europeana open innovation challenge 2 report · d4.4 – europeana food and drink open innovation...

D4.4 – Europeana Food and Drink Open Innovation Challenge 2 / Incubation

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Grant Agreement 621023

Europeana Food and Drink

Europeana Open Innovation Challenge 2

Report

Deliverable number D4.4

Dissemination level PU

Delivery date September 2015

Status Final

Author(s) Donatella Capaldi (Uniroma1)

Mariella Guercio (Uniroma1)

Silvia Ortolani (Uniroma1)

Giovanni Ragone (Uniroma1)


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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 May 2015 Donatella Capaldi

Uniroma1 First draft

V0.2 June 2015 Giovanni Ragone

Silvia Ortolani

Uniroma1 Incorporating suggestions

V0.3 July 2015 Donatella Capaldi

Uniroma1 Second Draft

V0.4 July 2015 Giovanni Ragone

Mariella Guercio

Uniroma1 Incorporating suggestions and changes

V0.5 August

2015

Donatella Capaldi

Giovanni Ragone

Uniroma1 Third Draft

V0.6 August

2015

Mariella Guercio,

Silvia Ortolani

Emmanuel Mazzucchi

Uniroma1 Contributions

V0.7 September

2015

Donatella Capaldi

Silvia Ortolani

Uniroma1 Incorporating suggestions and changes

V0.8 September

2015

Anna Busom CAT First Review

V0.9 September

2015

Angelika Leitner

ONB Second Review


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Statement of originality:

This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both.


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Contents

Europeana Food and Drink Open Innovation Challenge 2: The Outcomes (Part 1)..... 9

1. Introduction (Part 1) ...................................................................................................... 9

2. Second Challenge's General Concept ....................................................................... 10

2.1 Linking Open Innovation Challenges ........................................................................ 10

2.2 Second Challenge Policy ......................................................................................... 11

2.3 Food and Drink: a Communication Scenario ............................................................ 11

2.3.1 What is Actually Storytelling? ............................................................................. 12

2.3.2 Food and Drink Video Coverage ........................................................................ 13

2.3.3 Food Tells a Story .............................................................................................. 15

2.3.3.1 Reinforcing Cooperation with Slow Food ..................................................... 16

2.4 Main Challenge ‘Ingredients’ .................................................................................... 16

2.5 Video-making and Food and Drink Enhancement .................................................... 16

2.6 Heritage and Production ........................................................................................... 17

2.6.1 The Cultural and Political Frame. Biodiversity and Sustainability ...................... 17

2.7 Grassroots Europeana Contents, Heritage and Production ..................................... 18

2.8 Creative Industry and Europeana ............................................................................. 19

2.9 Resuming Challenge Concept .................................................................................. 20

3. Second Challenge Structure ....................................................................................... 21

3.1 Challenge Issues and Problems ............................................................................... 21

3.1.1 Europeana Food and Drink Content Availability ................................................ 22

3.1.2 Europeana Reuse Restrictions .......................................................................... 22

3.1.3 Content Circular Flow ........................................................................................ 23

3.1.4 Quality standard ................................................................................................. 23

3.1.5 Glam’s Filter for UGC Content and Metadata Assessment ................................ 23

3.1.6 User-friendly Pre-arrangement of Metadata....................................................... 24

3.1.6.1 Required and Recommended Information to Generate a Metadata Set ...... 25

3.1.6.2 Challenge Selected Pre-Metadata Ingestion Model ..................................... 26

3.1.7 Open Access Encouraging ................................................................................ 27

4. Undertaken Activities to Realize Second Open Innovation Challenge ................... 28

4.1 Slow Food and EXPO 2015 in Milan ........................................................................ 28

4.1.1 Slow Food and WP4 Agreement ........................................................................ 29

4.2 Food and Drink Industries and Creative Industries: CNA Network for the Challenge ....................................................................................................................................... 30


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4.2.1 CNA Network and WP4 Agreement ................................................................... 31

4.3 Challenge Guidelines General Regulations .............................................................. 31

4.3.1 Second Challenge Schedule and Theme .......................................................... 31

4.3.2 Challenge Competition Terms ........................................................................... 32

4.4 Evaluation (and Grassroots Evaluation) ................................................................... 33

4.4.1 Social Assessment: Third Phase ....................................................................... 35

4.5 Awards ..................................................................................................................... 36

4.6 Data Processing and Rights Statements .................................................................. 36

5. Launching the Challenge: the Platform ..................................................................... 38

5.1 Platform Design ........................................................................................................ 39

6. Communication Planning ............................................................................................ 40

7. Jury Composition ........................................................................................................ 42

8. Competitors and Winners ........................................................................................... 43

8.1 Brief Videos Description ........................................................................................... 44

9. The Second Open Innovation Challenge Final Event ............................................... 47

9.1 Final Event Location ................................................................................................. 47

9.2 Event Program ......................................................................................................... 47

9.3 Panel Brief Report .................................................................................................... 48

10. Conclusions: Results and Impact ............................................................................ 49

Europeana Food and Drink Second Part - Incubation paths ....................................... 51

11. Aims and General View about Incubation .............................................................. 51

11.1 Introduction ........................................................................................................... 51

11.2 Open Lab “Cultura” as Incubation Player ............................................................... 52

11.3 Incubation Goals .................................................................................................... 52

11.4 Incubation Training Premises ................................................................................ 53

11.5 International Best Practices .................................................................................... 54

11.5.1 Providing Incubation Services: a USA example ............................................... 54

11.5.2 Incubation EU Policies ..................................................................................... 55

11.5.2.1 Special Program for Startups ..................................................................... 57

11.5.2.2 Virtual Incubation ....................................................................................... 60

11.5.2.3 Crowdfunding Opportunity ......................................................................... 61

11.6 Summarizing Emerging Issues ............................................................................... 62

11.7 Lessons Learnt and Possible Applications ............................................................. 63

11.8 Incubation Management ........................................................................................ 64

12. Starting Steps ............................................................................................................ 65

12.1 First Challenge Incubation Winner and Runner-up ................................................. 65


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12.2 Tailoring the Path: the Key-skills ............................................................................ 66

12.2.1 Europeana Structure and Services .................................................................. 68

12.2.2 Technology Applied to Content Reusing .......................................................... 68

12.2.3 Communication ................................................................................................ 69

12.2.4 Food and Drink Cultural Heritage Enhancement ............................................. 69

12.2.5 Marketing and Business .................................................................................. 70

12.2.6 Testing and Usability ....................................................................................... 71

12.2.7 Incubation as Cooperation .............................................................................. 71

12.2.7.1 Europeana Food and Drink Internal Cooperation ....................................... 72

12.2.7.2 Europeana Food and Drink and Europeana Creative ................................ 72

12.2.7.3 External Cooperation: Enterprise Networks/Creative Industry ................... 72

12.3 Incubation Procedure ............................................................................................. 74

12.4 Incubation Agreement ............................................................................................ 75

13 Schedule and Activities .............................................................................................. 75

13.1 Schedule ................................................................................................................ 75

13.2 About FoodNode Project ........................................................................................ 77

13.3 Incubation Workflow: Creative Industry Involvement .............................................. 79

13.3.1 I Stage ............................................................................................................. 79

13.3.2 II Stage ............................................................................................................ 84

13.3.2.1 Europeana Creative Culture Jam: Cooperation with Europeana Food and

Drink......................................................................................................................... 84

13.3.2.2 Creating Sinergy through Incubation Workshop ......................................... 85

13.3.3 FoodNode Presentation for Europeana Creative Culture Jam, 9-10 July 2015, Vienna ........................................................................................................................ 86

13.4. Second Challenge: Making Video Incubation ........................................................ 90

13.4.1 Incubation Agreement ..................................................................................... 90

13.4.2 Incubation Key-Skills Schema ........................................................................ 90

13.4.2.1 Incubation Scheduling and Typologies ...................................................... 91

13.4.3 Incubation Steps ............................................................................................. 92

13.4.4 Incubation First Step: Audio-video Lab ........................................................... 92

13.4.5 Communication Plan ........................................................................................ 93

14. Incubation Future Scenarios .................................................................................... 93

14.1 Preliminary Remarks .............................................................................................. 93

14.2 Incubation Macro-areas ....................................................................................... 94

14.3 Geo- Incubation Macro-Area System .................................................................... 95

14.4 Expert Appointing ................................................................................................. 95


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14.5 Incubation Channel .............................................................................................. 95

14.6 Incubation Steps ................................................................................................... 96

14.7 Preliminary Project Gap Exam ............................................................................. 96

14.8 Working on Platform ............................................................................................. 97

14.8.1 Platform Design .............................................................................................. 97

14.9 Lab Attendance .................................................................................................... 98

14.9.1 Lab Attendance Scholarship ........................................................................... 98

14.10 Start Capital Improving an Incubated Project ...................................................... 98

14.11 Eurolab Network and Outsourcing ....................................................................... 99

14.12 Incubated Project Market and Commercial Asset: Investors Seeking ................. 99

14.13 Crowdfunding Strategy Aggregated to Incubation Platform ................................ 100

14.14 Summarizing ...................................................................................................... 100

15 Conclusions ............................................................................................................. 101

15.1 Results ................................................................................................................. 102

15.2 Impact ................................................................................................................. 103

16 BIBLIOGRAPHY ....................................................................................................... 104

16.1 Bibliography Part 1 (Storytelling) .......................................................................... 104

16.2 Bibliography Part 2 (Incubation) ........................................................................... 106

17. ANNEXES (D4.4 Part 1 - Part 2).............................................................................. 110

D4.4 Part 1 - Second Open Innovation Challenge: Annexes 1-2-3-4 ......................... 110

Annex 1: Agreements ...................................................................................................... 110

Annex 2: Application Process .......................................................................................... 110

Annex 3: Communication ................................................................................................. 110

Annex 4: Second Challenge Final Event.......................................................................... 110

D4.4 Part 2 – First Open Innovation Challenge Incubation: Annex 5 ........................ 111

Annex 5: Incubation ......................................................................................................... 111


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Europeana Food and Drink Open Innovation Challenge 2: The Outcomes (Part 1)

1. Introduction (Part 1)

This document exposes the main guidelines of Europeana Food and Drink Second

Challenge’s concept, organisation and execution, and reports about incubation activity

related to the first challenge. WP4 aim is to deliver a “Learning Track” of Europeana Food

and Drink by creating and promoting environments for collaboration and innovation

between the Creative Industries and culture sector organisations (museums, archives,

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

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

cultural content by Creative Industry organisations.

D4.4 part 1, ‘Europeana Food and Drink Open Innovation Challenge 2: The Outcomes' is a

report on the Second Challenge developing and results. This deliverable is based on the

Milestone 16 of Europeana Food and Drink1.

The D4.4 part 1, section 1 (Chapters 1-3), deals with some preliminary aspects concerning

challenge general concept and required steps for its execution. In detailed, video-

storytelling theories and best practices are exposed and pointed out as a suitable strategy

in order to experiment new aesthetic forms of food and drink promotion, to enhance food

and drink as sustainable production and to link food and drink activities to intangible

heritage; moreover, a general theoretical frame was focused related to the connection

between heritage and production, and between Creative Industry and Europeana.

All indispensable operations anticipating challenge design, contacts and agreements with

well-known International and National enterprise network are here reported and

emphasized, including the option of using EXPO 2015 in Milan for the Final Event.

The D4.4 part 1, section 2 (Chapters 4-9) peruses the numerous activities necessary to

launch the challenge. Namely, the design and structure, the 'grassroots strategy'

integrating the challenge general concept, and the resulting metadata policy. In addition,

the undertaken activities were listed and explained: communication, contest platform

customization, guidelines, evaluation system arrangement adjustment, award design and

sponsors.

The document then describes challenge execution phases: challenge launching, jury

board selection, awarded video-storytellers, and challenge final event taking place on 22

July 2015 at Expo in Milan. In conclusion, some final remarks about Second Challenge

results finish D4.4 first part (Chapter 10).

D4.4 Part 2 (Chapters 11- 15) ‘Europeana Food and Drink Open Innovation Challenge

Incubation Paths’ enumerates and illustrates incubation activities (March-September 2015)

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

Annex 1, p. 37.


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related to First Challenge. After examining in details the incubation winner concept and

according Incubation plan, an incubation workflow was made up and submitted in order to

state an agreement with the winner about the activities to be undertaken (end of February

2015). A preliminary meeting for starting the incubation package occurred on March 19,

2015, and an agreement was signed in April (see Annex 1) with the incubation applicant.

For this reason general guidelines about incubation key-skills and stakeholders’ support

had been reported in WP4 - Deliverable 4.3 - submitted in February 20152. As requested

by the officer and reviewers3, the Deliverable 4.4 Part 2 includes now additional and up-to-

date information, detailed plans, schedule and other items concerning the tailor-made

incubation path designed for First Challenge winner: Expected incubation time will go from

March to December 2015 and outcome data will be delivered in D4.5.

Finally, a further Incubation Package has been offered in the frame of Second Open

Innovation Challenge: ‘Video Storytelling. Enhancing Sustainable Food and Drink Heritage

and Production’ (Final Event: 22 July 2015 in Milan at Expo). The arrangement is providing

an Open Lab support for improving and perfecting the Second Challenge best video

reusing food and drink contents from Europeana. After an initial brainstorming (26 August

2015), an Incubation Agreement was signed: scheduling and activities have started in

September 2015 and will be in progress for the next two months. For this reason, a

detailed description of II Challenge Incubation path and work-flow will be exposed in D4.5

(Deadline February 2016).

2. Second Challenge's General Concept

2.1 Linking Open Innovation Challenges

In First Open Innovation Challenge deliverable (D4.3) some notable issues were carefully

reported concerning the relationship between GLAMs and Creative Industry, the content

reuse function and the social dimension role in the digital heritage value creation.

On this base, after launching first Challenge as a concept competition on Europeana

content reusing for Creative Industry context, the Second (and the Third) Challenge design

was intended as a concrete development example of digital heritage reuse; particularly,

Second Challenge should focus on video creation, whilst for the third one was decided to

hold a contest about products and processes of Europeana contents re-working and ‘re-

materialization’ into 2D and 3D objects.

In this way, a linkage among the three Challenges was established and their potential was

not dissipated: from exploring and suggesting items and procedures for producing an

innovative creative product (concept), to creating a concrete original product in the frame

of an video-communication (video storytelling), up to re-creating Europeana digital

contents into tangible objects. In short, the creation sequence was indicated as a concept-

communication-production.

2 Uniroma1, D4.3: Europeana Food and Drink, Europeana Open Innovation Challenge Report 1, point 12 , pp.35-38.

3 Technical Review Report (01-01-2014/31-03-2015), July 2015, p. 8.


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2.2 Second Challenge Policy

From the very beginning Challenge design tried determining a sinergical approach which

would link Creative Industry to digital heritage and would further relate media

communication to Food and Drink enterprises, Creative Industry and GLAMs.

Uniroma1 consequentially defined a general challenge policy able to transform food and

drink world in a story repository for:

-Reconstructing individual and collective identity

-Preserving traditional and native productions forms recalling the story of a community or a

territory

-Combining food as immaterial heritage with tangible heritage (monuments, art, books,

objects etc.),

-Respecting soil and landscape for enhancing innovative products telling people stories.

The challenge should test original way of telling stories inspired by food and drink, free

from stereotypical advertising methods, or from a usual mass-media talk-show of pseudo -

nouvelle cousin recipes, grumbling master chefs and fashionable kitchens.

For this reason, Second Challenge was based on three factors combined fostering high

quality in video storylines and realization and encouraging a more collaborative Europeana

attitude to user generated contents:

a) Enhancing innovative strategies and quality standards in video storytelling on food

and drink digital heritage

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

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

small food production

c) Experiencing a simple methodology to increase relationships between Europeana

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

on specific topics.

Determining the three above mentioned areas means in primis leading a benchmarking on

web about the best communication practises in food and drink sector by understanding

new media platform language and application criteria to storytelling increasing social

network communities and info exchange.

2.3 Food and Drink: a Communication Scenario

The main part of communication is nowadays audiovisual, and it is characterized by

increased hybridization between traditional mass media like TV and digital media (internet,

personal media, social media). Videos represent most exchangeable content “fragments”

to find online and in peer-to-peer communication. Videos are prevalent in advertising, in

social issue campaigns, in scientific divulgation and have been playing a rising role, even

in educational sector. In addition, a grassroots video production on social networks is now


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a viral phenomenon and strengthens the idea of instantly sharing and spreading UGC-

User Generated Contents as entertainment or denounce, life witnesses or narcissistic self-

promotions in spite of the low quality of resulting products. Besides, video promotion

strategies of products, of social issues, of heritage as well as of a museum are more and

more based at the present on storytelling methodologies. But how does storytelling work?

Which storytelling is more suitable for food and drink expression of a collective soul? How

should a video focus on food and drink without replying serial standards?

2.3.1 What is Actually Storytelling?

Telling a story allows creating identity and memory: as Roland Barthes remembers:

“Le récit ést present dans tous les temps, dans tous les lieux, dans toutes les société; le

récit commence avec l’histoire meme de l’humanité” 4.

Storytelling was born with human beings: Altamira frescos describe a collective story on

best technics, tools and sacral propitiatory path for hunting. And storytelling of gods

adventures consolidated myths as religion category spread. Storytelling may be then

values and knowledge transmission from universal myths as Homer’s epic teaches.

Human destiny, approach to unknown aspects of mind and unconscious, adventures for

discovering new worlds, systems to resist facing the society mechanization and

disintegration, description of social conflicts, they all are themes moving high literature

storytelling. However, narrative technique as shown by Propp in Morphology of the Folk

Tale 5has progressively been functional not only to literature: i.e. they were and are widely

used by politicians and their spin-doctors, you have only to think how propaganda told the

story of 20th century dictatorships, or in the last years how USA political power exploited

storytelling for justifying and legitimating Bush’s military aggressions to Iraq6. Furthermore:

increasingly since the 90s storytelling has been turned up into an instrumental marketing

technic important brands have been availing themselves of for a better product placement

and for the customer retention increase. Marketing aim today is not promoting products,

but stories products selves are representing7: In 1984 Apple was the first company to

apply storytelling to a new product and above all to a new and revolutionary way of

interpreting communication as an alternative to Microsoft8; an isolated case, followed after

ten years by Nike9. A trend has started. Brand storytelling represents a “Weltanschauung”

4 Barthes, Roland, Introduction à l’Analyse Structural des Récits, Communications, no. 8 (1966) : 1-27 (p.1) : ‘Storytelling

is present in every age , in every place , in every society; storytelling begins with the same human history’ .

5 Propp, Vladimir, Morphology of the Folk Tale, Austin: University of Texas Press, 1968 (1928): Propp individuates 31

tale functions as base for storytelling ( p.25).

6 It is the “Sheherazade strategy” explained by Karl Rove, Deputy Chief of President Bush’s Staff: in such a way: “When

policy dooms you, start telling stories – story so fabulous so gripping so spellbinding that the king (or, in this case, the American citizen who theoretically rules our country) forget all about a lethal policy.” In: http://mondediplo.com/2008/01/04scheherazade

7 Godin, Seth, All marketers are liars: the power of telling authentic stories in low-trust world: New York: Portfolio, 2005.

8 Apple’s first Macintosh commercial was directed by Ridley Scott: https://www.youtube.com/watch?v=OYecfV3ubP8.

References to George Orwell’s 1984, Fritz Lang’s Metropolis and Second World War are clear.

9 https://www.youtube.com/watch?v=BOM1k4oLGJU.

http://mondediplo.com/2008/01/04scheherazade

https://www.youtube.com/watch?v=OYecfV3ubP8

https://www.youtube.com/watch?v=BOM1k4oLGJU


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making up clients behaviour, connecting customer individual stories to brand standards

and models10, directing customer emotional flows to brand “philosophy” identification.

During the last twenty years, no products but brands have been sold, and to traditional

advertising campaign have been added narrative sequences series able to tell the brand’s

story. As Christian Salmon states, a new narrative order (NON) is overbearing as a

‘desire’s format’, as a standardization of emotions11. All inputs are what a community can

share by supporting a brand in that way, and exchange stories about it. Or expanding

existing advertising stories by reusing and making them transmedial, i.e, readable, being

developed and completed on different templates in a real multiplication of marketing

activities12.

Summarizing, storytelling is a just an “open” shape, in which art, literature and cinema

obviously constitute the highest aesthetic level, but in which other mass genres are to be

considered: among them marketing strategies, communication agencies, advertising and

other ‘hidden persuaders’ have been imposed in a more and more invasive way13.

