Grant Agreement 621023 Europeana Food and Drink Europeana Open Innovation Challenge 3 Report Deliverable number D4.5 Dissemination level PU Delivery date February 2016 Status Final Author(s) Donatella Capaldi (Uniroma1) Mariella Guercio (Uniroma1) Silvia Ortolani (Uniroma1) Giovanni Ragone (Uniroma1) David Villalón (IAPH) Julio Rodríguez (IAPH) This project is funded by the European Commission under the ICT Policy Support Programme part of the Competitiveness and Innovation Framework Programme.
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Grant Agreement 621023
Europeana Food and Drink
Europeana Open Innovation Challenge 3
Report
Deliverable number D4.5
Dissemination level PU
Delivery date February 2016
Status Final
Author(s) Donatella Capaldi (Uniroma1) Mariella Guercio (Uniroma1) Silvia Ortolani (Uniroma1) Giovanni Ragone (Uniroma1) David Villalón (IAPH) Julio Rodríguez (IAPH)
This project is funded by the European Commission under the ICT Policy Support Programme part of the
Competitiveness and Innovation Framework Programme.
D4.5 – Europeana Food and Drink Open Innovation Challenge 3 / Incubation
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Revision History
Revision Date Author Organisation Description
V0.1 December 2015 Donatella Capaldi Uniroma1 First draft
V0.2 December 2015 Giovanni Ragone David Villalón Julio Rodríguez
Uniroma1 IAPH
Incorporating suggestions
V0.3 January 2016 Donatella Capaldi Uniroma1 Second Draft
V0.4 January 2016 Giovanni Ragone Silvia Ortolani Julio Rodríguez
Uniroma1 IAPH
Incorporating suggestions and changes
V0.5 February 2016 Donatella Capaldi Giovanni Ragone
Uniroma1 Third Draft
V0.6 February 2016 Julio Rodríguez David Villalón
IAPH III Challenge sub-deliverable
V0.7 February 2016 Donatella Capaldi Silvia Ortolani Mariella Guercio
Uniroma1 Incorporating suggestions and changes
V0.8 February 2016 Enrico Turrin Fep-Fee First Review
V0.9 February 2016 Andrea De Polo Alinari Second Review
V1.0 March 2016 Susie Slattery CT Final Review
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This deliverable contains original unpublished work except where clearly indicated otherwise.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.
D4.5 – Europeana Food and Drink Open Innovation Challenge 3 / Incubation
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Contents
1. General Introduction ................................................................................................................ 6
2 EFD Open Innovation Challenge 3: The Outcomes (D4.5 - Part 1) .......................................... 8
2.1 3D and Virtualized World. A Bit of Theory ............................................................................. 8
2.1.1 A Perception Paradigm Change ...................................................................................... 8
2.1.2 FabLabs and Creative Digital Content Reuse ................................................................. 9
2.1.3 3D Digital Heritage ........................................................................................................ 10
2.1.4 A Three-dimensional Challenge ............................................................................... 11
3 Third Challenge Structure ....................................................................................................... 11
3.1 Third Challenge Policy ......................................................................................................... 12
3.2 Digital Artisans and Europeana Food & Drink ...................................................................... 13
3.3 Europeana Food & Drink in 2D - 3D .................................................................................... 13
3.4 The Challenge Concept ....................................................................................................... 14
4. Launching the Challenge ........................................................................................................ 14
4.1 Communication Plan (Uniroma1) ......................................................................................... 15
4.1.2 Maker Faire Rome 2015 ............................................................................................... 16
4.2. Communication Plan (IAPH) ............................................................................................... 16
4.3 The Contest Platform ........................................................................................................... 17
5. Developing the Third Open Innovation Challenge ................................................................ 17
5.1 Challenge Issues and Problems .......................................................................................... 18
5.1.1 Content Availability in Europeana ................................................................................. 18
creative stages to correct and complete The Mulberry Affaire mockumentary, which was
presented as preview at III Challenge Final Event in Seville (29 January 2016).
D4.5 part 3: “Europeana Labs Networking” (chap. 14) concerns Europeana Open Labs
networking process as a crucial issue to be considered, particularly in regards to Incubation
experiences: for example, how Labs may share competences and link their activities; how
they can design and execute together projects as well as Incubation plans; how they can
attract Creative Industry by expanding Europeana content reuse strategies. All topics were
discussed at III Challenge Final Event in Seville in a full immersion panel about Europeana
Open Labs patterns and networking possibilities. In this perspective WP4 and EF&D Open
Lab ‘Cultura’ experimented a positive connection to IAPH- EF&D Open Lab ‘Heritage’ as an
interactive model, and extended this relation to Goteo (from Europeana Creative Lab
Platoniq) for supporting WP4 Incubated projects and preconfiguring a possible European
crowdfunding infrastructure, as the European Commission has been suggesting.
D4.5 part 4: “Project Partners’ Engagement” (chap. 15) deals with engagement strategies
WP4 carried out in order that project partners supported WP4 activities, as DoW required
2 See DoW, part B, p. 93.
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(see partner person-months in WP4). WP4 promoted two actions involving project partners:
the first one implied a strengthened III Challenge communication aimed at promoting III
Challenge to local Creative Industry.
Finally, D4.5 part 5 (chap. 16) presents general conclusions, results and impact concerning
several aspects Deliverable reported.
2 EFD Open Innovation Challenge 3: The Outcomes (D4.5 - Part 1)
2.1 3D and Virtualized World. A Bit of Theory
The 21st century has been changing memory structure and digital technologies have been
allowing a further virtualization step even in the frame of cultural heritage. Digital Heritage
should not essentially limit itself to a digital reproduction of artefacts, collected in a data base
and sharable with the audience: actually, it should build a virtual environment where
mediation and re-mediation of objects, spaces and imaginary from the past arise, also from a
present being transmitted to next generations. “Remediation” meaning, as Bolter and Grusin3
stated, hints at a wide range of co-present and interacting cognitive, creative, productive
possibilities from reproduction to transmediality4 , to re-imagination, creation and
re-invention.
The current situation is characterized by:
a) Increasing access to digital heritage
b) Convergence among fixed and moving pictures, sounds and texts being more and
more “natural” in digital environments, so that it does not make sense to distinguish
“reality” and “virtual reality”, “present” and “Heritage”, “subject/text/communication”.
c) a connective production basis, where traditional mediation methods, namely
“one → many” (as mass media do) and “I → you” (private conversation), coexist in a
new reticular and neural communication system (and they are in turned “remediated”
too); every node created by an individual or a group, enterprise and institution, is
potentially reachable and more and less available to expanding its own “heritage”
through connection and collaboration with other nodes.
2.1.1 A Perception Paradigm Change
An epochal paradigm change and the beginning of a new aesthetic are in progress. While
the 19th century was based on a “scopic” regime, focused on the sight and grounded on fixed
pictures (photographic, printed on “affiches” and illustrated publications), the 20th century is
associated with moving pictures (cinema, television). In line with the predictions of Avant-
garde artists as Duchamp or Boccioni, the 21th century has led us to live in an environment
where producing and distributing moving pictures is very easy; at the same time photography
has been achieving an emblem function as synthetic concept of those facts and events that
3 For “remediation” meaning: David J.Bolter and Richard Grusin, Remediation: Understanding New
Media, Cambridge, MIT Press, 2000. Jenkins, Henry, Convergence Culture: where old and new media collide, New York: NYU Press, 2006. 4 Jenkins, Henry, Convergence Culture: where old and new media collide, New York: NYU Press,
2006.
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moving pictures represent. In a short time, the “scopic” regime has been crumbling, each
ontological difference among images, written texts, sounds and their mutual combinations
has been falling apart. 3D virtualization goes far beyond because it smashes the “glass wall”
separating producers’ imagination and concrete audience cultural consumption: it permits a
continuous chance of modifying and replicating artefacts, cancels differences between
testimonial and fictional pictures and allows creating extremely realistic virtual environments.
The turn to three-dimensional immersive environments re-organizes the sense of sight into a
mostly tactile space perceiving. 3D also leads to re-create virtual acoustic environments that
once existed (for example by Oculus Rift to be integrated with Unity – 3D visualisation and
MAX/MSP - 3D headphone auralisation, i.e. acoustic rendering). In addition, a digital
reconstruction almost always involves building a 3D model of a past building or object, and
that is mainly confined to the computer screen. Some steps have been taken to rectify this,
and technology such as Augmented Reality (AR) can take these 3D reconstructions and
present them in-situ within the landscape via a smartphone or a tablet. However, even the
AR technology currently privileges the visual - we 'see' the reconstructions through our
smartphone camera, overlaid on the landscape. But 3D allows combining this dominance of
the visual with other senses by reconstructing and presenting in-situ the smells of the past.
That epochal paradigm change, occurring at least from 2000, generates new trends in
cultural communication and mediation: for example, nowadays key-words like “virtual
museum”, “storytelling”, “transmedia” are emerging. They have started synergistic
movements and tendencies, combining in a flexible way:
“spectacular” and “one → many” flow “remediation” in a participative way:
broadcasting has been learning different crowdfunding patterns.
“transparent” access to digital objects offering information about past and presence
and conserving it.
cognitive, creative and “spectacular” remediation addressed to value creation made by
individuals’ subjects or entrepreneurial, handicraft, artistic little staff and teams. That
is realized by using user-friendly technological frames and by creating new aesthetic
patterns.
2.1.2 FabLabs and Creative Digital Content Reuse
In this perspective Fabrication Labors (FabLabs) have been playing a central role in Europe
since 2006, their first appearance in North Europe: they are production workshops equipped
through CNC – numerical control machines (3D printer, laser melting machines, plotter,
cutters which can practically build everything by. In a FabLab ideas are shared, projects are
collectively designed and realized, communities are formed and connected through problem
solving activities (hackathons): Makers movement policies are very close to Smart City ones.
On one hand that movement produces object with a particular value for maker self and
generates a creative energy passing over a mere market dimension, though without
replacing industrial production. On the other hand, 3D printing technology represents a little
revolution in arts and crafts activities for achieved facility of making objects, figures, small
and big components etc. and using several materials: plastic, bioplastic, metals, glass,
wood-paste up to recycling and ecological ones like sand, salt and clay. Even food. For these
reasons such a transformation may bring object production back to users’ own laboratories.
This also highlights the route many industrial designers and also many artists take. Desktop
3D printers are suitable for messing around and printing prototypes. Then, as desktop 3D
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printers do not print high-quality pieces, there are also companies willing to print on demand
3D artwork or objects. 3D printers have been changing the way artists create, hobbyists build
and homeowners tinker. Most fantastical design ideas were locked in one’s imagination until
3D printing became accessible. And we are going to be able to download a file from a
company and produce the piece at home. Designers make a 3D model in software such as
SolidWorks or Rhino, then upload the file to a printing service, and receive finished pieces
from the printer in a few weeks. Modeling software takes time and patience to learn, but
otherwise the process is simple. Someone predicts that users won't need to understand 3D
design software to play in the medium, and they'll be able to use apps to print from phones.
