heritage (IAPH)
-EC Open Labs
-Europeana Food and Drink Partners
-Enterprise Network / Creative Industry
Open Lab Environment
Figure 3: Key-skills core
12.3 Incubation Procedure
Training and consulting about key-skills are provided by Europeana Food and Drink
Open Lab ‘Cultura’ (Uniroma1). Key skills will be administered by Uniroma1 lecturers
and experts as a blended system: off-line directly in Lab space with Lab experts in a
peer-to peer training. And on the web as Net contacts with experts or other Euro labs
necessary for incubation project. Activities may be:
1) Attending Europeana Food and Drink Openlab “Cultura” in Rome
2) Delivering ad hoc materials
3) Organizing Skype meetings with experts
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4) Sending one-to-one Email
5) Bespoke support emerging from product discussion
12.4 Incubation Agreement
As incubation beginning WP4 Coordinator representing Open Lab Uniroma1 Digilab
‘Cultura’ signs an agreement with the incubation applicant (see Annex 5.1). It
consists of four parts:
Incubation Mission:
- Opportunity of acquiring key-skills
- Address to crowdfunding platform
- Presentation to Creative Industry
Activities
- Methods of training
- Contacts
Exit Criteria
- Report
- Incubation Evaluation
Schedule and Timing
- Detailed Incubation Steps
- Incubation period
Incubation Agreement items obviously change according to the different Challenge
Incubation needs (I Challenge: project concept and II Challenge produced video for
example) and to the effective competences and key-skills the Incubation applicant
shows to master.
13 Schedule and Activities
13.1 Schedule
According to the above described patterns for structuring management (point 11.8)
and for selecting key-skills areas (point 12.2), the First Challenge winner (actually
Runner-up) incubation package was scheduled in five stages with related activities:
I stage (March 19 – June 18, 2015)
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-SWOT Analysis for identifying and correcting concept critical points as well as
improving its feasibility
-Analysis of each concept elements and resulting competences (or lack of) necessary
to carry out the concept
-Agreement with incubation applicant about incubation mission, exit criteria,
schedule and organization
-Training on Europeana Environment.
-Project Pitch
II stage (June 18 – July 31, 2015)
Project and first incubation stage presentation in the frame of Europeana Creative
Culture Jam (Vienna July 9-10): two-days-workshop enabled the applicant to reach
an international dimension, to contact possible investors, to exchange experiences
with Clio Muse, First Challenge professional Winners and other startups, available to
cooperation. In addition, the event represents a good communication training and a
first thorough analysis of technological problems. Finally, effective contact with Goteo
crowdfunding platform (Platoniq Europeana Creative Lab) may open funding
opportunities.
III stage (September, 2015)
-Food and Drink storytelling
-Legal frame of Europeana digital content reusing
-Communication.
.
IV stage (October, 2015)
-Business plan and marketing strategies.
-Introduction to Creative Industry and to R&D institutions for further cooperation in
refining project items and promotion
V stage (November and December, 2015)
-Project refinement and presentation to crowdfunding.
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-Presentation to a Creative Industry panel, composed of Uniroma1 partners, for
commercial development of the refined project
-Support for seeking regional funding through Uniroma1 endorsement
13.2 About FoodNode Project
First Open Innovation Challenge, launched by Europeana Food and Drink Project in
December 2014, marked the interest of Europeana into finding a way to actively
reuse the vast collection of digitised data collected through many years and
becoming a platform where to develop new projects based on said data.
FoodNode is a proposal based on this vision. It was applied by a young graduate, Mr
Riccardo Sonnino, who is exploiting the opportunity to evolve the project thanks to
the support of the incubation managed by the OpenLab ‘Cultura’ at Digilab Sapienza
(Uniroma1).
The project takes inspiration from social networks, from image hosting services and,
generally, from all websites where content creators are the users themselves. In
these cases the role of the administrators is minimal since the website is kept alive by
the net of interactions generated by the community, based on sharing, exchange and
creation.