2.3.2 Food and Drink Video Coverage

Food and Drink Video production has been increasingly occupying mass media and

internet since the beginning of the 21st century, so that a kind of world-wide “gastromania”

is spreading on tables and screens.14 Some TV networks generally devote part of their

programming to cooking: one can think of audience successes as BBC’s 2005 renewed

version of MasterChef, Real Time’s Cake Boss, or Fox’ Hell’s Kitchen15. All programs have

reused tested and popular mass media formats such as talent and reality shows for setting

food and flavor competition. Food becomes a discovery and an enterprise, young chefs

challenge each other to oil (blood)shed duel, kitchen are transformed into taste paradise

according to Snow White or Grandma Duck, eye-agreeable blaze of chocolate and

whipped cream a Luis XIV style spark colours and lights. Food requires a smart staging

besides a delicate palate, it is a spectacle and a fight for well-being, healthy lifestyle,

salubrious ingredients (and lucrative business).

On the Internet, cooking is springing up, too: bloggers, communities, sites have been

engaging in frenetically suggesting homemade delicacies, new food creations, salutary

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An attitude of Coca Cola collecting users stories referred to the beverage (http://www.coca-colacompany.com/stories/coca-cola-stories://), or Nutella, launching 2014: http://nutellastories.com where users can publish and share stories and anecdotes related to Nutella. 11

Salmon, Christian, Storytelling. La machine à fabriquer des histoires et à formater les esprits, Paris: Edition La Découverte, 2007 (VI cap.).

12 About transmedial storytelling: Jenkins, Henry, Convergence Culture: where old and new media collide, New York:

NYU Press, 2006; and Rose, Frank, The Art of Immersion: how the digital generation is remaking Hollywood, Madison Avenue and the way we tell stories, New York: Norton, 2011. 13

For a wider overview about see TED (Technolgy Entertainment and Design) platform: http://www.ted.com/topics/storytelling.

14Gianfranco Marrone, Università del Gusto, Pollenza, Interview: http://www.greeno.it/home/2013/05/i-tanti-gusti-del-cibo-

in-tv-fra-cucine-da-incubo-e-piatti-da-masterchef.

15 MasterChef: http://www.bbc.co.uk/programmes/b006t1k5; Cake Boss: http://www.tlc.com/tv-shows/cake-boss/ , Hell’s

Kitchen: http://www.fox.com/hells-kitchen.

http://www.coca-colacompany.com/stories/coca-cola-stories:/

http://www.coca-colacompany.com/stories/coca-cola-stories:/

http://nutellastories.com/

http://www.ted.com/topics/storytelling

http://www.greeno.it/home/2013/05/i-tanti-gusti-del-cibo-in-tv-fra-cucine-da-incubo-e-piatti-da-masterchef


http://www.bbc.co.uk/programmes/b006t1k5

http://www.tlc.com/tv-shows/cake-boss

http://www.fox.com/hells-kitchen


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eating styles. Recently, the influential Independent16 has listed the 50 most popular food

web sites and blogs by confirming the significance of the matter. By a speed review the

main stream emerging typologies are (beside Food portals)17:

Cooking experts (Chef as a blogger) launching of food creations, and/or of

traditional specialties

Collaborative cooking: Launching and explaining recipes, with preparation methods,

ingredients selection, cooking variations, suggested and discussed by the

community

Food Space: restaurants and their recipe offer

Food Scheduling: weekly menu, season eating

Food Healthy Counter: calorie regime, nutritional values, diets

Food shopping and product promotion

One of the most notable Food websites, Food52, stages a kind of interactive kitchen,

supported on social networks, above all Instagram and Tumblr which are widely used by

cooking fans. In this way social network acts as a amplifier directing audience contributes

to website and enriching it18. Photos are privileged by users, liking to post images of plates

and to share impressions: food photography is the actual trend, and a site with related app

as FoodSpotting19 exploits audience competitiveness in finding out dainties and in

searching the more aesthetical food compositions: the most voted ones by the community

are shown on a clickable map according to categories and countries.

In conclusion, TV and Web Food is generally routed via an information track and

principally involved in showing and describing plates preparation, listing ingredients,

celebrating chefs, indicating catering nets as well as giving tips for shopping and

advertising products. At best a brief description of agricultural and alimentary tradition and

/or production systems is associated to promoted products.

Food and Drink story and related stories especially to anthropological and cultural context

are, as told above, limited and occasional, not structured according a general view of food

and drink effective meaning.

Sometimes an attempt was made to widen narrative aspects related to food according to

individual memories: for example an old man is cooking specialties in his kitchen and

some preparing operations are associated to childhood memories, photos, songs, even

the name of prepared food20. Food recalls the past, as the classic Proust’s madeleine, and

an amount of anecdotes for rebuilding family relationship and teenagers adventures.

16

http://www.independent.co.uk/extras/indybest/food-drink/the-50-best-food-websites-8665600.html

17 Very appreciate are: www.bbc.co.uk/food/ or www.nytimes.com/pages/dining/index.htm.

18 http://food52.com/

19 http://www.foodspotting.com/find/in/The-World

20 It deals of You Tube series: “Telling stories with Tomie”: i.e.Tomie, an agée man describes pop-eye sandwich story:

www.youtube.com/watch?v=tTnT1O7rYWI. In addition see http://foodstoriesblog.com/food-stories-award/ where the best food stories are awarded.


http://www.bbc.co.uk/food/

http://www.nytimes.com/pages/dining/index.htm

http://food52.com/

http://www.foodspotting.com/find/in/The-World

http://www.youtube.com/watch?v=tTnT1O7rYWI

http://foodstoriesblog.com/food-stories-award/


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Another food story strategy to meet on line is when a social community illustrates

individual and collective stories concerning social project and common initiative: for

example farming and gardening in metropolis, as a reclaiming of open space in urban

areas able to produce food and creating a closer social relationship21. Both cases are

storytelling attempts aimed at shaping a narrative environment. For improving storytelling

strategies taste, emotions, life experience should in fact be closely related to areas and

region development and cultural heritage.

2.3.3 Food Tells a Story

Increasing interest in food and drink depends on a change of food imagination patterns

which have streamlined and in some cases have been overthrowing supermarket chain

food retail model, typical of the 20th century. This economic alimentary model can be

explained according to sociologist Philippe Ariès as “food freezing” era, cancelling all

myths and rituals concerning food and weakening, as a consequence, food central

functions of socializing, of knowing, of cultural exchange through a conscious and tasty

eating and a careful selection of animal and vegetal ingredients22. Moreover, that indicates

the demand of world-wide different consume attitude.

The pleasures of the table are not restricted to taste, but involve a real system of

communication as many anthropologists have been shown, as Mary Douglas: “If food is

treated as a code, the messages it encodes will be found in the pattern of social relations

being expressed”23.

Each culture communicates through food a world perception: social organization,

economic conflicts, farming models, soil and landscape respect (or pollution), legends,

history, even cosmic rules. Food is then related not only to production and retailing, but

also to a territory cultural design. Organization as UNO’s FAO, and especially international

movements as Slow Food24, for example, have been stressing those intangible heritage

aspects and engaging in territorial preservation and requalification as well as sustainable

agriculture25.

21

www.urbanfoodstories.com illustrates i.e. individual and collective stories focusing on common farming and gardening.

22 Ariès Philippe, Introduction in Histoire de la Vie Privée (ed. Georges Duby & Ariès Philippe) Paris: Seuil, 1985-87, 5

vol., I

23 Douglas, Mary, Deciphering a meal. In: Implicit Meanings. Selected Essays in Anthropology, London: Routledge, 2003,

231-252 (p. 231). Daedalus, 101, 1 Winter 1972, 61-81. And obviously: Leví-Strauss, Claude, Mythologiques, T. I: Le Cru et le Cuit, Paris: Plon, 1964; Camporesi, Piero, Alimentazione, folclore e società, Parma: Pratiche, 1980. For an anthropological food theory: Stano, Simona, Cibo e cultura: dal Simbolismo alimentare al principio di incorporazione, Scienza Attiva, 2014/15: http://www.scienzattiva.eu/wp-content/uploads/2014/09/CICU_A_SimbolismoAlimentare-Incorporazione_STANO.pdf (accessed 2015-09-04).

24 http://www.slowfood.com/

25 Sustainability and food quality are issues brand companies are more and more using for marketing campaigns as a

way of exploiting food perception’s main stream and of attracting a new generation of consumers: i.e. http://www.mnn.com/money/sustainable-business-practices/blogs/6-food-companies-embracing-the-art-of-storytelling and related commercial videos.

http://www.urbanfoodstories.com/

http://www.scienzattiva.eu/wp-content/uploads/2014/09/CICU_A_SimbolismoAlimentare-Incorporazione_STANO.pdf


http://www.slowfood.com/

http://www.mnn.com/money/sustainable-business-practices/blogs/6-food-companies-embracing-the-art-of-storytelling


16

2.3.3.1 Reinforcing Cooperation with Slow Food

In this context, Europeana Food and Drink Challenge should not set aside such relevant

issues and should try entering into an agreement with international food network like Slow

Food, the most important non-profit organization active in all continents and engaged in

food sustainability questions and in traditional heritage enhancement with respect to

alimentary production. (see below point 2.6.1). In this way, the First challenge initial

collaboration with Slow Food concerning communication has been encouraged and

consolidated with a closer interaction for experimenting video-storytelling to awake public

opinion in an immediate and enthralling way to environmental problems and to an

alternative economic and productive model and cohabitation solution.

2.4 Main Challenge ‘Ingredients’

All that motivated the decision to set up a challenge in order to use storytelling and

narrative mechanisms able to connect food and drink contents with sustainable production,

regional respect and enhancement of tangible, intangible and natural heritage. Storytelling

strategies can help a mise-en-scène of food and food production in its historic,

anthropological, artistic, economic and social elements. At the same time, telling a story

about food contributes to the reconstruction of a cultural identity based on historic memory,

to recall local traditions and rituals, to understand social interchange and conflicts (see

point 2.2.a).

Food and Drink belongs to cultural heritage and can be referred to intangible heritage as

classified by UNESCO26 for enhancing a region/a community/a territorial area. At the other

hand, food and drink story should be combined with general global problems as preserving

biodiversity, supporting a sustainable model of development, stopping a wild environment

exploitation and pollution. Local food is reflecting the humanity crucial fights for defending

the environment and helping planet survival.

2.5 Video-making and Food and Drink Enhancement

Narrative language and technology are able to match the above mentioned three

approaches (see point 2.2) by making food and drink contents an engaging and absorbing

plot. Ways and forms of telling stories constitute an out-and-out technology based on

presenting cultural heritage contents in an organized and creative form through a screen-

play, characters, sketches etc. to immerge audience in food and drink production activities

and problems. Creating an immersive environment for the audience does not mean filming

a mere enumeration of ingredients and cooking expedients: it is rather modelling a space

through cooking sounds, tactile perceptions, kitchen rhythms, colours, cutting technique, in

order to make possible savouring and smelling. In addition, a food and drink story structure

may get inspired by literature and mass media genres, for example epics, adventure,

26

UNESCO, Convention for the Safeguarding of the Intangible Cultural Heritage, Paris 2003, in charge from 2006: http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022

http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022


17

detective story, science fiction, travel novel etc. by composing the script. Furthermore,

food storytelling may use fiction format like serials, mockumentary, documentary, reality

etc., and also exploit advertising languages as trailer, spot, videoclip etc. by making the

creative product more popular, without forgetting the informative and educational aim of

the creative product.

One of the main Challenge purposes is showing how important storytelling is in order to

involve audience in a collective experience related to food and drink topics and to immerse

itself in crucial productive steps of food production. Without a proper storytelling, the most

refined technological devices, apps and templates we manage risk being just a support for

special effects or for listing contents, without capturing spectators attention and failing to

push them to deepen their roots.

2.6 Heritage and Production

The second line as indicated in 2.2.b is:

Increasing grassroots Europeana digital content, as means to promote the linkage

of the cultural heritage related to sustainable food and small food/agricultural

production.

Linking between heritage and food and drink sustainable production as resulting crucial

problems of the age we live in deserves a particular attention. At the same time it was

important for Challenge set up to identify a way of steering video storytelling creations to a

close connection to Europeana according to this general context.

2.6.1 The Cultural and Political Frame. Biodiversity and Sustainability

After contacting Slow Food and making an agreement to cooperate in Europeana Food

and Drink Challenge (see below), Uniroma1 and Slow Food as main partner shared both

the theme and a guidance in response. Policy guidelines on sustainability are exposed in

the following points:

Biodiversity is the diversity of life: of microorganisms, animal and plant species,

ecosystems and knowledge. It is our insurance for the future, as it allows plants and

animals to adapt to climate change, unexpected events and attacks by diseases and

parasites. Biodiversity is wild, but also domesticated. Alongside flora and fauna present in

nature, the knowledge of farmers has produced thousands of plant varieties and animal

breeds, whose shapes, colours, fragrances and flavours reflect the story of the place they

live in. Thanks to selection, local varieties and breeds have adapted to their surroundings,

becoming stronger and harder, and requiring fewer external interventions (fertilizers,

water, pesticides, veterinary care).

No monoculture exists in nature. Protecting biodiversity means respecting all diversities: of

places, knowledge, cultures. It means growing many different things, but on a small scale.

It means producing less, but giving more value to what is produced and minimizing waste.

It means eating mostly local food. It means promoting a system that is balanced, durable


18

and sustainable. It means protecting the small-scale farmers, fishers and herders who

understand the fragile equilibriums of nature and work in harmony with ecosystems.

Without biodiversity, we cannot talk about sustainable agriculture or food sovereignty and,

therefore, access to good, clean and fair food for everyone.

A model for agriculture is to be promoted, based on a rediscovery of the value of local

agriculture, the short distribution chain, and locally closed cycles of production and

consumption. It is a model that prioritizes soil fertility, the presence of people in the

countryside and biodiversity protection, and a food system aimed at reaching a new

equilibrium between available natural resources, the demands of society and agricultural

production.

For this reason, video storytelling should promote agricultural production and other

activities based on traditional foods with strong links to their local area. Their promotion

means valuing local biotic components, the preservation of natural and boundary habitats

and the landscape, the local genetic heritage, the safeguard of the groundwater system,

the protection and defense of the local area by its inhabitants and historical and cultural

heritage. Food is a unique asset, and its spiritual, cultural and immaterial value is to be

restored.

The cultural model, in which the only benchmark criterion is price, has triggered the boom

of the agri-food business, capable of supplying large quantities of cheap food, to the

detriment of small farmers. We must reverse the logic of a system in which food value has

been supplanted by food price by

Rebuilding the relationship between producer and consumer;

Restoring to food the value it deserves;

Making price reflects that value once more.

Consumers can use their buying power to influence supply and production methods. They

should show an active interest in food and the people who produce it, the methods they

use and the problems they face. They should actively support producers, and thus play a

leading role in the production process. Slow Food has coined the term “co-producer” to

describe this new consumer model. By making informed, responsible choices and forging

a direct link with what’s on their plate and the people who put it there, co-producers will be

in a position to recognise food’s intrinsic value and pay the right price for it. Equipped with

appropriate knowledge, co-producers possess the power to redirect food production and

the market. Hence the importance of education-lots of it!

2.7 Grassroots Europeana Contents, Heritage and Production

Scientific literature and actual trends in digital heritage sector show how big digital libraries

making available multimedia contents and developing services for users may constitute a

relevant growth factor with regard to:

Knowledge, competences and activities, even commercial, related to tangible

and intangible heritage (traditions, craft etc.)


19

Specific productive areas

Creative Industry

Provided of course the real re-usability of Digital Library contents, at least as extended as

possible, and the Digital Libraries’ openness to grassroots content ingestion from a broad

prosumer base.

This synergy can be represented as follows:

FIGURA

On the left side of the figure, collaboration between Digital Library (Factor 1) and Creative

Industry (Factor 2) is represented by increasing on the figure right side opportunities of

enhancing and spreading contents and creative content reuses; in addition, Factor 1 and

Factor 2 collaboration contributes to develop services for all activities related to Cultural

Heritage (Factor 3) and for those connected to specific productive sectors (Factor 4) by

incentivizing their reciprocal interaction. The diagram seems to be particularly suitable to

food sustainable production and farming traditions.

2.8 Creative Industry and Europeana

The third line, as indicated in 2.2.c, is:

Factor 1

Digital Library

Factor 3

Cultural Heritage

Factor 2

Creatives

Factor 4

Industries

Food – Tourism - Craft


20

Experiencing a simple methodology to increase relationships between

Europeana and creative companies or freelancers in creating and reusing

digital content on specific topics.

The Second Open Innovation Challenge intends to devise a streamlined and experimental

method able to create synergy among the above-mentioned four players: Digital Libraries,

Creative Industry, Cultural Heritage and Productive Sectors. Moreover, the Challenge

planned the competitors to arrange videos to be directly uploaded on Europeana (Factor

1) through a procedure easy to use. In that way competitors cooperate in increasing Digital

Library contents by promoting both themselves (Factor 2) and Europeana (Factor 1). For

this purpose competitors were invited to license videos in Creative Commons CC BY 4.0,

a license including a maximum of re-use. As a result, application procedure was designed

for metadata direct entry from competitors by a user-friendly interface (see Annex 2).

From this point of view, the relationship between Creatives and Digital Library becomes

closer and more profitable: the formers experience original food and drink narrative

patterns usable both for promotional/commercial objectives and for heritage enhancement.

Moreover, they are encouraged to adopt the logic of Open Access, that means

quitclaiming copyrights and indeed aiming at the highest product visibility on the web, in

order to achieve notoriety and getting more chances of securing potential contracts for

similar products. The latter, as Europeana, may further increase exposure and at the same

time expand Cultural Heritage contents in a specific sector.

The traditional web 1.0 model (digital contents are collected in the libraries and then made

available for Creative Industry re-using) is to be transformed into a web 2.0 one: data

collection, aggregation in libraries, creation and re-use are simultaneously produced. One

of the relevant aspects of the Challenge is experiencing a controlled grassroots process of

content production, assessment and ingestion in Europeana. In this context a network of

direct relations among subjects and a mutual collaboration are created by involving

GLAMs (galleries, libraries, archives, museums having both traditional and user-generated

contents), creative industries, and industries of particular sectors as tourism, craft, and in

this specific case food and drink ones. They are immediately allowed to re-use videos

available in Europeana for communication, promotion and other commercial and business

purposes. A grassroots strategy may spread Europeana visibility, knowledge and

reusability.

2.9 Resuming Challenge Concept

In conclusion, and according to these lines, the Challenge should help to:

Improving the quality of intangible and tangible heritage storytelling

Highlighting the utility of digital libraries with reusable and open access

contents

Encouraging collaboration between small producers / communities and

creative teams by promoting sustainable quality food


21

Testing whether the same challenge - as general methodology and adoption of

a user-friendly platform - is a good way to increase Europeana’s digital

heritage on a specific sector and to foster relationships among different actors

Creating synergy between Europeana and Creative Industry.

The Open Innovation Food and Drink Challenges should improve meeting points between

Europeana and the GLAMs’ cultural contents and the creative enterprises acting especially

in the food and drink field (a discussion about best strategies was reported in the

Deliverable 4.3, Chapter 3). The aim is to ensure a mutual profitable support: “On one

hand, Europeana and Cultural Institutions are willing to encourage circulation of cultural

contents towards a larger sector of people through creative products - how Comité de

Sages just pointed out about Digital Agenda in 2011. That would represent a positive way

of intensifying perception of food and drink as European heritage as a common space of

memory and local histories, flavours and smells combined with marketing and productive

exchange: a space should be formed where very different lifestyles of partner countries

flow together and generate a mutual discover. On the other hand, enterprises are

supposed to benefit from the reuse of a wide range of quality materials that Europeana

can supply, so promoting new and innovative productions.” 27.

3. Second Challenge Structure

The Second Open Innovation Challenge selected topic was “Video Storytelling: Enhancing

Sustainable Food and Drink Heritage and Productions”. Facing the complexity of strategy

detailed above, and the technical specificity of video production, Uniroma1 had to solve

some open issues to define the Challenge Guidelines.

3.1 Challenge Issues and Problems

Namely, the emerged issues were:

a) Facing up a persisting unavailability of Food and Drink contents generated by the

Europeana Food and Drink Project (as for the First Challenge: see D4.3 point 6.2)

b) Managing Legal frame problems with regard to Food and Drink contents already

existing on Europeana

c) Organizing a circular flow: from Europeana contents to new video products, and

vice versa: new videos becoming Europeana Digital Library contents

d) Ensuring basic quality standard for video products in order to be accepted in

Europeana

e) Finding a Cultural Institution acting as a filter for suggesting best basic metadata

masks interoperable with Europeana Metadata Frame28, for integrating the

27

D4.3 Europeana Open Innovation Challenge 1 Report, chapter 3, p. 12. http://europa.eu/rapid/press-release_IP-11-

17_en.htm?locale=nl

28

http://pro.europeana.eu/share-your-data/data-guidelines/edm-documentation.

http://europa.eu/rapid/press-release_IP-11-17_en.htm?locale=nl


http://pro.europeana.eu/share-your-data/data-guidelines/edm-documentation


22

metadata kit provided by the producers and for ingesting the completely metadated

product on Europeana

f) Creating a user friendly system so that video producers may pre-arrange basic

metadata of the provided creation

g) Guaranteeing ingested products to be available in open access.

