Europeana Open Innovation Challenge 3 Report...D4.5 – Europeana Food and Drink Open Innovation...

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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.

Transcript of Europeana Open Innovation Challenge 3 Report...D4.5 – Europeana Food and Drink Open Innovation...

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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.

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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This deliverable contains original unpublished work except where clearly indicated otherwise.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.

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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

5.1.2 Europeana Reuse Restrictions ..................................................................................... 18

5.2 Defining 2D Category .......................................................................................................... 19

5.3 Defining 3D Category .......................................................................................................... 19

5.4 Data Processing and Rights Statements .............................................................................. 19

6 Evaluation ................................................................................................................................. 19

6.1 Jury Composition ................................................................................................................. 20

6.2 Evaluation Criteria ............................................................................................................... 20

6.3 Competitors and Winners .................................................................................................... 22

6.4 Awards ................................................................................................................................ 24

7 Final Event ................................................................................................................................ 24

7.1 Final event location .............................................................................................................. 24

7.2 Event programme ................................................................................................................ 24

7.3 Final Event: a Brief Report ................................................................................................... 25

8. Challenge lessons learnt ........................................................................................................ 26

9 Europeana Food and Drink - Incubation paths (D4.5 – Part 2) ............................................ 28

9.1 First Open Innovation Challenge Incubation: Pafos with Bite .............................................. 28

9.2 FoodNode and The Mulberry Affaire Incubation (Incubation Second Phase) ....................... 29

9.3 Key Skills: Legal frame and Licensing ................................................................................. 29

9.3.1 Sonnino’s Feedback ..................................................................................................... 30

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9.3.2 Marandola’s Feedback .................................................................................................. 31

9.4 Storytelling ........................................................................................................................... 31

9.4.1 A Moodle Platform for Storytelling Topic ....................................................................... 31

9.4.2 Advantages of an Incubation on Platform ...................................................................... 31

9.4.3 Transmedial storytelling video ....................................................................................... 32

9.4.4 Storytelling incubation program ..................................................................................... 32

10 First Challenge Incubation: Sonnino’s Learning Path ......................................................... 33

10.1 Sonnino and FoodNode Businnes Plan ............................................................................. 33

10.2 Europeana Food and Drink FoodNode Communication ..................................................... 34

10.3 Business Plan Skills through Enterprise Consortium .......................................................... 34

10.4 Creating a Startup.............................................................................................................. 35

10.5 Uniroma1 Marketing Key-skill Contribute ........................................................................... 36

10.5.1 Social Media Marketing Topic ..................................................................................... 36

11 Making a Video (II Challenge Incubation) ............................................................................. 36

11.1 About The Mulberry Affaire ................................................................................................ 37

11.2 Incubation Audio-video items ............................................................................................. 37

11.3 Marandola Incubation Step (II Stage): Video Products ....................................................... 38

11.4 Making a Trailer: The Mulberry Affaire Trailer .................................................................... 38

11.5 Video-making Incubation: a Promovideo about Open Lab ‘Cultura’ for DigiLab ................. 39

11.6 Making The Mulberry Affaire Final Version ........................................................................ 40

11.6.1 Adding New Europeana Contents ............................................................................... 41

11.6.2 Phase1: Preliminary Version (Seville, January 2016) .................................................. 43

11.6.3 Phase 2: Final Version ................................................................................................ 44

11.7 Business Plan and Marketing for Videomaking .................................................................. 44

11.7.1 Financial Planning....................................................................................................... 44

11.7.1.1 Expert Feedback ................................................................................................... 45

11.7.1.2 Raffaella Marandola and Team Feedback ............................................................. 46

11.7.2 Web Marketing ............................................................................................................ 46

11.7.2.1 Expert Feedback ................................................................................................... 46

11.7.2.2. Raffaella Marandola and Team Feedback ............................................................... 47

11.8 Video Incubation Schedule ................................................................................................ 48

12 Incubation: Some Remarks ................................................................................................... 48

12.1 Incubation and Investors .................................................................................................... 48

12.2 Crowdfunding for Challenge Winners................................................................................. 49

12.2.1 A European Crowdfunding System ............................................................................. 49

13 Emerging Incubation Models ................................................................................................ 50

13.1 First Incubation Model ....................................................................................................... 50

13.2 Second Incubation Model .................................................................................................. 51

13.3 Europeana Food and Drink Incubation Model .................................................................... 53

13.4 Incubation: Lesson Learnt ................................................................................................. 54

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14 Europeana Labs Networking (D4.5 Part 3) ............................................................................ 54

14.1 Open Lab ‘Cultura’ Activities .............................................................................................. 55

14.2 Europeana Open Innovation Labs: International Networking ............................................. 56

14.2.1 Open Lab Communication .......................................................................................... 56

14.2.2 Challenge Design and Organization ............................................................................ 56

14.2.1.1. III Challenge Procedures and Organization .......................................................... 57

14.2.1.2. Open Lab Networking Event ................................................................................ 57

14.2.1.3 Common Project ................................................................................................... 57

14.2.1.4 Exchange of Know-how ........................................................................................ 57

14.2.3 Crowdfunding .............................................................................................................. 58

14.2.4 Project Cooperation .................................................................................................... 58

14.2.5 Open Labs Activities and Event .................................................................................. 58

14.3 Summarizing ...................................................................................................................... 58

15 Project Partners‘ Engagement (D4.5 Part 4) ......................................................................... 59

15.1 Action 1: III Challenge Communication: Involving National Creative Industry Network ....... 59

15.1.1 Activities and Proceedings .......................................................................................... 60

15.1.2 Action 2: a Collaborative Creative & Cultural Partnership Framework ......................... 60

15.1.2.1 Questionnaire ........................................................................................................ 61

16 Conclusions (D4.5 Part 5) ..................................................................................................... 61

16.1 Results .............................................................................................................................. 62

16.2 Impact ................................................................................................................................ 63

17. Bibliography .......................................................................................................................... 64

18. ANNEXES (D4.5 Part 1 - Part 4) ........................................................................................... 67

D4.5 Part 1 - Third Open Innovation Challenge: Annexes 1-2-3-4 ............................................ 67