Can this digital craft trend convert the manufacturing market? That new productive wave
stresses designers’ personal inventiveness and originality, final control of the entire
production chain, the countless design possibilities, increasing quality and reasonable costs
and may generate a grassroots production model, as startups economy is showing.
A big change is actually emerging and allows to design a new generation of cultural
practices. In general, from the logic of '"users" to the logic of communities and co-creation.
enabling users to shift:
from one communication/production model (the institution led by specialists provides
"goods" to the citizens) to several new models (open museums, fandom community,
“goods” and products created by communities of experts; learning communities, user
generated contents, etc.).
from an individual authorship to a shared authorship addressed to heritage for setting
design or for re-using.
from a limited set of objects owned by each institution to an unlimited one.
from a path offered to users, to visitors or prosumers freely creating paths.
from an individual or institutional/educational approach to social networks of people
contributing in many ways to enrich heritage (various improvements and dissemination
activities).
from a static setting of resources (artefacts etc.) to immersive experiences carried on by
storytelling strategies - audio video, multisensorial - and 3D rendering communication
technologies.
2.1.3 3D Digital Heritage
Technologies for creating reality digital models have undergone an impressive evolution.
Although developed for industrial applications such as rapid prototyping and entertainment,
these technologies are ideal in helping to preserve and restore cultural heritage, but also to
re-use it. For example, many technologies developed for digital sampling are useful in
producing digital 3D models of CH artefacts. Digitization can now cover artefacts ranging
from the smallest (a jewel or a small prehistoric stone tool) to the largest (a building or an
entire historical city). Moreover, it supports researchers by providing much better resolution
and thus improved accuracy. Acquisition time, post-processing tools, and cost have also
improved. These technologies have an impact similar to that of photography had at the end
of 19th century. Such advancements, however, will only come from the wider availability of
sampled 3D models. This will in turn require low-cost scanning devices and inexpensive 3D
acquisition methods based on digital photography. So far, most applications address
visualization to using various media or platforms: desktop-based multimedia presentations,
museum kiosks, or videos produced by computer animation. Commodity PCs and, in the
near future, Web streaming can render models consisting of tens of millions of triangles in
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real time. The greatest challenge lies in creating new tools using 3D models to assist Cultural
Heritage research, helping to assess conservation status or to plan and restore documents.
Previous efforts have already demonstrated 3D models usefulness for two major tasks:
studying but also developing new products.
In detail:
a) Studying artworks, because researchers can devise new processes for conducting
specific investigations directly on digital replicas. Here, the availability of both digital
clones and innovative modelling or shape-based analysis methodologies might lead to
new knowledge and insights. In addition, 3D is useful as a support medium for
indexed archival knowledge: researchers can use 3D digital models to map, annotate,
index, retrieve, visualize, and compare the knowledge gathered from studies and
analyses of artwork.
b) The emerging major trend is further related to virtual experiences offered to
“visitors” and users, and in art and craft production.
2.1.4 A Three-dimensional Challenge
The theoretic elements explained above constitute the context for WP4 Challenge activities.
In the First Open Innovation Challenge Food and Drink Digital Heritage reuse was explored
from a Creative Industry point of view and reuse concepts were proposed. In the Second
Challenge creative video-makers were requested to apply new video-storytelling patterns by
shooting videos about food and drink. Finally, two Europeana Food and Drink Open Labs
‘Cultura’ (Rome) and Heritage (Seville) - cooperating closely to design and realize the Third
Challenge - agreed to conclude and test the whole reusing cycle, starting from: Object and
environment virtualization and preservation to which four further steps leading to commercial
value must be added:
a) Image acquisition and reuse.
b) Image re-working, “remediation” and recreation towards product design.
c) Art and craft design production processes and “physical” objects as outputs.
d) Exploring context and requisites for production enhancement and sustainability.
Challenge design and regulation were decided in common between Uniroma1 and IAPH and
bound competitors to reuse content from Europeana (area: Food and Drink).
3 Third Challenge Structure
The Third Open Innovation Challenge focused on reprocessing of 2D and 3D objects from
Europeana contents (Area: food and drink) and tried to demonstrate the possibilities of
reusing Europeana contents in the field of industrial design and digital artisans. The objective
was therefore to show how digital resources related to European food heritage can be used
as inspiration for design projects in both 2D and 3D for supporting the creative process in a
broad sense: from the initial approach to the search for functionality and practicality
connected with the creative concept and narrative storytelling.
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3.1 Third Challenge Policy
The Challenge Policy aims to:
Explore possible ways of reusing Europeana content by creative companies or
freelancers on specific topics.
Enhance the knowledge and value of the Food & Drink heritage (tangible and
intangible), that can be made widely available by encouraging production processes
reworking images to create new objects in many fields such as design, advertising
and marketing, digital 3D reproduction tools or other traditional printing
techniques.
Promote artisan food productions with emphasis on the local knowledge
background of stakeholders, and their relation to cultural identity.
Promote opportunities and new business models for the European creative and
cultural industry, also encouraging their connection with the traditional
agri-food production sector.
The previous two Challenges of the Europeana Food and Drink Project promoted
storytelling and narrative mechanisms able to connect food and drink contents with
sustainable production, local traditions and the enhancement of tangible, intangible and
natural heritage. In addition, the food and drink story of a territory should be combined with
general global problems as preserving biodiversity, supporting a sustainable model of
development, stopping a wild environment exploitation and pollution. Keeping the same
cultural inspiration, the Third Open Innovation Challenge aimed to connect the food and
drink heritage, the agri-food productions, and the creative industries, by promoting the
creation of physical objects from digital objects available in Europeana. This can happen in
many ways, and in particular through the creation of products by "creatives" and craftsmen,
both traditional and digital.
The Challenge inspiration was based on the synergy between four types of factors:
the big Digital Libraries making available multimedia contents and developing services for users (Factor 1). Potentially, they could constitute a relevant growth factor with regard to three other direct or indirect partners.
the Creative Industry (Factor 2), and creative professionals in many fields, such as design, 3D printing, crafts, gamification, food design and other.
the Cultural Heritage world (Factor 3): including knowledge, competences and activities, also commercial, related to tangible and intangible culture, traditions, craft etc.
specific productive areas (Factor 4), such as Food and Drink, or tourism.
Synergy between Europeana and/or big Digital Libraries (Factor 1) and Creative Industries
(Factor 2) can increase t h e opportunities of enhancing and disseminating contents and
creative content reuses for creative commercial or not commercial productions. In addition,
the cooperation of Factor 1 and Factor 2 contr ibutes to develop services both for
all activities related to Cultural Heritage (Factor 3) and for those connected to specific
productive sectors (Factor 4), in reciprocal interaction. This seems to be particularly
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suitable in the broad area of productions related to food and drink, such as sustainable
agriculture and food industry, craft production, packaging, design objects related to food and
drink, and also food design.
As the previous Challenge, but in a different way, the Third Open Innovation Challenge
intends to devise a streamlined and experimental method able to create synergies among
the above-mentioned four players. The creation of new products re-using Europeana
contents (Factor 1) aims to stimulate the interest of Creative Industry and the same
industries in the food chain (Factor 2 and 4) for Europeana, for digital cultural heritage and
for GLAMs. This with regard to educational products, bookshop products (Factor 3), or
other, in particular in the field of design, packaging of food products, food design (Factor 4).
So, the competitors of the Third Challenge were invited to rework Europeana contents by
new production processes. In addition, videos that present and explain a new product and
the production method could be uploaded and made available through Europeana.
Designers, digital artisans and Creative Industries, artisans, or food and drink industries:
they all can exploit this potential value.
3.2 Digital Artisans and Europeana Food & Drink
This challenge tried to highlight the creative power of digital artisans, and bring it online with
the Europeana repository as a source of knowledge and inspiration. Thanks to the
possibilities offered by the hypermedia universe, digital artisans are able to invent something
totally new by themselves. This capacity for innovation is linked to the need to reinvent, to
reconnect with our European cultural foundations. In this context Europeana has enormous
potential as a medium for the audio-visual memory of European culture. Only by taking into
account the referents of one's self and their collective culture, it becomes possible to develop
the trinomial: innovation, creativity and invention.
“As pioneers of the new, the digital artisans need to reconnect themselves
with the theory and practice of productive art. (…) Above all, these new
forms of expression and communications are connected with the wider
culture.” (Peter Ludlow, 2001) 5
3.3 Europeana Food & Drink in 2D - 3D
The challenge of using Europeana to build designs in 2D and 3D is related to the possibilities
offered by this repository to designers, artists and all creative industries, to explore and
access cultural content. The creative process of any work in 2D or 3D requires referents to
stimulate creative inspiration. It deals with the very concept of originality6. Access to this
knowledge allows us to dive into our common past, rediscovering our symbolic references,
and stimulating the inspiration of the designers.
5 Ludlow, Peter (ed.). Crypto Anarchy. Cyberstates and Pirate Utopias, Cambridge, MA: MIT Press, 2001.
6 Rodríguez, Lucio., Ivette Claudia, Originalidad en la cultura de la copia: la originalidad en el proceso creativo, Actas de Diseño, 15, a. 8, Julio 2013.
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This is related with the capabilities that Europeana has to search and access content
intuitively, so as to stimulate creativity and encourage inspiration7.
In addition, applicants had to show by videos their creative process included the realisation
of the material outcome.
Thus, the need of tell a story remains, using storytelling techniques as a resource. Asking
designers to present their project through a video, explaining the creative process and the
relationship to the intangible heritage elements, allowed collecting aspects that go beyond
the creative design itself, and that otherwise would have remained hidden. These aspects
allow to better explain the relationship between the creative process and the contents of
Europeana. In this case, the narrative is decided by the designers and is an important
element of their work.
3.4 The Challenge Concept
In conclusion, and according to these lines, the Challenge should help to:
Create synergies between Europeana and the Creative Industry.
Demonstrate how Europeana can inspire designs or contribute to the creative process
for productions in 2D and 3D.
Improve the quality of intangible and tangible heritage storytelling even in an artisan
design process.
Highlight the value of digital libraries with reusable and open access contents.
Test whether the challenge - as general methodology and adoption of a user-friendly
platform - is a good way to increase Europeana’s digital heritage in a specific sector
and to foster relationships among different actors.
4. Launching the Challenge
The Third Challenge was planned and launched as a collaboration between The Andalusian
Historical Heritage Institute (IAPH) and the Sapienza University of Rome (WP4 leader).
The main stages of the Challenge preparation were:
Coordination with Uniroma1 for the organization of the event and task sharing.
Defining main elements of the Challenge Guidelines.
Establishing the evaluation system of the contest.
Define the awards.
After the first steps, implementation began with activities like customizing the Challenge
platform.