3.1.1 Europeana Food and Drink Content Availability

In spite of Partners’ great deal of efforts in collecting and metadating 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, is again unavailable in a form of

easy and user-friendly retrieval system. For this reason WP4 thought to modify 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). This strategy

has been decided for several reasons:

Not losing the potential impact of a Challenge by putting together suggestions and

support of Creative Industries Network (CNA) and Non-profit Association (Slow

Food)

Exploiting Expo context of Second Challenge in order to give the Project a big

emphasis and to launch a worldwide Europeana Food and Drink database and

Europeana as European Digital Library

Consolidating relationship and collaboration with enterprise networks and

associations in Challenge makeup

CNA and Slow Food agreed to use storytelling theme for Second Open Innovation

Challenge and to locate it in Expo 2015 context and other related events for a better

Challenge final result.

As was for the First Challenge, the Second Open Innovation Challenge could not have

contents generated by the Europeana Food and Drink Project at its disposal.

Notwithstanding, Europeana Digital Library provides an amount of available contents

related to food and drink. It was then decided to address challenge competitors to those.

3.1.2 Europeana Reuse Restrictions

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

in Deliverable 4.3 (Chapter 3). More than for the First Challenge, concerning a contest

among ‘concepts’, a crucial problem emerged for the second one, a contest among video


23

products, and it was the concrete reusing of Europeana contents: a limited part of them

are in free domain or under a CC License allowing an effective free reuse, even

commercial. It is not allowed reusing videos or music without observing conditions fixed by

the owners. For this reason it was necessary to offer applicants exhaustive information

about re-use tools, methodology and conditions.

3.1.3 Content Circular Flow

Video storytelling cannot leave out of consideration rules of film syntax, narrative rhythm,

cutting etc. From this point of view re-using ‘static’ contents as photos, painting, book

pages etc. is not so easy without breaking the images flow of sequences, and the

immersive attitude of the audience. More often video contents can be re-used, but only few

videos in public domain are retrievable in Europeana. As a consequence, reusing

Europeana Digital Library contents for the new video products was incentivized through

the challenge with a special evaluation score. At the same time a video uploading

procedure on Europeana was set up in order to enrich the Europeana Food and Drink

section with this special kind of User Generated Content by a 2.0 logic (see above 2.7,

figure). A video collection, that could contribute to a future portal dedicated to Food and

Drink, as that of Europeana Fashion.

3.1.4 Quality standard

The attempt of introducing a UGC policy for Europeana had to face quality problems:

Content quality

Assessment quality

Metadata quality

Second Challenge design should firstly foster content quality of the videos. Factors

improving video quality have been:

Defining length limitations according to standard formats of European Union for

Video-promo (max 11 minutes) and Documentary film (min 21 minutes)

Finding video making and video story telling experts for the International Jury

Emphasizing aesthetic and filmic quality in the evaluation frame, and explaining it in

detail

Orientating storytelling towards heritage and traditional food and drink productions.

3.1.5 Glam’s Filter for UGC Content and Metadata Assessment

GLAM’s role in a grassroots process must be central. That represents an implicit or formal

negotiation between the UGC producer and the cultural institution providing an

assessment of the reliability of contents and a good quality level. In Second Challenge

design, two institutions acted as a filter and assessment: Uniroma1 was charged of

content assessment, whilst ICCU – Istituto Centrale per il Catalogo Unico, also partner of


24

Europeana Food and Drink project, has been in charge of metadata controlling, completing

and uploading.

3.1.6 User-friendly Pre-arrangement of Metadata

One of the aims of Open Innovation Challenges is combining actions as follows:

Launching a Communication Campaign about Europeana FD content reuse

Testing opportunities of the open and flexible Legal Frame for reusing Europeana

FD contents

Setting up components of a user-friendly reusing system for creative industries

(tools, metadata definition etc.)

Focusing on 2.0: filtered UGC as an enrichment of Europeana heritage

Setting up closer and more structured collaboration among European Open labs

(Project Incubation, Creative Industries cooperation etc.).

In a grassroots logic, it was decided to set a pattern of pre-metadata definition, rights

management and a related tool easily usable by applicants, considered as potential

contributors with their UGC (User Generated Contents) to Europeana, or/and to

Europeana partners. In this case study contents were videos, but the tool able to support

metadata and right management should be reusable in other contexts.

The final scheme is:

Title

Description a short abstract – max 300 characters spaces included

Preview an image or the video cover

Video Subject

Applicant has to answer 4 questions:

Who? Who is the main person / character in the video? (Examples: 'a winemaker'; or: 'John Smith, a winemaker'; or: 'John Smith, a winemaker and James Brown, a vintner')

When? When is the story set? (Examples: 'XIX Century', '2012'; 'the 90's')

What? What is the video theme? (Examples: 'herding'; 'herding, cheese'; ‘herding, tradition, rituals’)

Where? Where is the story set (Examples: 'France?; 'France, Provence'; 'France, Aix en Provence')

Video length (in minutes and seconds)

Video date (video completion date)


25

Video format As AVI, MPEG, etc. – Standard: MP4

Video Language

Video Author (s) generally the applicant; co-authors or organizations are admitted

Rights holder generally the applicant; co-authors or organizations are additionally admitted

Rights The rights holder must read all conditions and then he/she is required to declare that:

- Submitted video is original in all its parts (if any contents or elements were not original, applicant must always indicate the source and guarantee contents are in free domain or licensed under Creative Commons CC BY-SA 3.0 or CC BY 4.0)

- He/she authorizes Europeana video licensing under Creative Commons CC BY 4.0 or under Creative Commons CC BY-NC- ND 4.0

Uniroma1 built the schema above and implemented it through a tool on the contest

platform (adding explanations and instructions for each point) after consulting ICCU’s

expert Antonio Madonna who sent indications (3.1.6.1 below), which are compliant with

the main standards used in Europeana context (Dublin Core in particular, and the

metadata elements for interoperability but also for a better subject indexing).

3.1.6.1 Required and Recommended Information to Generate a Metadata Set

The selected metadata set, compliant with the main standards used in Europeana context

and in CulturaItalia (main Italian aggregator of digital cultural contents, and leading Italian

contributor for Europeana) is:

CulturaItalia required information (fields)

1. Title <dc:title>

2. Identifier <dc:identifier>

3. Link source <dcterms:isReferencedBy>

4. Link to the preview <pico:preview>

5. +Type <dc:type> with encoding scheme DCMIType vocabulary xsi:type:DCMIType

6. +Subject <dc:subject> with encoding scheme pico:Thesaurus

Notes:

“identifier” is a unique absolute value, composed by alphanumeric values.

“link of origin” is the absolute link that points to the page where the digitized resource

resides.


26

“link to the preview” is the absolute link to where a thumbnail file of the resource is

available (for the videos it is recommended to pick out a frame and turn it into an image

file).

Field n. 5 refers to the type of metadata resource. If resources are consistent, you can not

map the field (intended function within CulturaItalia). If you intend to map it, the following

tag must be used: <dc: type xsi: type = "dcterms: DCMIType"> MovingImage </ dc: type>

Field 6 refers to the pico thesaurus available at:

http://www.culturaitalia.it/pico/thesaurus/4.3/thesaurus_4.3.0.skos.xml.

In this case the mapping can be more generic (eg: using the voice of thesaurus

http://culturaitalia.it/pico/thesaurus/4.2#videoregistrazioni) or descend further into detail.

This field should not be confused with the tag dc: subject, which is a free text field.

CulturaItalia recommended information (fields)

In order to make the best use of resources, for the videos it is appropriate to proceed with

the mapping of the following fields:

o Description <dc:description>

o Subject <dc:subject>

o Author <pico:author>

o Contributor <dc:contributor>

o Date <dc:date>

o Coverage <dc:coverage>

o Format <dc:format>

o Language <dc:language>

o Rights <dc:rights>

o Rights Holder <dcterms:rightsHolder>

Notes:

Subject: This field usually contains more than one item. It is recommended, to maintain the

integrity of the information, to duplicate it and not to generate a single field containing

multiple entries.

Contributor: defines contributor other person / entity that is responsible for creating

resource contributions.

Inside the format field to select the type (flv, mp4, etc.) and the duration of the video asset.

Coverage: The spatial context of the resource.

3.1.6.2 Challenge Selected Pre-Metadata Ingestion Model

Uniroma1 then elaborated the following model for creation of a pre-metadata ingestion tool

on the contest platform:

1) Title

Enter the full title of the video

http://www.culturaitalia.it/pico/thesaurus/4.3/thesaurus_4.3.0.skos.xml


27

2) Description

Enter a short abstract of the video (max. 200 words)

3) Subject

Answer 4 questions:

- "Who"? Who is the person/character that the video shows: eg. "A farmer spelled"; or

"James Smith, farmer spelled"; or: "James Smith, grower of spelled, John Smith retailer

spelled" (repeatable field)

- “When”: in which historical period the video is set: for example. "Nineteenth century" or

"90s" or "2012" or "60, the eighteenth century"

- "What": which is the subject of the video (eg. "Herding", "Herding, Cheese," "Religious

tradition, agricultural use, agricultural production") (repeatable field)

- "Where" where the video is set: eg. "France" or "France, Provence" or "France, Savoy

Alps" or "France, Provence, Aix en Provence" (repeatable field)

Remarks: Maximum 12 words each field

4) Author(s)

Video Author(s) (repeatable field)

5) Date

When the video was shot: Year (mandatory), Month and Day (optional)

6) Preview

Link to the Preview Image

7) Format

Which is the format of the video (for example: “AVI” “MPEG” etc.)

8) Language

Language of the video / English subtitles (NB: the subtitle field must be filled only when the

language is other than English: it will be specified in the Guidelines that videos can be also

presented in the original language, but only if accompanied by English subtitles, subject to

exclusion)

9) Rights

Release the video: this field can be automatically filled. Before the submission is required

to allow the release of the rights, worth the inability to proceed with the submission. Just

click "yes", it is automatically to fill the field of "Rights".

10) Rightsholder

The field Author(s) is played back by default.

3.1.7 Open Access Encouraging

The Challenge rules required videos to be made available in Europeana platform under

Creative Commons license CC BY 4.0, which allows both vision and reuse, or under

Creative Commons CC BY-NC-ND 4.0, which does not allow reuse. As a result,

videomakers have been encouraged to choose public domain solutions, and at the same

time possible commercial strategies were allowed.


28

4. Undertaken Activities to Realize Second Open Innovation Challenge

The main stages of the Challenge preparation have been:

Searching relevant national and international partners to ensure visibility and arouse interest, and defining their roles

Defining main elements of the Challenge Guidelines

Establishing the evaluation system of the contest

Fixing the awards.

Once finished the first steps, activities have started to be implemented, such as:

Customizing the Challenge platform

Planning and launching communication.

4.1 Slow Food and EXPO 2015 in Milan

Slow Food is a global, grassroots organization, founded in 1989 to prevent the

disappearance of local food cultures and traditions, to counteract the rise of fast life and to

combat people’s dwindling interest in the food they eat, where it comes from and how our

food choices affect the world around us.

Since its beginnings, Slow Food has grown into a global movement involving thousands of

projects and millions of people in over 150 countries, working to ensure everyone has

access to good, clean and fair food.

Slow Food International is a global non-profit organization, which envisions a world where

all people can access and enjoy food that is good for them, good for those who grow it and

good for the planet.

Their approach is based on a concept of food that is defined by three interconnected

principles: good, clean and fair.

GOOD: quality, flavorsome and healthy food

CLEAN: production that does not harm the environment

FAIR: accessible prices for consumers and fair conditions and pay for producers

Slow Food was started by Carlo Petrini and a group of activists in the 1980s with the initial

aim to defend regional traditions, good food, gastronomic pleasure and a slow pace of life.

In over two decades of history, the movement has evolved to embrace a comprehensive

approach to food that recognizes the strong connections between plate, planet, people,

politics and culture.

Slow Food believes food is tied to many other aspects of life, including culture, politics,

agriculture and the environment. Through our food choices we can collectively influence

how food is cultivated, produced and distributed, and as a result bring about great change.

Since 1851, the Universal Exhibition has served as a stage for humanity’s most ambitious

goals, an opportunity for sharing innovations, technological advances and discoveries.


29

Every five years since then, the event has provided an opportunity to bring together

citizens from around the world to address critical issues of universal interest.

The selected theme for Expo 2015 in Milan, Feeding the Planet, is very important: making

the planet sustainable and protecting natural resources, safeguarding the social and

economic well-being of producers and protecting people’s health, while guaranteeing

good, clean and fair food for everyone. Good food, made respecting the environment and

bringing a fair income for its producer, is also the best choice for the consumer.

For Slow Food, participating in Expo means contributing the experience of an international

organization that always had a holistic vision of food and agriculture. Expo is giving space

and visibility to representatives from the world of agro-industry, which often see food as a

commodity, with no concern for its cultural and spiritual value. Food as a commodity does

not feed the planet, and is in fact at the origin of many of the most jarring paradoxes of our

time. The most striking of all is that although the amount of food currently being produced

could feed 12 billion people, double the actual population, 800 million still suffer from

hunger and malnutrition.

The aim of the Second Open Innovation Challenge of Europeana Food and Drink Project

is aligned with Slow Food aims to take part in Expo 2015: telling a different story,

explaining that food that feeds the planet has a soul, a story and a deep link with the

land. As Carlo Petrini said: “Expo 2015 should not just be an event for consumers, but

rather an opportunity to unite farmers, fishers, herders and food artisans, giving them a

chance to discuss the political role of food. The stars of the event should be the people

who produce our daily food”29.

Expo 2015 is the Universal Exhibition that Milan, Italy, is hosting from 1 May to 31 October

2015. Over this six-month period, Milan is a global showcase where more than 140

participating countries show the best of their technology that offers a concrete answer to a

vital need: being able to guarantee healthy, safe and sufficient food for everyone, while

respecting the Planet and its equilibrium. In addition to the exhibitor nations, the Expo also

involves international organizations, and expects to welcome over 20 million visitors to its

1.1 million square meters of exhibition area.

4.1.1 Slow Food and WP4 Agreement

On March 7, 2015 Uniroma1 and Slow Food International entered into an agreement,

whose main objective was to establish a co-operation in delivering and arranging the

Europeana Food and Drink Open Innovation Challenge Award Event. Slow Food hosts the

Event in its Theater at EXPO Milan 2015.

Uniroma1 as WP4 leader and Slow Food have a common interest in cooperating in order

to achieve their respective objectives about sustainability, food and drink culture and wider

29

http://www.slowfood.com/expo2015/it/nutrire-il-pianeta/slow-food-a-expo/

http://www.slowfood.com/expo2015/it/nutrire-il-pianeta/slow-food-a-expo/


30

reuse of Europeana content. Partners undertook the guidelines discussion and the

collaboration for communication. Slow Food took charge of the organization in Slow Food

Pavillion at the Expo (See Annex 1, 1.2).

4.2 Food and Drink Industries and Creative Industries: CNA Network for the Challenge

The CNA, Italian National Confederation of Crafts and Small and Medium Enterprises, for

over sixty years represents and protects the interests of micro, small and medium

enterprises, operating in the sectors of manufacturing, construction, services, transport,

trade and tourism, small and medium industries, and in general in the business world and

its associated forms, with particular reference to the sector; artisans, self-employment,

professionals in its various expressions, women entrepreneurs and businessmen and

pensioners is a reality that today draws strength and weight from about 670,000 members.

The mission of the CNA is to give value crafts and small and medium enterprises, serving

as their partner for developing and promoting economic and social progress. This goal is

pursued through a structured organization and widespread, a company that offers

integrated services and personalized advices to companies, a modern structure that

provides its members with assistance, information and innovative solutions.

Enormous spread crafts, both in large cities and in small towns, correspond the

widespread presence of the CNA:

More than 9,000 employees working in 1,250 offices of the Confederation that not only

offer services, advice and information, but have the credibility, professionalism and

strength of feeling sharers and co-stars of the success of small business and the

development of a sector that, by only, continues to create jobs and new businesses.

The CNA was the first organization to sign agreements with the craft unions of workers

(1946). The federal government will conclude, with the trade unions of workers, 17 national

collective agreements of work (Textile - Clothing - Footwear, Goldsmiths - Silversmiths -

Watchmaker, Dental, Ceramics, Construction, Hairstyling and Aesthetics, Communication,

Mechanical Engineering and Installation of Equipment, Food and Bakery, Wood and

Furniture, Marble and Lapidei, drycleaners, eyewear frames, Chemistry - Rubber - Plastic

and Glass, Logistics - Freight and forwarding, Cleaning Services, Agents and

Representatives), covering about 2 million employees; plus numerous regional collective

agreements of work. The CNA is one of the signatories, among other things, of the

Protocol 23 July 1993, the Pact for Italy signed on 5 July 2002 Framework Agreement and

the recent reform of contractual arrangements on 22 January 2009.

Founded in 1946, the CNA system consists of:

18 Regional CNA; 100 Territorial CNA; Retired CNA (230,000 members); 10 National

Unions: CNA Food, Artistic and Traditional CNA, CNA Welfare and Health CNA

Communication and Advanced Services, CNA Construction Federmoda CNA, CNA FITA

CNA Installation and Equipment, Production CNA, CNA Community Services; 4 Groups of

Interest: CNA Young Entrepreneurs, CNA Woman Entrepreneur, CNA Commerce and

Tourism, Industry CNA. And even: CNA Professions; CNA Citizens.


31

4.2.1 CNA Network and WP4 Agreement

On March 10, 2015, Uniroma1 and CNA entered an agreement to establish a co-operation

in delivering the Second Open Innovation Challenge and Award event. Both parties have a

common interest in cooperating in order to promote food and drink culture and wider re-

use of Europeana content. In particular, CNA would give a special Award (€ 2000,00) to

the best Italian video in the Challenge and a contribution of € 1000,00 for the First rated

video (See Annex 1, 1.1)

4.3 Challenge Guidelines General Regulations

On March 2015 the Challenge Guidelines were completed, based on the concepts

explained in chapter 2 and on the structure explained in chapter 3 of this document (see

above).

Two Annexes to Guidelines reported the topics and the general aims and strategy of the

Challenge, and the application process on the Challenge platform.

General regulations on the Guidelines were:

Europeana Food and Drink Open Innovation Challenges are open to any private,

public or non-profit organisation within Europe / any legal person registered in

one of the 28 EU Member states

Each applicant can submit only one proposal per Challenge

Enterprises having offices or subsidiaries in different countries may only apply

through one country

Applications must be written and submitted in English

Projects are to be submitted in the Challenge platform

Challenge event takes place. The deadline will be announced in the promotional

campaign on Europeana Food and Drink website

(http://foodanddrinkeurope.eu/challengetwo) and on the competition platform

(http://contest.upeurope.com)

Europeana Food and Drink Project partners cannot participate in the Challenges.

4.3.1 Second Challenge Schedule and Theme

The Second Challenge will open on 15 April 2015. The deadline for the submission of

applications is 20 June 2015. The Second Open Innovation Challenge theme is “Video

Storytelling: Enhancing Sustainable Food and Drink Heritage and Productions”. General

challenge policy is based on a combination of three factors:

Enhancing innovative strategies and quality standards in video storytelling

on food and drink digital heritage

http://foodanddrinkeurope.eu/challengetwo/

http://contest.upeurope.com/


32

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

Experiencing a simple methodology to increase relationships between

Europeana and creative companies or freelancers in the creation and reusing of

digital content on specific topics.

4.3.2 Challenge Competition Terms

The Second Challenge is planned and launched in collaboration between Sapienza

University of Rome (WP4 leader, responsible for Europeana Food and Drink Project) and

Slow Food, a renowned non-profit organization operating in all EU countries - and

worldwide - on sustainable food and the related cultural heritage.

Challenge consists of a competition between video storytellers: competitors are

requested to submit a video storytelling product, aimed at enhancing sustainably in the

production of traditional food, including cultural heritage aspects related to it. The

applicants can be any representatives of Creative Industry, including startups, creative

teams, freelancers, non-profit organizations; they may also act as a launching pad to

contact enterprises, GLAMs (galleries, libraries, archives, museums) or other

organization networks and to offer collaboration.

Videos will be uploaded by competitors on the platform and must meet the following

requirements:

Lasting max. 21 minutes; videos up to 11 minutes are allowed too, considered as

a concept-film according to European standards

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

Respecting licensing conditions (see below and more specifically in Annex 2)

The re-use of Europeana Digital Library contents is welcome, as indicated in the

evaluation frame, and will be scored with 10 points.