Annex 1: WP4 and IAPH Agreement ......................................................................................... 68

Annex 2: III Challenge Guidelines .............................................................................................. 68

Annex 3: Communication ........................................................................................................... 68

Annex 4: Third Challenge Final Event ........................................................................................ 68

D4.5 Part 2 – Second Open Innovation Challenge Incubation: Annex 5 .................................. 68

Annex 5: Incubation .................................................................................................................... 68

D4.5 Part 3: Open Labs Networking: Annex 6 ........................................................................... 69

Annex 6: Open Lab Cultura: Agreements with Creative Industry and GLAMs ...................... 69

D4.5 Part 4: Partner Engagement: Annex 7 ............................................................................... 69

Annex 7: Partner Engagement Action 1 ..................................................................................... 69

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1. General Introduction

This document presents the main guidelines of Europeana Food and Drink Third Challenge’s

concept, organisation and execution, and reports about incubation activities related to the

First and Second Challenge Winners. WP4 aim is to deliver a “Learning Track” of Europeana

Food and Drink by creating and promoting environments for collaboration and innovation

between the creative industries and culture sector organisations (museums, archives,

libraries and galleries). Under Task 4.2 of WP4, Uniroma1 scopes, coordinates and delivers

3 Open Innovation Challenges to promote collaboration and innovation with digital cultural

content by Creative Industry organisations.

D4.5 part 1 ‘Europeana Food and Drink Open Innovation Challenge 3: The Outcomes’

(chaps. 2-8) is a report on the Third Challenge developing and results. This deliverable is

based on the Milestone 16 of Europeana Food and Drink1.

D4.5 part 1 has been realized by IAPH-Andalusian Historical Heritage Institute. This task was

entrusted to IAPH in order to reach the objectives, also relating to the Agreement

(Memorandum of Understanding) signed with the Open Lab Heritage of IAPH Seville, of

creating and promoting ground for co-operation and innovation between the Creative

Industries and the cultural sector organizations, WP4-Uniroma1 delivered the third

Europeana Food and Drink Open Innovation Challenge in Spain with the support of IAPH

and “Open Lab Heritage”. Such cooperation between Europeana Food and Drink Open Labs

‘Cultura’ (Rome) and Heritage (Seville) represents an important step to link and coordinate

Europeana Open Labs activities in order to encourage an effective networking. For this

reason, WP4 asked the Europeana Food and Drink Coordinator for a resources

reassignment between EF&D Open Labs by providing a detailed budget and tasks list to be

assigned to IAPH (Annex 1: Letter WP4 to Coordinator, 20 September 2015). After being

officially informed by the Project Coordinator (Annex 1: Coordinator’s Letter, 16 October

2015), the Project Officer found these changes justified and properly explained and had no

objection to what was proposed (Annex 1: Project Officer’s Letter, 19 October 2015).

The Third Challenge was focused on “Reworking Digital Heritage of Food and Drink to

Create Material Productions”; “Open Lab Heritage” (IAPH) has a specific knowhow on that

issue.

D4.5 part 1, section 1 (chap. 2) deals with some preliminary aspects concerning: the

challenge’s general concept, its contextualization in a productive and social innovative trend

that virtualization has been provoking in digital content reuse, and finally the required steps

for challenge execution. Third Open Innovation Challenge aims to connect the food and drink

heritage, the agri-food productions, and the Creative Industry 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.

All indispensable operations regarding Challenge design, activities coordination and

schedule, and Final Event program were arranged and shared by IAPH and Uniroma1 with a

very collaborative attitude. Specific attention was paid to III Challenge Communication: WP6

(ONB) coordinated the International social networks campaign, WP4 and IAPH the national

ones. A further communication action was managed by WP4 by exploiting available person

1 See DoW: Ambrosia Europeana Food and Drink Grant Agreement n. 621023, version date: 2013-11-15, (CIP), MS16, Annex 1, p. 37.

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months requested from WP4 to project partners2 and arranged as direct contact to Creative

Industry Networks in each country in order to expand Challenge visibility and to enhance

networking with local creative industries.

The D4.5 part 1, section 2 (chaps. 3-8) outlines the numerous activities necessary to launch

and to execute the challenge following in many aspects the already tried and tested II

challenge structure. Namely: the design and structure, the 'grassroots strategy' integrating

the challenge general concept, and the resulting metadata policy; the short video production

as digital presentation of content re-working phases. In addition, the undertaken activities

were listed and explained: communication, contest platform customization, guidelines,

evaluation system adjustment, award design.

The document then describes the challenge execution phases: challenge launch, jury board

selection, awarded video-storytellers, and challenge Final Event taking place on

29 January 2016 at IAPH in Seville.

D.4.5 Part 2 ‘Europeana Food and Drink Open Innovation Challenge - Incubation Paths’

(chaps. 9-13) was produced by WP4-Uniroma1 and concerns Incubation schedule and

activities, enumerated and illustrated from September 2015 to January 2016 (D4.4. had

already described incubation first and middle stages).

First and Second Challenge Incubated applicants are concluding key-skills training although

study and professional commitments and related deadlines have delayed the previous

agreed schedule. WP4 solved that problem by adapting the schedule to the Incubated

applicants needs and by making more flexible the activities calendar and experts and

stakeholders availability. That was necessary in order not to dissipate incubation background

and just achieved know-out as well as incubated product refining. A detailed Incubation

schedule and workflow are reported. Finally, Incubation Key-skills were tested by Incubated

applicants and experts through feedbacks so that problems and suggestions could emerge.

In the frame of II Challenge Incubation different formats and typologies of video production

(Video: The Mulberry Affair) were experimented as training step and further Europeana

(area: Food and Drink) content reuse practice: trailer, documentary, promo-video constituted

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.

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Competitors were requested to submit a product, either in 2D or 3D, by re-using Europeana

Digital Library content. Products should contribute to highlight the heritage values inspiring

the challenge. Applicants must re-use and rework Europeana contents creatively,

transforming intangible cultural content into tangible objects.

Winners and best products were presented at the Challenge Award Event taking place on

29 January, 2016, in Seville.

4.1 Communication Plan (Uniroma1)

Uniroma1 planned communication work to ensure the III Challenge visibility and encourage

participation. It was scheduled in 5 steps in collaboration with IAPH, Seville and

Österreichische Nationalbibliothek (ONB):

Launch Communication Campaign: (2015, September).

