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REMA Meeting, Maastrich | 29 June 2013 INGENIO [CSIC-UPV] Ciudad Politécnica de la Innovación | Edif 8E 4º | Camino de Vera s/n | 46022 Valencia tel +34.

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Presentation on theme: "REMA Meeting, Maastrich | 29 June 2013 INGENIO [CSIC-UPV] Ciudad Politécnica de la Innovación | Edif 8E 4º | Camino de Vera s/n | 46022 Valencia tel +34."— Presentation transcript:

1 REMA Meeting, Maastrich | 29 June 2013 INGENIO [CSIC-UPV] Ciudad Politécnica de la Innovación | Edif 8E 4º | Camino de Vera s/n | 46022 Valencia tel +34 963 877 048 fax +34 963 877 991 Project: Study on Innovation in Early Music Festivals Elena Castro-Martínez. INGENIO (CSIC-UPV) Albert Recasens (Lauda Música, SL)

2 2 1)About Us 2)How we work 3)What we do (our research line) 4)A brief description of the concepts of innovation that we are using 5)…. and their application to cultural sector 6)What we aim in the project 7)What we expect from REMA and its members 8)Schedule 9)What we can offer to REMA and its members INDEX 2 3 4 5 1 6 7 8 9

3 3 ABOUT US The Spanish National Research Council (CSIC) is the biggest public research organization in Spain:  126 institutes  14,050 CSIC staff + 4,605 other institutions staff (joint centres)  804 M€ budget  3,628 on going R&D projects (2011 data)  22 researchers  7 PhD students  10 support staff  3 students  INGENIO is a member of EuSPRI Forum Main research line: innovation studies INGENIO [CSIC-UPV]

4 4  INGENIO (CSIC-UPV) aims to contribute to the best understanding of the innovation processes as well as science and innovation policies which can improve it.  We also aim to contribute to innovation culture and to disseminate innovation concepts  We are a multidisciplinary group of specialists in innovation studies HOW WE WORK scientific excellence + social relevance We cooperate with other specialists and entities

5 5 OUR RESEARCH LINE  Starting: Study of interactions of humanities and social science's CSIC research groups with socio-economic agents (2004) Study of innovation processes in cultural sector:  Archeology (with INCIPIT)  Historic heritage (with IAPH)  Documentary ‘ s production  Early music production [with Lauda Música]  Identifying very interesting cases of interactions between humanities’s research groups and cultural institutions [one of them, musicology]

6 6  AN INNOVATION is the implementation of a new or significantly improved  product (good or service),  or process,  a new marketing method,  or a new organisational method (Oslo Manual, OECD 2005) INNOVATION CONCEPT

7 7  PRODUCT INNOVATION: significant differences in purpose, in performance [functional concept, presentation], in technological concept [raw materials, components, technological characteristics] of the product compared to existing ones.  PROCESS INNOVATION: adoption of production methods technologically new or significantly improved, including methods of product delivery. TYPES OF INNOVATIONS BY NATURE [1] The definitions of product innovation focus on functional or user changes and, thus, do not include changes in the meanings, aesthetics or content produced in the area of culture.

8 8  MARKETING INNOVATION: application of a new marketing method involving significant changes in:  product design  or packaging of a product,  its location, promotion or pricing.  ORGANIZATIONAL INNOVATION: introduction of a new organizational method in  business practices,  in workplace organization  or in external relations of the company TYPES OF INNOVATIONS BY NATURE [2]

9 9 Product innovation: In the art form (premieres or revivals contemporaries, new approaches to the interpretation or rereading, new staging or contextualization, atrezzo) In the use of new media (MP3) or media (internet tracking concert or outdoor screens) Process innovation Innovations in the process of production and interpretation, including technologies or materials (sound control, lighting and scene...) Marketing Innovation: New forms of dissemination that attract new groups of consumers New broadcast channels (facebook) and marketing (web) New models of consumption (streaming, as Spotify,..) Innovation in business management and relationships New business models (clusters, networks...) New forms of financing (crowfunding) New relationships with suppliers, other organizations or groups related (festivals), local authorities, the audience, …. In response to changes in the environment: Technologies (ICT) Demand patterns Public and private sponsorship Concept of value creation Source: Own ellaboration from Bakhshi and Throsby (2010) AND THEIR APPLICATION TO CULTURAL SECTOR

10 10 Fuente: Miles & Green (2008): “Hidden innovation in the creative industries”. NESTA SITES OF INNOVATION IN THE CREATIVE INDUSTRIES

11 11 A national system of innovation has been defined as follows:.. the elements and relationships which interact in the production, diffusion and use of new, and economically useful, knowledge... and are either located within or rooted inside the borders of a nation state.” (Lundvall, 1992) A sectoral system of innovation is as “a set of new and established products for specific uses and the set of agents carrying out market and non-market interactions for the creation, production and sale of those products. (Malerba, 2002) INNOVATION SYSTEMS APPROACH