As a introduction to Europeana data set, applicants may consult Europeana portal:

http://europeana.eu/portal/api-introduction.html.

For methods of Europeana digital content re-use, applicants may consult:

http://europeana.eu/portal/api-introduction.html as well as http://labs.europeana.eu.

At a later stage of the event, the videos will be made available in the Europeana

platform under Creative Commons license CC BY 4.0, which allows both vision and

reuse, or under Creative Commons CC BY-NC-ND 4.0, which does not allow reuse (see

Annex 2 and check on http://creativecommons.org).

The video uploading procedure on Europeana will be undertaken by Sapienza University

http://europeana.eu/portal/api-introduction.html


http://labs.europeana.eu/

http://creativecommons.org/


33

of Rome and ICCU (the Central Institute for the Union Catalogue of Italian Libraries),

both partners of Europeana Food and Drink Project.

In order to allow this, required information about the uploaded video will be compulsory

provided by competitors in the application.

Application requirements define the mandatory information required and a to-dos for the

interested parties and applicants.

Applicants have to insert in the platform some information about the product (see

Annex 2 ). They must also submit a short text describing each of the following

points:

Table 1: Application Description

Fields

Description

Vision Explaining in maximum 1000 characters (including spaces) the storytelling strategy developed for video

Product A video content description (max 1500 characters incl. spaces)

Production Way(s) of production, costs and time spent (max 500 characters incl. spaces)

Social impact Expected video impact for local or customer communities (max 700 char. incl. spaces)

Target

Applicants must indicate the potential target audience. They may also specify if the video will be re-used for the promotion of a territory, of an industry, of a GLAM (gallery, library, archive, museum); commercial purpose may also be the aim of the video (max 500 char. incl. spaces)

Applicants short profile Applicants’ competence in relation to the production of the submitted video. (max 300 char. incl. spaces)

4.4 Evaluation (and Grassroots Evaluation)

The evaluation process was to take place in two phases:

a) Assessment by a self-assessment and a possible exclusion for failure to meet

the requirements

b) Jury board evaluation (members using a tool on the platform and assigning

scores)

During the contest, a third phase was added (a ‘social’ evaluation: see below 4.4.1).

The evaluation frame was built modifying the scheme of the First Challenge (outcome

of an international benchmarking), according to the need for rewarding both aesthetic

and technical quality, and storytelling expertise/originality useful to promote sustainable

food and drink.


34

General rules for the assessment and evaluation criteria for the Juryboard were:

The project application will be allowed on the basis of the specific requirements:

Each applicant can only submit one project per Challenge

Enterprises having offices or subsidiaries in different countries may only

apply through one country

Applications must be written and submitted in English

Applicants must submit videos and all required texts and information

through the online platform selected for the Challenge (see

http://contest.upeurope.com)

The deadline must be met

Partners of Europeana Food and Drink Project cannot submit any video

product.

The jury will verify that all requirements are met. Should this not be the case, projects will

be excluded from the competition.

The evaluation will be executed on the basis of selected criteria specified below.

Before starting the evaluation process, the jury may further define the specific weighting

of criteria.

The jury will assign an overall score of max 60 points for:

Consistency with the objectives of the challenge: the video must be consistent

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

particular Annex 1)

Compatibility: the video fits the values and needs of the target group described

in the author's text

Creativity in storytelling: the video is made by a well-conceived and creative

storytelling concept and design

Aesthetic Quality: the video is original and non-trivial in form and content, it

shows a good aesthetic quality and it’s technically well made.

The Jury will assign an overall score of max 40 points for:

Scalability: the video could foster multiplier effects and new productions and

innovations

Communication effectiveness: the video should be recognizable and have

appeal

Usability: the video should be easily enjoyable and understandable

Trialability/Reuse: the video’s contents are easy to be re-used.

A fixed score of 10 points will be assigned if the video re-uses Europeana digital

contents.

http://contest.upeurope.com/


35


Community engagement: the video will generate forms of engagement for a

community

Cultural impact: the video will play an educational role and motivate people to

get in touch with digital cultural heritage content

Market benefits: the video, uploaded in Europeana Digital Library, is expected to

be re-used for commercial purposes and business.


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

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

professional competence and good quality = medium score; non-professional

competence but good quality = high score)

Feasibility: the video is made through technologies and materials available at

reasonable cost

Costs: a balance between costs and product quality (example: high cost in

video production but video 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.

The jury selecting and evaluating the submitted proposals will be composed of 1

internal and 4 external experts. The Europeana Food and Drink Project partners could act

as internal experts. External experts should be:

Slow Food representatives with a specific competence, consistent with the aims

of the Challenge

Video storytelling professional experts on food and drink and associated cultural

heritage

Creative enterprises or enterprise networks experts

GLAMs experts

The scientific coordinator of the Europeana Food and Drink Project Work Package 4

(Sapienza University of Roma), according to Slow Food, will appoint the jury members

immediately after the submission deadline.

4.4.1 Social Assessment: Third Phase

During the competition, other partners could offer to contribute to the challenge, as

established in the Guidelines. A social network especially dedicated to Food and Drink,


36

‘Fuudly’, (http://www.fuudly.com) contacted Uniroma1 and offered to add another form of

evaluation: if the videos in competition were available, participants in the social network

could vote, simply clicking a ‘Like’ box, and as a result a winner indicated by a ‘crowd’

could be awarded. This was technically possible to do, at least after the end of videos

submissions, and a fast agreement was established (exchanging e-mail). Even without a

cash prize, the winner awarded by social network could gain in visibility and prestige (see

Annex 3, 3.5).

4.5 Awards

As explained in the Challenge Guidelines, the winning project would receive € 3.000,00 in

cash, funded by Europeana Food and Drink, extra-sponsored by CNA (National

Confederation of the Craft Sector and Small and Middle sized Enterprises – Italy). Other

sponsors may additionally contribute.

The CNA had also offered an additional prize (€ 2.000,00) for the best video submitted by

an Italian applicant.

Furthermore the best videos will be promoted by the Europeana Food and Drink Project

partners, by Slow Food and through further media and communication networks.

Moreover, the opportunity offered by ‘Fuudly’ had to be exploited both for the event and

for the diffusion of the most voted by the network video.

Other general rules were:

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

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

informed and invited to the Challenge Award Event

The project evaluation procedure will be completed within 20 days from the

submission deadline

Cash awards are to be considered on a pretax basis

Both in project assessment and evaluation phases the jury members will act in

good faith, respect privacy information and apply 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

will not sign any confidentiality agreement

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

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

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

general terms and conditions of the competition by the applicants.

4.6 Data Processing and Rights Statements

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

original in all its parts.

http://www.fuudly.com/


37

Other rules for the reuse of digital content were:

Re-using of not original contents (clips, pictures, music, voices, etc.) is admitted only if

the contents re-used are available in public domain or under the same Creative

Commons License CC BY 4.0, or CC BY-SA 3.0. Applicants must compulsory declare the

source and specify licensing conditions. In case of false statement on the source and

licensing, all legal responsibilities will be borne by the applicant himself (see Annex 2).

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

the reused Europeana contents are available in public domain or under Creative

Commons License CC BY 4.0 or CC BY–SA 3.0 (please check and control licensing

conditions on Europeana:

http://www.europeana.eu/portal/rights/terms-and-policies.html

Or: http://creativecommons.org).

The Italian Decree Law no. 196 of June 30, 2003 governs the protection of individuals

and other entities with regard to the processing of personal data. Under article 13 of the

aforementioned decree law, we hereby state the following:

• The provision of details is required by Sapienza University of Rome to perform its official

duties and to take part in Europeana Food and Drink project Open Innovation Challenge

• The processing of personal details might be carried out with or without electronic means

• The provision of personal details is strictly required and your refusal to supply them will

lead to your exclusion from the competition

• The holder of the processing rights is Sapienza University of Rome in the person of the

Rector, pro tempore legal representative, having legal domicile for the purpose at the

University.

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

work made by him/herself and does 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.

All information about the Europeana rights’ statements is available on:

http://pro.europeana.eu/share-your-data/rights-statement-guidelines

Other information about Europeana licensing Framework is available on:

http://pro.europeana.eu/files/Europeana_Professional/Publications/Europeana%20Licensi

ng%20Framework.pdf

The licensor must also declare that content and organization of the video are his/theirs

original work and do not compromise in any way the rights of third parties, including those

relating to security of personal data; therefore Europeana Food and Drink is in any case

exempt from liability of any kind, civil, administrative or criminal, and will be held harmless

from any claim or demand by a third party.


http://creativecommons.org/

http://pro.europeana.eu/share-your-data/rights-statement-guidelines

http://pro.europeana.eu/files/Europeana_Professional/Publications/Europeana%20Licensing%20Framework.pdf

http://pro.europeana.eu/files/Europeana_Professional/Publications/Europeana%20Licensing%20Framework.pdf


38

5. Launching the Challenge: the Platform

Selecting an online platform for the Challenge management had been defined during the

activities related to the First Open Innovation Challenge. On that occasion, as we stated

in D4.3, it was clear that working with an American platform as iStart (on the example of

the challenge launched by Europeana Creative) had advantages and disadvantages. You

could enjoy greater visibility, but on the other hand, the theme of Europeana Food and

Drink Challenge, focused on Europeana, was less attractive for non-European visitors.

Another disadvantage consisted in formatting fairly rigid procedure for the contest

scheduled on iStart, which allowed only a limited customization. Therefore WP4 decided

to develop an agreement already in force between UNIROMA1 and a crowdfunding under

construction platform (UP Europe), addressed to a European dimension and interested in

customizing at least the section devoted to the contest.

UP is a network company, enrolled in the innovative startups, founded in February 2013

by 22 among professionals, managers, entrepreneurs and academics. Its mission is to

support the establishment of economic and social value through alternative forms of

finance and participatory. UP builds systems fostering innovation and the development of

inventiveness, and planning processes by enabling collaboration among innovators,

companies, associations, universities, schools of higher education, professionals in the

financial and public institutions. UP works to enhance the academic and research assets,

to identify high potential innovative projects and start-ups and to guide them to the

market. UP enables fund raising for research, technology transfer, start-up, and support

consolidation of business projects, creation of start-up and implementation of civic

campaigns of non profit organizations (eg Caritas Internationalis). Through agreements

with strategic partners, UP submits to the market projects selected and qualified by

relationships with research centres, universities, organizations (including foundations and

NGO) and established companies. UP crowdfunding platform permits various financing

forms such as collective and donation, reward crowdfunding, lending crowdfunding and

equity crowdfunding.


39

5.1 Platform Design

A special section of the portal, called UP CONTEST, is dedicated to organizing and

managing competitions; the system enables loading and presentation of projects

(innovation, entrepreneurship, social purposes, etc.) allowing the evaluation and vote on

motions by jury boards or the public according to the rules established by the organizers.

UP contest platform design and the Challenge construction on the platform went on

progress, in February, March and April 2015. The cooperation between UNIROMA1 and

UP for the Challenge has allowed to develop a contest platform original version, in

particular including the system of content pre-metadating suitable to a functional and easy

inclusion in Europeana (see Annex 2), and the assessment tool in the Jury Board reserved

area (see the screens in Annex 3, 3.4) .

On 1 April 2015 the challenge landing page of competition platform was opened, and

following information was pointed out30:

A brief launch text as 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.

30

https://contest.upeurope.com/en/contest/1

https://contest.upeurope.com/en/contest/1


40

6. Communication Planning

A communication work was planned to ensure visibility and encourage participation.

Despite the limited time available, it was scheduled in 5 steps in collaboration with

Project Partner Österreichische Nationalbibliothek (ONB), being in charge of WP6,

Communication and Dissemination:

Launch Communication Campaign: (2015, April – May):

Recall for Challenge Application Deadline (2015 – end of May)

First Challenge Final Event Launch (2015, June)

First Challenge Final Event Program (2015, end of June)

First Challenge Award (2105, end of July): Report about Final Event

Namely, targets have been identified different levels:

Europeana Food and Drink Project network

Europeana Food and Drink communication on social networks

Europeana Labs network

Slow Food International networks and communication

For Italy and Expo 2015:

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 #5) before Second Challenge Begin

(2015, April 1st) and the call including promotional material (pictures, web

banner, standard text) has been shared among project partners via

Basecamp to encourage promotion and dissemination.

Further, European and National Institutions, Creative Industries and Food

and Drink associations have been approached. Relevant contacts in Austria

and Germany (universities, film associations, creative networks) were

reached through a German E-Mail Campaign.

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

Challenge Award Event, it was continuously communicated via the project’s

http://us8.campaign-archive2.com/?u=af397922a2578802b31801c11&id=5ff1f26590


41

website and blog as well as social networks such as the Europeana Food

and Drink Facebook and Twitter Account.

2) Collaboration with Slow Food permitted to use not only Slow Food national

information channels, but also its international networks.

3) Collaboration in progress with CNA allowed to advertise Challenge in Creative

Industry networks (http://www.cna.it/notizie/cna-con-slowfood-e-luniversita-

sapienza-lancia-un-concorso-la-valorizzazione-del-cibo).

4) Uniroma1 (WP4) has been exploiting its contacts to make a second challenge

widely known in both national and international levels. Uniroma1

communicated inter alia to:

La Sapienza University website/ Newsletter

( http://uniroma1.jobsoul.it/sala-stampa/europeana-food-and-drink-al-

open-innovation-challenge)

Job Soul (http://www.jobsoul.it/sala-stampa/europeana-food-and-drink-

al-open-innovation-challenge)

CRUI/Italian Universities website

Enterprise Network partners: Slow Food Italy and Slow Food

International website

Rome Municipality

Region Latium

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:

http://www.incontragiovani.it/lavoro-e-

impresa/opportunita/finanziamenti-e-bandi/europeana-food-and-drink-

open-innovation-challe-0

MAGICA (https://it-it.facebook.com/magica.entediformazione)

Many Food and Drink local consortia (see Annex 3.6)

Social Networks managed by a Uniroma1 specialized communication

unity (Facebook, Twitter: see Annex 3.7 and teaser trailer31:

http://youtu.be/Yc5RH37lzlI .

31

Uniroma1 Teaser Trailer is in Public Domain. Tags are: 2nd Open Innovation Challenge - Europeana Food and

Drink, Europeana Food and Drink, Slow Food, Carlo Corazzini, CNA, Sapienza Università di Roma, DigiLab Sapienza, EXPO Milano 2015.

http://www.cna.it/notizie/cna-con-slowfood-e-luniversita-sapienza-lancia-un-concorso-la-valorizzazione-del-cibo

http://www.cna.it/notizie/cna-con-slowfood-e-luniversita-sapienza-lancia-un-concorso-la-valorizzazione-del-cibo

http://uniroma1.jobsoul.it/sala-stampa/europeana-food-and-drink-al-open-innovation-challenge

http://uniroma1.jobsoul.it/sala-stampa/europeana-food-and-drink-al-open-innovation-challenge

http://www.jobsoul.it/sala-stampa/europeana-food-and-drink-al-open-innovation-challenge

http://www.jobsoul.it/sala-stampa/europeana-food-and-drink-al-open-innovation-challenge

http://www.incontragiovani.it/lavoro-e-impresa/opportunita/finanziamenti-e-bandi/europeana-food-and-drink-open-innovation-challe-0



https://it-it.facebook.com/magica.entediformazione

http://youtu.be/Yc5RH37lzlI


42

5) For the Award Event Communication, the partners listed above were informed

and a specific news was released through:

ICCU Website

http://www.iccu.sbn.it/opencms/opencms/it/archivionovita/2015/novita_0018.ht

ml

ICCU Facebook

https://www.facebook.com/permalink.php?story_fbid=641798105960546&id=1

83538698453158

ICCU Twitter

https://twitter.com/iccu2/status/621998160660033537

Slow Food Website ITA

http://www.slowfood.com/sloweurope/it/sul-palco-dello-slow-food-theater-i-

vincitori-del-concorso-europeana/

Slow Food Website ENG

http://www.slowfood.com/sloweurope/en/winners-of-the-europeana-

competition-take-to-the-stage-of-the-slow-food-theater/

Europeana Labs Website

http://labs.europeana.eu/blog/food-drink-challenge-video-storytelling/

Europeana eNews, April 2015

7. Jury Composition

An International Jury selecting and evaluating challenge competitor projects and

products should be composed by internal and external experts (5 members in all, 1

internal and 4 external experts). The Europeana Food and Drink Project partners

could act as internal expert and Jury Board Chairman. External experts should be:

Slow Food representatives with a specific competence, consistent with the

aims of the Challenge

Video storytelling professional experts on food and drink and associated

http://www.iccu.sbn.it/opencms/opencms/it/archivionovita/2015/novita_0018.html

http://www.iccu.sbn.it/opencms/opencms/it/archivionovita/2015/novita_0018.html



https://twitter.com/iccu2/status/621998160660033537

http://www.slowfood.com/sloweurope/it/sul-palco-dello-slow-food-theater-i-vincitori-del-concorso-europeana/

http://www.slowfood.com/sloweurope/it/sul-palco-dello-slow-food-theater-i-vincitori-del-concorso-europeana/

http://www.slowfood.com/sloweurope/en/winners-of-the-europeana-competition-take-to-the-stage-of-the-slow-food-theater/

http://www.slowfood.com/sloweurope/en/winners-of-the-europeana-competition-take-to-the-stage-of-the-slow-food-theater/

http://labs.europeana.eu/blog/food-drink-challenge-video-storytelling/


43

cultural heritage

Creative enterprises or enterprise networks experts

GLAMs experts

The scientific coordinator of the Europeana Food and Drink Project Work Package

4 (Sapienza University of Roma), after consulting Slow Food, appointed

the Jury Board members on 22 June 2015.

Final composition was32:

Aniceto Delgado Mendez (Chairman)

Anthropologist of the Center for Documentation and Research Andalusian Institute of

Historical Heritage of Seville (IAPH) and Europeana Food and Drink OpenLab

‘Heritage’).

Francesco De Melis, Ethnoantropologist and Filmmaker

Anna Maria Selini, CNA Communication Expert and Video-maker

Michela Marchi, Slow Food Communication Expert

Catherine Mann, Slow Food International, Communication Expert

8. Competitors and Winners

Sixteen videos took part in the competition (see Annex 4, 4.5). The winners are:

For Europeana Food and Drink Contest (and Fuudly Community as well): Seeds by

Stefano Scarafia

For CNA Contest: Pasta amara (Bitter paste) by Ivano Fachin

A special mention is due also to the best of the videos reusing Europeana contents:

The Mulberry Affair by Raffaella Marandola33.

32

Jury Board biographies are to be read in Annex 4, 4.3

33 Winners biographies are to be read in Annex 4, 4.3.


44

8.1 Brief Videos Description

Seeds by Stefano Scarafia

A journey from Tuscany to Sicily to understand how important is the element at the

base of our food: seeds. A documentary about agriculture, food rights, biodiversity,

narrated by the voices of small producers.


45

Pasta amara (Bitter Paste) by Ivano Fachin

A portrait of Don Luigi Baglieri, the last itinerant chocolatier in Europe, who carries on

the centuries old tradition of the city of Modica – in Sicily – handed down from father

to son.


46

The Mulberry Affair by Raffaella Marandola (mention)

The movie is about missing reporter Robert Petillo and the finding of his documentary

videotapes about the disappearance of mulberry trees. The videos reveal, aside from

the history, the prodigious properties of the fruits and the existence of an international

conspiracy that has boycotted its diffusion. The disappearance of the reporter seems

to be related to his own investigation.


47

9. The Second Open Innovation Challenge Final Event

Second Open Innovation Challenge Award Event was held on 22 July 2015 in the

prestigious venue of EXPO’ Milan in the Slow Food Area.

9.1 Final Event Location

The Slow Food Theater is a place for meeting and exchange, a venue for organizing

talks, debates, film and documentary screenings, theatrical or musical shows,

presentations of books or production techniques and much more. The events’ themes

will be connected to the content of the surrounding space: biodiversity, sustainable

agriculture, responsible consumption, the fight against food waste and so on.

The theater is an open space, and entrance is free while places are available. It has

a capacity of 40 seated, but can hold up to 50-60 people standing. Slow Food uses

this space to give voice to its network (farmers, fishers, artisans, Terra Madre food

communities, national associations, Convivia, Presidia, Earth Markets and

businesses operating in harmony with the Slow philosophy) plus other civil society.