Recall for Challenge Application Deadline (2015, October).

Third Challenge Final Event Launch (2015, December).

Third Challenge Final Event Program (2016, January).

Third Challenge Award (2016, 29 January 2016): Report about Final Event.

Targets were identified on different levels:

Europeana Food and Drink Project network.

Europeana Food and Drink communication on social networks.

Europeana Labs network.

For Italy:

Institutions interested in the Challenge’s theme.

Local consortia of Food and Drink production.

CNA network, in particular of Creative Industry.

Other Creative industries.

Social networks, by a specialized team of Uniroma1 (Facebook, Twitter).

In detail:

1) ONB Vienna, WP6 coordinator, was responsible for the main project-related

communication. Advance notice was given in the Europeana Food and Drink

Project Newsletter (Newsletter #6)8 before the III Challenge began (2015, October

1st) and the call including promotional material (pictures, web banner, standard text)

was shared among project partners via Basecamp to encourage promotion and

dissemination. Partners were provided by ONB with a standard text about

III Challenge to be translated, useful for WP4 Partner Engagement (see chap.

below).

Throughout the duration of the challenge and with relation to the Final Challenge

Award Event, there was continuous communication via the project’s website and

blog as well as social networks such as the Europeana Food and Drink Facebook

and Twitter Account.

8 http://us8.campaign-archive1.com/?u=af397922a2578802b31801c11&id=d0e5479662

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2) Collaboration in progress with CNA allowed to advertise III Challenge in Creative

Industry networks engaged in III challenge local and national communication. For

example, III Challenge flyers were distributed at “Next Event” (4-5 October 2015),

managed by Uniroma1’s partner’s CNA (Participants: 200 Creative Industries)

(http://www.sinergiedimpresa.it/adon.pl?act=doc&doc=356)

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

Europeana Labs Website

http://labs.europeana.eu/search?q=Europeana+Food+and+drink+challenge&filter

=on

4.1.2 Maker Faire Rome 2015

Participation of Uniroma1 at Maker Faire Event in Rome was very positive for the

III Challenge communication. Maker Faire organized by Sapienza University of Rome, (16-17

October 2015) is a national event modelled on USA Maker Faire and gathers Makers and

FabLab showing their creations to the audience: (http://ed2015.makerfairerome.eu/en/) .

Audience reached: 90.000 visitors.

In this framework Uniroma1 presented Europeana and the EF&D III Challenge with the

following actions:

Posters.

Flyers explaining III Challenge opportunities distribuited to Maker Faire stands and to

visitors.

30 minute Europeana and Challenge Presentation on 16.10. 2015 at Sapienza stand

(see Annex 3.3).

4.2. Communication Plan (IAPH)

For the Third Challenge and the Award Event Communication, the partners listed below were informed and specific news was released through:

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IAPH Website (http://www.iaph.es/web/canales/patrimonio-cultural/patrimonio-

inmaterial/europeanafoodanddrink/concurso/)

IAPH Facebook (https://www.facebook.com/patrimonioIAPH)

IAPH Twitter (https://twitter.com/IAPHcursosymas)

IAPH Linkedin (http://www.linkedin.com/company/instituto-andaluz-del-patrimonio-

hist-rico)

Andalusian Public Radio (http://alacarta.canalsur.es/radio/programa/es-la-vida/89 )

Europeana Labs Website (http://labs.europeana.eu/)

Europeana Food and Drink (http://foodanddrinkeurope.eu/get-involved/challenges-

and-events/challengethree/)

Europeana eNews

Student Association of Industrial Design of Seville University

(http://www.aedisevilla.es/concursos/3o-concurso-open-innovation-challenge/)

4.3 The Contest Platform

The Challenge platform consisted in a special section of the UP portal, called “Contest”,

dedicated to organizing and managing competitions. The system enables the uploading and

presentation of projects (innovation, entrepreneurship, social purposes, etc.) and consents

the evaluation and vote on proposals by jury boards or the public according to the rules

established by the organizers.

The cooperation between UNIROMA1 and UP for the Third Challenge allowed developing a

contest platform original version, in particular including the system of content pre-metadating

suitable to a functional and easy inclusion in Europeana, and the assessment tool in the Jury

Board reserved area.

The platform contained the following information:

A brief description of the challenge (theme, goals, type of products, competition

platform, Content Re-Use Framework, Evaluation criteria, Winner projects’ Incubation

and Award)

Entry criteria (subjects allowed to participate, deadline, English as a submission

language etc.)

Challenge Guidelines

Tutorial to access the platform and submit the concept/project

Assessment fields.

5. Developing the Third Open Innovation Challenge

The Third Challenge was opened on 1 October 2015. The deadline for the submission of

applications was 20 December 2015. The Third Open Innovation Challenge consisted in a

competition between creative teams in a broad sense: professionals from the creative and

cultural industries, analogue and digital artisans, cultural managers and heritage

professionals, as well as small food producers: Teams that combined different profiles and

competed in synergy with food artisans were assessed particularly positively.

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The Third Open Innovation Challenge policy was based on a combination of three factors:

Contributing to highlight the value of heritage through products, either in 2D or 3D,

related to food and drink.

Increasing digital content available in Europeana in the field of food and drink, as a

means to promote the linkage of cultural heritage related to sustainable food and

small food production.

Testing a simple methodology to increase relationships between Europeana and

creative companies or freelancers in the creation and reusing of digital content on

specific topics.

Videos were uploaded by competitors on the UP platform http://contest.upeurope.com and

had to meet the following requirements:

Lasting max. 11 minutes.

Being in MP4 format.

Being produced in English or subtitled in English if produced in another language.

Respecting licensing conditions.

5.1 Challenge Issues and Problems

In this sense, the greatest challenge was communicating properly the goal of the contest.

The challenge tried to combine different complex issues, which were not easy to understand

and required more targeted explanations.