On September 2015 the general regulations on the Third Challenge Guidelines were
completed.
7 Gordea Sergiu et alii, CultureCam: Exploring Europeana Images to Inspire Creative Design, http://ceur-ws.org/Vol-1352/paper9.pdf.
3)Uniroma1 (WP4) has been exploiting its contacts to make third challenge widely known in both national and international levels. Uniroma1 communicated inter alia to:
La Sapienza University website/ Newsletter
Job Soul
CRUI/Italian Universities website
Enterprise Network partners: Slow Food Italy and Slow Food International
website
Rome Municipality
Region Lazio
Cultural Heritage Creative Industries (Zetema, Fitzcarraldo, Symbola)
Ministry of Culture MIBACT /Ministero dei Beni, delle Attività culturali e del
Turismo/ICCU
Informa Giovani – Comune di Roma-Municipality:
MAGICA
ADI - Associazione per il disegno industriale
http://www.adi-design.org/homepage.html
Many Food and Drink local consortia (see Annex 3.6)
Social Networks managed by Digiproject, a Uniroma1 specialized
communication unity . Digiproject designed and realized
III Challenge teaser trailer: https://www.youtube.com/watch?v=YCsM6a65FMM
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6.4 Awards
As explained in the Challenge Guidelines, the winning project (2D Category first place and
3D Category first) would have received €2.000,00 in cash, funded by the Europeana Food
and Drink Project.
Furthermore, the best products would be promoted by the Europeana Food and Drink
Project partners, and through further media and communication networks.
7 Final Event
7.1 Final event location
The Final Event was located in Seville, in the old La Cartuja de Santa María de las Cuevas
monastery, rehabilitated by architect Guillermo Vázquez Consuegra on the occasion of the
1992 World Exhibition.
The Cartuja monastery comprises the Andalusian Historical Heritage Institute, with 12
Ha. of surface area and over 35,000 m2 of built area, the International University of
Andalusia and the Andalusian Centre for Contemporary Art.
7.2 Event programme
This is the program of the Final Event in Seville:
Europeana open labs: Digital Economy of cultural heritage and the creative industries.
The 3rd Open Innovation Challenge Award Event of Europeana Food and Drink Project
Friday, 29th January 2016
Conference room of the International University of Andalusia, Seville (Spain) Calle Américo Vespucio, 2. Isla de la Cartuja, Sevilla - Spain
PROGRAM
09:00-09:30 h. Reception, accreditation (projection for receiving the video "The Mulberry Affaire" Raffaella Marandola, Open Lab Cultura, Rome) 09:30-10:00 h. Presentation. Milena Popova, Europeana Foundation and Roman Fernandez-Baca Casares, Director of IAPH 10:00-11:00 h. Marcos García Cristóbal, Medialab-Prado, Madrid City Council. Conference: Citizen and collaborative digital networks as a model of production, research and dissemination of cultural projects. 11:30-12:30 h. Panel presentation of the Europeana Open Labs Moderator: Milena Popova, Europeana Foundation Participants:
• Julio Rodriguez Bisquert, EFD presents Open Lab Heritage | IAPH-Seville • Donatella Capaldi, Uniroma1, EFD presents Open Lab | Roma
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• Cindy Kohtala, Aalto Fab Lab | Helsinki (FabLab - Fabrication Laboratory) 12: 30-14: 00 h. Round table:
Advanced services to support the cultural entrepreneur. Mª Isabel Sánchez
Ramos, Agencia Andaluza de Instituciones Culturales
Support for public program to entrepreneurship in cultural sector: Proyecto Lunar, Mª Luisa Espeso Estévez
Supporting the entrepreneurship from Andalucía Lab, José Luis Córdoba
Incubation process in Open Labs projects, Milena Popova
Open Labs and crowdfunding, Mauricio O'Brien Marí, Platoniq/Goteo
15:00-15:15 h. Gordon Mckenna, Europeana Food and Drink. 15:15-15:30 h. Presentation of 3rd Open Innovation Challenge, Open Lab Cultura Roma 15:30-16:00 h. Awards of the 3rd European Challenge Food and Drink
Aniceto Delgado Méndez, representative of IAPH on the jury: selection criteria and presentation of the winners
Third Challenge Winner and Project presentation (3D)
7.3 Final Event: a Brief Report
The Third Challenge Final Event was timed to coincide with the day of debate "Europeana
Open Labs: Digital Economy of cultural heritage and creative industries" in which participants
presented different models of management and financing of open laboratories.
The rapporteur Marcos García Cristóbal of Medialab-Prado project, promoted by the City of
Madrid, explained in his lecture how from an infrastructure and the Internet can encourage
citizens and collaborative digital networks that create community and promote new models of
production, research, and dissemination of cultural projects.
The session continued with the round table on support for entrepreneurship in the creative
and cultural sector in which the various participants (Platoniq / Drip, Europeana Open Labs,
Andalucía Lab, Lunar Project and the Advanced Service of the Andalusian Agency for
Cultural Institutions) shared experience and different examples of support for
entrepreneurship in the cultural public sector, ranging from counselling to projects incubation.
It was also stressed and analysed the crowdfunding as a very interesting funding model for
Challenges’ winners and incubated projects.
In the display panel of the Europeana Open Labs the Open Lab ‘Cultura’ of Rome, AALTO
FabLab in Helsinki and the emerging Open Lab Heritage of the Andalusian Institute of
Historical Heritage were presented.
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The main conclusions of the Third Challenge Final Event Panel were related with the
necessity to improve the efforts to join the three fields that are involved in the concept of the
call: GLAMs, thematic stakeholders (food and drink sector in this case) and digital artisans.
They are separated in a wide sense, and it is difficult to work with them in common
proposals.
In this sense, there are meeting spaces like the Open Labs and the FabLabs which could be
considered areas of focus to try to successfully bring together these three worlds. For this
reason, the workshop devoted to the synergies between Europeana Open Labs and Living
and FabLabs can be considered a good start for a fruitful exchange of experience.
Many positive reactions came by researchers and the stakeholders attending the workshop:
they indicated the usefulness of this initiative, and the potential wider impact and outreach it
can have for the project and for other actions related with Europeana Open Labs.
8. Challenge lessons learnt
Organizing, managing and executing III Open Innovation Challenge pointed out some
central issues concerning the following activities:
a) Europeana Food and Drink and Europeana Open Lab Networking
The Open Lab “Cultura” , Rome, and “Heritage”, Sevilla cooperation represented a positive
experiment in several project aspects:
Discussion about Challenge topic.
Challenge Design.
Challenge Communication.
Challenge Final Event program and invitations.
Networking with Europeana Labs.
Final event panel about Creative Industry, Europeana Labs and Crowdfunding.
Future projects: involvement in European calls for projects.
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b) Intensified Europeana Communication
Third Challenge communication reinforced actions already required by two past Challenges
practices and established a good coordination among WP6 (ONB) international
communication, Uniroma1 and IAPH national ones:
Capillary pre-challenge launch communication (newsletters, social network).
Video trailer produced by Uniroma1.
Viral Social Network communication.
EF&D Partner Engagement in local creative industry communication (WP4 and Wp6).
Participation into Maker Events.
c) 2D/3D Challenge projects
According to Challenge application categories: 2D objects and 3D objects Challenge clearly
showed how 3D projecting was preferred by participants. That indicates a market trend being
strengthened in its Digital Heritage reuse. Such an application can open new paths in object
creations as Creative Industry commercial opportunity.
d) Legal frame for 3D
Linked with the point above, an issue has been emerged about a clearer 3D Legal frame,
particularly in the passage from a 2D image to a 3D one, and specially about related
copyright/intellectual property a 3D developer has to pay for public/commercial content
reusing:
Should a 3D re-worked detail from a 2D full image extracted from Europeana pay a
copyright for public/ commercial reuse?
Are 3D points clouds to be protected through particular licensing, or only rendering
should be? In addition, is points cloud to be considered a creative object, or just a
mechanical output on which basis a creative object can be originated? In this last
case, can points cloud be considered like a creative production for copyright?
A very detailed metadata system to identify all cases above seems to be necessary, and
besides 3D licensing rules, if a creative/developer would reuse a 3D rendering object in
Europeana: for example, if he/she intends to create a virtual museum using 3D objects to be
found in Europeana, if not in free domain.
e) Challenge Participations
In spite of the well-structured communication campaign (see point b), applicants number was
very limited (5 applicants), compared to I Challenge (13) and II Challenge (16). That did not
compromise reaching requested Project indicator: 20 (16-30 months)10 because the total
number of applicants for II and III Challenge was 21, while the requested number of
participants was 20. Besides, that result should be deepened and better clarified.
It was doubtless symptomatic that all applicants had participated into 3D Challenge category,
and not in the 2D one, as above remembered. As a possible explanation, it may be observed
that III Challenge circumscribed participation was caused by high requirements aimed at very
specialized applicants: they had to be able to match together designing capacity, 3D
rendering modelling, competence about used materials, useful for digital craft.
10 See DoW Indicator table
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In comparison, II Challenge required video competences, being well framed in consolidate
training and education, where Europeana contents were aggregated. In addition, videos
followed a strategy of products communication and promotion, in presence of advertising,
and promotion market strategy. In III Challenge, handcrafts were conceived by reworking
Europeana digital contents, but as transformation into tangible object adapted to market
demand and produced by sustainable materials, what appears to be more complexed.
Moreover, II Challenge could count on a more considerable award (5.000 Euros instead of III
Challenge 2.000 Euros) and a world-wide notable location, Expo 2015 in Milan, as launching
chance, besides Slow Food’s presence, which is to be stressed. II Challenge was widely
communicated to national and international Designer associations, 3D developers etc. the
attempt underpinned experiencing an innovative productive field as 3D digital craft, in which
Europeana may find a profitable reuse chance, and at the same time produced objects from
Europeana in order to boost Europeana “brand”.
9 Europeana Food and Drink - Incubation paths (D4.5 – Part 2)
In this section Uniroma1 completes the description of Incubation activities begun in D4.4.,
namely:
a) I Challenge Incubation (Project: Pafos with bite by Mahbir Thukral): Mitigation
strategy (chap 9.1).
b) I Challenge Incubation (Project: FoodNode by Riccardo Sonnino): Incubation
stages 2, 3, 4 (chaps 9.2-9.4 and 10).
c) II Challenge Incubation (Video: The Mulberry Affaire by Raffaella Marandola):
Incubation stages 2, 3. (chaps .9.2-9.4 and 11).
9.1 First Open Innovation Challenge Incubation: Pafos with Bite
Following Reviewers recommendations11 Uniroma1 proposed to Thukral an alternative to the
Incubation path after his refusal12 to attend the Incubation program: providing a
communication campaign about Pafos with Byte, his project selected in the I Challenge.