9.2 Event Program

This is the program of the Event in Milan:

H 15.00

Chairman Valter Bordo - Slow Food

Milena Popova – Europeana Foundation

Gordon McKenna – Collection Trust – Europeana Food and Drink

Mariella Guercio – Uniroma1

Europeana Food and Drink Second Challenge Video Show:

Don’t show me how it’s done, tell me its story by Remo Schellino

The Yggdrasil’s Servant by Vicenzo Allotta

Jury Board introduces the Competition and Videos:

Aniceto Delgado Mendez – IAPH, Jury Board Chairman

Francesco De Melis, Ethnoantropoligist and Filmmaker

Europeana Food and Drink Second Challenge Video Show:

The Harvest 2014 by Giovanni Blasi


48

The Mulberry Affair by Raffaella Marandola

Winner Presentation and proclamation by

Valter Bordo - Slow Food

Susie Slattery – Collection Trust - Europeana Food and Drink

Mirco Della Vecchia - CNA

Davide Novali – Fuudly Community

The winners are: For Europeana Food and Drink Contest (and Fuudly Community as

well): Seeds by Stefano Scarafia; For CNA Contest: Pastamara by Ivano Fachin; For

Fuudly Contest: Seeds by Stefano Scarafia.

Video Show:

Seeds by Stefano Scarafia

Pastamara by Ivano Fachin

9.3 Panel Brief Report

In the first panel, Milena Popova introduced Europeana and showed the opportunity

of Europeana digital library for creative industries and food and drink enterprises.

Gordon McKenna introduced Europeana Food and Drink project and the opportunity

of commercial partnership and culture change for the heritage sector (See Annex).

Mariella Guercio described Europeana Food and Drink Challenges philosophy and

Second Challenge concept and developing.

After the first video show, Aniceto Delgado Mendez, President of the Jury Board,

explained the Jury point of view during the judgement and Francesco De Melis

described the aesthetic criterions to judge those kind of productions.

After a second video show, Susie Sluttery presented the Award to Stefano Scarafia

for his Seeds and Marco Della Vecchia presented the Special Best Italian Award to

Ivano Fachin for his Pastamara (Bitter Paste) 34.

In closing, the two Winners videos have been shown.

34

Panel participant biographies can be read in Annex 4, 4.3. Slides are to be founfd in Annex 4, 4.4.


49

10. Conclusions: Results and Impact

In this document we reported all undertaken activities for the Second Open

Innovation Challenge, as guidelines defining, contest launching, communication,

evaluation and awarding at the final event. However, a report mainly focuses on

crucial issues faced during Challenge proceedings as:

Improving the quality of intangible and tangible heritage storytelling, by building

meeting points between Europeana/GLAM’s cultural contents and Creative

Industry especially acting on the food and drink field

Defining a vision of storytelling and video storytelling applied to cultural

heritage and food and drink heritage

Managing Legal frame problems with regard to Food and Drink contents

already existing on Europeana

Organizing a circular flow: from Europeana contents to new video products,

and viceversa: new videos becoming Europeana Digital Library contents

Ensuring basic quality standard for video products in order to be accepted in

Europeana and guaranteeing ingested products to be available in open

access

Experiencing a user friendly system so that video producers may pre-arrange

basic metadata of the provided creation

On all this issues strategies and solutions were tested and experiences were gained

as the report has detailed. Those represent actual results, reusable by Europeana

and partners.

Other results concern branding and knowledge: In various communication networks

we can estimate at least 5.000 to 20.000 persons reading news and texts about the

Challenge in environments where Europeana knowledge was virtually absent.

In expert jury members’ opinion half of videos created for the challenge are of good

or very high quality (i.e. aesthetic and narrative) and half are weak on the

professional level, even if they often attempt original ways to promote food and

heritage. And only a half reused Europeana contents. So, in order to further improve

methods and tools we asked some competitors to list critical points in their

experiences. They have reported the expected difficulties on Europeana content

reusing:

1) Few reusable high quality contents, and therefore the risk of hindering video

fluidity

2) Tagging often is uncertain and ineffective for searching on Europeana.

3) Not zoomable images


50

4) Copyright management not so easy to be understood for beginners. For

example, despite Challenge Guidelines recommendations about copyright,

some Second Challenge posted videos were blocked by You Tube, especially

with regard to music use.

In addition, they pointed out a lack of details on audio/video formats and size-

limitation (350 MB) and resulting difficulties during video submission. However, speed

of UP and Uniroma1 technical assistance was appreciated.

A Challenge outcome is spreading the consciousness of food and drink video-

storytelling problems. Even if interested professional video storytellers enhancing

Food and Drink Heritage are not so many, training initiatives are in fact multiplying

(particularly in U.S.A. universities where new Food and Drink Departments send

students to Europe in order to practice videostorytelling35).

Finally, networking with relevant Food and Drink or/and Creative Industry

organizations was a useful experiment, that along with tools developed for the

Second, will be harnessed for Third Challenge. This complex equipment makes it

possible now to launch a direct challenge to reuse Europeana contents for new

productions (from digital objects related to Food and Drink to 2D or 3D material

products).

35

See for example Gustolab programs for USA Universities in Italy: https://www.gustolab.com/

https://www.gustolab.com/


51

Europeana Food and Drink Second Part - Incubation paths

11. Aims and General View about Incubation

11.1 Introduction

First Open Innovation Challenge Final Event of Europeana Food and Drink Project

took place in Rome on January 30, 2015. First Challenge awarded best ‘concepts’ for

reusing Europeana digital contents related to Food and Drink existing in Europeana

Digital library. Two winners were selected, according to two categories: professional

creative industry and not structured young creative team (free-lance/under 29). The

former was awarded € 5.000,00, useful as start capital for developing the project. To

the latter an incubation package in order to improve and refine the concept was

offered.

After examining in details the incubation winner concept and after according

Incubation plan, an incubation workflow was made up and submitted in order to state

an agreement with the winner about the activities to be undertaken.(end of February

2015). A preliminary meeting for starting the incubation package occurred on March

19, 2015, and an agreement was signed in April (see Annex 5, 5.1). For this reason

general guidelines about incubation key-skills and stakeholders’ support had been

reported in WP4-Deliverable 4.3 - whose deadline expired just on February 201536.

As requested by the officer and reviewers37, the Deliverable 4.4, Part 2, includes now

additional and up-to-date information, detailed plans, schedule and other items

concerning the tailor-made incubation path designed for First Challenge winner:

Expected incubation time will take from March to December 2015 and outcome data

will be delivered in D4.5.

Finally, a further Incubation Package has been offered in the frame of Second Open

Innovation Challenge (‘Videostorytelling. Enhancing Sustainable Food and Drink

Heritage and Production’), whose Final Event was hosted on July 22 in Milan at Expo

2015: the arrangement is providing a Lab support for improving and perfecting the

Second Challenge best video reusing food and drink contents from Europeana. After

an initial brainstorming (August 26, 2015) an Incubation Agreement was signed:

Scheduling and activities have started in September 2015 and are in progress. For

this reason, a detailed description of Second Challenge Incubation path and workflow

will be exposed in D4.5 (Deadline February 2016).

36

Uniroma1, D4.3: Europeana Food and Drink, Europeana Open Innovation Challenge Report 1, point 12, pp.35-

38. 37

Tsakou, Johanna, Technical Review Report, 02.06.2015, p.8.


52

11.2 Open Lab “Cultura” as Incubation Player

Europeana Food and Drink Open Lab “Cultura” is grounded by Sapienza University

of Rome DigiLab Center (Uniroma1)38. Although Open Lab does not represent a

structured incubator, its growth has furtherly been fostering Sapienza strategy for

developing incubation initiatives; as a result, Uniroma1 has been supplying the lack

of a specific budget for incubation in Europeana Food and Drink project with

engaging researchers in testing methods, innovative strategies, and in finding

policies on the field. Indeed, crucial aims for Open Lab and University should be

creating a real academic and scientific incubator with a close connection to

enterprises and regional institutions funding; or at least should be co-participating in

a mixed co-working, incubator and accelerator structured system by supplying

competencies in science and management. Uniroma1 is currently engaged as a

training partner in the Creative and Cultural Industry (CCI) incubator BIC Lazio, an

initiative related to the EU/BICS network39. In effect, for Europeana Food and Drink

Project, Uniroma1 researchers and their enterprise network partners have been

involved in incubation best practices studies as well as in incubation design,

management, training, communication and in building relations so that the winner

concept could be perfected and accompanied towards the market access.

11.3 Incubation Goals

As UNIROMA1 intention was incubating a young creative team project, incubation

program design was not only targeted to meet some objectives related to a specific

incubation training, but at the same time to build a general frame partially reusable as

a model by other incubation initiatives. The main aims to be pursued were

preliminarily identified as follows:

• Supporting and developing the concept of a young creative team

• Identifying key-skills for the project improvement

• Using Europeana Food and Drink and Europeana Labs as a creative environment

38

See Open Lab Cultura description in WP4 - Uniroma1, D.4.2., Europeana Open Labs (new) Partnership Agreement, September 2014, pp. 6-12.

39 European Business and Innovation Centre Network was grounded in 1984 as initiative of European

Commission and European Industry. Network consist of over 250 BICs in Europe and is engaged in increasing Small and Middle Enterprises (SME) activities all around Europe and even in some countries of Middle East as Lebanon and Morocco: http://www.ebn.eu. About Bic Latium: http://www.biclazio.it and http://www.ebn.be.

http://www.ebn.eu/

http://www.biclazio.it/

http://www.ebn.be/


53

• Experiencing specific re-use of Europeana contents

• Encouraging an entrepreneurial attitude

• Encouraging a g/local strategy

• Fostering net income from Investors

11.4 Incubation Training Premises

Next step should define a specific incubation program for a young creative team/

free-lance according above mentioned general objectives. For this purpose, two

central factors were to be taken into account:

- Winner’s real competencies in a wide range of fields (as for example

Europeana reusing tools and legal frames; technological skills;

communication and marketing skills and so on as required starting level of

knowledge)

- The need to establish a network between different players (UE Open Labs

and Creative Industry partners) having a consolidated experience in

enhancing learning process.

Under these conditions, a tailor-made learning path was designed which would lead

to gradually acquire useful skills for concept refining, especially by providing

suggestions and counseling to realize its main assets. Such a strategy is also

generally recommended by best practices experts: incubators should provide

different programs depending on client needs, typology, aims and requirements40 .

That is particularly requested by Culture and Creative Industries (CCI) how EU-BICs

experience points out:

However, CCI entrepreneurs hold specific characteristics that may make it difficult

and inefficient to use a standardized business support approach, thus more specific,

and tailor-made services, might need to be set up41.

As a consequence, a schedule was arranged including a sequence of different

activities and assistance of various partners. Finally, concerning the required time for

an effective tailor-made incubation process, it was calculated a period of 6-9 months

according to key-skill achievements and to the winner’s effective availability of time

(see below, chapter 13).

40

Grimaldi , Rosa and Grandi, Alessandro, Business Incubators and New Venture Creation: an Assessment of Incubation Models, Technovation, 25 (2), 2005, 111-121.

41 See Creative BICs. A Pratical Guide to Tailor Services to the Creative Industries, Eubic, EBN Technical Note

04, Brussels, November 2014, p. 3: http://ebn.eu/downloads/TechnicalNote04CreativeIndustries.pdf

http://ebn.eu/downloads/TechnicalNote04CreativeIndustries.pdf


54

11.5 International Best Practices

Before starting the incubation program, Europeana Food and Drink Open Lab

“Cultura” faced some different incubator patterns based on reports, papers and

proceedings from international incubation best practices in the USA and European

Union42.

11.5.1 Providing Incubation Services: a USA example

U.S. Department of Commerce with University of Michigan, University at Albany and

National Business Incubation Association (NBIA) surveyed in 2009-2010 a selection

of 376 among 1171 USA incubator case studies in order to testify the most

efficacious incubation services for enterprises. Results stressed main factors for a

successful incubation, according to interviewees opinion, as follows (from 4,4 to 3,3

points in a rank scale 1 minimum/ 5 maximum43):

High speed internet

Business plan development

Marketing assistance

Specialized equipment

Links to Higher Education

Comprehensive business training programs

Accounting and financial management

Shadow boards

Access to venture capitalists

Accessing non- commercial loan fund

Tech-commercialization

42

A Resume of most important incubation theory from the beginning to 2004 is to find in: Hackett, Sean M. and

Dilts, David, ‘A Systematic Review of Business Incubation’, The Journal of Technology Transfer, February

2004, 55-82.

43 U.S.Department of Commerce, Economic Development and Administration, Incubating success. Incubating

best practices that lead to successful new ventures, Authored by David A. Lewis, Elsie Harper-Anderson, Lawrence A. Molnar, Ann Arbor, University of Michigan. 2011: p.45, Table 9: Importance of Services to Client Success. The list shows the first 16 entries for score: http://www.nbia.org/docs/default-source/research/download-report.pdf?sfvrsn=0

http://www.nbia.org/docs/default-source/research/download-report.pdf?sfvrsn=0



55

Linkage to strategic partners

Assessing commercial loans

Intellectual property protection

Management team identification

Presentation skills

According to that report the ‘with walls’ solution – i.e. attending an on-site lab space –

is generally considered the best choice by clients for an incubation program;

otherwise a ‘virtual incubation’ is deemed to be possible only when services and no

on-site space are offered to the client; or when an additional on line environment

allows peer to peer collaboration among clients.

11.5.2 Incubation EU Policies

Concerning the EU attitude to incubation’s role in economic development, some

different incubator models have been emerging since 2002 in Europe, as EU

provided the first benchmarking report about incubation. The suggested incubation

frame has been showing some interesting aspects, still valuable now-a-days.44

44

European Commission, Centre for Strategy and Evaluation Service, Benchmarking of Business Incubation.

Final Report, February 2002 (reviewed 2006): see appendix 3 and 4. Figure: p. 25, http://www.cses.co.uk/upl/File/Benchmarking-Business-Incubators-main-report-Part-1.pdf

http://www.cses.co.uk/upl/File/Benchmarking-Business-Incubators-main-report-Part-1.pdf


56

Figure 1: Business Incubator Model

(Source: European Commission, Benchmarking of Business Incubation, 2002, p. 25)

Attention to regional dimension, networking between incubation stakeholders and

enterprises, and management skills, indeed indicate crucial elements for Europeana

Food and Drink Incubation setting up, particularly because implemented by further

EU experiences on the field: i.e. the above mentioned European Commission

Business and Innovation Centers (EU-BICs) Incubators, which have confirmed the

trend, especially since their strategy has been addressed to improving Cultural and

Creative Industries (CCI)45. As a result, physical labs were grounded where creative

45

As recommended by: European Commission, The Entrepreneurial Dimension of the Cultural and Creative Industries, Utrecht: DG Education and Culture, 2010.

http://bookshop.europa.eu/en/the-entrepreneurial-dimension-of-the-cultural-and-creative-industries-pbNC0213130/




57

startups have been developing concepts and prototypes as well as acquiring

business competences and entrepreneurial mentality46. Now-a-days, BICs offer an

important support for Creative Sector; although it generally consists of microbusiness

or at the most of Small /Medium Enterprises (SME), it represents a driving sector with

an increasing turnover ensuring a regional economic growth47.

Another stimulating aspect of incubation policies, useful for designing Europeana

Food and Drink Incubation, is represented by 3C4 Incubator partnership48 which

promotes Creative Industries as territorial development and economic-social

innovation, and encourages EU-BICs and partner Labs exchange; moreover, it

fosters a wider connection among labs, CCI, local policymakers and EU in order to

create an International network permitting to Small and Middle Enterprises’ (SME)

access to new and international markets.

Finally, the close relationship between Creative Industries and Higher Education

Institutions for improving innovation and training has added another crucial element

to Europeana Food and Drink Incubation plan, whose central position the LEC

(Learn-Engage-Create) EU program has been showing since 2010, after starting

SUPORT program49.

11.5.2.1 Special Program for Startups

If an incubator boosts young creatives to develop a startup, prior needs and related

training activities have to be individuated and employed for carrying on the most

suitable operating procedures. Creating an incubation ecosystem can be helpful to

refine and perfect concept and projects in view of forming a prototype being

presented to the market. In this case the main needs are50:

46

Creative BICs. A practical Guide to Tailor Services to the Creative Industries, Bruxelles: EuBIC/EBN, 2014

(Technical Note November 2014), especially pp. 9-12 , http://ebn.eu/downloads/TechnicalNote04CreativeIndustries.pdf.

47 For more detailed information see: Staines, Judith and Mercer, Colin, Mapping of CCI Export and

Internationalisation Strategies in EU Member States, EENC Report, February 2013, pp. 4-7: http://www.kulturradet.se/Documents/Verksamhet/Internationellt/JStaines_CMercer_Mapping_CCIExportStrategies_updated_Feb2013.pdf

48 http://www.3c4incubators.eu/ (EU-Med Programme).

49 http://www.lec-project.eu and http://suport-project.eu

50 Salido, Edoardo, Sabàs, Marc, Freixas, Pedro et alii, The Accelerator and Incubation Ecosystem in Europe,

Telefonica – UE Commission, 2014, p. 15:

file:///C:/Users/user/Documents/The%20Accelerator%20and%20Incubator%20Ecosystem%20in%20Europe.pdf


http://www.kulturradet.se/Documents/Verksamhet/Internationellt/JStaines_CMercer_Mapping_CCIExportStrategies_updated_Feb2013.pdf


http://www.3c4incubators.eu/

http://www.lec-project.eu/

http://suport-project.eu/


58

Figure 2: Main Startup’s Needs

(Source: The Accelerator and Incubation Ecosystem in Europe, Telefonica – UE Commission, 2014 p.15)

Selecting and providing incubation best services answers to main European

Incubation policy purposes: it has been confirmed by Cluster 202051, an ECIA

(European Creative Industries Alliance)’s project pointing out some specific

incubation activities and “next generation” services as a companion about how to

manage creative and digital clusters and accelerate creative final products. ECIA also

51 Cluster 2020 is a 3-years pilot project co-financed by the European Commission’s Directorate-General for

Enterprise and Industry as part of the European Creative Industries Alliance (ECIA) initiative: http://www.cluster2020live.eu

http://www.cluster2020live.eu/


59

indicates general categories grouping the main services an incubator should

supply52:

• Incubator as a provider of an easy passage to FabLab, broadband and Information

Technology (IT) and at the same time of specific skills training (equipment, facilities)

• Incubator as cooperation among sector SMEs, research centers, industries aimed

to experiment partnerships or product/services development.

• Incubator as a support for making up an efficacious business plan and boosting

initiatives to SMEs’ international launching

• Incubator as an internal management system whose players are taking part in

international projects and are closely connected to enterprises in order to better

explore the sector’s needs.

• Incubator as a basis to explore national and international financing opportunities,

and to develop a strategic approach to effective value chains.

Figure 3: Incubation Value Chain

(Source: Growth Creative, Incubators for Creative Entrepreneurs, 2011, p. 19)

52

ECIA (European Creative Industries Alliance), Best Incubation Practices Aimed to Supporting Creative and Digital Businesses. A Report by Cluster 2020. (Connecting with Efficient Practices across Europe. WP2: Efficient and Sustainable Businesses within an Efficient Cluster)’, Bruxelles 2015, p.10: http://www.eciaplatform.eu/wp-content/uploads/2014/06/Best-Incubation-Practice_EBNReport_Cluster2020_FINAL.pdf

http://www.eciaplatform.eu/wp-content/uploads/2014/06/Best-Incubation-Practice_EBNReport_Cluster2020_FINAL.pdf



60

11.5.2.2 Virtual Incubation

Incubators embedded in a territory and connected with enterprise network -

especially SMEs - are often intended as on-site and co-working spaces offered to

entrepreneurs in order to accelerate programs and to more easily reach the market.

Another practiced incubation asset regards a virtual, “without walls” range of

incubation activities occurring without on-site space. Such a system should

encourage a networking between different incubation players and enterprises acting

as an environment where potential cooperation, peer-to-peer learning and contact

facilities are dynamized.

