About Josephine Hage

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Overview: C2C interviews in Skåne, Copenhagen and Northern Italy

In the course of our final conference, we presented some of the most interesting examples  of our research. We had identified more than 100 projects and programmes out of which we selcted 40 for in-depth interviews. Altogether, we conducted almsot 40 interviews in three European regions:  Skåne in Sweden, Copenhagen capital region and Northern Italy (Piemont, Lombardy, Alto-Adige and Emilia-Romagna to be precise). The scope of the projects and initiatives was consciously very broad and ranges from urban developments projects to coworking. The results of the interviews were not only reflected in the regional workshops in Brandenburg and in the course of advisory board sessions, but also in the course of our Barcamp and the mini-studies our transnational partners conducted for us.

C2C Interviews. Overview

Programme/

Initiative

Type(s) of support Country and region City Website
         
After Warhol Events and Workshops, networking Sweden, Skåne Helsingborg https://www.facebook.com/AfterWarhol
ArtLab Professionalization, seminars, network, workshops Denmark Copenhagen www.artlab.dk
Art Rebels Network, Distribution Agency Denmark Copenhagen http://artrebels.com/
Audience Development Marketing, stakeholder involvement Italy, Alto Adige Bozen http://www.provincia.bz.it/cultura/index_i.asp
Boost Cross Media Talent Project grants, consulting, coaching, professionalization, education and training, support of young talent
Network
Infrastructure / work space
Sweden, Skåne Helsingborg www.boosthbg.se
CAKI incubator for the arts education: mentoring, counselling and financial support to students and teachers from member institutions Denmark, Copenhagen Copenhagen www.caki.dk
CIEL Program of 3 universities in Copenhagen, trying to connect university and industry (no CCI) Denmark Copenhagen http://ciel-lab.dk
         
Cre-attivi Grant Italy Monza, Brianza www.cko.dk
Creative Industries Task Force Active talent spotting, counseling, marketing, public procurement Denmark, Copenhagen Copenhagen  
Creative Plot Incubator, consulting, networking Sweden, Skåne Lund http://thecreativeplot.se
Den sociale kapital fond venture capital Denmark, Copenhagen Copenhagen www.densocialekapitalfond.dk
Financing Forum for Kids content Financing, network, professionalization Sweden, Skåne Malmö http://www.thefinancingforum.com/
Fondazione Fitzcarraldo independent, private, non-profit centre for planning, research, training and documentation on cultural, arts and media management, economics and policies Italy Turin http://www.fitzcarraldo.it/en/
Green Room Incubator: consulting, networking, infrastructure Sweden, Skåne Trelleborg http://www.trelleborg.se/sv/foretagare/foretag-stod-och-radgivning/-green-room/
Incredibol Competition, Grants, coaching, provision of spaces Italy Bologna http://www.incredibol.net
IZMO Urban development, Summer schools, training Italy Turin http://izmo.it
Kaospilots Education: School of Leadership and Social Entrepreneurship Denmark Aarhus www.kaospilots.dk
KELA urban development, networking, spaces, skill development Sweden, Skåne Landskrona http://kelandskrona.wordpress.com
KPH Coworking Space, consulting, networking Denmark Copenhagen http://kph-projects.dk
Kreanord inter-regional cooperation, Information, policy development All nordic countries   www.kreanord.org
Kulturkraft Syd Professionalization through workshops and seminars Sweden, Skåne Malmö www.kulturkraftsyd.se
Leo Hub Incubator, training, place-making Italy Vigevano http://leohub.technonews.it
MEDEA Prototyping and research laboratory Sweden, Skåne Malmö http://medea.mah.se
Media Evolution and Media Evolution City Media cluster, coworking space, creative business center, network Sweden, Skåne Malmö www.mediaevolution.se www.mediaevolutioncity.se
Minc Incubator, consulting, network Sweden, Skåne Malmö www.minc.se
Nordic Game Program Interest group for digital games industry in the nordic countries. Project grants, funds, networking, representation Sweden, Skåne Malmö http://www.nordicgameprogram.org
Nordic Game Program Interest group for digital games industry in the nordic countries. Project grants, funds, networking, representation Sweden, Skåne Malmö http://www.nordicgameprogram.org
Republikken Coworking Space, consulting, networking, workshops, professionalization Denmark, Copenhagen Copenhagen www.republikken.net
Selfmade Consulting, coaching Sweden, Skåne Landskrona http://selfmade.nu/
SpeedMiUp Incubator Italy, Lombardy Milan http://www.speedmiup.it
Spinner Financial support – scholarships and economic aids, technical assistance and tutoring, training Emilia-Romagna, Italy Bologna www.spinner.it
STPLN Space, consulting, coworking, grants for events Sweden, Skåne Malmö www.stpln.se
The Impact Hub Coworking, network, consulting Italy Rovereto http://rovereto.impacthub.net
THINK Incubator Sweden, Skåne Helsingborg http://thinkinkubator.se
Trentino Creativo Competition, matching Italy Trento http://www.trentinosviluppo.it/Contenuti-istituzionali/Progetti/Trentino-Creativo
         