FoodNode adds to this formats specific elements, as the editing tool, whose role is to
help the user, even if not skilled in computer programs, in the creation of interesting
and original content to be published; may it be a poster, a card, an album with text or
even a video. The intuitive tool would be easy to use and with plenty of set layouts to
make the creation quicker. The editor would work together with the search function;
an instrument which would lead to a database of food and drink related contents free
to be reused. These contents will be the ones shared by the Europeana’s archive
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with the addition of anything published previously on FoodNode, because any object
created will always remain stored in the database for future reference and to be used
again as an ingredient for new creations.
FoodNode also offers a series of standard functions to the visitors (such as
comments, related contents, voting, sharing, subscription etc.). The focus is on the
map on the homepage, which points out the most voted and shared locations of the
week. This element was inserted with the objective to exploit the tourist’s potential of
the web portal; if FoodNode reached a high number of visitors per day, it would have
the chance to give visibility to all the companies and restaurants subscribed to the
website and it would lead them to post contents in order to be shared, voted and to
appear on the map.
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The purpose is the birth of a hub, the node present in the name, where people
interested in food meet, and also restaurants and clients, cultural institutions and
visitors.
Another objective represented by the map is the connection with the territory. What
the other analyzed websites seem to have forgotten is the bond among territory,
tradition and gastronomy. In most of the portals took as examples, the focus is on the
sharing of weird recipes not related to any culture. On the other hand FoodNode,
strong of Europeana’s inspiration, aims to valorize anything culturally related to food.
Visitors would be invited to publish part of their history through contents that would
talk about recipes, festivals, legends and even objects related to gastronomy, since
the goal is to let people know more about the world and stimulate their creativity.
13.3 Incubation Workflow: Creative Industry Involvement
A detailed report about Uniroma1 incubation items, proceedings and consulting is
now provided. As a general approach, after consulting with incubation stakeholders,
incubation applicant Mr Sonnino and project team member Davide Spinogatti
engaged in undertaking some Research & Development activities, whose results
were examined and discussed in a following meeting. From the very beginning a
Creative Industry was involved in the Incubation training design and realization:
Saverio Malatesta‘s Virtutim67 has taken part in incubation meeting and lead
incubation training together with Open Lab “Cultura” experts Francesco Lella and
Donatella Capaldi. The presence of a Creative Industry partner was and is to be
recommended for setting up a project stress action regarding market, audience
needs and participation, business plan first concept, start capital seeking.
13.3.1 I Stage
First Meeting: 19 March 2015
Participants: Riccardo Sonnino, and Donatella Capaldi and Saverio Malatesta,
OpenLab ‘Cultura’ experts.
67
‘Virtutim s.r.l.s’. promotes the enhancement and protection of the tangible and intangible cultural heritage in correlation with the use of modern technological tools; it provides several services and support activities as research and fruition requirement, and offers innovative solutions according to making culture new concept as well as to open access, open data and open government needs. http://www.virtutim.eu/
Storytelling based both on imagery product can evocate and on user expectations a story about product can arise
Food and Drink Cultural Heritage Enhancement
Food and Drink connection with tangible, intangible and natural heritage
Marketing and Business
-Video Marketing strategies
-Business plan to making video more feasible and competitive
-Presentation to investors and Enterprise networks (Creative Industry, Food and Drink business etc.)
-Funding strategies
Cooperation Europeana Projects, Creative Industry Network etc.
13.4.2.1 Incubation Scheduling and Typologies
Miss Marandola’s incubation is being briefer and more compact than First Challenge
Incubation one: it will take from September to November 2015, considering Miss
Marandola’s time availability. In that way, according to incubated players’
requirements two models have been experienced: a longer and a shorter one. This
different timing essentially depends on two different incubation object typologies: in
the first challenge output was a concept requiring a more comprehensive refining
actions, in the Second Challenge an existing video-product allowing a more rapid,
targeted intervention.
