www.ingenio.upv.es
REMA Meeting, Maastrich | 29 June 2013
Project: Study on Innovation in
Early Music Festivals
INGENIO [CSIC-UPV] Ciudad
Politécnica de la
Innovación | Edif 8E 4º |
Camino de Vera s/n |
46022 Valencia
tel +34 963 877 048
fax +34 963 877 991
Elena Castro-Martínez. INGENIO (CSIC-UPV)
Albert Recasens (Lauda Música, SL)
INDEX
2
11)
About Us
22)
How we work
33)
What we do (our research line)
44)
A brief description of the concepts of innovation that we are
using
55)
…. and their application to cultural sector
66)
What we aim in the project
77)
What we expect from REMA and its members
88)
Schedule
99)
What we can offer to REMA and its members
ABOUT US
The Spanish National Research Council (CSIC) is
the biggest public research organization in
Spain:
 126 institutes
 14,050 CSIC staff + 4,605 other institutions
staff (joint centres)

804 M€ budget
 3,628 on going R&D projects
(2011 data)
INGENIO [CSIC-UPV]
 22 researchers

7 PhD students
 10 support staff

3 students
 INGENIO is a member of EuSPRI
Forum
Main research line: innovation studies
3
HOW WE WORK
 INGENIO (CSIC-UPV) aims to
contribute to the best understanding
of the innovation processes as well as
science and innovation policies
which can improve it.
 We also aim to contribute to
innovation culture and to disseminate
innovation concepts
 We are a multidisciplinary group of
specialists in innovation studies
4
scientific excellence +
social relevance
We cooperate with
other specialists and
entities
OUR RESEARCH LINE
5
 Starting: Study of interactions of humanities and social
science's CSIC research groups with socio-economic
agents (2004)
 Identifying very interesting cases of interactions
between humanities’s research groups and cultural
institutions [one of them, musicology]
Study of innovation processes in cultural sector:
 Archeology (with INCIPIT)
 Historic heritage (with IAPH)
 Documentary ‘ s production
 Early music production [with Lauda Música]
INNOVATION CONCEPT
6
 AN INNOVATION is the implementation of a new or
significantly improved
 product (good or service),
 or process,
 a new marketing method,
 or a new organisational method
(Oslo Manual, OECD 2005)
TYPES OF INNOVATIONS BY NATURE [1]
7
 PRODUCT INNOVATION: significant differences in
purpose,
in
performance
[functional
concept,
presentation], in technological concept [raw materials,
components, technological characteristics] of the product
compared to existing ones.
 PROCESS INNOVATION: adoption of production methods
technologically new or significantly improved, including
methods of product delivery.
The definitions of product innovation focus on functional or user
changes and, thus, do not include changes in the meanings,
aesthetics or content produced in the area of culture.
TYPES OF INNOVATIONS BY NATURE [2]
8
 MARKETING INNOVATION: application of a new
marketing method involving significant changes in:
 product design
 or packaging of a product,
 its location, promotion or pricing.
 ORGANIZATIONAL INNOVATION: introduction of a new
organizational method in
 business practices,
 in workplace organization
 or in external relations of the company
AND THEIR APPLICATION TO CULTURAL SECTOR
Product innovation:
In the art form (premieres or revivals contemporaries, new
approaches to the interpretation or rereading, new staging or
contextualization, atrezzo)
In the use of new media (MP3) or media (internet tracking
concert or outdoor screens)
Process innovation
Innovations in the process of production and interpretation,
including technologies or materials (sound control, lighting
and scene ...)
Marketing Innovation:
New forms of dissemination that attract new groups of
consumers
New broadcast channels (facebook) and marketing (web)
New models of consumption (streaming, as Spotify, ..)
Innovation in business management and relationships
New business models (clusters, networks ...)
New forms of financing (crowfunding)
New relationships with suppliers, other organizations or groups
related (festivals), local authorities, the audience, ….
Source: Own ellaboration from Bakhshi and Throsby (2010)
9
In response to changes
in the environment:
• Technologies (ICT)
• Demand patterns
• Public and private
sponsorship
• Concept of value
creation
SITES OF INNOVATION IN THE CREATIVE INDUSTRIES
Fuente: Miles & Green (2008): “Hidden innovation in the creative industries”. NESTA
10
INNOVATION SYSTEMS APPROACH
11
A national system of innovation has been defined as follows:
.. the elements and relationships which interact in the
production, diffusion and use of new, and economically
useful, knowledge ... and are either located within or rooted
inside the borders of a nation state.”
(Lundvall, 1992)
A sectoral system of innovation is as “a set of new and
established products for specific uses and the set of agents
carrying out market and non-market interactions for the
creation, production and sale of those products.
(Malerba, 2002)
STAKEHOLDERS OF AN EARLY MUSIC FESTIVAL
Universities
and
research
bodies
Suppliers
Sponsors
Equipments
and
services
Musicians
Contents
Demands
Owners of
buildings or
historic sites
Methodologies,
knowledge
Festival