5.1.1 Content Availability in Europeana

Despite the Partners’ efforts in collecting and assigning metadata to food and drink contents,

the basic food and drink content core, which should have been ready in October 2014 and on

which Challenges should have been based, was not available as planned via a user-friendly

retrieval system. For this reason, WP4 thought to modify the challenge strategies in

progress: First Challenge as a “concept” contest on reusing Europeana contents; Second

Challenge aimed at enhancing food and drink heritage/industry/creative industry through

video storytelling and testing a grassroots strategy to contribute to Europeana; Third

Challenge as a true experience of creative production based on Europeana contents

(reworking digital contents to create 2D or 3D products).

Just like the First and Second Challenge, the Third Open Innovation Challenge could not

have user-friendly contents generated by the Europeana Food and Drink Project at its

disposal. Nevertheless, Europeana provides an amount of available contents related to food

and drink.

5.1.2 Europeana Reuse Restrictions

Difficulties related to reusing Europeana items (conditions and methods) were reported also

in Deliverable D4.3 (Chapter 3.2) and Deliverable D4.4. (Chapter 3.1.2). A limited part of the

Europeana contents are in public domain or under a CC License allowing an effective free

reuse, even commercial. It is not allowed to reuse images, videos or music without observing

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conditions fixed by owners. For this reason, it was necessary to offer applicants exhaustive

information about reuse tools, methodology and conditions.

5.2 Defining 2D Category

Admitted projects in this category were: graphic design products reworking images of

Europeana related to food and drink (food, objects, environments, tools...) for educational or

commercial use; e.g. labels, wrappers, stickers, logos, product packaging, printed on paper,

or on tissues, plastic and other materials.

No projects were presented in this category and it was declared null and void.

5.3 Defining 3D Category

Admitted projects in this category were: material products reproducing or reworking in 3D

details drawn from images related to food and drink (e.g. images of art or archaeology,

applied art, objects of rural life, environments, food…), for educational or commercial use.

Creative reworking of images was admitted, of course respecting copyright rules and

Europeana Rights Statement.

5.4 Data Processing and Rights Statements

Applicants had to declare under their sole responsibility that the submitted video was

original in all its parts.

Other rules for the reuse of digital content were:

Re-using Europeana Digital Library contents, applicants have to verify and declare

that the reused Europeana contents were available in public domain or under

Creative Commons License CC BY 4.0 or CC BY–SA 3.0.

Applicants must also declare that the content and realization of their video was an

original work made by themselves and did not affect in any way the rights of others,

including those relating to security of personal data; therefore, Europeana Food and

Drink and its successors are in any case exempt from liability of any kind, civil,

administrative or criminal, and they will be held harmless from any claim or demand

by a third party.

6 Evaluation

The evaluation process took place in two phases:

1. Self-assessment on the basis of Guidelines specific requirements (See Annex 2).

2. Jury board evaluation (members using a tool on the platform and assigning

scores).

The evaluation frame was built by modifying the scheme of the First and Second

Challenges (outcome of an international benchmarking), according to the need for

rewarding both aesthetic and technical quality, and expertise/originality.

The jury verified that all requirements were met. Should this not be the case, projects were

excluded from the competition.

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6.1 Jury Composition

The jury selecting and evaluating the submitted proposals was composed of 2 internal

experts from Europeana Food and Drink Project partners and 3 external experts. External

experts should be:

3D and creative industries experts

Museum merchandising experts

Design experts from European Designers Institutes

Jury members were appointed by IAPH with the support of Sapienza – University of Rome.

The Jury Board members were definitely appointed on 15 December 2015.

Final composition was:

o Aniceto Delgado Méndez (Chairman)

Andalusian Historical Heritage Institute (IAPH)

o Mateo Garcia (President AAD)

Andalusian Association of Designers

o Esther Díaz (Purchasing Manager)

Palacios y Museos S.A.

o Stefano Cassio (Director Centro Ricerche IED)

Istituto Europeo di Design S.P.A.

o Rimvydas Laužikas (EF&D Consortium)

Vilnius University

6.2 Evaluation Criteria

The evaluation was carried out on the basis of selected criteria specified below.

The jury assigned an overall score of max. 60 points for:

• Consistency with the objectives of the challenge: the product must be consistent

with the objectives and policies declared in the Challenge Guidelines (see in

particular Annex 2)

• Compatibility: the product fits the values and needs of the target group described in

the author’s text.

• Creativity: the product is made with a well-conceived and creative concept and

design.

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• Aesthetic Quality: the product is original in form and content, it shows a good

aesthetic quality and it’s technically well made.

The Jury assigned an overall score of max. 60 points for:

• Scalability: the product could foster multiplier effects and new productions and

innovations.

• Communication effectiveness: the product should be recognizable and have

appeal.

• Usability: the product should be easily enjoyable and understandable.

• Trialability/Reuse: the product concept is easy to be re-used.

The Jury assigned an overall score of max. 60 points for:

• Community engagement: the product generates forms of engagement for a

community.

• Cultural impact: the product plays an educational role and motivate people to get in

touch with digital cultural heritage content.

• Market benefits: the product is expected to be re-used for commercial purposes

and business.

The Jury assigned an overall score of max.60 points for:

• Competency: balance between applicants’ skills and product quality (example:

professional competence but video bad quality = low score; professional competence

and good quality = medium score; non-professional competency but good quality =

high score).

• Feasibility: the product is made through technologies and materials available at

reasonable cost

• Costs: a balance between costs and product quality (example: high cost but bad

quality = low score; high cost and good quality= medium score; low cost but good

quality = high score).

• Solvability: the relation between investment in time/money and the quality and

usefulness of the product is reasonable.

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Other general rules were:

The jury selected the winning project and best projects at its sole and absolute

discretion. Applicants who submitted the winning video and all best videos were

informed and invited to the Challenge Award Event

The project evaluation procedure was to be completed within 20 days from the

submission deadline

Cash awards were to be considered on a pretax basis

Both in project assessment and evaluation phases the jury members acted in good

faith, respecting privacy information and applying good professional practices. The

jury members shall not be held responsible or liable for any dispute on originality and

authorship of the work, parts of it or limitations to third parties. In addition, they didn’t

sign any confidentiality agreement

All documentation sent by the applicants taking part in the competition remained the

property of the authors, who are able to protect it by means of law

Submission for the challenge implied the full and unconditional acceptance of all

general terms and conditions of the competition by the applicants.