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13.4.3 Incubation Steps
According to the above described patterns, the Second Challenge incubation
package was scheduled in three stages with related activities:
I stage (September, 2015)
-Legal frame of Europeana digital content reusing
-Audio-video Lab Refinement Activities
-Communication
II stage (October, 2015)
-Food and Drink storytelling paths
-Business plan and marketing strategies
-Introduction to Creative Industry, to GLAMs for further cooperation in communication
and cultural heritage contents reuse
III stage (November, 2015)
-Presentation to crowdfunding
-Presentation to a Creative Industry panel, composed of Uniroma1 partners, for
commercial development of the refined video project
-Presentation to a Video Festival dedicated to Food and Drink
13.4.4 Incubation First Step: Audio-video Lab
Scheduling and activities started in September 2015 and are in progress. Activities
include, beside Europeana Legal Frame:
Shooting techniques and format
Additional filming
Audio optimisation
Subtitle optimization
Colour correction
Europeana content reproduction and optimization
Editing and cutting
Trailer realization
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DVD authoring and packaging
Applicant’s further incubation meetings with experts in Open Lab Cultura - Audio-
Video section - will be reported in D4.5 (February 2016).
13.4.5 Communication Plan
WP4 Uniroma1 and WP6 ONB started a communication strategy to enhance The
Mulberry Affair video as a brilliant reuse of food and drinks contents from Europeana.
First attempt aimed in September 2015 at presenting a video-trailer (3-4 m) during
the Europeana Food and Drink Project Presentation at Frankfurt Book Fair in October
2015, organized by FEP (Federation of European Publishers), Europeana Food and
Drink partner. That was not possible because the reserved conference – room was
not equipped for audio-video projection. The second idea was then placing the Trailer
on Europeana Food and Drink Blog as a clear introduction to Europeana cultural
heritage and incubation plan as well as an example of the various and creative ways
to Europeana content reuse in a video-storytelling.
14 Incubation Future Scenarios
In this section Uniroma1 is collecting some proposals and suggestions for making up
an incubation structured system, which could group all existing Europeana Labs in an
efficacious international organization able to support young creative teams, to
technologically refine their concepts and ideas and to realize new commercial
products in Food and Drink and Creative Industry area. This proposal is a
consequence of researches, activities and lessons learnt concerning incubation
plans, and might be a basis for further European initiatives.
14.1 Preliminary Remarks
First Challenge Incubation represents a first attempt to create future models for a
close collaboration with three Incubation stakeholders Europeana projects as
Europeana Food and Drink and Europeana Creative can offer
Europeana Food and Drink Open Labs: Cultura (Uniroma 1) and IAPH
Sevilla
Europeana Creative Open Labs
Enolls European Living Labs Network
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Cooperation with Europeana Creative Project and Enolls must be enforced, in order
not to disperse the know-out about Challenge and Incubation such a network
produced. At the same time, resulting Open Lab network provides the opportunity of
testing the effective capacity of involvement of a single lab or more labs in refining
and supporting an incubated project, even if not taking part directly in that specific
project call.
Given that most Key-Skills are expected to be managed by Europeana Food and
Drink Open Labs as a running project, that does not mean that very special abilities,
technological up-to-date support or other relevant components for an incubated
project cannot be partly led by Europeana Creative and European Living Labs
network in an interactive way.
Such an approach would consent to design and organize a Europeana Incubation
infrastructure able on one hand to aggregate different creative ideas and projects in
specific incubation channels, and on the other hand to group Europeana Labs having
similar special skills by forming specific implementation macro-areas which projects
to be implemented may be addressed to.