Thukral agreed, and asked Uniroma1 for a support to participate in «Cyins of Creativity»
(http://www.cyins.org/), taking place in Pafos on 17-18 November 2015. This event
represented an important Creative and Tourism Industry meeting as well as a financial
support opportunity - in view of Pafos’ role of Capital of European Culture in 2017.
Uniroma1 involved the Cyprus Food and Nutrition Museum, Europeana Food and Drink
partner, in order to give more local exposure to Thukral’s project.
The Cyprus Food Museum promptly replied and started coverage on 15 October 2015 by
posting the announcement and the press release in Food Museum webpage and Food
Museum Facebook page. In addition, Food Museum sent the announcement to 13000
people via mailing list and in The Cyprus Productivity Center newsletter (delivered on a daily
basis to 10.000 people).
11 Ioanna Tsakou,Technical Review Report, June 2015, p. 9.
12 See D4.4, §12.1 for a brief resume of Thukral’s Incubation difficulties.
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9.2 FoodNode and The Mulberry Affaire Incubation (Incubation Second Phase)
D4.4 designed the main Incubation Strategies Uniroma1 executed in order to develop the
Europeana Food and Drink First Challenge concept and II Challenge Video making. That
Deliverable pointed out the necessary key-skills and a tailor-made learning and refining path
for Incubation Winners. I Challenge Incubation schedule (Sonnino’s FoodNode) was
described in D4.4 and largely realized in September 2015.
II Challenge Video-making Incubation program (Marandola’s The Mulberry Affaire) began in
September 2015: D4.4 outlined the first Incubation steps and D4.5 presents the last
Incubation activities. II Challenge Incubation will conclude with Video Final Version launch on
March 2016. Video Preview took already place in Seville, at the Third Challenge Final Event
(29 January 2016).
The Incubation schedule has undergone a delay if compared with the original schedule in
D4.4 (see ch. 13.1). Some key-skills activities related to I Challenge Incubation (stages 3 to
5) had to be postponed because of Sonnino’ s coursework problems: he enrolled in a Master
Degree in September at Bologna University.
Some schedule changes occurred for II Challenge too: Incubation stages 2-3 were held back
due to Marandola’s professional commitments (D4.4, ch. 13.4.2.1). To meet and satisfy
Incubation winners’requirements, incubation schedule was adapted to their needs. This way,
Incubation could go on and be completed.
Both Incubated applicants attended key-skills about Europeana Legal Frame and Storytelling
supported by Open Lab ‘Cultura’ experts. Detailed Program is indicated in the following
chapters.
9.3 Key Skills: Legal frame and Licensing
o Expert: Silvia Ortolani (Open Lab Cultura-Digilab)
Participants: Riccardo Sonnino (I Challenge), Raffaella Marandola and team member
Alessandra Marfoglia (II Challenge)
Program: “Legal frame of Europeana digital content reusing”
Analysis of the European Legal Framework of copyright
o Origin and definitions
o Copyright and droit d’auteur
o Copyrights and related rights
o Duration
o Database rights
o Exceptions and limitations
o Orphan Works and Out of Commerce works
o Licenses (Creative Commons)
Europeana Licensing Framework
o The elements of Europeana Licensing Framework
The Europeana Data Exchange Agreement (DEA)
o Creative Commons Zero Public Domain Dedication
o Creative Commons legal tools
o Europeana Content reuse Framework
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o Users contributions and User Generated Content
o Rights information relating to content
o How to search a content for the reuse
o How to reuse a content from Europeana
o OutofCopyright.eu (training)
o Europeana Rights Statements
o Rights statement selection tool (training)
o Reuse and be creative (under copyrights rules)
Date: 23 October 2015:
Materials about Europeana Licensing Framework and European Legal Framework were sent
by email13.
Date: 5 November 2015 / 16 November 2015
Discussion via Skype between Incubation Winners Sonnino (I Challenge) and Marandola (II
Challenge), solving doubts and question marks.
Date: 26 November 2015:
Expert and Incubation winners met at Open Lab Cultura in Rome. Explanation of basic
principles of copyright: access, use, reuse and author’s rights in the analogic and digital
environment.
Date: 2 December 2015 (Marandola and Marfoglia) and 20 December 2015 (Sonnino)
Individual meetings and problem-solving related to projects.
9.3.1 Sonnino’s Feedback
Sonnino (I Challenge)’s feedback about meeting focused on:
Creative Commons Licensing Typologies.
Deepening in detail all tools and search possibilities on Europeana Portal. useful to
developing incubated project FoodNode.
13 Europeana, We transform the world with Culture, Europeana Strategy 2015-2020, file:///F:/Progetti%202014%20UNI/Ambrosia/Incubation/Legal%20frame/Europeana.pdf(from
Silvia Ortolani, La legislazione sul diritto d’autore, 2015: file:///F:/Progetti%202014%20UNI/Ambrosia/Incubation/Legal%20frame/legislazione%20sul%20diritto%20d'autore_EFD.pdf;
Giuliana De Francesco, Contenuti culturali digitali on line: orientarsi tra le licenze, Athena Workshop, 21-02-2011, http://www.slideshare.net/EuropeanaLocal/giuliana-de-francesco-italy-nm.
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Explaining Fair use and Copyrights issue and how they can be adapted to
FoodNode in order to define terms of service.
YouTube Terms of Service as a suitable model for FoodNode.
Eventual FoodNode terms of service list to be made up.
9.3.2 Marandola’s Feedback
The session on licensing provided useful skills for the design phase of audio visual products,
especially for those products containing archive contents and soundtracks being under
copyright. A deeper understanding on Creative Commons, the international legal framework
and IPR tools allows an optimized exploitation of the audio-visual product and its
sustainability. Valuable information was given by the preliminary survey on database rights in
order to verify works authorship: the early research prevents negative effects on creative
process and financial expenses.
Clarification on Europeana Licensing Framework has provided instruments for a better
management of contents integration and replacement in The Mulberry Affair final version.
Specifically, it has been clarified that the ND option (No Derivatives works) on Creative
Commons license does not forbid reusing soundtracks for video synchronization.
9.4 Storytelling
Storytelling Incubation was introduced as basic strategy for Food and Drink products
presentation, and generally for digital heritage contents as shown in D4.4 (chaps 2.3) In
addition, some Europeana Projects such as Athena plus14 drew up a storytelling guidelines
and recommendations for increasing cultural heritage communication and stimulating interest
in audience.
9.4.1 A Moodle Platform for Storytelling Topic
Sonnino’s new university coursework and Marandola’s professional engagements could have
slowed or stopped Incubation workflow, particularly at the last stage: Storytelling, Uniroma1
carried out an alternative strategy for Storytelling incubation activities: putting on Moodle
Learning Platform five Storytelling lessons made by expert Emiliano Ilardi. After receiving an
access password to the platform, incubated applicants could watch lessons on line whenever
they preferred, and could contact experts in a more interactive way if doubts arose.
9.4.2 Advantages of an Incubation on Platform
Educational platforms represent a common instrument for both II and III grades Education
and Long Life Learning. A good strategy would be:
To introduce one in the incubation program, together with emails and skype
meetings.
To design a blended e-learning incubation programs by alternating in presence labs
activities and on line theoretical lessons.
14 AthenaPlus, D7.2 (January 2014): Analysis, scenarios use cases, opportunities of innovative services for DCH, and future development at file:///C:/Users/user/Downloads/AthenaPlus_D7_2_Analysis,%20scenarios%20use%20cases,%20opportunities%20of%20innovative%20services%20for%20DCH,%20and%20future%20development.pdf .
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An open discussion forum can help applicants or a hackathons community to discuss with
experts and to debate and solve problems by interacting with the communities.
9.4.3 Transmedial storytelling video
In Marandola’s case, a blended E-learning was chosen for storytelling activities: lessons on
Moodle were discussed in progress and new elements were introduced during the several
phases of Video refining. This learning attitude influenced The Mulberry Affaire video
screenplay: text was sometimes changed and modified in narrative structure, some video
sequences were removed or corrected, and others were added through new actor
performances.
Storytelling Incubation contributed to strengthen The Mulberry Affaire transmedial aspects:
i.e. how from some narrative segments in the video a related Facebook page may be
expanded as a narrative network by collecting stories and information about mulberry from
the audience, and moreover, by emphasizing Europeana contents. At the same time a
gamification action may further spread Video contents (and Europeana contents) in an
entertainment way and extend learning and creation chances, as well as generate new
stories or look for new contents as game missions.
9.4.4 Storytelling incubation program
Storytelling videos were uploaded on Moodle Sapienza in December:
https://elearning2.uniroma1.it/
o Expert: Emiliano Ilardi, Donatella Capaldi
Lesson 1
Introduction to Storytelling.
Advertising and storytelling: Example from Apple, Nike, Coca Cola.
Focus on advertising storytelling strategy.
Storytelling and Politics (Iraq war).
Proceedings for storytelling script design.
Fandom Storytelling.
Lesson 2
Experiential marketing and storytelling.
Creating an immersive environment for storytelling.
Digital Heritage Storytelling: some strategies.
Immersive digital heritage storytelling examples: Puy du Fou, Williamsburg, York
Viking Centre.
Lesson 3
Writing a script for enhancing Digital Heritage.
Narrative functions: a theoretic approach.
Different point of view in a story.
Narrative times.
Round and platt Characters and narrative focalization.
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Plot, Incipit and Exit typologies in writing a story.
Video storytelling: sequence construction and story rhythm.
Lesson 4
Digital format languages as Videogame, TV/Internet Serial, Film and their
possible reuse for Digital Heritage storytelling.
IC Technologies for telling a story.
Example of Digital Storytelling: GLAMs’ good practices.
Creating a video/FB/Game for enhancing Digital Heritage.
Critical points of GLAMs’ Storytelling.
Vertical and Horizontal stories: differences.
Different audience profiles.
Lesson 5
How to create a script for Digital Heritage storytelling with respect of a territory.
Mapping Points of Interest, Sub-points and External points.
Making up a story for relating Points of interest.
Learning path through the story as edutainment.
Transmedial storytelling: definition.
Connecting platforms for developing a story.
Transmedial community expand original story in new stories.
Transmedial ARG game for expanding storylines.
Blended E-learning program experts met Raffaella Marandola and Alessandra Marfoglia to discuss script and suggest changes in storytelling strategies (15-16 December 2015). Sonnino will contact experts via mail/Skype if topic should request further explanations and in-depth analysis.
10 First Challenge Incubation: Sonnino’s Learning Path
As reported in D4.4 (chap. 13), Riccardo Sonnino’s FoodNode, the I Challenge incubated
Project concept, was about to conclude the Incubation path: he attended Legal Framework
seminars between October and December and Storytelling is in progress. Meanwhile
Riccardo Sonnino decided in September 2015 to enroll in a Master’s by Bologna University
(seat: Rimini)15 in Emilia Romagna region.