Incubators primarily consist of a development program and a range of business

development services. These are basically advice and may be what constitutes a

’virtual incubator’. A full-flowered incubator, however, also offers a physical location

and a geographical focal point for networking, collegiate nearness and specific area

coverage.53

In brief, the virtual incubation should make up a real ecosystem54 of relationships

among incubated projects, incubation stakeholders and related partners, enterprises,

higher education institutions and research centers. Grounding such a networking

actually means exploiting the advantages 2.0 web can provide. In this grassroots

context European project VOICE55 shows an original approach to design a new

incubation model as “a virtual open, collaborative crowd innovation and

entrepreneurship ecosystem that facilitates the development and rapid

commercialization of business ideas and prototypes; forming this way virtual-

collaborative startups or what we call ‘crowd-ventures’”. VOICE has extended Henry

Chesbrough’s theory to incubation practice56: from a ‘closed’ idea of innovation to an

open innovation paradigm. The resulting VOICE’s ‘open incubation model’ is going to

manage incubation steps in crowdsourcing, co-working, and crowdfunding. It might

53

Such a definition is to be read in Creative Growth, Incubators for Creative Entrepreneurs based on 27 Case Studies, (Ed. Majbritt Chambers & Knud Erik Serup) Vejle, Denmark 2011, p. 3: http://www.creative-growth.eu/Portals/10/Creative%20Growth%20TWG%20report%20on%20INCUBATORS.pdf

54 Ecosystem as players connection was focused in: Liam Boogar, Report on How the European Commission

can Support Web Entrepreneurship in Europe Based on the inputs from the open consultation organized by the European Commission in November-December 2012 in relation to Horizon2020, European Commission 2013, pp 18-19.: https://ec.europa.eu/digital-agenda/sites/digital-agenda/files/13-03%20-%20Liam%20Boogar%20%20Consultation%20on%20Horizon%202020%20innovation%20and%20financial%20aspects%20-%20Final.pdf

55 http://www-voice-project-eu/about.html

56 Chesbrough, Henry, The Era of Open Innovation, Mit Sloane Management Review, Spring 2003 and Open

Innovation: Researching a New Paradigm, Oxford: Oxford University Press, 2006.

http://www.creative-growth.eu/Portals/10/Creative%20Growth%20TWG%20report%20on%20INCUBATORS.pdf


https://ec.europa.eu/digital-agenda/sites/digital-agenda/files/13-03%20-%20Liam%20Boogar%20%20Consultation%20on%20Horizon%202020%20innovation%20and%20financial%20aspects%20-%20Final.pdf



http://www-voice-project-eu/about.html


61

be an interesting strategy contacting the VOICE project for creating synergies with

Europeana Food and Drink incubation.

11.5.2.3 Crowdfunding Opportunity

EU new policies foster crowdfunding system as a support service for startups to

boost the crowdfunding environment in Europe addressed to web entrepreneurs,

especially SME57. The European Crowdfunding Network58 is engaged in designing

European crowdfunding policies and regulations as a relevant modelling of an

European Crowdfunding Service, despite member states’ diversity and different

views on the alternative finance market. Enterprises’ increasing necessity of using

alternative funding forms to traditional banking and capital market has been furtherly

stated by a notable University of Cambridge benchmarking research about

Crowdfunding platforms in the UK and in the rest of Europe. Its aim was comparing

European crowdfunding structures and establishing a systematic taxonomy about it.

Excluding UK, during the last three years nearly 10.000 European startups and SMEs

were supported in early stage investments or as growth capital59: Crowdfunding is

spread in Europe particularly in the UK, France, Germany, Holland and Spain, and in

comparison with 2013 a growth by 144% was observed in 2014.

57

ECB-European Commission (2014) SMEs’Access to Finance Survey, Frankfurt 2014: https://www.ecb.europa.eu/pub/pdf/other/accesstofinancesmallmediumsizedenterprises201404en.pdf?da920468528300ff549d8cc95522eb81.

58 Startup Europe Crowdfunding Network. Final Report Brussels, 19 April 2014 (Deliverable 4: Final report for

the Service Contract with the European Commission): http://www.eurocrowd.org/files/2014/05/20140519_Final-Report_Startup_Europe_Crowdfunding_Network.pdf

59 Robert Wardrop, Bryan Zhang, Raghavendra Rau and Mia Gray, Moving Mainstream The European Alternative

Finance Benchmarking Report, Cambridge: University of Cambridge, February 2015, pp. 9-10:

http://www.jbs.cam.ac.uk/fileadmin/user_upload/research/centres/alternative-finance/downloads/2015-uk-alternative-finance-benchmarking-report.pdf

https://www.ecb.europa.eu/pub/pdf/other/accesstofinancesmallmediumsizedenterprises201404en.pdf?da920468528300ff549d8cc95522eb81


http://www.eurocrowd.org/files/2014/05/20140519_Final-Report_Startup_Europe_Crowdfunding_Network.pdf




62

Figure 4: Crowdfunding Platform in Europe

(Source: Cambridge University, Moving Mainstream, 2015, p. 14)

Both reviews show the relevance of funding alternative system for startups as an

opportunity of accessing a start capital; for this reason an incubation path preparing a

startup should not underestimate the chance to launch the concept/ project - once it

has been improved - on a crowdfunding platform.

11.6 Summarizing Emerging Issues

According to a review of best USA and EU incubation practices, some of emerged

key findings may be useful also in designing possible strategies in other contexts.

More successful factors and best policies seem to be:


63

Cooperation among different subjects and institution building a network, and

taking part in structured incubator advisory boards (i.e. entrepreneurs,

representatives of finance and commercial communities, local economic

authorities; linkage to high schools and other educational institutions is

recommended)

Intervention of a structured incubation agency, mainly not for profit models,

embedded in a community, and supported by the local government orienting

funding sources towards incubation activities

Co-funding from the public sector (governments, public agencies, universities,

etc.) and from service fees charged to the incubation subject (client). For

example, Ca 85% of incubation programs in the U.S. is annually funded by

public support60, even though the actual trend tends to reduce public funding,

especially in Europe

Business service increase for startups and SMEs

Available budget for the incubator agency activities and revenues investment in

engaging experts and launching new programs

Time spent by experts with the client (coaching and mentoring program)

Stress on multidisciplinarity by mixing technological and cultural aspects

Services as business training, access to investment capital, linkage with local

higher educational institutions, supporting to R&D, frequent contact with

incubation managers, administrative support, office equipment, communication

support

External independent evaluation on outcomes and processes.

11.7 Lessons Learnt and Possible Applications

International studies show points of reference for embarking on an incubation

program. It is evident that the absence of a dedicated budget and of a structured

incubation agency compels to select only some of the suggested services range. As

a result, at least points a), f), g) and h) of the above listed recommended best

practices (see 1,6) have been pursued. Namely:

Networking strategy

Time spent by experts with the client (coaching and mentoring program)

Stress on multidisciplinarity by mixing technological and cultural aspects

60

Lewis, David A. and Frisch, Michael, Modeling the performance of technology business incubators at the

international scale: Entrepreneurial policy development in regional context, Chicago: Association of Collegiate Schools of Planning, Conference Proceedings, 2008.


64

Services as business training, access to investment capital, linkage with local higher educational institutions, supporting to R&D, communication support

In detail, the designed Europeana Food and Drink Incubation consists of a tailor-

made program identifying critical points and aspects to being improved in a project.

Scheduling incubation activities, Open Lab Cultura of Uniroma1 considered relevant

and at the same time feasible:

Attending Lab’s space and training

Communication skills

Marketing and business plan development assistance

Legal counseling

Linkage to strategic partners and possible access to venture capitalists

High speed internet, and links to higher education are obviously assured by DigiLab

Sapienza University of Rome.

11.8 Incubation Management

According to the previous international benchmarking review, the incubation

management was set up including :

Concept elements analysis and right competences identification for its development

Competences (skills)-gap analysis

Concept critical points analysis (with useful suggestions for its improvement and feasibility)

Agreement with Incubation winner about mission and exit criteria

Europeana -labs networking action

Offering training (in labs and/or on line)

Presentation to professional Creative Industries and factories

Arranging contacts with funding providers

Participation in communication events

Documentation


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12. Starting Steps

12.1 First Challenge Incubation Winner and Runner-up

First challenge project incubation winner was the “concept” submitted by Mr Mahbir

Thukral, a young freelancer from Cyprus. A brief description of the project called

‘Pafos with Bite’ was enclosed as Annex to Deliverable 4.3. After examining it in

detail a tailor-made incubation schedule was made up and submitted in order to state

an agreement with the winner about the activities to be undertaken.(February 27,

2015).

Mr Thukral unexpectedly communicated Uniroma1 he would not start an incubation

program because of work problems despite the Award (March 19, 2015). He would

have preferred receiving a start capital for developing his concept. But Europeana

Food and Drink Project actually does neither include the possibility of supplying

incubated projects with a start capital, nor with a scholarship for acquiring specific

skills directly in Open Lab. Indeed, provided incubation activities consist of a series of

experts’ suggestions and consulting, as clearly specified in the First Challenge

Guidelines (see D4.3 Annex )

As a result, Uniroma1 decided to propose the incubation package to the Runner-up

in the First Challenge young creative free-lance category. Nevertheless, Uniroma1

has been afterwards offering support to Mr Thukral, by recalling him and making

proposals of collaboration in order to mitigate his position (June 15, 2015). He

reaffirmed his request about funding necessity of Euro 10.000 for further steps of the

project. He would present it in November in ‘Cyins of Creativity’, a Workshop in

Cyprus (June 26, 2015). Uniroma1 agreed with him, a start capital should be

introduced in European projects as part of incubation proceedings and would have

advised the Officer and the Commission about it, at least for future initiatives.

Anyway, Uniroma1 intends to advise the Cyprus Food Museum (partner of

Europeana Food and Drink Project) to promote the project presentation in that

workshop. In addition, we suggested Mr Thukral again to seek the requested start

capital through crowdfunding, for example being supported by ‘Goteo’, managed by

the Europeana Creative Lab ‘Platoniq, with the direct endorsement of Sapienza

University of Rome and Europeana Food and Drink Project (July 18, 2015). He

answered (July 23, 2015) judging this opportunity not fast enough in order to seek

the necessary start capital.

Meanwhile the incubation package was assigned to the Runner-up, the project

“FoodNode” presented by Mr. Riccardo Sonnino (see point 13.2). The Incubation

program has then been addressed to a young student forming a creative team with


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the intent of developing and improving his idea. Final aim might be grounding a

startup and being (and working) in close contact with Creative Industry, Europeana

and Food and Drink enterprises on one hand; on the other hand stating and

exploiting the central role of communities acting in creative 2.0 enviroments.

12.2 Tailoring the Path: the Key-skills

Incubation preliminary procedure requested to review concept elements and to

specify related indispensable competencies. They were compared with young

startups general needs as recently checked by the EU Commission (see above,

figure 2, point 11.5.2)61:

In this way, necessary key-skills were identified, and furtherly integrated with ones

ability to fill relevant concept gaps as far as possible. General key-skills list consists

of following areas:

61

An item deepened by European Digital Agenda, see Further Information on: http://ec.europa.eu/digital-agenda/en/startup-europe.

http://ec.europa.eu/digital-agenda/en/startup-europe



67

Europeana structure and services

-Approach to Europeana Digital Contents, to using search filters and to finding suitable digital contents

-Information about legal frame and licensing for a correct content reusing

-Europeana Api’s

Technology applied to content reusing

-Data persistency system

-Repository design

-Application design

Communication

-Communication best strategies for promoting product

-Storytelling based both on imagery product can evocate and on user expectations a story about the product can arise

Food and Drink Cultural Heritage Enhancement

-Food and Drink connection with tangible, intangible and natural heritage

-Food and Drink tourism route design

Marketing and Business

-Best practice of commercial content reuse (i.e. Cultural institution best practice to promote digital heritage, or Creative Industry examples of cultural reusing)

-Marketing strategies

-Business plan to making project and product more feasible and competitive

-Presentation to investors and Enterprise networks (Creative Industy, Food and Drink business etc.)

-Funding strategies


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Testing and Usability

Cooperation Europeana Projects, Creative Industry Network etc.

Moreover, concept review focused on several crucial points for incubation as i.e. food

and drink cultural heritage enhancement by reusing Europeana digital contents and

operating methods of launching the resulting product or service on the market. These

aspects involve central topics requiring a multidisciplinary starting level of knowledge.

According to that plan, some key-skills have been consequently interrelated during

Incubation for reaching an acceptable multidisciplinary preparation: i. e Europeana

reusing involves Storytelling strategies, Heritage enhancement policy and

Communication. On the other hand, under each single general key-skill among the

above described patterns, some specific operations and activities requested by

concept needs have been selected: i.e. using SWOT analysis (see below point

13.3.1) under “Marketing and business” in the sector “Business plan to making

project and product more feasible and competitive”.

Next points explain each mentioned item.

12.2.1 Europeana Structure and Services

For a better reuse of Europeana Food and Drink contents, some training activities

and tutorials are to be planned as an introduction in Europeana tools and services.

They will be based on:

Extended Europeana Licensing Framework (Europeana Content Re-use

Framework and Europeana Cloud future developments):

Europeana Api’s Service: as access to and retrieve of Europeana Food and

Drink Collection Contents: http://europeana.eu/portal/api-introduction.htm

12.2.2 Technology Applied to Content Reusing

This section supports procedures of data selecting and aggregating for a given Point

of Interest emerging along a designed food and drink touristic route. Suggestions will

be given on:

Data selection

Data aggregation

Data Persistency System granting an enduring Data availability

http://europeana.eu/portal/api-introduction.htm


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Geo-referring system and multimedia data aggregation on a specific Point of

Interest

Product User-Testing as Usability Evaluation and User Experience

12.2.3 Communication

This section is divided in two parts. The first one examines and helps developing

ideas of stories, in order to prepare a storytelling frame which Europeana Food and

Drink Contents are to be aggregated into for an immersive visitor experience.

Suggestions will deal with:

Identifying myths, legends, collective or individual stories related to local

cultural food and drink heritage being reused for storytelling

Connecting those storytelling examples to the product or combining them with

narrative action for apps in order to create audience expectation and interest

Including local storytelling in collective imagery mainstream as mass-media

have been recalled (for example advertising storytelling techniques etc.) in

order to make an app/product more incisive and attracting

Adjusting storytelling frame to different audience typologies

The second part of communication activities consists in communication suggestions

for

Spreading app/product to national and international level

Web best strategies to advertise an app/product

Best strategies for reaching different audience targets

12.2.4 Food and Drink Cultural Heritage Enhancement

A considerable activity for increasing Europeana Food and Drink content reuse is

combining gastronomic specialties, nutritional diets, products etc. to tangible,

intangible and natural heritage. In that way suggestions will focus on:

a. Associating food/drink products with Cultural Tangible Heritage, for example a

monument, an artifact, a book, an archive document, a masterpiece etc.

significant for history, anthropology as well as local, national or international

spread: for example “Puls”, the Etruscan spelt and broad bean soup having

still nowadays a large diffusion in Central Italy, may be joined to a fresco in a

necropolis or an amphora picture showing a banquet where it was served.


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b. Connecting food/drink products to Cultural Intangible Heritage, for example a

distinctive feast, country festival, religious celebration where special dishes

constitute feast highlights, as German Oktoberfest for bier in Munich, or Italian

Saint John Baptist Snail Feast in Rome.

c. Relating food/drink products to Natural Heritage: for example a cheese as a

typical product in Alpine territory, handmade in a sustainable way; or

underpinning traditional and productive agricultural systems thanks to which

soil and local flora and fauna have been preserved against pollution and

designed as a landscape.

d. Creating a storytelling (see above point 11.3) matching together those aspects

and involving visitors in a more profound territory knowledge

e. Recognizing in Food and Drink production an opportunity for facing and

smoothing out social conflicts and inequities.

f. Besides the above-mentioned aspects, another important action might be

stressed: promoting food and drink touristic routes in relation to cultural and

natural heritage. In that view, services related to food and drink (pubs,

restaurants, brasseries, markets, street food stands etc.), and tourist reception

and accommodation are to be combined with cultural trails in order to give

impulse to local enterprises and handicrafts. Apps can guide tourists in

discovering a territory by creating itineraries focusing on food and drink, and

transforming a dish or a beverage into a wholly retail occasion to explore.

12.2.5 Marketing and Business

To promote the product, marketing strategies have to be developed in order to give

added value to the product and make it attractive to possible clients and investors.

Three basic actions are necessary:

Business plan

Marketing strategies

Funding resources

In details, steps for exploiting product potential and creating a product expectation

may be represented as follows:

Testing market needs and Pointing out eventual market gaps to fulfil with a

productive action


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Conceiving and Executing a product business plan or Refining a business plan

if already arranged

Understanding the best strategies to improve product appealing for possible

clients

Creating synergy with investors by presenting and discussing the pitch in

events, meetings etc.

Capturing Funding for product creation (Crowdfunding)

Contacting investors and creative Industry network, Food and Drink

enterprises.

12.2.6 Testing and Usability

Uniroma1 can support the project providing suggestions and methodologies for user

research (usability and user experience evaluation).

The User EXperience Lab (part of the Open Lab Cultura) will support the project

providing suggestions and methodologies for user research (usability and user

experience evaluation).

Both low-fidelity and high-fidelity prototypes could be evaluated before the marketing

launch to improve their effectiveness and guarantee customer satisfaction.

The lab will follow the various stages of product / service design and development:

Research on user needs to define the requirements

Qualitative and quantitative surveys of target users

Usability evaluations, customer satisfaction surveys

Development of wireframes.

Different projects can use different methodologies by always involving users in the

process to enhance the “human centre design” approach.

Methods include, among others: task analysis, focus groups, card sorting,

ethnographic research, interviews, Kano Model analysis, eye tracking research.

12.2.7 Incubation as Cooperation

Cooperation as incubation aspect is to be intended in three different ways

1) Internal Cooperation

2) Cooperation with Europeana Projects

3) External Cooperation: Enterprise Network/Creative Industry


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12.2.7.1 Europeana Food and Drink Internal Cooperation

If necessary, Europeana Food and Drink partner might give assistance as special

skills providers to completing incubation training. In this case Second Europeana

Food and Drink Open Lab ‘Heritage’(IAPH, Sevilla) might offer activities in

compliance with the agreement signed with Open Lab Cultura (MoU2 -D4.2).

According to IAPH’s mission, issues as food and drink intangible heritage, its

connection with territory and historic and social identity as well as storytelling

strategies may be topics to be inserted in incubation program.

12.2.7.2 Europeana Food and Drink and Europeana Creative

A cooperation with Europeana Creative Open labs is also fostered to create synergy

with Europeana Food and Drink Open Labs, as signed in MoU D4.1. Project

Europeana Creative may provide three basic activities:

1. Incubated Project presentation: a kind of show-room aggregating the incubated

product from different Europeana projects on Euro-labs web site62 may boost the

incubated project as example of Europeana Content reuse with a linkage to all

infos about it.

2. Europeana Creative may promote in a special international event Europeana

Food and Drink Winner and Incubated Project for a better international visibility,

arising the occasion to interest investors

3. Europeana Creative Platoniq-You Coop Lab may support incubated project on

crowdfunding platform Goteo, as a chance to obtain a start capital for realizing a

complete prototype and ensuring further funding resources 63.

The connection between Open Labs of two different Europeana Projects such as

Europeana Food and Drink and Europeana Creative may represent a test for

arranging a collaborative European interactive room and a basic structure for new

ideas improvement and execution in Cultural Heritage Content Reusing.

12.2.7.3 External Cooperation: Enterprise Networks/Creative Industry

By Europeana Food and Drink Project, players from different levels are connected to

realize incubation program by relating local/national incubation providers with

62


63 EFD stands for Europeana Food and Drink; EC for Europeana Creative.



73

international ones as the different options below explain. With respect to

local/national network

o Creative Industry UP64, Uniroma1’s partner, may be consulted on financial

and business aspects for improving incubated project.

o Creative small Factories (as for example Virtutim, Ibimel s.r.l. 65) may

provide suggestions and consulting about technical development

o CNA66 (Italian National Confederation of the Craft Sector and Small and

Middle- sized Enterprises) as Creative Industry and Food and Drink

Industry Network may communicate and promote the project.

64

https://www.upeurope.com/

65 http://www.virtutim.eu/, http://www.ibimel.com/

66 http://www.cna.it/


http://www.virtutim.eu/

http://www.ibimel.com/

http://www.cna.it/


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Key –Skills Mentoring

Europeana structure and Legal frame

Technology for Content Reusing

Storytelling and Communication

Food and Drink Heritage Enhancement

Business Plan, Commercial Content Reuse, GLAMs Marketing Strategies

Testing, Usability

Contacts

Partners role:

-EFD Open Lab Cultura (Uniroma1)

-EFD Open Lab Heritage (IAPH)

-EC Open Labs

-Europeana Food and Drink Partners

-Enterprise Network / Creative Industry

Open Lab Environment

Figure 3: Key-skills core

12.3 Incubation Procedure

Training and consulting about key-skills are provided by Europeana Food and Drink

Open Lab ‘Cultura’ (Uniroma1). Key skills will be administered by Uniroma1 lecturers

and experts as a blended system: off-line directly in Lab space with Lab experts in a

peer-to peer training. And on the web as Net contacts with experts or other Euro labs

necessary for incubation project. Activities may be:

1) Attending Europeana Food and Drink Openlab “Cultura” in Rome

2) Delivering ad hoc materials

3) Organizing Skype meetings with experts


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4) Sending one-to-one Email

5) Bespoke support emerging from product discussion

12.4 Incubation Agreement

As incubation beginning WP4 Coordinator representing Open Lab Uniroma1 Digilab

‘Cultura’ signs an agreement with the incubation applicant (see Annex 5.1). It

consists of four parts:

Incubation Mission:

- Opportunity of acquiring key-skills

- Address to crowdfunding platform

- Presentation to Creative Industry

Activities

- Methods of training

- Contacts

Exit Criteria

- Report

- Incubation Evaluation

Schedule and Timing

- Detailed Incubation Steps

- Incubation period

Incubation Agreement items obviously change according to the different Challenge

Incubation needs (I Challenge: project concept and II Challenge produced video for

example) and to the effective competences and key-skills the Incubation applicant

shows to master.