14.2 Incubation Macro-areas
Implementing Macro-areas, in which European Labs can be associated for refining
creative projects, can meet the following requirements:
Macro-area 1) Reuse
-Reusing Europeana and Glams digital contents (Europeana Creative Reusing
Frame and reusing tools)
-Reusing Legal Frame
Macro-area 2) Technology
-Technological support
-Repository Design
-Usability and Testing
Macro-area 3) Communication
-Product Design and graphic
-Communication strategies
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Macro-area 4) Marketing
-Promotion strategies
-Sale strategies
-Product advertising
-Audience Profiling
Macro-area 5) Funding
-Business plan
-Funding and crowdfunding
Macro-area 6) Other specific competences
14.3 Geo- Incubation Macro-Area System
Connecting Europeana Labs with specific common competencies in macro-areas
may define a more identifiable skill availability for the projects being incubated, and
also a geo-mapping of the Euro Labs pointing out the most proper macro-area offer
in every UE member country, or the closest one an applicant can find in another
country.
14.4 Expert Appointing
Macro-areas may appoint referent experts who may take part in tutorial activities or in
consulting, if requested, in order to suggest a project/product’s best improvement
activities to applicants.
14.5 Incubation Channel
In every Incubation Macro-area an Incubation Channel pertains, based on the
particular implementation sector a project needs. Incubation Channel depends on
some most evident project’s critical points. Different Channels may be crossed if
critical aspects regard heterogeneous problems, as for example financial and content
reuse at the same time. In this case, a project should attend two different Incubation
channels.
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In short, project implementation can regard:
One macroarea, if for example more skills in Communication
Macroarea are required (Monodirectional Incubation Channel).
Two or more Macro-areas, if more different skills are to be covered, for example Communication and Reuse (Multidirectional Incubation Channel).
Figure 7. Incubation Workflow
14.6 Incubation Steps
After jury selection, incubation period starts following three steps:
Preliminary project gap exam pointing out the more evident critical
points
Collaborative work on platform
Attendance at a specific European Open Lab
14.7 Preliminary Project Gap Exam
In the first phase Incubation winner is contacted by incubation coordinator and
experts via Skype for an introductory interview about the project/product, aimed to
stress critical points and to improve them. The applicant receives the first
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suggestions on developing the concept and a resulting key-skills scheme, where
necessary items are stressed in order to refine the proposal.
Key skills are presented in a modular form, divided in items the applicant has to
deepen and debate. Every item is propaedeutic to the subsequent one, so that the
lacking skills are to be managed. A problem solving attitude can help securing
achieved knowledge in a module, and preparing the connection with other Incubation
steps.
14.8 Working on Platform
After discussing items, and consulting the applicant about particular difficulties, or
requirements, a key-skills schedule is written off. A learning platform may be
arranged for posting possible corrected project versions or experimenting variations
in the project, more congruent with the Incubation final objectives to reach. Platforms
tutors, corresponding to the different macro-area or in charge of specific modules
may accompany applicants in project problem solving and in increasing its efficiency.
14.8.1 Platform Design
That platform might be expressly designed for a closer interaction between
Incubation teams and applicants, as for example Moodle 2. Not only should it be a
learning objects repository, but also a learning environment where the project may be
followed in its new proceedings. Experts and stakeholders with different qualifications
and selected by each macro-areas might be contacted by applicants on the platform
and take part in increasing applicants know-how.
Through the platform tutors may control the project/product during its evolution
phases by checking eventual gaps and adjusting project details.
Summarizing: An ideal structure to aggregate all these activities would be an
incubator platform, including at a glance the following services:
Project/Product Refinement Coaching
Project/Product Business Plan Mentoring
Project/Product Show Room as a presentation for recalling investors
Project/Product Crowdfunding as a direct form of financing
Project/Product Testing through interests (or not) arising from expert and
investor audience
Contest space for calls addressed to competitors
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Even if some existing platforms are offering on line some of the above mentioned
services, Europeana Labs might be designed close to this possible model.
14.9 Lab Attendance
After an intensive collaboration with most adapt Macroarea (s), contacts with
Macroarea experts and tutoring in key-skills modules, the applicant will be addressed
to one (or more) Open Labs where the project/product is operatively realized and
improved. In Open Lab project/product may be executed under experts direction and
consulting.
The applicant can decide to attend macroarea labs located in his/her own country if
existing or in another one if applicant and tutors consider it more appropriate for the
project/product execution.