6.3 Competitors and Winners

Five applicants took part in the competition for the 3D Category; for the 2D Category none

took part and it was declared null and void.

3D Category first place was assigned to:

A Light creation by Gabriele Crivelli

The included video summarized the process of creating a table lamp. The concept started

from a glass noticed in the painting ‘Still life with saltcellar’ by Pieter Claesz (see below)9. The

geometry of the glass stem calls for successive sketches the luminous geometry from which

transpires the lamplight Mille Forum, created by moulding 3d chalk dust (Color Jet Printing).

9 http://www.europeana.eu/portal/record/90402/SK_A_4839.html

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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

Europeana Creative D3.3 Europeana Content Reuse Framework: http://pro.europeana.eu/files/Europeana_Professional/Projects/Project_list/Europeana_Creative/Deliverables/eCreative_D3.3_KL_v1.0.pdf)

Kennisland (Lisette Kahlshoven, Maarten Zeinstra, Licensing Guidelines, Europeana Food and Drink, Amsterdam 2015, file:///F:/Progetti%202014%20UNI/Ambrosia/Incubation/Legal%20frame/Europeana%20Food%20and%20Drink%20-%20Licensing%20Guidelines%20(1).pdf;

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

15 http://corsi.unibo.it/2cycle/team/Pages/default.aspx (accessed: 02/2016)

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taught about those topics has been overcome because they constitute teaching subjects

guaranteed by the TEaM Master’s course16.

10.2 Europeana Food and Drink FoodNode Communication

In spite of Sonnino’s new learning situation, Uniroma1 is following Sonnino’s progress in

Bologna University, particularly about communication. With the approval of Uniroma1 and

Bologna University, Sonnino presented the refined FoodNode concept at the Rimini Beach

Mini Maker Faire, 15-16 November 2015: 320 makers from all over Italy exposed their digital

products and creations and ten thousand visitors took part in the event17. The event collected

various FabLab’s experiences and was supported, inter alia, by CNA (Italian National

Confederation of Crafts and Small and Medium Enterprises), Region Emilia Romagna

Enterprise Consortium, Romagna FabLabs and Rimini Startups. It represented a good

chance to meet investors and startup managers, share experiences and find partners,

especially developers for FoodNode, what Sonnino actually needs to execute FoodNode

concept.

In the frame of this event Sonnino showed the Europeana Food and Drink incubated

FoodNode and was contacted by a Romagna and S. Marino local enterprise consortium.

That network was about to launch the contest: ‘Nuove idee Nuove imprese’ (New ideas, new

Enterprises)18 designed for boosting new young startups and offering a targeted preparatory

program focused on business plan and financing, in which Sonnino was invited to participate

by presenting FoodNode.

10.3 Business Plan Skills through Enterprise Consortium

The ‘Nuove idee Nuove imprese’ program will begin in March 2016 and will include two

sessions: topics as marketing plan, digital marketing, startup management and organization,

and concept testing compose the first one (March-April 2016) focused on design a business

plan draft. After testing the first business plan draft and choosing the best projects (May-

September 2016) emerged from the first part, selected projects will be allowed to start the

second session, elaborating on the business plan, financing opportunities for startups,

economic-financial projections. Finally, the three best projects will be awarded 20.000,

12.000 and 6.000 Euros prizes as start capital to ground a startup (October 2016).

16 See: http://corsi.unibo.it/2cycle/Team/Pages/study-programme-20122013-in-details.aspx?scope=Prospective (accessed: 02/2016)

17 http://lnx.robotfactory.it/en/events/mini-maker-faire-2015-rimini-italy/ (accessed: 02/2016)

18http://www.nuoveideenuoveimprese.it/media/editor_files/FlyerA5_NINI%20Iscrizioni2016_FEBB_WE

B.pdf

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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).

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For this reason, Sonnino’s learning path seemed to Uniroma1 to be compatible with the

Europeana Food and Drink Incubation requisites and to offer a wide range of opportunities

for a positive economic outcome. In addition, the scientific supervision of Bologna University

(seat: Rimini) has doubtless constituted a quality assurance for project improvement, as the

Agreement signed by Sonnino and Uniroma1 required. Finally, Sonnino was requested

regularly to inform Uniroma1 about learning achievements and possible reworking of his

Europeana Food and Drink project. He was assured Europeana Food and Drink Open Lab

Cultura would be at his disposal for final project problem solving, consulting, communication

and presentation.

10.5 Uniroma1 Marketing Key-skill Contribute

Although Sonnino’s Master schedule and Business plan Marketing skills offered by Bologna

University represent an education guarantee suitable for EF&D Incubation program,

Uniroma1 at any rate proposed him attending a Social media viral marketing training with

CNA expert. In this way Sonnino would complete by Open Lab ‘Cultura’ his Incubation by

reaching a basic marketing items; at the same time, he would exploit this knowledge for

future Master. Sonnino agreed and asked Uniroma1 to start training in March, compatibly to

his Master calendar.

10.5.1 Social Media Marketing Topic

Social Media Marketing program is composed of three sessions:

a) I Session: Social Media: Actual Scenario.

Analysis of main social media platforms.

Compared European and Italian statistical datas about social media platforms.

Social media and transformation of advertising communication traditional paradigms.

b) II Session: Social Media content strategy: content as priority.

Content crucial role concerning social media marketing strategies.

Detailed testing of more successful social media marketing campaigns.

A Social Media Campaign designing and planning: procedures and objectives.

c) III Session: Social Networking: how influencers can be intercepted and involved.

Social media promotion strategies.

Increasing on line reputation through influencer involvement.

Community building: strategies and activities.

11 Making a Video (II Challenge Incubation)

Raffaella Marandola and team (Alessandra Marfoglia) could refine her incubated Video at

Open Lab ‘Cultura’- Audio Video Lab between November 2015 and January 2016, the

Incubation schedule had to respect Marandola’s professional engagements and at the same

time included some additional tasks useful for a video presentation: making a trailer, shooting

a promo video, organizing a video campaign.