Urbe Street Art Festival, urban development projects involving arts and creativity Italy Turin https://www.facebook.com/pages/URBE-Rigenerazione-Urbana/238344749552909

New ways in innovation management for sustainable value creation capacity: findings from Italian firms

A growing number of initiatives focus on the collaboration between cultural and creative industries (CCI) and companies from traditional business sectors. The underlying motivation behind this engagement is to uncover the hidden innovation potentials linked to the collaboration between what are considered unlike-minded businesses and practices.

A number of studies primarily focus on the macroeconomic effects of collaboration between CCI and other businesses. Empirical insights into the processes on the level of the individual firm are however still rare. A mini-study from C2C’s Italian project partner Prof. Dr. Giovanni Schiuma from the University of Basilicata and the Innovation Insights Hub in London shall therefore bring more light to the integration of artistic and creative practices into the innovation processes of companies from other business sectors. Together with his colleague Antonio Lerro (Arts for Business Institute), Prof. Schiuma selected a sample of 24 Italian firms and analysed them with respect to their level of integration of artistic and creative practices into their organizational processes and their impacts on business performance.

The report confirms that relationships between CCI and companies from traditional business sectors hence “do not respond to a planned strategy, but are rather the result of singular and sporadic links” and “are not part of a specific innovation management strategy.“ However, Giovanni Schiuma and Antonio Lerro identify and investigate a range of practical examples of how companies engage with creative industries in value creation partnerships. The authors observe that companies mainly establish relationships with CCI in order to respond to challenges in the realm of Corporate Social Responsibilty (CSR), marketing, branding and communication and new values for products and services. Little attention is given to the role that culture and creativity can play as drivers for organisational development and particularly as managerial approaches to support human resource development and engagement.

The findings of the report also point to a deficit of innovation support: even though there is a growing awareness of the need to collaborate with partners from the CCI, there is a huge lack of knowledge about how this kind cooperations can be stragically integrated into internal innovation management processes. The starting point for developing initiatives seems to be the commitment of the entrepreneur and/or the top management of companies as they are considered the most enabling factor for the development of effective relationships between businesses and CCI.

Download the full report here.

After mapping, consulting and networking: what’s next in creative industries support. Insights from our Barcamp Documentation

After mapping, consulting and networking: what’s next in creative industries support. Insights from our Barcamp Documentation

The aim of our Barcamp was: on one hand to discuss the relevance of the project’s research findings with creative industries project and programme managers from Sweden, Italy and Denmark and on the other hand to provide a fertile and open ground for exchange in order to create new knowledge, to extend our focus and to initiate a small European network ourselves. In order to achieve this, we “betrayed” the Barcamp method and set a couple of topics that seemed relevant from our perspective for future creative industries support.