10.1 Sonnino and FoodNode Businnes Plan
Sonnino has been attending a Master’s on Tourism Economics and Management (TEaM)
since October 2015. Such a situation had no significant influence on the Incubation plan,
because most of the Incubation key skills were completed in December 2015, and the
FoodNode concept was already refined (D4.4, chap. 13). Business plan and Financing as
Incubation objectives should be further deepened. The risk of Sonnino not being exhaustively
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Figure 1: Rimini Beach Mini Maker Faire, November 2015: Sonnino’s Stand
10.4 Creating a Startup
Uniroma encouraged Sonnino to attend the course as further refining of FoodNode financial
aspects, especially for the concrete chance Region Emilia Romagna provides for new
enterprises and young startups. In fact, according to The Italian Startup Ecosystem: Who's
Who19 realized by Italian Ministry of Economic Development and Digital Innovation Oversight
Committee of Milan Polytechnic University’s School of Management, Emilia Romagna is the
second most startup friendly region in Italy, after Lombardia20
Region
Ecosystem Players
Innovative Startups
Financed Startups
Accelerators and Incubators
Institutional Investors
Others
19 Osservatorio Startup - High Tech, The Italian Stratup Ecosystem; Who’s Who, Second Edition, Italia startup, Ministero per lo sviluppo economico, Politecnico di Milano et alii, 2014, in http://www.italiastartup.it/wp-content/themes/italiastartup/files/ItaliaStartup_Report_WhoIsWho (accessed: 02/2016)
20 Aggregated data from The Italian Startup Ecosystem: Who's Who to be found at: http://www.economyup.it/startup/2070_le-10-regioni-italiane-startup-friendly.htm, Ed. Concetta Desando , 23 July 2015 (accessed: 02/2016).
Figure 2: The Mulberry Affaire new sources from Europeana
11.6.2 Phase1: Preliminary Version (Seville, January 2016)
The work on The Mulberry Affair preliminary version, also through the contribution of
storytelling technique and strategy lessons, focused on narrative structure refinement.
This aspect was improved through new filmed scenes in order to achieve the following
objectives:
Obtaining a more realistic and therefore more convincing acting.
Choosing performers from different mothertongues, getting a more European
background to the story (Italian, Spanish, German).
Furthermore, new music track was edited into second section of the video. This action gave
rhythm and more suspense to the story, thus enhancing the audience’s enjoyment.
As mentioned above, new sources from the Europeana library were added by strengthening
the mulberry tree history and the fictional story frame.
The narrative structure was also optimized by eliminating one character and shifting its
contents to other characters.
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11.6.3 Phase 2: Final Version
In technical terms, the final version of the video aims at implementing a non-compressed release and Italian subtitling, useful to its dissemination in offline contexts such as film festivals and public screenings. More generally, the storytelling lessons allowed to develop The Mulberry Affair design. In particular, the presentation of various and contemporary cases studies about audio-visual and multimedia products inspired a transmedial storytelling strategy design. The aim is to bring the story outside of the video boundaries and into other online contexts (i.e. web pages, social networking and communities environments) and into a gaming framework. This is because the bibliographical research about mulberry history revealed several significant connections with the cultural, social and economic history of European and non-European regions. The objective is: creating a transmedial map prototype to be presented to the food and drink industry and to advertising experts. The map can show how the mockumentary and the transmedial storytelling templates could be applied to other products from the food and drink cultural heritage.
11.7 Business Plan and Marketing for Videomaking
Lessons and Labs about Business plan and Marketing strategy as Incubation skills for Video-
making took place in two meetings.
Expert selected among creative industries was Mariagiovanna Togna acting as an Art
Director e Visual Designer by the Creative Industry ‘1954 Italian Style s.r.l’21. She coordinates
marketing strategies for the creative sector: content strategy, business plan, web - social
media marketing, Search Engine Marketing.
General schedule includes:
Designing and realizing an efficient business plan: presenting concrete cases of
launching products on the market.
Working steps description:
o Cooperation between creative sector and marketing sector from multimedia
contents reworking to their online/offline distribution according to reference
target.
Deepening up-to-date SEM (Search Engine Marketing) strategies and Web-Social
Media Marketing.
11.7.1 Financial Planning
Lesson 1: 09 December 2015, h. 14 -18
Focus on:
Designing an efficient and successful Business plan.
Main analysis and evaluation points a Business plan should contain:
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o Services/products description an enterprise intends to offer.
o Designing a marketing plan connecting services/products and reference
market.
Case-studies introducing specific products’ launching systems on the market.
Identifying Stakeholders and defining objectives.
After laying out those central items, some essential knowledge about business plan design
and enterprise sustainability was provided.
Finally, a practical exercise was undertaken: drawing up a business plan dedicated to audio-
visual products’ production and distribution for the enhancement of cultural heritage. It aimed
at a preliminary model about real market opportunities for products, starting from the design
phase.
Lesson were enriched through bibliographical and advertising materials especially collected
by experts and including also academic sources for a business plan makeup22, plus a
template model for a basic business plan drafting.
11.7.1.1 Expert Feedback
Incubated Marandola and Team (Marfoglia) had got no specific skills a generic knowledge of
business plan logic and principles, acquired only through practical and professional
experience. The same principles were then explained on a theoretical basis and with the help
of a professional template: that was useful in clarifying and determining notions just only
briefly known.
General theories were particularly addressed to the specific needs of audio video and
cultural heritage sectors. For this reason, during practical training market analysis and
reference audience represented a useful means of designing audio video contents: format
selection, storytelling languages and strategies. Such practical test evidenced how closely
the creative process is related to an economic plan of audio-video promotion and distribution.
As a result, replicability and scalability of offered products were particularly stressed in the
lesson23.
Critical aspects concerned necessity to raise funding for producing high quality level videos
able to attract new investors or clients. In this regard, stakeholders’ analysis seemed to be a
profitable learning practice because it enables to test the most suitable marketing policies
and funding/crowdfunding sources.
22 William A. Sahlman, How to write a great business plan, Harvard, Boston, Harvard Business Press, 2008 (1997): http://gsl.mit.edu/media/programs/india-bms-summer-2013/materials/how-to-write-a-great-business-plan.pdf
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11.7.1.2 Raffaella Marandola and Team Feedback
Practical training allowed addressing general theories and their application to a creative
project; in addition, it was clear how a creative design and funding process should be
basically structured.
General theories permitted to enrich the preliminary SWOT analyses carried out in the first
Incubation part. The most evident critical points concerned the niche audience detection and
the possibility of expanding it through scalability strategies and different formats and
languages adoption. In this way, replicable form design may extend our cooperation and
funding opportunity networking.
Financial planning has proven to be of great support to the creative process, enabling more
effective and efficient design, in particular concerning the identification of our products
targets, their market positioning and promotion strategies.
11.7.2 Web Marketing
Lesson 2: 11 Décembre 2015, h 14 -18
The second lesson concerned the most widespread practices of on line product promotion
and communication by describing various web marketing typologies. Main objective was:
focusing on the best ways to reach and involve an Internet audience.
Special emphasis was placed on the most widely used SEM (Search Engine Marketing)
strategies aiming at marketing systems application to search engines, especially through
SEO (Search Engine Optimization) methodologies. Moreover, processes essential for on line
content distribution were described: identification of technologies to be adopted, keyword
selection mode, methods for measuring contacts and achieved results, page-ranking and
positioning in search engines.
Web marketing action also includes all communication strategies related to social networks
use: an overview of the main free and commercial tools, offered by platforms like Facebook
and Twitter, were provided.
Finally, the most successful video marketing promotion methods were explored, and
therefore web tools specialized in audiovisual content distribution: Vimeo and YouTube.
Through a practical exercise guided by the teacher, incubated applicants will experience
writing a web marketing program built on the proposed project specific requirements24.
11.7.2.1 Expert Feedback
Those topics are very technical and are usually aimed at professionals specialized in the
field. Nonetheless, incubated applicants understood the importance of knowing this
application field even if not in the most technological details, such as specific software use. In
24 Three manuals were suggested in order to learn web marketing strategies techniques and concepts: Search
Engine Journal's Content Marketing Guide, Search Engine Journal's Social Media Strategy, Search Engine Journal's Beginner's Guide to SEO, all free for download from the platform “Search Engine Journal” (searchenginejournal.com).
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particular, various web marketing methods were presented as important tools for attracting
potential customers interest.
In other words, it was shown how designing multimedia and audiovisual communication
projects cannot be separated from their online promotion. As a consequence, a wide range
of promotion modalities was presented.
The practical exercise also demonstrated that the variety of online distribution platforms such
as YouTube and Vimeo can deliver significant results if properly exploited.
11.7.2.2. Raffaella Marandola and Team Feedback
Web marketing methodologies presented during the meeting contributed to focusing on the
best strategies for increasing product visibility on Internet.
Even the platforms created for The Mulberry Affair video such as Facebook page can be
efficiently integrated.
First stage includes creating our web site, a good policy for strengthening our visibility as well
as our relationships and contacts network with other stakeholders: research institutes, digital
libraries, companies, communication agencies.
The web site, designed according to the SEM and SEO methods, will also be the reference
basis for connecting to our distribution channels on other platforms. After discussing with the
expert, the need emerged, in particular to design a Vimeo channel more appropriate to
professional communication in the audio-visual sector, and a YouTube one, more suitable for
interoperability with the most popular social networks.
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By analyzing some case studies provided by the teacher, the effectiveness and the impact of
a blog was also being evaluated, as well as all advantages of a less formal communication.
Beside the web site, a blog may help to expand audience and to contact possible project
partners. It should be indispensable to produce diversified media contents best adjustable to
different types of online consumption.
Bibliographic materials recommended by the teacher proved to be a rich source of inspiration
and will allow us to optimize a web marketing strategy even at the end of the incubation
program.
11.8 Video Incubation Schedule
After a detailed description of the II Challenge incubation topics concerning learning
contents, Uniroma1 agreed a very detailed schedule with Marandola and team where three
Incubation stages results, activities and video producing are reported: see Annex 5.
12 Incubation: Some Remarks
Raffaella Marandola and her team member Alessandra Marfoglia have increased their
competence in management of Digital Humanities, implementing the mission of the Open
Lab Cultura. With a multidisciplinary approach they have studied in depth the method for
revision and optimization of a video; the copyright rules; the use of Metadata; the
opportunities of Transmedial storytelling.
Sonnino has been implementing his Marketing knowledge (last Incubation stage) partly at
Bologna University, partly with Open Lab ‘Cultura’ in Rome.
12.1 Incubation and Investors
Promoting incubated projects to potential investors is the main mission of an Incubation
program. WP4 implemented and is going to implement different strategies to promote
products.
a) FoodNode (Sonnino, I challenge):
Concept was refined in June 2015 and presented in July at the Europeana
Creative Culture Jam Final Event (see D4.4, chap. 13.3.3).