14.9.1 Lab Attendance Scholarship
Europeana related projects should provide a scholarship for incubation winners by
allowing them to spend some weeks in the Europeana Open Labs crucial for
production refining, and to visit them in rotation. In those labs technological skills
would be enriched and tested and the whole project design products would be
directly realized.
This form was particularly recommended by survey where a kind of Erasmus for
designers, programmers and creatives should be expected in order to support
international exchange and professional competences70.
14.10 Start Capital Improving an Incubated Project
Another solution for supporting incubated projects is providing a start capital for
designing parts of the projects the producer cannot manage due to a complete lack
of professional competences and skills: for example, a freelancer (or a community)
would carry out the idea of an innovative touristic app and have designed a
sustainable concept. He/she can directly manage product’s marketing and
communication because that ones are professional competences he/she masters,
70
For example the idea of establishing a kind of Creative Erasmus Plus for designers connecting European Labs has been suggested as possible solution: Salido, Edoardo Sabàs, Marc, Freixas Pedro et alii, The Accelerator and Incubation Ecosystem in Europe, (Telefonica – UE Commission, 2014) cit, .p. 3 and 18.
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but unfortunately he/she does not have any technological skills for making up the app
or at least a prototype of it. In this case a too deep skill lack cannot be corrected and
replaced by any Incubation time. So that’s a good concept is not made fruitless
Incubation platform might then:
Suggest the basic technological features the app would offer according
concept general vision as a first step
Set aside a start capital for overcoming the technological gap in outsourcing
Control and test the resulting outsourced prototype/product in order to respect
the concept general vision and to meet customers needs.
14.11 Eurolab Network and Outsourcing
On the Incubation Platform the producer might select a specific Enoll lab or Eurolab
where the concept’s gaps can be filled in as an activity developed in outsourcing. In
this way appropriated sum as start capital for incubation would be reabsorbed by
European labs network and create a turnover enhancing Europeana incubated
projects by European Labs network and promoting Europeana Labs Network as well.
Another strategy for outsourcing is a non-profit support through social co-working
labs where skill lack (see Platoniq Lab or VOICE project) may be supplied by
crowdsourcing as a knowledge bank and competence exchange. Also in this case
Incubation Platform might point out the more suitable co-working spaces taking part
in the Eurolabs Network, considering project typology and resulting necessary
activities. Platoniq as co-working space and social project design represents a good
pattern to be extended in a network of social and grassroots production.
This kind of non-profit incubation support based on crowdsourcing might indicate an
alternative way to develop part of the project/product, or for contacting best
community to be involved in incubation according geographical areas and focus on
particular skills.
14.12 Incubated Project Market and Commercial Asset: Investors Seeking
A possible market strategy for incubated projects could consist in following steps:
1) Crowdfunding as part of a future Incubation Platform
2) Workshop on incubated projects
3) Supporting startups with Europeana Legitimation
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4) Glams as users of Incubation products (free and commercial product to enhance
food and drink /cultural heritage)
14.13 Crowdfunding Strategy Aggregated to Incubation Platform
According to point 11.5.2.3 a possible system for a financial support is putting the
incubated project on a crowdfunding platform acting as a showroom for the project
and as an experimental environment attracting investors. A crowdfunding platform
should not only be the opportunity of seeking funding, but also an environment where
knowledge is shared, and product implementations can be suggested.
A problem to solve is the difficult to ground an European Incubation crowdfunding
platform for the national limits such alternative funding system meet because of
different and particular legislations and regulations. For overcoming the lack of
communication among many rising national platforms, the EU project to create a
platform aggregation in order to launch a coordinated European crowdfunding
system71 especially oriented to Web Entrepreneurs and Startups. So that the above
proposed project of Incubation platform might be related to a European general
funding policy and the two systems, Incubation proceedings and Crowdfunding
actions, could be complementary.