13 Schedule and Activities

13.1 Schedule

According to the above described patterns for structuring management (point 11.8)

and for selecting key-skills areas (point 12.2), the First Challenge winner (actually

Runner-up) incubation package was scheduled in five stages with related activities:

I stage (March 19 – June 18, 2015)


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-SWOT Analysis for identifying and correcting concept critical points as well as

improving its feasibility

-Analysis of each concept elements and resulting competences (or lack of) necessary

to carry out the concept

-Agreement with incubation applicant about incubation mission, exit criteria,

schedule and organization

-Training on Europeana Environment.

-Project Pitch

II stage (June 18 – July 31, 2015)

Project and first incubation stage presentation in the frame of Europeana Creative

Culture Jam (Vienna July 9-10): two-days-workshop enabled the applicant to reach

an international dimension, to contact possible investors, to exchange experiences

with Clio Muse, First Challenge professional Winners and other startups, available to

cooperation. In addition, the event represents a good communication training and a

first thorough analysis of technological problems. Finally, effective contact with Goteo

crowdfunding platform (Platoniq Europeana Creative Lab) may open funding

opportunities.

III stage (September, 2015)

-Food and Drink storytelling

-Legal frame of Europeana digital content reusing

-Communication.

.

IV stage (October, 2015)

-Business plan and marketing strategies.

-Introduction to Creative Industry and to R&D institutions for further cooperation in

refining project items and promotion

V stage (November and December, 2015)

-Project refinement and presentation to crowdfunding.


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-Presentation to a Creative Industry panel, composed of Uniroma1 partners, for

commercial development of the refined project

-Support for seeking regional funding through Uniroma1 endorsement

13.2 About FoodNode Project

First Open Innovation Challenge, launched by Europeana Food and Drink Project in

December 2014, marked the interest of Europeana into finding a way to actively

reuse the vast collection of digitised data collected through many years and

becoming a platform where to develop new projects based on said data.

FoodNode is a proposal based on this vision. It was applied by a young graduate, Mr

Riccardo Sonnino, who is exploiting the opportunity to evolve the project thanks to

the support of the incubation managed by the OpenLab ‘Cultura’ at Digilab Sapienza

(Uniroma1).

The project takes inspiration from social networks, from image hosting services and,

generally, from all websites where content creators are the users themselves. In

these cases the role of the administrators is minimal since the website is kept alive by

the net of interactions generated by the community, based on sharing, exchange and

creation.

FoodNode adds to this formats specific elements, as the editing tool, whose role is to

help the user, even if not skilled in computer programs, in the creation of interesting

and original content to be published; may it be a poster, a card, an album with text or

even a video. The intuitive tool would be easy to use and with plenty of set layouts to

make the creation quicker. The editor would work together with the search function;

an instrument which would lead to a database of food and drink related contents free

to be reused. These contents will be the ones shared by the Europeana’s archive


78

with the addition of anything published previously on FoodNode, because any object

created will always remain stored in the database for future reference and to be used

again as an ingredient for new creations.

FoodNode also offers a series of standard functions to the visitors (such as

comments, related contents, voting, sharing, subscription etc.). The focus is on the

map on the homepage, which points out the most voted and shared locations of the

week. This element was inserted with the objective to exploit the tourist’s potential of

the web portal; if FoodNode reached a high number of visitors per day, it would have

the chance to give visibility to all the companies and restaurants subscribed to the

website and it would lead them to post contents in order to be shared, voted and to

appear on the map.


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The purpose is the birth of a hub, the node present in the name, where people

interested in food meet, and also restaurants and clients, cultural institutions and

visitors.

Another objective represented by the map is the connection with the territory. What

the other analyzed websites seem to have forgotten is the bond among territory,

tradition and gastronomy. In most of the portals took as examples, the focus is on the

sharing of weird recipes not related to any culture. On the other hand FoodNode,

strong of Europeana’s inspiration, aims to valorize anything culturally related to food.

Visitors would be invited to publish part of their history through contents that would

talk about recipes, festivals, legends and even objects related to gastronomy, since

the goal is to let people know more about the world and stimulate their creativity.

13.3 Incubation Workflow: Creative Industry Involvement

A detailed report about Uniroma1 incubation items, proceedings and consulting is

now provided. As a general approach, after consulting with incubation stakeholders,

incubation applicant Mr Sonnino and project team member Davide Spinogatti

engaged in undertaking some Research & Development activities, whose results

were examined and discussed in a following meeting. From the very beginning a

Creative Industry was involved in the Incubation training design and realization:

Saverio Malatesta‘s Virtutim67 has taken part in incubation meeting and lead

incubation training together with Open Lab “Cultura” experts Francesco Lella and

Donatella Capaldi. The presence of a Creative Industry partner was and is to be

recommended for setting up a project stress action regarding market, audience

needs and participation, business plan first concept, start capital seeking.

13.3.1 I Stage

First Meeting: 19 March 2015

Participants: Riccardo Sonnino, and Donatella Capaldi and Saverio Malatesta,

OpenLab ‘Cultura’ experts.

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‘Virtutim s.r.l.s’. promotes the enhancement and protection of the tangible and intangible cultural heritage in correlation with the use of modern technological tools; it provides several services and support activities as research and fruition requirement, and offers innovative solutions according to making culture new concept as well as to open access, open data and open government needs. http://www.virtutim.eu/



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Project Analysis:

- Checking critical points and elements to be improved, above all in the

social dimension.

Considered critical points:

- FoodNode platform sustainability and persistency

- Client contacts and possible sponsoring

- Europeana digital contents Integration in paths designed by users

Actions: Finding a Social strategy for

- Creating a web community

- Supporting crowdfunding initiatives to promote Food and Drink as

intangible heritage (i.e enhancement of historic places, restaurants etc.)

- Seeking funding (crowdfunding) to pay network maintenance charges

Second Meeting: 31 March 2015

Participants: Riccardo Sonnino, Donatella Capaldi

Agreement about mission, exit criteria, schedule and activities organization

Third Meeting, 16 April 2015

Participants: Riccardo Sonnino and team, Saverio Malatesta, Francesco Lella,

experts of OpenLab ‘Cultura’

Focus on:

- Best strategy for economically supporting a service web platform

- Best strategy for making the project more attractive to web community

- Results of a benchmarking concerning international successful food and

drink practices

Actions:

- Analysing best web sites and identifying through the same ones partners

being interested in supporting or in initially ‘accompanying’ the project

(more in terms of visibility than of funding)


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Improvements

- SWOT analysis and project stress test

- Food and Drink social web sites benchmarking

- Analysis of stakeholders and effective players in Food and Drink web

experiences

Forth Meeting: 23 April 2015

Participants: Riccardo Sonnino, Donatella Capaldi, expert of OpenLab ‘Cultura’

Communication

- Setting up of tasks to undertake aimed at bettering project communication

- General issues to be investigated about Food and Drink Digital Heritage

Enhancement

Fifth Meeting: 19 May 2015

Participants: Riccardo Sonnino and team, Saverio Malatesta, Francesco Lella

experts of Open Lab ‘Cultura’

Food and Drink blogging

- First Results Presentation (SWOT, benchmarking, stakeholders)

- Among the promotion actions, a food and drink blogger showing advanced

technical competences and experiences was directly contacted.

- An interview was arranged.

Sixth Meeting: 26 May 2015

Participants: Riccardo Sonnino and team, Saverio Malatesta, Francesco Lella

experts of Open Lab ‘Cultura’

Action

- Benchmarking analysis results were in detailed discussed and on this base

data concerning SWOT and stakeholders were optimized. Next figures

show the evaluated Swot data and principal food and drink web sites in the

world ranking:


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.

Figures 5-6: Incubation produced materials (SWOT and Benchmarking investigation)

Communication

- After working out the collected data project presentation was set up

consisting of 10 slides and a 3 minutes pitch for a more efficacious

communication of project crucial points.


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Seventh Meeting: 3 June 2015

Participants: Riccardo Sonnino and team, Donatella Capaldi, Saverio Malatesta,

Francesco Lella experts of Open Lab ‘Cultura’

Europeana Content Reuse

- FoodNode concept was reviewed concerning Europeana digital content

reusing

- FoodNode database core will be composed by materials shared by

Europeana.

- Methods for an efficient Europeana content reuse have been explored

Eighth Meeting: 10 June 2015


Francesco Lella experts of Open Lab ‘Cultura’.

Testing and using Europeana metadata for FoodNode repository

- That will be made available through the use of the Europeana APIs

(Application Programming Interface) or any other software developed with

the purpose of the Linked Open Data, such as Ontotext

(europeana.ontotext.com). Thanks to that it will be possible to extract the

metadata related to food and drink and insert them into the database, so

that they will be available to be searched and used in the editor.

Collaborative User generated Content towards Europeana

- FoodNode proposes also to establish a bilateral interaction with the

institution of the European Digital Library.

- Users on FoodNode will have complete freedom on what to create and

reuse, but only certain contents considered valuable, and related to

European traditions, will be proposed to the European Digital Library. The

digitised objects, exported as metadata with a CC BY license of use, will be

verified through a cultural institution partner of Europeana. Once passed

said test, creations will be free to become part of the vast digital archive

and FoodNode will have contributed to the making of the European digital

heritage.

Ninth Meeting: 11 June 2015


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Communication (Europeana Creative Final Event, July 2015)

- Discussion on and preparation of materials to be shown in the presentation

of Europeana Creative Final Event ‘ Culture Jam’, July, 9-10, Vienna

13.3.2 II Stage

Tenth Meeting June 18, 2015



Communication (Europeana Creative Final Event ‘Culture Jam’, 9-10 July,

2015)

- Slides and pitch presentation for Europeana Creative Final Event

(Incubation Slot, 10. July 2015)

- Presentation strategies (Workshop, 9-10 July 2015)

- Discussion about Logo definitive version

13.3.2.1 Europeana Creative Culture Jam: Cooperation with Europeana Food and Drink

In the frame of Project Cooperation between Europeana Food and Drink and

Europeana Creative, Uniroma 1 proposed Austrian National Library (ONB), as

Europeana Creative Coordinator as well as Europeana Food and Drink project

partner (WP6) to invite Clio Muse Project - I Challenge Winner( professional) - and

FoodNode, the incubated project to Europeana Creative Final Event in Vienna (9-10

July 2015). Such a participation allowed the two projects to:

Reach international visibility

Attract possible investors

Be suggested about project’s further implementations

Contact funding stakeholders

Exchange ideas and experiences

ONB scheduled Clio Muse and FoodNode 10 July 2015 (Incubation Slot), both as 15

minutes PP presentations about the project.


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FoodNode as the incubated project was inserted in a workshop action and both Clio

Muse, represented by Yiannis Nikolopoulos, and FoodNode with Mr Sonnino and

team could take advantage of the Europeana Food and Drink exhibition booth, where

audience and anyone interested in the project were to meet during congress breaks.

During the Europeana Creative Culture Jam 2015, held at the Austrian National

Library in Vienna on 9 and 10 July, FoodNode had the chance to show more details

of its functioning and its proposals.

13.3.2.2 Creating Sinergy through Incubation Workshop

The workshop was a concrete opportunity for implementing FoodNode project and

being suggested about communication and crowdfunding strategies by starting

operative cooperation

Cooperation with I Challenge Professional Winners:

Europeana Food and Drink I Challenge professional Winners, Clio Muse,

represented by Yiannis Nikolopoulos, suggested putting on line a FoodNode broad

version, also using Wordpress before searching funding support: a prototype can

attract investors. He offered to help Mr Sonnino creating this temporary webpage and

designing user Interface if FoodNode is concretely realized

Cooperation with Europeana Food and Drink Partners:

Some Europeana Food and Drink partners taking part in the Europeana Creative

Final Event showed interest in the project. Among them Vladimir Alexiev showed his

interest in retrieving Europeana Digital contents. He suggested not transferring

contents in FoodNode database but creating only a linkage with original sources by

using his software Ontotext, designed according to Europeana 2020 Strategy

objective of reviewing API limits in “dialog” and exchange between portals

Cooperation with Europeana Creative Eulabs “Platoniq-YouCoop”

Olivier Schulbaum suggested FoodeNode take part in Platoniq Europeana Labs

whose aim is having a feedback for projects, and exposed the advantages using

Goteo.org, crowdfunding platform already funding after explaining by a gamification

how a crowdfunding platform works. In this occasion a business plan canvas was

explained and best methods for presenting a project on a crowdfunding platform

were pointed out.


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13.3.3 FoodNode Presentation for Europeana Creative Culture Jam, 9-10 July

2015, Vienna

Mr Sonnino’s presentation68 stressed the main aspects of FoodNode project and

explained the incubation resulting implementation concerning realized Incubation

Stage 1 and 2, as follows:

68

FoodNode’s complete presentation: https://prezi.com/d4yoovlmowci/foodnode/

https://prezi.com/d4yoovlmowci/foodnode/


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This message is also present in the slogan which invites potential users to share their

traditions and have a taste of the world; both culturally and gastronomically.


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It has been explained that the core of the database would be composed by materials

shared by Europeana.

These will be made available through the use of the Europeana APIs (Application

Programming Interface) or any other software developed with the purpose of the

Linked Open Data, such as Ontotext (europeana.ontotext.com). Thanks to that it will

be possible to extract the metadata related with food and drink and insert them in the

database, so that they will be available to be searched and used in the editor.


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FoodNode proposes also to establish a bilateral interaction with the institution of the

European Digital Library.

Users on FoodNode will have complete freedom on what to create and reuse, but

only certain contents considered valuable, and related to European traditions, will be

proposed to the European Digital Library. The digitised objects, exported as

metadata with a CC BY license of use, will be verified by a cultural institution partner

of Europeana. Once passed said test, creations will be free to become part of the

vast digital archive and FoodNode will have contributed to the making of the

European digital heritage.

In conclusion it’s important to give credit to the incubation program and how it has

helped the project grow through the months, but it must be noted that it’s not over

yet.

At the Europeana Creative Culture Jam Event, FoodNode presented the results of

incubation first phase, but it will soon begin a new phase focused on the technical

realization, in cooperation with other digital laboratories connected with Europeana

Creative. At the same time, with the help of tutors form the platform UpEurope.com, it

a business plan will be developed and the exact amount of funds required for the

creation of FoodNode will be defined, being the goal to land on the crowdfunding

platforms Goteo.org and UpBusiness.com by autumn 2015.


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The goal is hopefully to present, during next year, not just a concept, but a complete

website that will be moving its first steps.

13.4 Second Challenge: Making Video Incubation

Uniroma 1 has been arranging a second incubation package in the frame of Second

Open Innovation Challenge (‘Videostorytelling. Enhancing Sustainable Food and

Drink Heritage and Production’). Incubation regards the best video using food and

drink contents from Europeana: Raffaella Marandola’s ‘The Mulberry Affair’69, which

was screened during Second Challenge Final Event on July 22 in Milan at Expo

2015. The arrangement has been providing a Lab support for improving and

perfecting the video, and addressing it to market and investors.

13.4.1 Incubation Agreement

An initial contact with Miss Marandola took place on 26 August 2015 in Rome. Open

Lab ‘Cultura’ expert Giovanni Ragone preliminary and generally discussed necessary

key–skills and activities in order to design an incubation pathway compatible with

Miss Marandola previous commitments to work. After stating the incubation main

steps, an Incubation Agreement was signed where incubation mission, Activities, Exit

criteria and Schedule were listed (Annex 5.1: Agreements).

13.4.2 Incubation Key-Skills Schema

According to the Incubation Agreement key skills are to be provided which only in

some cases confirms First Challenge Schema: new abilities have been actually

added, modelled on specific video product incubation and using different fields in the

following way:

Europeana structure and services

Information about legal frame and licensing for a correct content reusing

Audio-video Technology

- Shooting techniques and format

69

Video is available at: https://youtu.be/BvezQN9v28E.


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applied to content reusing and to

- Audio optimization - Colour correction - Editing and cutting - Trailer realization

Communication

Storytelling based both on imagery product can evocate and on user expectations a story about product can arise

Food and Drink Cultural Heritage Enhancement

Food and Drink connection with tangible, intangible and natural heritage

Marketing and Business

-Video Marketing strategies

-Business plan to making video more feasible and competitive

-Presentation to investors and Enterprise networks (Creative Industry, Food and Drink business etc.)

-Funding strategies

Cooperation Europeana Projects, Creative Industry Network etc.

13.4.2.1 Incubation Scheduling and Typologies

Miss Marandola’s incubation is being briefer and more compact than First Challenge

Incubation one: it will take from September to November 2015, considering Miss

Marandola’s time availability. In that way, according to incubated players’

requirements two models have been experienced: a longer and a shorter one. This

different timing essentially depends on two different incubation object typologies: in

the first challenge output was a concept requiring a more comprehensive refining

actions, in the Second Challenge an existing video-product allowing a more rapid,

targeted intervention.


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13.4.3 Incubation Steps

According to the above described patterns, the Second Challenge incubation

package was scheduled in three stages with related activities:

I stage (September, 2015)

-Legal frame of Europeana digital content reusing

-Audio-video Lab Refinement Activities

-Communication

II stage (October, 2015)

-Food and Drink storytelling paths

-Business plan and marketing strategies

-Introduction to Creative Industry, to GLAMs for further cooperation in communication

and cultural heritage contents reuse

III stage (November, 2015)

-Presentation to crowdfunding

-Presentation to a Creative Industry panel, composed of Uniroma1 partners, for

commercial development of the refined video project

-Presentation to a Video Festival dedicated to Food and Drink

13.4.4 Incubation First Step: Audio-video Lab

Scheduling and activities started in September 2015 and are in progress. Activities

include, beside Europeana Legal Frame:

Shooting techniques and format

Additional filming

Audio optimisation

Subtitle optimization

Colour correction

Europeana content reproduction and optimization

Editing and cutting

Trailer realization


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DVD authoring and packaging

Applicant’s further incubation meetings with experts in Open Lab Cultura - Audio-

Video section - will be reported in D4.5 (February 2016).

13.4.5 Communication Plan

WP4 Uniroma1 and WP6 ONB started a communication strategy to enhance The

Mulberry Affair video as a brilliant reuse of food and drinks contents from Europeana.

First attempt aimed in September 2015 at presenting a video-trailer (3-4 m) during

the Europeana Food and Drink Project Presentation at Frankfurt Book Fair in October

2015, organized by FEP (Federation of European Publishers), Europeana Food and

Drink partner. That was not possible because the reserved conference – room was

not equipped for audio-video projection. The second idea was then placing the Trailer

on Europeana Food and Drink Blog as a clear introduction to Europeana cultural

heritage and incubation plan as well as an example of the various and creative ways

to Europeana content reuse in a video-storytelling.

14 Incubation Future Scenarios

In this section Uniroma1 is collecting some proposals and suggestions for making up

an incubation structured system, which could group all existing Europeana Labs in an

efficacious international organization able to support young creative teams, to

technologically refine their concepts and ideas and to realize new commercial

products in Food and Drink and Creative Industry area. This proposal is a

consequence of researches, activities and lessons learnt concerning incubation

plans, and might be a basis for further European initiatives.

14.1 Preliminary Remarks

First Challenge Incubation represents a first attempt to create future models for a

close collaboration with three Incubation stakeholders Europeana projects as

Europeana Food and Drink and Europeana Creative can offer

Europeana Food and Drink Open Labs: Cultura (Uniroma 1) and IAPH

Sevilla

Europeana Creative Open Labs

Enolls European Living Labs Network


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Cooperation with Europeana Creative Project and Enolls must be enforced, in order

not to disperse the know-out about Challenge and Incubation such a network

produced. At the same time, resulting Open Lab network provides the opportunity of

testing the effective capacity of involvement of a single lab or more labs in refining

and supporting an incubated project, even if not taking part directly in that specific

project call.

Given that most Key-Skills are expected to be managed by Europeana Food and

Drink Open Labs as a running project, that does not mean that very special abilities,

technological up-to-date support or other relevant components for an incubated

project cannot be partly led by Europeana Creative and European Living Labs

network in an interactive way.

Such an approach would consent to design and organize a Europeana Incubation

infrastructure able on one hand to aggregate different creative ideas and projects in

specific incubation channels, and on the other hand to group Europeana Labs having

similar special skills by forming specific implementation macro-areas which projects

to be implemented may be addressed to.