Concept needs a technological developer in order to prepare and launch a
prototype. Uniroma1 created a synergy with EU-Bic Open Lab in Bracciano, near
Rome, where Sonnino and team would meet informatics experts for product
implementation. This action cannot be executed because Sonnino preferred to
enroll in a master by Bologna University (seat: Rimini) and could not secure his
cooperation in the lab. Despite this, as stated above.
During Maker Faire in Rimini (November 2015) and with WP4-Uniroma1
endorsement, Sonnino presented Europeana FoodNode to developers and
enterprises networks. As a result, he was directed by stakeholders to a
specialized course. This course aims at boosting and supporting young teams on
startups creation.
Next action: FoodNode presentation to CNA ((Italian National Confederation of
Crafts and Small and Medium Enterprises) exploiting one of several events for the
70th anniversary of CNA enterprise network (2016: date to be fixed).
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b) The Mulberry Affaire (Marandola, II Challenge)
Video trailer presented to Europeana Food and Drink Partners at meeting in
Malta (26-27 November 2015).
Incubated Video shown to stakeholders and enterprise network representatives in
III Challenge Final Event in Seville (29 January 2016).
Next Action 1: Participating in Advertising Storytelling Congress at University of
Rome (29 March 2016).
Next action 2: The Mulberry Affaire presentation to CNA ((Italian National
Confederation of Crafts and Small and Medium Enterprises) during one of several
events for the 70th anniversary of CNA enterprise network (2016: date to be fixed).
12.2 Crowdfunding for Challenge Winners
Crowdfunding is another policy for presenting incubated project to investors and raising
funding from private investors and communities interested in their successful development.
Uniroma1 decided to contact Goteo, Crowdfunding platform from Europeana Creative Open
lab Platoniq and official Crowdfundig platform of Europeana Open Lab.
Interesting aspect of Goteo is not only the crowdfunding opportunity, but also the chance of
using the platform for searching project partners and developers and at the same time for
finding co-working spaces. After a preliminary contact on July 2105 and a direct contact in
Vienna, in July 2015, in occasion of Europeana Creative Culture Jam, the possibility loomed
that Europeana Food and Drink best projects could be hosted on the platform.
This chance appeared to be tangible during Europeana Food and Drink Final Event in Seville
(January 2016), where Goteo confirmed availability to exam incubated projects, particularly
by testing their potential for creating a community and consequently of attracting capitals. For
this reason, two Europeana Food and Drink Challenge projects were selected and sent to
Goteo immediately after the Final Event in Seville:
I challenge Professional winner: Clio Muse and I challenge incubated project FoodNode
Abstracts and products concepts are at the moment under evaluation by Goteo.
12.2.1 A European Crowdfunding System
Goteo as Europeana Crowdfunding represents a good policy to conclude incubation program
and it may constitute the core of a European funding system, especially addressed to
students, young creative teams and startups. By contacting Goteo WP4 intended:
To establish a closer relationship with other Europeana Projects.
To create a networking between Europeana Labs infrastructures as prior reference
for project promotion.
To test crowdfunding system’s strenghts and weakness.
To design with Goteo and Europeana a crowdfunding system in which other
European platforms particularly related to Cultural heritage enhancement may be
involved and supported (see proposal: D4.4 chap. 14.3). General guidelines and
strategies to overcome national limits and restrictions concerning an international
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crowdfunding networking might be a future development of contacts. between Goteo
and Uniroma1.
13 Emerging Incubation Models
Defining more efficient Incubation activity systems is a central task for many Europeana
projects focused on creative reuse of Europeana contents. Beside the importance of
matching together the GLAMs cultural heritage and Creative Industry needs in the Food and
Drink area, a central issue is emerging: how may Incubations can be conceived connecting
Europeana (Europeana Open Labs, Europeana Site web, APIs etc.) and tailor-made
Incubation activities? Should Europeana Open Labs take advantage only of their own
infrastructure or might they exchange their competences with other creative EU labs as Eu-
bics-FabLabs, EBn Enoll network, Creative Platform? Would that represent an effective
strategy in order to extend and to make more effective the chance of young creatives
attending physical labs all over Europe, where they can be directly mentored by experts and
stakeholders? Europeana has been experimenting different forms facilitating various players’
cooperation. In the frame of Europeana content reuse two central projects like Europeana
Creative and Europeana Space highlighted two different approaches to Incubation program
designing.
13.1 First Incubation Model
The First Incubation design25 preliminary provides a general model of all possible skills an
Incubation plan requires, particularly in areas as Business, Marketing Funding as well as
Technical support.
Project partners are requested to make their competences available to Incubated applicants.
Particular skills are offered by each partner, so that they could deepen some project details
by reading documents suggested by project partners, consulting experts and stakeholders by
mail or Skype. At the same time, the Europeana Open Labs network can provide on line
assistance by creating on the web a co-creation space, offering different tools for enabling
Europeana Content reuse: APIs, case studies, Europeana labs locations and descriptions,
the Application gallery presenting products and prototypes.
This model is doubtless interesting on an organization level because it combines the
applicant’s individual needs, expert consulting as a bidirectional movement and a web space
where ideas and new acquired skills may be productively experimented, an information and
tool to enable content creative reuse. Summarizing, this model
Tries building a common creation reference for content reusing (Europeana Labs site)
useful for Incubated applicants: at the same time.
Creates on line contacts with experts guaranteeing activities that may be adapted to
particular needs expressed by each individual project.
Highlights partners’ role in education and training.
25 Open Labs/Europeana Labs Incubation support pack and offer, Europeana Creative, D.5.2: p. 9, http://pro.europeana.eu/files/Europeana_Professional/Projects/Project_list/Europeana_Creative/Deliverables/eCreative_D5.2_MFG_v1.0.pdf.
D4.5 – Europeana Food and Drink Open Innovation Challenge 3 / Incubation
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Figure 3: Europeana Creative Incubation Process (key skills on line consulting)
A question arises: how effective can such incubation be without a direct attending of a
physical Lab and following an “on site” incubation training, especially if technological aspects
must be experimented and advanced equipment must be used? Or if financial skills must be
administered through simulations and practice interaction?
As D4.4 underlined (chaps. 11.6 and 11.7), the main tendency in Europe and the US is to
privilege a direct attendance of a physical lab to complete refining, beside some activities
that can be organized in a lab “without walls”.
13.2 Second Incubation Model
Europeana Space showed another way of carrying out incubation training and put into effects
what Report26 indicated: providing Europeana winners with an incubation scholarship. That
26 Europeana Space: Incubation Handbook. Spaces of possibility for the creative re-use of digital cultural content: http://www.europeana-space.eu/wp-content/uploads/2015/03/Incubation-Booklet.pdf.
D4.5 – Europeana Food and Drink Open Innovation Challenge 3 / Incubation
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project selected three best projects for each of the six thematic hackathons events and
invited applicants to attend training in London, provided by Remix, Europeana Space partner.
Here winners attended a business modelling workshop based on problem solving and
adapting plans to customer needs. The more innovative project was selected and won a
tailor-made incubation package from Remix and the Europeana Space consortium for
launching a new business on the market. In addition, incubation participants can be provided
with a three-month full immersion course organized by Europeana Space partners and
experts, on line and via Skype.
Europeana Space took advantage of Remix’s involvement in the consortium as a new
enterprise creation and business plan design expert. Moreover, selected projects could be
trained directly at Remix. Besides, the consortium arranged on line/skype courses for
improving business plans and presenting projects to investors.
Summarizing, Europeana Space
Creates a direct involvement of incubation winners in a big business modelling
enterprise for testing their potential and responding to market demands.
Involves the consortium in an educational course package.
Combines “with walls” and “without walls” incubation.
This model considers an on-site course a crucial point for developing incubated projects, at
least with respect to business design and plan.
Figure 4: Europeana Space Incubation Process (‘on’ and ‘extra’ site funded project developing)
Incubated Project
Business Lab
Incubator
Remix partner
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13.3 Europeana Food and Drink Incubation Model
D4.4 showed several incubation modelling practices in the US and in Europe27. According to
those attempts, some components seems to be essential for an incubation to become a
fruitful experience:
Being rooted in a territory/region.
Being supported by enterprise networks.
Being connected to a university.
An Innovative Open Lab supplies the necessary competences for improving concepts and
assisting incubation applicants from technological aspects to business planning. Moreover, it
can promote a Creative Industry network cooperating and developing incubation programs.
Although Open Lab ‘Cultura’ was not endowed with a specific Incubation budget from the
Europeana Food and Drink project, incubation activities took place in the Lab giving the
chance to incubated applicants to experience a collaborative environment, a fertile debate
with experts and a close cooperation with Creative Industry. This “local” incubation pattern
included on one hand networking with other Innovative Labs on the territory as EU-Bics, but
on the other hand boosted international connections in order to reinforce the European/a
Open Lab structure. For example, Uniroma 1 incubation results such as app and videos were
communicated on the Europeana Labs web site; crowdfunding opportunities for funding
incubated projects have been considered with Goteo, the Europeana crowdfunding platform
(Platoniq Lab). In addition, Open Lab ‘Cultura’ extended Open Lab networking and organized
III Challenge with Open Lab Heritage, Seville.
Figure 5: Europeana Food and Drink Incubation Process (‘on’ and ‘extra’ site not founded key skills
providing)
In conclusion, a standard incubation pattern does not exist, because it changes according to
heterogeneous and sometime unpredictable factors: project general needs, budget,
27 D4.4, chap. 11.
OpenLab
OpenLab Partners
1, 2, 3
Incubated Project
Europeana Labs
Web Site
API and Tools for Content
Re-Usings
Available Apps
Crowdfunding Platforms
Open Labs
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stakeholder and expert’s effective presence, applicant’s real availability to set out an
incubation path, different European markets often requiring different marketing strategies,
scholarships to be awarded to incubated applicants, incubation resulting in product effective
quality and real competition.
Regarding Incubation key-skills, due attention is obviously paid to all good practices able to
launch a new business, from business plan to marketing strategies. Less consideration was
given to other important key-skills as contents storytelling, audio video-making,
communication and social engagement, which should be introduced or reinforced in a
general incubation panorama.
13.4 Incubation: Lesson Learnt
Incubation activities outlined some crucial aspects in providing basic Incubation training:
a) Lab experience revealed how lab attendance and in person interaction is more
effective than a remotely relation.
b) Involving Creative Industry directly into Incubation training for stressing
entrepreneurial attitude.
c) Boosting communication and coordination with Europeana Open Labs network to lead
and organize an International Incubation structure.
d) Allocating special funds addressed to Incubation in order to design and reinforce
Incubation activities of Europeana Open Labs.
e) Introducing a scholarship funding as long as a visit to Europeana Open Labs, where
specific competences, useful for incubated projects, can be selected and arranged for
Incubated applicants.
f) Considering applicants’ professional commitments and trying to mitigate their
difficulties related to attending Incubation.
g) Designing a flexible Incubation schedule and adaptable topics to facilitate applicant’s
participation.
h) Tutoring different phases of product realization as a constant dialogue between
experts/stakeholders and incubated applicants.
i) Creating alternative actions in favour of those applicants not available to attending
Incubation program.
j) Grounding an effective Europeana Open Labs networking and linking it with FabLabs
net (as Eu-Bics and other local existing ones) and ENoLL seated on region/territory in
order to enhance its creative potential and to encourage the networking between
local, national and international structures.
k) Involving local institutions and educational agencies into Incubation design in order to
model an Incubation plan interesting for territory.
l) Including refined projects in a crowdfunding path increasing contacts with investors
and funding opportunity.