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11.1 About The Mulberry Affaire

The Mulberry Affair is a mockumentary about missing reporter Robert Petillo and the finding

of his documentary videotapes about the sudden disappearance of mulberry trees. The

videos reveal, aside from the story, the prodigious properties of that fruit and the existence of

an international conspiracy that has been boycotting its diffusion. The disappearance of the

reporter seems to be related to his own investigation after visiting his birthplace, Urbania in

Central Italy, and noticing there were no longer any mulberry trees around his house.

The movie mashes up videos, images and historical records under public domain or Creative

Commons license (CC BY – SA 3.0 / CC BY 4.0.) from Europeana. Many of the inserted

videos are reportages from the Twenties, provided by the Netherlands Institute for Sound

and Vision, and have been used by simulating old home movies. In other points of the story

the audiovisual materials recreate traces of the historical conspiracy against the mulberry:

intelligence agencies, scientific labs, nursing homes. Historical sources, such as

photographs, portraits, poems and manuscripts have been inserted to reconstruct the story –

true and fictional – of the tree and its fruit.

11.2 Incubation Audio-video items

The Audio-Video Lab incubation has been structured to combine training lessons, practical

exercises and work on the finished product as the following tasks:

Focus 1:

Technical analysis of the video product: Critical points identification; optimisation tools definition and digital effects processing. Activities:

Image colour correction (analysis of the video electrical signal with monitor of the

waveform and vectorscope, monitoring luminance and colour levels) and audio

correction through ProTools software system;

Video editing exercise on trailer realization: video script; editing (in Avid Media

Composer and Adobe Premiere software); soundtrack insert; visual effects

processing; subtitling; final cut; video export, metadata creation and compression.

Focus 2:

Shooting techniques and video format:

Presentation of the main shooting styles on documentary production; photography technique

for interview scenes; audio recording; High Definition formats and video standards.

Activities:

Promovideo design and production:

- Training on preliminary study and screenplay writing; interviews and other scenes

shooting; creation of 2D and 3D info-graphic (in Adobe After Effects software); video-

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editing; subtitling; video export, metadata creation and compression; upload on

YouTube account and description.

The Mulberry Affair final version:

- Script optimisation; cast definition; location research; new scenes shooting;

Europeana content research and video optimisation; scenes replacement and new

sequences insert; soundtrack research and insert; audio optimisation; colour

correction and digital effects processing; subtitling and graphic titling; video export,

metadating and compression; DVD encoding, authoring and packaging (in AvidDVD

by Sonic software); upload on YouTube account and description.

The Mulberry Affair trailer final version:

- New scenes replacement; digital effects processing, video export, metadata creation

and compression.

11.3 Marandola Incubation Step (II Stage): Video Products

Incubation training boosted Marandola’s creativity and her re-working of the original video as

a trailer. Besides, she also practiced a new format video, a Promovideo, and used Open Lab

‘Cultura’ sections and services as film plot by producing a Europeana Open Lab Promo

which may be reused as promo-pattern for the Europeana Open Lab Network. Summarizing,

Incubation video- production activities were:

Making a trailer: The Mulberry Affaire trailer

https://drive.google.com/file/d/0BxGz8t9yzR6jTElQVkxNdzQ2MjQ/view?pref=2&pli=1

Making a Promovideo, useful for promoting products/services. Marandola shot a long

and a short videos showing Digilab- Europeana Open Lab Cultura activities (link:

https://youtu.be/TeaTRy-OIco)

Making the The Mulberry Affaire final version

1 Phase: Preliminary Version (Seville):

https://www.youtube.com/watch?v=9_AfBK4rlBg

2 Phase: Final Version (in progress)

11.4 Making a Trailer: The Mulberry Affaire Trailer

The work plan started with a survey on existent movie trailers from the same genre, i.e.

documentary, crime, mystery) which has allowed to identify practicable narrative and

technical strategies.

Next stage was the selection of short narrative units from the main video with the following

purposes:

1. Summing up the movie plot, drawing audience’s attentions without revealing the

entire story.

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2. Emphasising crime and mystery mood.

3. Displaying the presence of historical archive contents.

Thereafter, the video-editing phase focused on the enhancement of the abovementioned

issues (points 2 and 3) through two main integrations:

Proper sound track and sounds effects;

Visual special-effects.

Where needed, the selected narrative units were processed under colour and audio

correction tasks.

The final stage was dedicated to the implementation of English subtitles, metadata and to

video compression for the online uploading.

As the video trailer was based on the first The Mulberry Affair version, it will be necessary to

modify it when the final version is completed.

11.5 Video-making Incubation: a Promovideo about Open Lab ‘Cultura’ for DigiLab - Uniroma1

The Incubation program of Europeana Food and Drink OpenLab Cultura focuses on

enhancement of Raffaella Marandola’s video The Mulberry Affaire, submitted for the

Europeana Food and Drink Second Challenge. In addition, Open Lab Cultura provided a new

chance on audiovisual training. Marandola and her team member Alessandra Scarfoglia

have been required to produce an institutional video promoting Europeana Open Lab

‘Cultura’ - DigiLab Centre – Uniroma1 within and outside its academic community.

The purpose of this activity is to implement new competences acquired during the incubation

program and to apply them to different strategies of audiovisual communication.

Working plan includes different stages:

An initial survey phase on the center research activities, its laboratories and its

excellences.

Meetings with research area managers and project coordinators.

Collection of multimedia contents produced by the center.

New images production.

Screenplay concept in collaboration with the academic staff.

Considering Europeana Open Lab ‘Cultura’ – DigiLab’s multidisciplinary nature and its wide

range of activities, the promotional video was composed of two complementary sections:

The first section aims at showing the center structure (disciplinary fields, research projects,

national and international partners, European and national projects including Europeana

Food and Drink). For this reason, it was preferred to display information through a dynamic

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sequence of 2D and 3D info graphics in order to simplify and, at the same time, to highlight

those contents.

The second section was structured into interviews with professors, young researchers and

managers of laboratories cooperating with DigiLab - Uniroma1. The objective was to create a

less abstract perception of the center by showing several faces, voices and skills.

The double structure was also designed to allow future reuses: it is possible to split the video

into shorter units resulting more appropriate to web fruition and more functional to key words

attribution (on YouTube) for a search engine optimization. Furthermore, it is possible to

extract - from the video master- some audiovisual presentations for each area of the center,

useful in other contexts such as conferences, seminars and funding applications.