14.14 Summarizing
Summarizing the proposal of an incubation structured system which could group all
existing Europeana Labs in an efficacious international organization able to support
young creative teams, to technologically refine their concepts and ideas and to
realize new commercial products in Food and Drink and Creative Industry area, all
planned functions and activities an applicant should have available are now listed at
a glance:
Selected Application evaluation
First general exam of market sustainability by experts (without walls action: for
example Platoniq)
Necessary action General Schedule, decided by experts
Discussion about scheduled items with the applicant
71
Startup Europe Crowdfunding. Network.Support Services to Foster the crowdfunding Environment in Europe focused on Web Entrepreneurs. Final Report, Bruxelles, 19 April 2014: http://www.eurocrowd.org/files/2014/05/20140519_Final-Report_Startup_Europe_Crowdfunding_Network.pdf
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Pointing out 1-2 Eurolabs with a specific focus (in the same applicant’s country
or in other European country/ies)
Incubation Scholarship for Applicant in order to attend specific Eulabs
Schedule by selected Eurolabs about specific activities
Funding by the EU of selected Eurolabs/Enoll for their cooperation by project
refining participating in the network means u.a. making product incubation for
awarded or selected applicants)
Attending 1-2 Europeana /Enoll labs with addressed focus by the applicant / or
attending a European incubator or / local incubator as co-working space
Skype conference and consulting about focus connected items
Product refining in crucial aspects (Europeana reuse and Apis, storytelling,
legal frame, technological aspects, business plan and funding, user testing
etc.): arranging a prototype
Prototype Presentation on crowdfunding platform for seeking financial support
as start capital
Eu Labs web site as a showroom for the incubated project: chance to control
the incubation schedule and the execution phase of the project for the
audience
Crowdfunding platform as first chance of funding
After obtaining a basic capital for a project/product operative asset for a further
completion of the product, applicants can contact a venture Capital to seek a
further funding as an investment in the enterprise as integrating capital support
A system of Incubation Evaluation may be assured so that incubated applicant
can point out plus and minus of incubation activities; on the other hand
incubation training team can evaluate applicant’s attitude and capacities in
following the incubation plan. External assessment is required.
15 Conclusions
The following conclusions are quite temporary, because an incubation program is still
in progress. Some remarks about incubation needs and procedure are yet possible.
First Challenge Incubation Proceeding lead by Uniroma1 has firstly shown how
difficult a full-time, or at least of a part-time engagement is for the incubation
applicant, even in a “virtual or “without wall” solution: Work problems, concomitance
with other projects, need of initial funding for realizing a prototype to interest the
investors, very low technical competences make incubation program for free-lance
complicated. A start capital should then be the preliminary action for improving an
incubated project, or a scholarship allowing the applicant to check the most suitable
Eu lab for project execution.
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Concerning Incubation Labs, a wide Lab network connecting Eu Labs and Enoll
should be coordinated in order to offer specific items and support to incubation
applicants, who may use scholarships to attend them.
Incubation program should be ‘glocal’, i.e. at one hand matching together a solid
embedding in a productive territory, which permits the applicant a positive interaction
and co-working with Enterprises network, Creative industries and research institution;
at the other hand incubated project are to be launched on an international level by
availing himself of Eu Labs chain.
A European crowdfunding platform or at least a European crowdfunding platform
aggregator hosting best incubation project is necessary to acquire alternative form of
funding and start customizing products
15.1 Results
A positive aspect of First Challenge Incubation was engaging young students for
Incubation in order to increase their entrepreneurial attitude and planning and
communication capacity in executing the initial concept and commercializing the
resulting product. That means trying to arrange a network where Creative Industry
represents the “head”: for example I and II incubation phases were supplied by a
creative industry with Open Lab Cultura Experts; and using Creative Industry network
as Fab Lab, Event, training as opportunity of improving applicant’s knowledge and
problem-solving.