Visibility,
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Production
Contents, services
Revenues, attention
Volonteers
Recording
compamies
Mass
media/journals
Distribution
Consumption
Local
government
Resources, prestige
Services
Audience
INNOVATION STRATEGIES
 Doing [R&D, organization,…)
inside the firm or entity
 Buying (equipments,
materials, services)
 Cooperating (interacting
with suppliers, audience,
musicians, other festivals )
… and results
- Sales
- Benefits
13
CONTEXT NEEDS
 Talent (creative personnel and
expertise)
 Access to sources of knowledge and
diverse content (digital resources)
 Space to interact with others,
investigate, ... (networks, laboratories)
 High quality Information and
Communications Technology (ICT)
Services
 Funding sources adapted to each sector
(≠ risk)
 Intellectual property protection and
other laws and regulations that
facilitate the creative process
WHAT WE AIM IN THIS PROJECT
14
To analyse the Early Music Festivals (EMF) within the
Innovation Systems framework [*]
– Identify the kind of innovations which an EMF produce
– Analyse to what extent the organization and context helps
or makes the innovation difficult;
– Define and establish thoroughly the different agents which
interact at the festival as well as the kind of relationships
which are established to innovate;
– Identify the results of innovation activities and
– Identify the main strategies used to innovate.
[*] Lundvall, 2007
WHAT WE EXPECT FROM REMA AND ITS MEMBERS
15
1. Your comments on the project and your suggestions
to improve it.
2. REMA's involvement in the project
3. The cooperation of two or three volunteers to
review the actual questionnaire (today or
tomorrow?)
4. REMA’s members fill in the questionnaire on line
5. The review of the project results
6. The suggestion of some relevant stakeholders to
interview them
SCHEDULE (2013)
Time (weeks)
Activities
Publication of the online questionnaire
Filling the questionnaire by REMA members
Collection and analysis of responses
Interaction with the respondents for clarification
Draft of the first report
Difussion of the 1st report to REMA and its members
Interviews with stakeholders
Feedback analysis and ellaboration of the final report
Final report sending to REMA and its members
Writing scientific publications
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July
August September
October
November December
1 2 3 4 5 1 2 3 4 1 2 3 4 1 2 3 4 5 1 2 3 4 1 2 3 4
WHAT WE CAN OFFER TO REMA AND ITS MEMBERS
 A report on the results of the study
 A best comprehension of innovation concepts applied to
your sector
 A better understanding of your innovation capabilities
associates, activities and results (Innovative performance
indicators?)
 Acknowledging your important role as innovating agents
and innovation diffusors in the European cultural sector
(of interest to policy makers)
 The possibility to exchange good practices in innovation
 Our acknowledgments in all the papers we will publish!!!
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MAIN REFERENCES
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Bakhshi, H. y D. Throsby, Culture of Innovation. An economic analysis of innovation in arts and cultural
organizations. NESTA. 2010. http://www.nesta.org.uk
Carlsen, J., T.D. Andersson, J. Ali-Knight, K. Jaeger, R. Taylor, Festival management innovation and
failure, International Journal of Event and Festival Management, V. 1, N. 2, pp.120-131, 2010
Castro-Martínez, E., Recasens, A.; Jiménez Sáez, F. (2013), Innovation systems in motion: an early music
case, Management decision, V. 51, N. 6 (forthcoming)
Freeman, C. (1974), The economics of industrial innovation, Penguin, Harmondswoth
Hjalager, A.M., “Cultural Tourism Innovation Systems. The Roskilde Festival”. Scandinavian Journal of
Hospitality and Tourism, 9 (2-3), pp. 266-287, 2009.
Larson, M., Festival Innovation: Complex and Dynamic Network Interaction, Scandinavian Journal of
Hospitality and Tourism, V. 9, N. 2–3, pp. 288–307, 2009.
Lundvall, B.A. (1988), “Innovation as an Interactive Process: from User-Producer Interaction to National
Systems of Innovation”, en Dosi, G., Freeman, C., Nelson, R., Silverberg, G., y Soete, L. (Eds.), Technical
Change and Economic Theory, Pinter Publishers, London y New York.
Miles, I. y L. Green, “Hidden innovation in the creative industries”. London, NESTA, July 2008,
http://www.nesta.org.uk/publications.
OCDE- EUROSTAT (2005), Oslo Manual: Proposed Guidelines for collecting and interpreting Technological
Innovation Data, OCDE, Paris.
Stoneman, P. (2008), Soft innovation: changes in product aesthetics and aesthetic products.
https://research.mbs.ac.uk/INNOVATION/Portals/0/docs/seminar/Stonemansoftinnovationpaper.pdf
Wilson, N.C. y D. Stokes, “Managing creativity and innovation. The challenge for cultural entrepreneurs”.
Journal of Small Business and Enterprise Development, 12 (3), pp. 366-378, 2005.
www.ingenio.upv.es
www.ingenio.upv.es
Thank you!!
INGENIO [CSIC-UPV]
Universitat Politècnica de València
Edif 8E 4º | Camino de Vera s/n
46022 Valencia (SPAIN)
www.ingenio.upv.es
tel +34 963 877 048
fax +34 963 877 991