11.6 Making The Mulberry Affaire Final Version

The Europeana Incubation Winner Video was improved in several aspects according to two

realization phases:

a) Phase 1: Preliminary Version (shown in Seville, January 2015).

b) Phase 2: Final Version in progress (March 2016).

The technical work plan was structured along the following main tasks:

New scenes shooting.

Sound track research and integration.

Insert of video and audio effects.

Sound and colour correction.

Insert of new contents under Creative Commons from Europeana and other platforms

such as Wikimedia.

Subtitles and graphic title editing.

Metadata implementation.

Video export and compression.

DVD encoding, authoring and packaging.

In order to exploit Europeana contents new scripts were written giving more space to

historical information about mulberry tree and its wider social context. This way, the part of

each character is significantly connected to the archive images. Furthermore, the sound track

was chosen according to the historical period or geographic sources of the different archive

contents (i.e. Middle Age songs, Asian sounds etc.).

With regard to the Europeana contents, a deeper research on the was carried out and

allowed to retrieve useful multimedia materials. But even so, a few sources identified during

the first video version were not found on the new beta release of Europeana Collections.

It is also important to underline that almost all re-usable sources are old items and the

research has not led to identify more contemporary ones. This posed one of the major

barriers to aligning different video formats and to improving video quality level. In fact, a

graphical black mask for the old movies sources was created, avoiding the deformation of

their original formats into the contemporary video proportions. This operation permitted to

adjust the displaying of the two different video standards: i.e. the old and compressed ones

from the archive (on 4:3 format) and the ones filmed in high definition resolution (on 16:9

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format). Conversely, images and scanned books did not cause any quality problems on video

editing task.

11.6.1 Adding New Europeana Contents

Here below some new Europeana contents (Food and Drink area) reused for refining The

Mulberry Affaire video:

http://www.europeana.eu/portal/record/

11628/_FOTO_AM_UNITS_ITALY_10680

0.html

http://www.europeana.eu/portal/record/

11628/_FOTO_AM_UNITS_ITALY_12870

4.html

http://www.europeana.eu/portal/record/916

106/

vbg_object_VM28237.html?start=20&quer

y=bombyx+

mori&startPage=1&qf=REUSABILITY%3A

open&qf=

REUSABILITY%3Arestricted&rows=24

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http://www.europeana.eu/portal/record/920

0105/

BibliographicResource_3000006132373.ht

ml

Finally, other new useful contents for Mulberry storytelling extracted and “remediated” from

Europeana:

http://www.europeana.eu/portal/record/9200105/Bibliogr

aphicResource_3000006090396.html

http://www.europeana.eu/portal/record/2021601/media_

667635.html

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http://www.europeana.eu/portal/record/2021601/media_

24059.html

http://www.europeana.eu/portal/record/2021601/media_

149028.html

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:

21 1954 Italian Style srl. at www.mood54.com.

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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

23 Source: https://sanleen.wordpress.com/tag/marketing-strategy/ (accessed: 12/2015).

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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.

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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.

Incubated Project

Expert Partner's key

skill 1

Expert Partner's key

skill 2

Expert Partner's key

skill 3

Expert Partner's key

skill 4

Europeana Labs

Web Site

Available Apps

API and Tools for

Content Re-Using

Open

Labs

Crowdfunding Platform

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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

29 http://digilab.uniroma1.it/en

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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.

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15.1.1 Activities and Proceedings

What Europeana Food and Drink partners did to promote the challenge as WP4 required:

a) WP6 sent partners a mailing-text in English about III Challenge and asked them to

translate it. That is the first step Uniroma1 required for communication about the

Challenge.

b) Partners were requested to contact at least 1 Creative Industry network and/or a

FabLab in their respective country (having a national relevance or also a local one).

c) Partners could contact a central network board, a member of a network, the press, a

communication manager etc.

d) After contacting one of the subjects above, partners sent material about the

Challenge: translated mailing, and in addition Challenge guidelines (in English) they

could find on the project web site. Beside communication, partners had to take part in

an event, seminar, meeting, skype meeting, video, interview useful for promoting

challenge, if requested by contacted creative industries/ FabLabs.

e) Partners should also check if contacted Creative Industry/Fablab network intended to

participate in the Challenge, and in case of a positive response they had to ask how

many applications they could provide.

f) Finally, Uniroma1 asked partners to write a short report where they described

activities undertaken for Challenge promotion.

g) Report had to include at least the following information:

Typology of contacted institution: (i.e. FabLab, Creative Industry network,

enterprise association, public institution etc.).

Contacted Subject: name of Creative Industry network, of FabLab, of

enterprise association etc.

Short presentation (5 lines max) on contacted network/FabLab and on its

relevance in its own country.

Links to contacted network/FabLab’s web and Social network.

Contacted Person and Position: name and task (email).

Activities promoting III Challenge contacted subjects had provided (list).

Contacted institution/network/enterprises/labs’ eventual applications for

Challenge Contest (number, approximately).

Others: other information partners consider significant about contacted

institution’s initiatives for the challenge.

Note: Partners possible general remarks (for example: difficulty in contacting

networks etc.).

15.1.2 Action 2: A Collaborative Creative & Cultural Partnership Framework

One aim of WP4 aim is to deliver the “Learning Track” of Europeana Food and Drink by

creating and promoting environments for collaboration and innovation between the Creative

Industries and culture sector organizations.

Under the Task 4.3 of the WP4, Uniroma1, with the support of all Creative Industry and

Culture sector partners, undertook a critical analysis and research to identify strengths and

weaknesses in Public/Private Collaboration and to define a Creative & Cultural Partnerships

Framework for effective partnership between the Creative Industries and culture sector

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across Europe. This document illustrates the main results of the research on the Culture

sector and Creative Industries partnerships’ strengths and weaknesses, identifying lessons

learned to develop a Creative & Cultural Partnerships Framework and proposes some key

characteristics of effective partnerships between Creative Industries and Cultural Institutions

focused on digital cultural content.