14 Europeana Labs Networking (D4.5 Part 3)
Introducing a solid and well-constructed Incubation system implies increasing Europeana
Open Lab network, and trying to associate Creative Industry and GLAMs to its policy with the
intent of launching a productive chain and of indicating a prior reference for content reuse.
Moreover, it means making Open Lab a profitable aggregation of local and national
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stakeholders and players in order to launch and relate local Creative Industry and GLAMs
network to International one.
14.1 Open Lab ‘Cultura’ Activities
WP4-Open Lab ‘Cultura’ exploited the Open Challenge impact at national and international
level. Creative Industry and GLAMs were involved in projects enhancing Europeana Food
and Drink Digital Heritage:
Creative Industries:
o UP created Contest platform for EF&D II and III Challenges.
o Virtutim srl, and “1945 Italian Style s.r.l.” were directly involved in Incubation
as well as Eu Bic- FabLab Bracciano.
o Film-maker De Melis (Happy Valley Film Ldt ) and ADI-Association for the
Industrial Design participated in II and III Challenge Jury Board.
o Slow Food and CNA (Italian National Confederation of Crafts and Small and Medium Enterprises) signed a special Agreements for Europeana Food and Drink II Challenge.
o Ibimel srl, participated in Open Lab ‘Cultura’ initiatives (I Challenge Final
Event).
GLAMs
o Chocolate Museum took part in WP4/WP3 E-learning application.
o ICCU (Central Institute for the Union Catalogue of Italian Libraries) offered
support for II and III Challenge by uploading best projects on Europeana and
by indicating useful metadata.
Moreover, Open Lab ‘Cultura’
Stipulated agreements between Digilab- Open Lab Cultura and big ICT players (for
example Cineca, Engineering); Creative Industry (Haatch s.r.l, Ibimel srl, Aesvi-Italian
Videogame Developer Association, 2de3d s.r.l, Aibotics Italia s.r.l., Intertouch s.r.l.);
Education System (Cesfor), GLAMs and Foundations (Accademia dei Lincei, State
National Archives, Nobel prize Dario Fo and Franca Rame Foundation,
Sovrintendenza Comunale of Rome -31 Museums-, Federculture, etc. see Annex 6).
Involved GLAMs and Creative Industry in Digital Cultural Heritage projects and digital
content reuse projects using Europeana standards, such as Muvir (Virtual Museum of
ABI - Italian Banks Association Art Collections), Sapienza Digital Library, Recap
(Digital Heritage Access Network).
Offered internships and lab training to students and creative teams in several Open
Lab Cultura area: for example, the Digiproject team organized the Uniroma1
Europeana Food and Drink Challenge Communication on Social Networks (inn
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cooperation with WP6 -ONB), and at Creative Industry Events by using viral
marketing strategies and by designing and producing Promo-Video-trailers28.
Designed didactic curricula focusing on Europeana and Food and Drink contents
reuse (for example: Mediologia B, 2014-2015).
14.2 Europeana Open Innovation Labs: International Networking
Beside a national strategy addressed to Cultural Heritage content reuse and Europeana
enhancement, Open Lab Cultura concentrated its attention on involving Europeana Open
Labs in its initiatives. Interested areas were:
Communication
Challenge Organization
Crowdfunding
Project Cooperation
Open Labs Activities and Events.
14.2.1 Open Lab Communication
Beside Open lab ‘Cultura’ promotion on the Digilab web site29, Europeana Labs web site was
provided with a short Open Lab Cultura description
(http://labs.europeana.eu/incubation/physical-labs/open-lab-cultura-romepage) adapted to a
web site communication format, and with info about Challenge Winners and Incubated
Projects (http://labs.europeana.eu/apps). In order to satisfy Europeana demands of changing
and enriching Europeana labs communication, Uniroma1 produced a Promo video (as
mentioned above) showing Open Lab ‘Cultura’’s different areas and activities, a preview of
which was presented in Seville, at III Challenge Final Event (29 January 2016).
14.2.2 Challenge Design and Organization
As networking example Uniroma1 firstly decided on cooperating more closely with
Europeana Food and Drink Open Lab ‘Heritage’ in Seville, which Open Lab Cultura signed
an agreement with (see D4.2).
After a meeting in Seville (May 2015) Uniroma1 agreed an on common initiatives including:
III Challenge procedures and organization;
Open Lab Networking Event
Common Projects
Exchange of Know-how
28 EF&D II Challenge - Digiproject video: https://www.youtube.com/watch?v=8l9xtPDGWyE2;
EF&D III Challenge – Digiproject trailer: https://www.youtube.com/watch?v=YCsM6a65FMM
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14.2.1.1. III Challenge Procedures and Organization
For the III Challenge the agreement was as follows:
a) IAPH and Uniroma1 to design III Challenge Guidelines.
b) IAPH and Uniroma1 to intensify national communication (beside WP6 international
one).
c) Uniroma1 arranged with UP the III Challenge Contest Platform.
d) IAPH managed Challenge proceedings, organized Challenge Final Event and wrote
part of the Final Report (D4.5- III Challenge).
On the basis of that agreement CT as coordinator was requested to transfer 5.000 Euros
from Uniroma1 (20 September 2015) to IAPH to comply with IAPH involvement in the III
Challenge. This operation was promptly communicated with a letter (16 October 2015) and
approved by the Project Officer by a document (19 Oct 2015) as reported in the Introduction
(see Annex 1).
14.2.1.2. Open Lab Networking Event
After the first “full immersion” meeting concerning Open Labs networking, that took place in
Rome at the I Challenge Final Event, in January 2014, IAPH and Uniroma 1 agreed for the III
Challenge Event to renew the debate on the opportunity that Europeana Labs can provide for
Creative Industry and GLAMs, especially for comparing different Europeana Open Labs
practices, introducing other Open Lab models as for example the Prado one, surveying
startups needs and consolidating the crowdfunding infrastructure as Open Labs projects
support. While the First Open Labs event in Rome had particularly stressed the Creative
Industry needs and positions with regard to Europeana reusing tools, Europeana Creative
results and linkage to ENoLL-European Living Labs, the Second Open Labs event
concentrated on the relation between Europeana Creative and Europeana Food and Drink
Open Labs. Two Europeana Food and Drink Labs, Rome and Seville, and two Europeana
Creative Open Labs, Aalto Lab in Helsinki and Goteo (Platoniq), compared their structure
and service offer as a basis for coordinating the Europeana Lab competences and abilities
for future interactions and for attracting young creative teams and hackathons.
14.2.1.3 Common Project
Another chance to intensify Euopeana Food and Drink Open Labs cooperation is
participating in European projects as partners. The first occasion to implement this strategy
was the common participation in Cult Coop -08-2016 Call - Virtual Museum Plus (deadline 4
February 2016). In addition, Open labs Rome and Seville teams should design a common
project to be realized in their respective countries in order to exchange dates and results. A
possible idea would be a project allowing food enterprises to arrange a personal archive
according to Europeana standards improving bottom-up digital content production.
14.2.1.4 Exchange of Know-how
Open Lab special competences might represent a common basis for Open Labs for
expanding knowledge, cross experience, refining practices: for example, IAPH proposed to
Uniroma1 to hold seminars on Incubation key-skills such as Storytelling.
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14.2.3 Crowdfunding
Goteo (from Europeana Creative Lab Platoniq) is the first core of a European crowdfunding
system that should be intensified at national level. In this field the role of Open Labs may be
very constructive as:
Crowdfunding system user for funding projects, also in collaboration with other Open
labs.
Contributing to build a crowdfunding platform network in European countries, and to
act as reference point for system quality assurance and sustainability.
Encouraging crowdfunding platform as a support not only for funding but also as
Time-banking, and offering other resources as co-working space, competences
exchange, problem-solving etc.
Contacts with Goteo (Olivier Schulbaum, Mauricio O’ Brien), particularly in occasion of the III
Challenge Final Event, have been very constructive. Goteo has been helpful in contacting
Europeana Food and Drink Challenge Winners to insert their projects on the Goteo Platform.
Uniroma1 proposed to Goteo to consider crowdfunding problems, for example how to
overcome different national rules and establish a sustainable European system; what policies
are to be boosted at European level as crowdfunding practice support etc. All issues and
critical points may be the basis of further cooperation in a future project and thus reinforce
the Open labs networking.
14.2.4 Project Cooperation
Europeana Open Labs should design projects together to increase Europeana’s content
reuse; or at least to raise the problem of Digital Heritage content reuse from GLAMs and
from Europeana in existing projects as a good strategy for Europeana’s visibility and
branching in very different fields. Uniroma1 and IAPH already presented a project as partner
on a Social Virtual museum where Europeana reuse may represent an important reference.
Another strategy is reserving a special call for Europeana Labs and ENoLL projects in order
to carry out initiatives and campaigning to explain Europeana’s potential for the productive
sector as well as for education.
14.2.5 Open Labs Activities and Event
Regular Europeana Open Labs meetings should be planned as occasions to address
problems together and work on common initiatives. This intent led WP4 to turn two Open
Challenge Final Events into Open Labs panels by inviting Europeana Creative and ENoLL
(Rome, January 2015) and Europeana Labs (Seville 2016). In this context stakeholders,
GLAMs and Creative Industry could know and appreciate Europeana and its Labs activities,
focus on reuse problems professionals have to face, seek new ideas for collaboration. In this
respect it was clear how determining communication is for an effective launch of Europeana
Labs-ENoLL, and how decisive an internal communication plan is for a basic and fertile
interrelation among Labs.
14.3 Summarizing
In conclusion and in light of the above reported facts, the main actions Europeana Open
Labs system requires are:
1) Closer networking among Europeana Open Labs.
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2) Using the Europeana infrastructure to boost young start up and creative team
projects through Europeana Labs support.
3) Enhancing the many initiatives related to other important Europeana project like
Europeana Creative and its Open Labs network without wasting results and by
improving targets.
4) Starting preliminary activities to design a European crowdfunding system.30
5) Supporting Europeana Labs communication and activities plan.
15 Project Partners‘ Engagement (D4.5 Part 4)
Uniroma1 arranged two actions to support WP4 activities:
A communication campaign for the III Challenge support in collaboration with WP6. It
involved all consortium in a capillary communication specifically addressed to
Creative Industry and Startups.