Another interesting action has been trying to coordinate two Europeana Food and
Drink Open labs Cultura, Rome and Heritage, Sevilla in the incubation program as
project internal synergy. At the same time, it seems significant the attempt to connect
incubation activities with other European projects, as for example occurred in
Europeana Creative Culture Jam in July, when Europeana Food and Drink incubated
project was invited. Moreover, Europeana Creative Labs may act not only as co-
working environment, but especially in the case of Platoniq, as a funding opportunity
by using its crowdfunding platform Goteo, for launching Europeana Projects.
Another crucial result is the community participation to design Food and Drink
grassroots paths by spreading Europeana digital contents on food and drink, as the
incubated project proposed. An original way to reuse Europeana contents and ingest
User Generated Contents in Europeana (filtered and controlled by GLAMs).
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15.2 Impact
Although the Incubation activities are still in progress, the above results may
represent the starting point for young startups growth and their access to the market
by mastering the different phases of a product realization. Proposing and realizing a
product under the guidance of or in partnership with one or more Creative Industries
can encourage Europeana reusing product offer and widen GLAMs market
possibilities.
In the spirit of Web 2.0, the incubated project focuses on the role of community in
Europeana reuse, but especially in creating contents through Europeana: that might
push GLAMs to facilitate content access and reuse by increasing public domain data.
Moreover, Incubation production may generate territorial cooperation policy between
Glams, Public Institutions, Creative industries, crafts and digital crafts by grounding a
creative chain aiming to reinforce local labour market. At the same time Eulabs
network might play a central role for incubation internalization in order to connect
different markets and to develop original ideas on European levels, included
incubation opportunities of an innovative product as incubation network.
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16 BIBLIOGRAPHY
16.1 Bibliography Part 1 (Storytelling)
- Ariès Philippe, Introduction in Histoire de la Vie Privée (ed. Georges Duby & Ariès Philippe) Paris: Seuil, 1985-87, 5 vol. I.
- Barthes, Roland, Introduction à l’Analyse Structural des Récits, Communications, no. 8 (1966): 1-27.
- Camporesi, Piero, Alimentazione, folclore e società, Parma: Pratiche, 1980. - Castells Manuel., The rise of network society, Oxford, Malden, Mass.: Blackwell Publishers, 2000. - Douglas, Mary, Deciphering a meal. In: Implicit Meanings. Selected Essays in Anthropology, London: Routledge, 2003, 231-252. - Fontana Andrea, Manuale di Storytelling: raccontare con efficacia prodotti, marchi e identità d'impresa, Rizzoli, Milano 2013. - Giovagnoli, Max, Transmedia Storytelling: Imagery, Shapes and Techniques, Pittsburgh: ECT Edition, 2011. - Godin, Seth, All marketers are liars: the power of telling authentic stories in low-trust world, New
York: Portfolio 2005.
- Ilardi, Emiliano., Digital storytelling e istituzioni culturali, in Capaldi Donatella., Ilardi Emiliano, Ragone Giovanni (Eds), I cantieri della memoria. Digital Heritage e istituzioni culturali, Napoli: Liguori, 2011. - Jenkins, Henry, Convergence Culture: where old and new media collide, New York: NYU Press, 2006. - Leví-Strauss, Claude, Mythologiques, T. I: Le Cru et le Cuit, Paris: Plon, 1964. - Pearson, Roberta and Smith, Anthony (eds), Storytelling in the media convergence: exploring screen narratives, New York: Palgrave Macmilllan, 2015. - Potts, John (ed), The Future of writing, New York: Palgrave Mcmillan, 2014. - Propp, Vladimir, Morphology of the Folk Tale, Austin: University of Texas Press, 1968 (1928). - Ryan, Marie-Laure and Thon, Jan-Noël, Storyworlds across media: towards a media-conscious narratology, Lincoln; London: University of Nebraska Press, 2014. - Rose, Frank, The art of immersion: how the digital generation is remaking Hollywood, Madison Avenue and the way we tell stories, New York: Norton, 2011. - Salmon, Christian, Storytelling. La machine à fabriquer des histoires et à formater les esprits, Paris: Edition La Découverte, 2007. - Sassoon, Joseph, Web storytelling. Costruire storie di marca nei social media, Milano: FrancoAngeli, 2013. - Idem., Storie virali. Come creare racconti di marca capaci di diffondersi in modo esplosivo nel web, Milano: Lupetti, 2012.