14.2 Incubation Macro-areas

Implementing Macro-areas, in which European Labs can be associated for refining

creative projects, can meet the following requirements:

Macro-area 1) Reuse

-Reusing Europeana and Glams digital contents (Europeana Creative Reusing

Frame and reusing tools)

-Reusing Legal Frame

Macro-area 2) Technology

-Technological support

-Repository Design

-Usability and Testing

Macro-area 3) Communication

-Product Design and graphic

-Communication strategies


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Macro-area 4) Marketing

-Promotion strategies

-Sale strategies

-Product advertising

-Audience Profiling

Macro-area 5) Funding

-Business plan

-Funding and crowdfunding

Macro-area 6) Other specific competences

14.3 Geo- Incubation Macro-Area System

Connecting Europeana Labs with specific common competencies in macro-areas

may define a more identifiable skill availability for the projects being incubated, and

also a geo-mapping of the Euro Labs pointing out the most proper macro-area offer

in every UE member country, or the closest one an applicant can find in another

country.

14.4 Expert Appointing

Macro-areas may appoint referent experts who may take part in tutorial activities or in

consulting, if requested, in order to suggest a project/product’s best improvement

activities to applicants.

14.5 Incubation Channel

In every Incubation Macro-area an Incubation Channel pertains, based on the

particular implementation sector a project needs. Incubation Channel depends on

some most evident project’s critical points. Different Channels may be crossed if

critical aspects regard heterogeneous problems, as for example financial and content

reuse at the same time. In this case, a project should attend two different Incubation

channels.


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In short, project implementation can regard:

One macroarea, if for example more skills in Communication

Macroarea are required (Monodirectional Incubation Channel).

Two or more Macro-areas, if more different skills are to be covered, for example Communication and Reuse (Multidirectional Incubation Channel).

Figure 7. Incubation Workflow

14.6 Incubation Steps

After jury selection, incubation period starts following three steps:

Preliminary project gap exam pointing out the more evident critical

points

Collaborative work on platform

Attendance at a specific European Open Lab

14.7 Preliminary Project Gap Exam

In the first phase Incubation winner is contacted by incubation coordinator and

experts via Skype for an introductory interview about the project/product, aimed to

stress critical points and to improve them. The applicant receives the first


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suggestions on developing the concept and a resulting key-skills scheme, where

necessary items are stressed in order to refine the proposal.

Key skills are presented in a modular form, divided in items the applicant has to

deepen and debate. Every item is propaedeutic to the subsequent one, so that the

lacking skills are to be managed. A problem solving attitude can help securing

achieved knowledge in a module, and preparing the connection with other Incubation

steps.

14.8 Working on Platform

After discussing items, and consulting the applicant about particular difficulties, or

requirements, a key-skills schedule is written off. A learning platform may be

arranged for posting possible corrected project versions or experimenting variations

in the project, more congruent with the Incubation final objectives to reach. Platforms

tutors, corresponding to the different macro-area or in charge of specific modules

may accompany applicants in project problem solving and in increasing its efficiency.

14.8.1 Platform Design

That platform might be expressly designed for a closer interaction between

Incubation teams and applicants, as for example Moodle 2. Not only should it be a

learning objects repository, but also a learning environment where the project may be

followed in its new proceedings. Experts and stakeholders with different qualifications

and selected by each macro-areas might be contacted by applicants on the platform

and take part in increasing applicants know-how.

Through the platform tutors may control the project/product during its evolution

phases by checking eventual gaps and adjusting project details.

Summarizing: An ideal structure to aggregate all these activities would be an

incubator platform, including at a glance the following services:

Project/Product Refinement Coaching

Project/Product Business Plan Mentoring

Project/Product Show Room as a presentation for recalling investors

Project/Product Crowdfunding as a direct form of financing

Project/Product Testing through interests (or not) arising from expert and

investor audience

Contest space for calls addressed to competitors


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Even if some existing platforms are offering on line some of the above mentioned

services, Europeana Labs might be designed close to this possible model.

14.9 Lab Attendance

After an intensive collaboration with most adapt Macroarea (s), contacts with

Macroarea experts and tutoring in key-skills modules, the applicant will be addressed

to one (or more) Open Labs where the project/product is operatively realized and

improved. In Open Lab project/product may be executed under experts direction and

consulting.

The applicant can decide to attend macroarea labs located in his/her own country if

existing or in another one if applicant and tutors consider it more appropriate for the

project/product execution.

14.9.1 Lab Attendance Scholarship

Europeana related projects should provide a scholarship for incubation winners by

allowing them to spend some weeks in the Europeana Open Labs crucial for

production refining, and to visit them in rotation. In those labs technological skills

would be enriched and tested and the whole project design products would be

directly realized.

This form was particularly recommended by survey where a kind of Erasmus for

designers, programmers and creatives should be expected in order to support

international exchange and professional competences70.

14.10 Start Capital Improving an Incubated Project

Another solution for supporting incubated projects is providing a start capital for

designing parts of the projects the producer cannot manage due to a complete lack

of professional competences and skills: for example, a freelancer (or a community)

would carry out the idea of an innovative touristic app and have designed a

sustainable concept. He/she can directly manage product’s marketing and

communication because that ones are professional competences he/she masters,

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For example the idea of establishing a kind of Creative Erasmus Plus for designers connecting European Labs has been suggested as possible solution: Salido, Edoardo Sabàs, Marc, Freixas Pedro et alii, The Accelerator and Incubation Ecosystem in Europe, (Telefonica – UE Commission, 2014) cit, .p. 3 and 18.


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but unfortunately he/she does not have any technological skills for making up the app

or at least a prototype of it. In this case a too deep skill lack cannot be corrected and

replaced by any Incubation time. So that’s a good concept is not made fruitless

Incubation platform might then:

Suggest the basic technological features the app would offer according

concept general vision as a first step

Set aside a start capital for overcoming the technological gap in outsourcing

Control and test the resulting outsourced prototype/product in order to respect

the concept general vision and to meet customers needs.

14.11 Eurolab Network and Outsourcing

On the Incubation Platform the producer might select a specific Enoll lab or Eurolab

where the concept’s gaps can be filled in as an activity developed in outsourcing. In

this way appropriated sum as start capital for incubation would be reabsorbed by

European labs network and create a turnover enhancing Europeana incubated

projects by European Labs network and promoting Europeana Labs Network as well.

Another strategy for outsourcing is a non-profit support through social co-working

labs where skill lack (see Platoniq Lab or VOICE project) may be supplied by

crowdsourcing as a knowledge bank and competence exchange. Also in this case

Incubation Platform might point out the more suitable co-working spaces taking part

in the Eurolabs Network, considering project typology and resulting necessary

activities. Platoniq as co-working space and social project design represents a good

pattern to be extended in a network of social and grassroots production.

This kind of non-profit incubation support based on crowdsourcing might indicate an

alternative way to develop part of the project/product, or for contacting best

community to be involved in incubation according geographical areas and focus on

particular skills.

14.12 Incubated Project Market and Commercial Asset: Investors Seeking

A possible market strategy for incubated projects could consist in following steps:

1) Crowdfunding as part of a future Incubation Platform

2) Workshop on incubated projects

3) Supporting startups with Europeana Legitimation


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4) Glams as users of Incubation products (free and commercial product to enhance

food and drink /cultural heritage)

14.13 Crowdfunding Strategy Aggregated to Incubation Platform

According to point 11.5.2.3 a possible system for a financial support is putting the

incubated project on a crowdfunding platform acting as a showroom for the project

and as an experimental environment attracting investors. A crowdfunding platform

should not only be the opportunity of seeking funding, but also an environment where

knowledge is shared, and product implementations can be suggested.

A problem to solve is the difficult to ground an European Incubation crowdfunding

platform for the national limits such alternative funding system meet because of

different and particular legislations and regulations. For overcoming the lack of

communication among many rising national platforms, the EU project to create a

platform aggregation in order to launch a coordinated European crowdfunding

system71 especially oriented to Web Entrepreneurs and Startups. So that the above

proposed project of Incubation platform might be related to a European general

funding policy and the two systems, Incubation proceedings and Crowdfunding

actions, could be complementary.

14.14 Summarizing

Summarizing the proposal of an incubation structured system which could group all

existing Europeana Labs in an efficacious international organization able to support

young creative teams, to technologically refine their concepts and ideas and to

realize new commercial products in Food and Drink and Creative Industry area, all

planned functions and activities an applicant should have available are now listed at

a glance:

Selected Application evaluation

First general exam of market sustainability by experts (without walls action: for

example Platoniq)

Necessary action General Schedule, decided by experts

Discussion about scheduled items with the applicant

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Startup Europe Crowdfunding. Network.Support Services to Foster the crowdfunding Environment in Europe focused on Web Entrepreneurs. Final Report, Bruxelles, 19 April 2014: http://www.eurocrowd.org/files/2014/05/20140519_Final-Report_Startup_Europe_Crowdfunding_Network.pdf



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Pointing out 1-2 Eurolabs with a specific focus (in the same applicant’s country

or in other European country/ies)

Incubation Scholarship for Applicant in order to attend specific Eulabs

Schedule by selected Eurolabs about specific activities

Funding by the EU of selected Eurolabs/Enoll for their cooperation by project

refining participating in the network means u.a. making product incubation for

awarded or selected applicants)

Attending 1-2 Europeana /Enoll labs with addressed focus by the applicant / or

attending a European incubator or / local incubator as co-working space

Skype conference and consulting about focus connected items

Product refining in crucial aspects (Europeana reuse and Apis, storytelling,

legal frame, technological aspects, business plan and funding, user testing

etc.): arranging a prototype

Prototype Presentation on crowdfunding platform for seeking financial support

as start capital

Eu Labs web site as a showroom for the incubated project: chance to control

the incubation schedule and the execution phase of the project for the

audience

Crowdfunding platform as first chance of funding

After obtaining a basic capital for a project/product operative asset for a further

completion of the product, applicants can contact a venture Capital to seek a

further funding as an investment in the enterprise as integrating capital support

A system of Incubation Evaluation may be assured so that incubated applicant

can point out plus and minus of incubation activities; on the other hand

incubation training team can evaluate applicant’s attitude and capacities in

following the incubation plan. External assessment is required.

15 Conclusions

The following conclusions are quite temporary, because an incubation program is still

in progress. Some remarks about incubation needs and procedure are yet possible.

First Challenge Incubation Proceeding lead by Uniroma1 has firstly shown how

difficult a full-time, or at least of a part-time engagement is for the incubation

applicant, even in a “virtual or “without wall” solution: Work problems, concomitance

with other projects, need of initial funding for realizing a prototype to interest the

investors, very low technical competences make incubation program for free-lance

complicated. A start capital should then be the preliminary action for improving an

incubated project, or a scholarship allowing the applicant to check the most suitable

Eu lab for project execution.


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Concerning Incubation Labs, a wide Lab network connecting Eu Labs and Enoll

should be coordinated in order to offer specific items and support to incubation

applicants, who may use scholarships to attend them.

Incubation program should be ‘glocal’, i.e. at one hand matching together a solid

embedding in a productive territory, which permits the applicant a positive interaction

and co-working with Enterprises network, Creative industries and research institution;

at the other hand incubated project are to be launched on an international level by

availing himself of Eu Labs chain.

A European crowdfunding platform or at least a European crowdfunding platform

aggregator hosting best incubation project is necessary to acquire alternative form of

funding and start customizing products

15.1 Results

A positive aspect of First Challenge Incubation was engaging young students for

Incubation in order to increase their entrepreneurial attitude and planning and

communication capacity in executing the initial concept and commercializing the

resulting product. That means trying to arrange a network where Creative Industry

represents the “head”: for example I and II incubation phases were supplied by a

creative industry with Open Lab Cultura Experts; and using Creative Industry network

as Fab Lab, Event, training as opportunity of improving applicant’s knowledge and

problem-solving.

Another interesting action has been trying to coordinate two Europeana Food and

Drink Open labs Cultura, Rome and Heritage, Sevilla in the incubation program as

project internal synergy. At the same time, it seems significant the attempt to connect

incubation activities with other European projects, as for example occurred in

Europeana Creative Culture Jam in July, when Europeana Food and Drink incubated

project was invited. Moreover, Europeana Creative Labs may act not only as co-

working environment, but especially in the case of Platoniq, as a funding opportunity

by using its crowdfunding platform Goteo, for launching Europeana Projects.

Another crucial result is the community participation to design Food and Drink

grassroots paths by spreading Europeana digital contents on food and drink, as the

incubated project proposed. An original way to reuse Europeana contents and ingest

User Generated Contents in Europeana (filtered and controlled by GLAMs).


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15.2 Impact

Although the Incubation activities are still in progress, the above results may

represent the starting point for young startups growth and their access to the market

by mastering the different phases of a product realization. Proposing and realizing a

product under the guidance of or in partnership with one or more Creative Industries

can encourage Europeana reusing product offer and widen GLAMs market

possibilities.

In the spirit of Web 2.0, the incubated project focuses on the role of community in

Europeana reuse, but especially in creating contents through Europeana: that might

push GLAMs to facilitate content access and reuse by increasing public domain data.

Moreover, Incubation production may generate territorial cooperation policy between

Glams, Public Institutions, Creative industries, crafts and digital crafts by grounding a

creative chain aiming to reinforce local labour market. At the same time Eulabs

network might play a central role for incubation internalization in order to connect

different markets and to develop original ideas on European levels, included

incubation opportunities of an innovative product as incubation network.


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16 BIBLIOGRAPHY

16.1 Bibliography Part 1 (Storytelling)

- Ariès Philippe, Introduction in Histoire de la Vie Privée (ed. Georges Duby & Ariès Philippe) Paris: Seuil, 1985-87, 5 vol. I.

- Barthes, Roland, Introduction à l’Analyse Structural des Récits, Communications, no. 8 (1966): 1-27.

- Camporesi, Piero, Alimentazione, folclore e società, Parma: Pratiche, 1980. - Castells Manuel., The rise of network society, Oxford, Malden, Mass.: Blackwell Publishers, 2000. - Douglas, Mary, Deciphering a meal. In: Implicit Meanings. Selected Essays in Anthropology, London: Routledge, 2003, 231-252. - Fontana Andrea, Manuale di Storytelling: raccontare con efficacia prodotti, marchi e identità d'impresa, Rizzoli, Milano 2013. - Giovagnoli, Max, Transmedia Storytelling: Imagery, Shapes and Techniques, Pittsburgh: ECT Edition, 2011. - Godin, Seth, All marketers are liars: the power of telling authentic stories in low-trust world, New

York: Portfolio 2005.

- Ilardi, Emiliano., Digital storytelling e istituzioni culturali, in Capaldi Donatella., Ilardi Emiliano, Ragone Giovanni (Eds), I cantieri della memoria. Digital Heritage e istituzioni culturali, Napoli: Liguori, 2011. - Jenkins, Henry, Convergence Culture: where old and new media collide, New York: NYU Press, 2006. - Leví-Strauss, Claude, Mythologiques, T. I: Le Cru et le Cuit, Paris: Plon, 1964. - Pearson, Roberta and Smith, Anthony (eds), Storytelling in the media convergence: exploring screen narratives, New York: Palgrave Macmilllan, 2015. - Potts, John (ed), The Future of writing, New York: Palgrave Mcmillan, 2014. - Propp, Vladimir, Morphology of the Folk Tale, Austin: University of Texas Press, 1968 (1928). - Ryan, Marie-Laure and Thon, Jan-Noël, Storyworlds across media: towards a media-conscious narratology, Lincoln; London: University of Nebraska Press, 2014. - Rose, Frank, The art of immersion: how the digital generation is remaking Hollywood, Madison Avenue and the way we tell stories, New York: Norton, 2011. - Salmon, Christian, Storytelling. La machine à fabriquer des histoires et à formater les esprits, Paris: Edition La Découverte, 2007. - Sassoon, Joseph, Web storytelling. Costruire storie di marca nei social media, Milano: FrancoAngeli, 2013. - Idem., Storie virali. Come creare racconti di marca capaci di diffondersi in modo esplosivo nel web, Milano: Lupetti, 2012.


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On Line Resources

Internet

- D’Estries, Michael, 6 food companies embracing the art of storytelling, November 20, 2014

http://www.mnn.com/money/sustainable-business-practices/blogs/6-food-companies-embracing-the-art-of-storytelling - Stano, Simona, Cibo e cultura: dal Simbolismo alimentare al principio di incorporazione, Scienza Attiva, 2014/15: 2-13,

http://www.scienzattiva.eu/wp-content/uploads/2014/09/CICU_A_SimbolismoAlimentare-Incorporazione_STANO.pdf (accessed 2015-09-04)

- UNESCO, Convention for the Safeguarding of the Intangible Cultural Heritage, Paris 2003, http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022 (accessed 2015-09-03)

World Wide Web



http://www.chow.com/

http://www.cna.it/

http://www.coca-colacompany.com/stories/coca-cola-stories


http://www.eattheseasons.co.uk/




http://food52.com/

http://www.thefooddoctor.com/

http://www.foodinsight.org/

http://www.fuudly.com




http://www.greeno.it/home/2013/05/i-tanti-gusti-del-cibo-in-tv-fra-cucine-da-incubo-e-piatti-da-masterchef.

http://www.iccu.sbn.it/


http://www.infusions4chefs.co.uk/

http://www.inspiredtaste.net/

http://karrierebibel.de/storytelling-geschichte-content-marketing/





http://www.unesco.org/culture/ich/index.php?lg=EN&pg=00022



http://www.coca-colacompany.com/stories/coca-cola-stories


http://www.eattheseasons.co.uk/




http://food52.com/

http://www.thefooddoctor.com/

http://www.foodinsight.org/

http://www.fuudly.com/






http://www.iccu.sbn.it/


http://www.infusions4chefs.co.uk/

http://www.inspiredtaste.net/


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http://labs.europeana.eu.


http://www.nutellastories.com

http://www.nytimes.com/pages/dining/index.html


http://www.runningwithtweezers.com/


http://www.southdownsfood.org/

http://www.storytellinglab.org/en/

http://www.tasteasy.it/


http://thestonesoup.com/blog/

http://www.tlc.com/tv-shows/cake-boss/

http://www.urbanfoodstories.com

http://www.wholefoodsmarket.com/

http://www.youtube.com/watch?v=tTnT1O7rYWI (Tomie’s Stories)

https://www.youtube.com/watch?v=OYecfV3ubP8 (Apple)

https://www.youtube.com/watch?v=BOM1k4oLGJU (Nike)

16.2 Bibliography Part 2 (Incubation)

- Barbero, José.L., Casillas, José.C., Ramos, Alicia., and Guitar, Susana, Revisiting incubation performance. How incubator typology affects results. Technological Forecasting & Social Change, vol. 79, 2012, 888-902.

- Chesbrough, Henry, The Era of Open Innovation, Mit Sloane Management Review, Spring 2003.

- Idem, Open Innovation: Researching a New Paradigm, Oxford: Oxford University Press, 2006.

- Corsi Christian and Di Berardino Daniela, Assessing the Business Incubators‘ Performance Referring

to Local Development in Italy, European Scientific Journal, September 2014,1, 323-334.

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17. ANNEXES (D4.4 Part 1 - Part 2)

This section brings a number of documents attesting activities of:

o Europeana Food and Drink Second Open Innovation Challenge,

corresponding to D.4.4 Part 1 (Annexes 1-2-3-4)

o Europeana Food and Drink Incubation, corresponding to D.4.4 Part 2 (Annex

5)

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

This section brings a number of documents attesting activities of Europeana Food and Drink Second Challenge organization and execution required. They are grouped in 4 levels:

Annex 1: Agreements

Annex 1.1: CNA Agreement

Annex 1.2: Slow Food Agreement

Annex 2: Application Process

Annex 2.1: Application Process

Annex 3: Communication

Annex 3.1: Second Open Innovation Challenge Launching Text

Annex 3.2: Newsletter (Italian)

Annex 3.3: Newsletter (English)

Annex 3.4: UP Contest Platform

Annex 3.5: Fuudly Social Platform

Annex 3.6: Food and Drink Enterprises Contacts

Annex 3.7: Influencer List (Italy)

Annex 4: Second Challenge Final Event

Annex 4.1: Event Agenda

Annex 4.2: Event Photos

Annex 4.3: Biographies (Jury Members – Winners – Panel participants)

Annex 4.4: Panel Slides

Annex 4.5: Video Final Ranking and links


111

D4.4 Part 2 – First Open Innovation Challenge Incubation: Annex 5

This section brings a number of documents attesting activities Europeana Food and Drink Incubation organization and execution required. They can be grouped in 2 levels:

Annex 5: Incubation

Annex 5.1: Incubation Agreements

Annex 5.2: Participation of First Innovation Challenge Incubated Project to

Europeana Creative Culture Jam, Vienna, 9-10 July 2015: Photos

All the above-mentioned annexes have been sent in a zip file attached to a separate email.