12 12 STAKEHOLDERS OF AN EARLY MUSIC FESTIVAL Musicians Production Distribution Consumption Suppliers Festival Audience Sponsors Mass media/journals Local government Services Prestige, opportunities Opportunities, tickets Work Universities and research bodies Visibility, revenues Contents Equipments and services Demands Methodologies, knowledge Funding Public value, revenues Contents, services Revenues, attention Contents Visibility Recursos Difusión, conocimiento Services Resources, prestige Volonteers Owners of buildings or historic sites Contents Visibility Recording compamies Place for sales Complementary services Contents Visibility, Methodologies, knowledge

13 13  Doing [R&D, organization,…) inside the firm or entity  Buying (equipments, materials, services)  Cooperating (interacting with suppliers, audience, musicians, other festivals ) INNOVATION STRATEGIES CONTEXT NEEDS  Talent (creative personnel and expertise)  Access to sources of knowledge and diverse content (digital resources)  Space to interact with others, investigate,... (networks, laboratories)  High quality Information and Communications Technology (ICT) Services  Funding sources adapted to each sector (≠ risk)  Intellectual property protection and other laws and regulations that facilitate the creative process … and results -Sales -Benefits

14 14 To analyse the Early Music Festivals (EMF) within the Innovation Systems framework [*] –Identify the kind of innovations which an EMF produce –Analyse to what extent the organization and context helps or makes the innovation difficult; –Define and establish thoroughly the different agents which interact at the festival as well as the kind of relationships which are established to innovate; –Identify the results of innovation activities and –Identify the main strategies used to innovate. WHAT WE AIM IN THIS PROJECT [*] Lundvall, 2007

15 15 1.Your comments on the project and your suggestions to improve it. 2.REMA's involvement in the project 3.The cooperation of two or three volunteers to review the actual questionnaire (today or tomorrow?) 4.REMA’s members fill in the questionnaire on line 5.The review of the project results 6.The suggestion of some relevant stakeholders to interview them WHAT WE EXPECT FROM REMA AND ITS MEMBERS

16 16 SCHEDULE (2013)

17 17  A report on the results of the study  A best comprehension of innovation concepts applied to your sector  A better understanding of your innovation capabilities associates, activities and results (Innovative performance indicators?)  Acknowledging your important role as innovating agents and innovation diffusors in the European cultural sector (of interest to policy makers)  The possibility to exchange good practices in innovation  Our acknowledgments in all the papers we will publish!!! WHAT WE CAN OFFER TO REMA AND ITS MEMBERS

18 18  Bakhshi, H. y D. Throsby, Culture of Innovation. An economic analysis of innovation in arts and cultural organizations. NESTA. 2010.  Carlsen, J., T.D. Andersson, J. Ali-Knight, K. Jaeger, R. Taylor, Festival management innovation and failure, International Journal of Event and Festival Management, V. 1, N. 2, pp.120-131, 2010  Castro-Martínez, E., Recasens, A.; Jiménez Sáez, F. (2013), Innovation systems in motion: an early music case, Management decision, V. 51, N. 6 (forthcoming)  Freeman, C. (1974), The economics of industrial innovation, Penguin, Harmondswoth  Hjalager, A.M., “Cultural Tourism Innovation Systems. The Roskilde Festival”. Scandinavian Journal of Hospitality and Tourism, 9 (2-3), pp. 266-287, 2009.  Larson, M., Festival Innovation: Complex and Dynamic Network Interaction, Scandinavian Journal of Hospitality and Tourism, V. 9, N. 2–3, pp. 288–307, 2009.  Lundvall, B.A. (1988), “Innovation as an Interactive Process: from User-Producer Interaction to National Systems of Innovation”, en Dosi, G., Freeman, C., Nelson, R., Silverberg, G., y Soete, L. (Eds.), Technical Change and Economic Theory, Pinter Publishers, London y New York.  Miles, I. y L. Green, “Hidden innovation in the creative industries”. London, NESTA, July 2008,  OCDE- EUROSTAT (2005), Oslo Manual: Proposed Guidelines for collecting and interpreting Technological Innovation Data, OCDE, Paris.  Stoneman, P. (2008), Soft innovation: changes in product aesthetics and aesthetic products.  Wilson, N.C. y D. Stokes, “Managing creativity and innovation. The challenge for cultural entrepreneurs”. Journal of Small Business and Enterprise Development, 12 (3), pp. 366-378, 2005. MAIN REFERENCES

19 INGENIO [CSIC-UPV] Universitat Politècnica de València Edif 8E 4º | Camino de Vera s/n 46022 Valencia (SPAIN) tel +34 963 877 048 fax +34 963 877 991 Thank you!!

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