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On Line Resources
Internet
- D’Estries, Michael, 6 food companies embracing the art of storytelling, November 20, 2014
http://www.mnn.com/money/sustainable-business-practices/blogs/6-food-companies-embracing-the-art-of-storytelling - Stano, Simona, Cibo e cultura: dal Simbolismo alimentare al principio di incorporazione, Scienza Attiva, 2014/15: 2-13,
- UNESCO, Convention for the Safeguarding of the Intangible Cultural Heritage, Paris 2003, http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022 (accessed 2015-09-03)
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- Patton, D., and Kenney, M. The role of the university in the genesis and evolution of research-based clusters. In Fornahl, D., Henn, S., & Menzel, M-P (eds.) Emerging Clusters, Cheltenham, UK: Edward Elgar, 2010, 214-238.
On Line Resource
Internet
- Boogar, Liam, Report on How the European Commission can Support Web Entrepreneurship in
Europe Based on the inputs from the open consultation organized by the European Commission in
November-December 2012 in relation to Horizon2020, European Commission 2013:
- European Commission, Centre for Strategy and Evaluation Service, Benchmarking of Business
Incubation. Final Report, February 2002, http://www.cses.co.uk/upl/File/Benchmarking-Business-
Incubators-main-report-Part-1.pdf
- Mitra, Sramana,’The Problems with Incubator, and How to Solve them’, Harvard Business Review, 2013 August, https://hbr.org/2013/08/the-problems-with-incubators-a/
- OECD Report (Ananiadou, Katerina and Claro, Magdaklean), 21st Century Skills and Competences
- Startup Europe Crowdfunding Network. Final Report Brussels, 19 April 2014 (Deliverable 4: Final report for the Service Contract with the European Commission):
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17. ANNEXES (D4.4 Part 1 - Part 2)
This section brings a number of documents attesting activities of:
o Europeana Food and Drink Second Open Innovation Challenge,
corresponding to D.4.4 Part 1 (Annexes 1-2-3-4)
o Europeana Food and Drink Incubation, corresponding to D.4.4 Part 2 (Annex
5)
D4.4 Part 1 - Second Open Innovation Challenge: Annexes 1-2-3-4
This section brings a number of documents attesting activities of Europeana Food and Drink Second Challenge organization and execution required. They are grouped in 4 levels:
Annex 1: Agreements
Annex 1.1: CNA Agreement
Annex 1.2: Slow Food Agreement
Annex 2: Application Process
Annex 2.1: Application Process
Annex 3: Communication
Annex 3.1: Second Open Innovation Challenge Launching Text
Annex 3.2: Newsletter (Italian)
Annex 3.3: Newsletter (English)
Annex 3.4: UP Contest Platform
Annex 3.5: Fuudly Social Platform
Annex 3.6: Food and Drink Enterprises Contacts
Annex 3.7: Influencer List (Italy)
Annex 4: Second Challenge Final Event
Annex 4.1: Event Agenda
Annex 4.2: Event Photos
Annex 4.3: Biographies (Jury Members – Winners – Panel participants)
Annex 4.4: Panel Slides
Annex 4.5: Video Final Ranking and links
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D4.4 Part 2 – First Open Innovation Challenge Incubation: Annex 5
This section brings a number of documents attesting activities Europeana Food and Drink Incubation organization and execution required. They can be grouped in 2 levels:
Annex 5: Incubation
Annex 5.1: Incubation Agreements
Annex 5.2: Participation of First Innovation Challenge Incubated Project to
Europeana Creative Culture Jam, Vienna, 9-10 July 2015: Photos
All the above-mentioned annexes have been sent in a zip file attached to a separate email.