A questionnaire (in progress) concerning the Public-Private Partnership Framework
that WP4 is requested to design.
15.1 Action 1: III Challenge Communication: Involving National Creative Industry Network
WP4 (and WP6) would like to experiment a further communication strategy to enhance
Creative Industry participation in the III Challenge The idea was increasing Challenge
communication by directly contacting Creative Industry networks and/or FabLab, acting in
sectors potentially interested in participation in the Challenge. For example, contacting
Creative Industry networks in the following areas able to take part in the challenge:
Design and Graphic.
Packaging for food and drink products.
Digital craft (2D and 3D).
Food and drink design and other sectors potentially interested.
FabLabs, (i.e. Open labs equipped with high technology where applicants can
develop their concept and create their products)31.
30 European Commision has been exploring since 2013 Crowdfunding potential and trends: European Commission (Crowdsurfer/EY), Crowdfunding: Mapping EU markets and events Study. 30 September 2015, European Commission, Bruxelles 2015 http://ec.europa.eu/finance/general-policy/docs/crowdfunding/20150930-crowdfunding-study_en.pdf (accessed: 02/2016).
Other documents are consulted in: http://ec.europa.eu/finance/general-policy/crowdfunding/index_en.htm#maincontentSec1 (accessed: 02/2016).
31 See for example BICs, the European Union Business and Innovation labs (EU-Bics): http://ebn.eu/ - 250 EU-
labs supporting small and medium sized enterprises- or for example networks such as http://fab-lab.eu, or http://www.fabfoundation.org/fab-labs/. FabLabs especially located in each country are to be checked.
Replying grassroots system of user friendly Metadata for uploading products and its
video description on Europeana, as happened for the II Challenge.
Preference by applicants of 3D Content reuse as Challenge category over 2D one as
a symptom of new production trend.
Paradigm change towards 3D and Virtualisation as basis to be explored for innovative
processes of digital heritage and Creative Industry enhancing.
Copyright problems: There is no clear indication about 3D copyright in Europeana
Legal Frame, especially about 3D Cloud points licensing.
Temporary unavailability of Europeana Food and Drink Digital Contents: Food and
Drink area contents present in Europeana could support III Challenge.
Open Innovation Challenge Final Event as occasion of debating with Europeana Open
Labs, Prado Museum Lab, creative startup public agencies and Goteo about
Europeana Labs role, synergy with regional creative institutions, and crowdfunding
chances for Europeana App and incubated projects.
Open Lab Cultura Video presentation for Europeana Open Lab Communication.
Evaluation parameters refinement and customization for the III Challenge.
Completing Incubation Key-skills and resulting product preview (Video: The Mulberry
Affaire).
Arranging a questionnaire to be submitted to Project partners in order to design a
public-private partnership frame.
16.1 Results
Prior outputs emerging from the III Challenge execution and from the Incubation package
training concern:
Challenge design: Cooperation between IAPH Seville and Uniroma1.
Europeana content reuse for 3D products as new innovation field.
Increasing of Europeana content reuse.
Exploring that digital content creative reworking for producing 3D objects is a
mainstream trend to be enhanced.
Challenge Communication: expanded Creative Industry contacts number.
Challenge Communication schedule: introduced a longer prelaunch time for a better
social network viral campaign coverage, promovideo production and a more direct
Partner action.
Europeana Lab Networking: reached a good level of cooperation and shared know-
how among some Europeana Open Labs, for example Goteo Crowdfunding and
IAPH Seville.
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First model of implementing Open Lab communication: making a video about Open
Lab Cultura activities.
Carried out Incubation package and refined incubated projects.
The Mulberry Affaire Video as incubated product: preview in Seville.
Achieved Indicator. (15-30 Months) requested number: 20. Totally, II and III
Challenge (19 and 24 Months): 21.
16.2 Impact
Particular attention was given to some elements pushed on ice during the project workflow
and proposed to be developed such as:
Carrying on cooperation among some Europeana Open Labs.
Considerably intensifying Information about Europeana and Food and Drink sector in
local and in educational and professional areas.
Most activities regarding Challenge and Incubation communication, networking and
management contributed to boost the above mentioned aims.
Incubation activities– although tailor-made on projects - were structured in a clear, theoretical
and organizational frame, and represent a good basis for OpenLab ‘Cultura’ future roles for
involving creative team and start-up tutoring.
During Challenge and Incubation activities, OpenLab ‘Cultura’’s partnership with Creative
Industries, GLAMs, FabLab, Research Centers, professional associations, crowdfunding
organizations and others considerably grew. That also happened to Open Lab ‘Heritage’,
Seville, established with Open Lab ‘Cultura’ in the course of the project. Such interest may
pave the way to a wide range of initiatives beyond EFD Project time and funding limits.
Finally, III challenge practice of reworking digital heritage contents to create physical and
marketable 3D objects may open concrete perspectives to stimulate new types of
handcraft/art production.
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-Idem, Analog/Digital – Opposition oder Kontinuum?, in Schröter and Böhnke Alexander (eds), Beiträge zu Theorie und Geschichte einer Unterscheidung, Bielefeld: Transkript 2004, 7-30. Idem: Das Ende der Welt. Analoge und Digitale Bilder – mehr oder weniger Realität?, in Schröter Jens and Böhnke Alexander (eds), Beiträge zu Theorie und Geschichte einer Unterscheidung, Bielefeld: Transkript, 2004, 335-354. -Stiegler, Bernhard, Technics and Time, 2 – Disorientation, Stanford: Stanford University Press, 2008.
On Line Resources
Internet
-AthenaPlus, D7.2 (January 2014): Analysis, scenarios use cases, opportunities of innovative services for DCH, and future development at file:///C:/Users/user/Downloads/AthenaPlus_D7_2_Analysis,%20scenarios%20use%20cases,%20opportunities%20of%20innovative%20services%20for%20DCH,%20and%20future%20development.pdf (02/2106).
-Bogost Ian, The New Aesthetic Needs to Get Weirder, 13 april 2012
- Catolfi Antonio and Menduni Enrico, Digital aesthetic forms between cinema and television: the need for new research directions, http://www.gamejournal.it/digital-aesthetic-forms-between-cinema-and-television-the-need-for-new-research-directions/
-De Francesco Giuliana, Contenuti culturali digitali on line: orientarsi tra le licenze, Athena Workshop,
-European Commission (Crowdsurfer/EY), Crowdfunding: Mapping EU markets and events Study. 30 September 2015, European Commission, Bruxelles 2015 http://ec.europa.eu/finance/general-policy/docs/crowdfunding/20150930-crowdfunding-study_en.pdf.
-Manovich, Lev, Software takes command, 2008, http://softwarestudies.com/softbook/manovich_softbook_11_20_2008.pdf
-Open Labs/Europeana Labs Incubation support pack and offer, Europeana Creative, D.5.2: p. 9, http://pro.europeana.eu/files/Europeana_Professional/Projects/Project_list/Europeana_Creative/Deliverables/eCreative_D5.2_MFG_v1.0.pdf
-Ortolani, Silvia, La legislazione sul diritto d’autore, 2015: file:///F:/Progetti%202014%20UNI/Ambrosia/Incubation/Legal%20frame/legislazione%20sul%20diritto%20d'autore_EFD.pdf;
-Osservatorio Startup - High Tech, The Italian Stratup Ecosystem; Who’s Who, Second Edition, Italia startup, Ministero per lo sviluppo economico, Politecnico di Milano et alii, 2014, in http://www.italiastartup.it/wp-content/themes/italiastartup/files/ItaliaStartup_Report_WhoIsWho
-Pirkola Jani, Integrated 3D Internet and Internet of Things May Change Our Perception of the World,
-Sterling Bruce, An Essay on the New Aesthetic, 04/02/2012 http://www.wired.com/2012/04/an-essay-
on-the-new-aesthetic/
-The San Francisco Museum of Modern Art (SFMOMA9 : 010101: Art and in Technological Times, http://www.sfmoma.org/media/ exhibitions/010101/top.html -Tractinsky Noam, Visual Aesthetics, In: Soegaard, Mads and Dam, Rikke Friis (eds.), The
Encyclopedia of Human-Computer Interaction, 2nd, Denmark, Ed. Aarhus - The Interaction Design
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Annex 1: WP4 and IAPH Agreement
Annex 1.1: WP4-Uniroma1Letter to CT: Request to CT for transferring fund and
activities from Uniroma1 to IAPH Seville (Maria Guercio WP4 scientific coordinator to
Susie Slattery EF&D Coordinator (20 Sept 2015).
Annex 1.2: Budget Transfer Uniroma1-IAPH (16 Oct 2015) EF&D Coordinator CT
letter to Officer describing WP4-Uniroma1 request.
Annex 1.3: Project Officer approval (19 Oct 2015).
Annex 2: III Challenge Guidelines
Annex 2.1: III Challenge Guidelines.
Annex 3: Communication
Annex 3.1 III Challenge Newsletter.
-Annex 3.1.1: English Newsletter.
-Annex 3.1.2: Italian Newsletter.
Annex 3.2: Web Site Launching Text.
-Annex 3.2.1: Challenge Web Text.
-Annex 3.2.2: Spanish Web Text.
Annex 3.3: Maker Faire, Uniroma1, 16-18 Oct 2015, Rome.
- Annex 3.3.1: III Challenge Abstract.
- Annex 3.3.2: III Challenge Presentation.
- Annex 3.3.3: Maker Faire III Challenge Contacts.
- Annex 3.3.4: Maker Faire Photos.
Annex 4: Third Challenge Final Event
Annex 4.1: Applicants Product Videos.
Annex 4.2: Applicants Product Abstracts.
Annex 4.3: Jury Board Biographies.
Annex 4.4: Final Event Photos.
Annex 4.5: Final Event Schedule.
Annex 4.6: III Challenge Score.
D4.5 Part 2 – Second Open Innovation Challenge Incubation: Annex 5
This section brings a number of documents attesting activities Europeana Food and Drink Incubation organization and execution required.
Annex 5: Incubation
Annex 5.1 Marandola Second Challenge Incubation Schedule
D4.5 – Europeana Food and Drink Open Innovation Challenge 3 / Incubation
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D4.5 Part 3: Open Labs Networking: Annex 6
This section illustrates Open Lab ‘Cultura’ Networking with Creative Industry and GLAMs.
Annex 6: Open Lab Cultura: Agreements with Creative Industry and GLAMs
Annex 6.1: Open Lab ‘Cultura’-Creative Industry -GLAMS-Agreements
D4.5 Part 4: Partner Engagement: Annex 7
This section lists Project Partners taking part in Open Lab ‘Cultura’’s Action for a capillary involvement of local Creative Industry in III Challenge Communication..
Annex 7: Partner Engagement Action 1
All the above-mentioned annexes have been sent in a zip file attached to a separate email.