In order to reach the purpose, we decided to implement the research through a mix of desk

and field methodology including survey work, a questionnaire and some in-depth interviews.

The basis of the research reflects Europeana Food and Drink’s assumption that digital

cultural contents represent an opportunity that could be translated into business and social

developments with an effective fallout for both Creative Industries and Cultural Heritage

Institutions.

Uniroma1 has analyzed some of the key literature in the field about the Creative Industry and

Cultural sector starting from the different definitions of sectors, activities, skills and market.

15.1.2.1 Questionnaire

Uniroma1 has also submitted an online questionnaire to all 29 Europeana Food and Drink

partners. The questionnaire consists of three sections identifying strengths and weaknesses

in partnership experiences, surveying partner’s opinion on the factors that underlines

successful collaboration between stakeholders in the Creative & Cultural sector and indicates

some case studies.

The document will be organised in 4 Sections.

Section 1 introduces the scope of the document, its role within Europeana Food and

Drink tasks and the approach developed to carry out activities of contextualisation

analysis and resulting materials.

Section 2 provides an overview of the Creative & Culture sector field in European

context and in Europeana’s strategy and projects.

Section 3 reports the EFD questionnaire results and the analysis of representative

Europeana case studies.

Section 4 provides a Partnerships Framework and the Dissemination campaign

planning.

16 Conclusions (D4.5 Part 5)

The Third Open Innovation Challenge focused on art and design reuse opportunities by

creating objects from intangible digital collections. It showed a new reuse practice in

comparison with the II Challenge: Reuse as Europeana content aggregation for storytelling

strategies and video-production. From reuse as contents mash-up to producing a handcraft,

an object from one digital artefact.

Crucial issues faced in this report are:

Strategy for connecting Europeana Food and Drink Open Lab Cultura and Open Lab

Heritage as networking case between Europeana Labs.

Launching communication actions more in advance for inducing a more capillary

Challenge spread (Wp4+WP6).

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Strengthening Challenge communication towards Creative enterprises on behalf of

Project Partner cooperation (WP4 Partner Engagement).

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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2013,

https://books.google.it/books?id=Nz4rhrknzR0C&pg=PA15&lpg=PA15&dq=3D+perception+change&s

ource=bl&ots=_Gbldy0Ql7&sig=T-

4PBwbtvpCFsv6RaJEajqVCKS0&hl=it&sa=X&ved=0ahUKEwiV4a6Y1obLAhXoC5oKHehbCV84ChDo

AQhYMAo#v=onepage&q=3D%20perception%20change&f=false

-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.

http://ec.europa.eu/finance/general-policy/crowdfunding/index_en.htm#maincontentSec1.

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-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

-Gaboury Jacob, Hidden Surface Problems: On the Digital Image as Material Object, Journal of Visual

Culture, . 14, 1, April 2015, 40-60.

http://vcu.sagepub.com/content/14/1/40.full.pdf+html

-Gordea Sergiu et alii, CultureCam: Exploring Europeana Images to Inspire Creative Design, http://ceur-ws.org/Vol-1352/paper9.pdf.

-Hassenzahl, Marc, User experience and experience design. In: Soegaard, Mads and Dam, Rikke Friis

(eds.), The Encyclopedia of Human-Computer Interaction, 2nd, Denmark, Ed. Aarhus - The Interaction

Design Foundation, 2013

http://www.interactiondesign.org/encyclopedia/user_experience_and_experience_design.html.

-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,

04/03/2013

http://cyberlightning.com/blog/2013/04/03/integrated-3d-internet-and-internet-of-things-may-change-

our-perception-of-the-world/Posted on 03/04/2013

-Reski Nico, Change your Perspective Exploration of a 3D Network created with Open Data in an

Immersive Virtual Reality Environment using a Head-mounted Display and Vision-based Motion

Controls, Master Thesis, Univ., Kalmar: Lineeuniversitetet, October 2015.

http://lnu.diva-portal.org/smash/get/diva2:861573/FULLTEXT01.pdf

-Sahlman William A., 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

-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

Foundation, 2013 https://www.interaction-design.org/literature/book/the-encyclopedia-of-human-

computer-interaction-2nd-ed/visual-aesthetics

-3D Economy Katalog: https://www.dropbox.com/s/o5yguljarz2xewu/3deconomy%20katalog.pdf

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World Wide Web

http://acs.beniculturali.it/english/

http://www.adi-design.org/

http://www.archivio.francarame.it/home.aspx

http://booktwo.org/notebook/sxaesthetic/

http://corsi.unibo.it/2cycle/team/Pages/default.aspx

http://da3.digitalaesthetic.org.uk/?doing_wp_cron=1456187551.4859580993652343750000

http://ebn.eu/

http://ed2015.makerfairerome.eu/en/

https://en.goteo.org/

http://www.fabfoundation.org/fab-labs/.

http://fab-lab.eu,

http://www.lincei.it/modules.php?name=Content&pa=showpage&pid=60;

http://lnx.robotfactory.it/en/events/mini-maker-faire-2015-rimini-italy/

http://www.nuoveideenuoveimprese.it/media/editor_files/FlyerA5_NINI%20Iscrizioni2016_FEBB_WEB

.pdf

http.//www.makerbot.com http://www.martinerikandersen.dk http://www.mood54.com.

http://www.3deconomy.dk

http://www.stereoscopicmedia.org/

http://www.sovraintendenzaroma.it/

http://www.thingiverse.com

http://www.virtutim.eu/;

18. ANNEXES (D4.5 Part 1 - Part 4)

This section brings a number of documents attesting activities of:

o Europeana Food and Drink Third Open Innovation Challenge, corresponding to D.4.5

Part 1 (Annexes 1-2-3-4).

o Europeana Food and Drink Incubation, corresponding to D.4.5 Part 2 (Annex 5).

o Europeana Food and Drink Open Lab ‘Cultura’ Networking with Creative Industry and

GLAMs (Annex 6).

o III Challenge Project Partners Engagement – Action 1 (Annex 7).

D4.5 Part 1 - Third Open Innovation Challenge: Annexes 1-2-3-4

This section brings a number of documents attesting activities of Europeana Food and Drink

Third Challenge organization and execution required. They are grouped in 4 levels:

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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

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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.