Here, we now provide the full documentation in digestible PDF pieces:

  1. Arts and Innovation Connect
  2. Fishing for talents
  3. Interdisciplinary Working Groups
  4. Experience-based business models
  5. Cross-sector incubation
  6. Access to smart finance
  7. Building strong networks
  8. Holistic competence development
  9. International cluster cooperation / Europe mix’n’mingle
  10. Radical innovation
  11. New finance instruments for incubators
  12. New approaches to coaching and consulting
  13. A toolkit for creative industries support
C2C presenting cases from small and medium sized cities at the final conference of the Urban Creative Poles project

C2C presenting cases from small and medium sized cities at the final conference of the Urban Creative Poles project

The Conference Venue

The Conference Venue

On November 7, the INTERREG project Urban Creative Poles held its final conference in the lead partner’s city of Cottbus, based in the region of Brandenburg for which we develop our creative industries toolkit. The organizers had chosen the fantastic, post-modern setting of the information, communication and media centre (IKMZ) of the Brandenburg Technical University of Cottbus.

The keynote from Prof. Joan Ganau from the University of Lleida in Spain highlighted some of the weaknesses of intermediate cities with respect to creative industries development:

  • less dynamism
  • lack of opportunities for qualified jobs
  • difficulties to attract and retain talents
  • no economies of agglomeration
  • bad international accessibility.

From his perspective, the strengths of intermediate cities lie in

  • housing prices
  • more possibility of social cohesion
  • richer “social capital”
  • no formal social relation networks (more dense and fluid)
  • quality of life and sustainability
  • place identity, ensue of community.

The second keynote speaker, Ralf Ebert (urban planner and CEO of Stadtart) made an attempt to answer the question why CCI can be important for medium-sized cities:

  • for the marketing of the city
  • job creation
  • necessary part of business oriented service industries
  • sector as part of the regional innovation system
  • locational factor for companies from other sectors and for households
  • spill-over effects on city development.

Tom Fleming from the British creative consultancy TFConsultancy gave an inspiring speech and stressed the necessity of talent development and the need to invest in experimentation, convergence and disruption. From a governance perspective, he called for joined-up approaches to creative industries development including culture, tourism, innovation and wider “creative” spill-over effects. His considerations also confirmed another observation we discussed a lot recently: the observation that the role of business support for the creative industries seems to change the overall rationale of business support in the sense that facilitation, moderation, building of local, national and international networks and the enabling of collaborative practices becomes central to supporting an industry and therefore fundamentally challenges the self-understanding of business support as it has been practiced before. This implies that the discourse about creative industries may not take the shape of a “dolphin” (in the sense that it is a nice topic that makes everyone smile and evokes good feelings) as Tom Fleming pictured and highlighted. Rather, it is discourse that calls for action and  that should not be separated from other societal and economic transformation processes.

Although the small and medium sized cities have not been the sole focus point of our project, we of course identified and looked at creative industries support schemes in these contexts. Therefore, we were invited by the organizers to present some findings from this part of our research. From Sweden, we explained how the region’s initiatives were initially triggered by support from the national level. We presented the cases from Skåne of the consulting project Selfmade, the creative industries development approach of KELA as part of a wider urban development strategy in Landskrona as well as the incubator Creative Plot in the university city of Lund.

IMG_20131107_104340From our research in Italy we showed how the audience development initiative of the cultural department of the city of Bolzano managed to not only increase cultural
participation within the city but also from among the surrounding villages. This example raised for us the question how the smart use of (guerilla) marketing methods could also integrate the local creative industries. In the close to the city of Milan located Vigevano, the business department builds on the work of Leonardo da Vinci to redevelop the castle in the heart of the city that has been empty for decades. The plan is to establish a permanent exhibition but also to attract creative entrepreneurs from the field of digital media through offering coworking spaces.

The challenges of the adoptation of a support scheme initially designed for a city as big as Bologna became obvious in the case IncrediBol! This programme is being extended to the province now where stakeholders are dissipated and the needs of the entrepreneurs and public administration seem to be different from the ones in Bologna. Finally, we presented which challenges the introduction of the typically very urban infrastructure and networking concept “The HUB” brings with it when established in a city as small as Rovereto. Here it seems that more communication efforts are necessary to gain acceptance by the local population compared to a more urban environment and to provide an understanding of the work and life situation of entrepreneurs.

An overview about the actions and results of the Urban Creative Poles project can be found here:
http://www.creativepoles.eu/ucp-documents

Barcamp review: International cluster cooperation for the creative industries

This session was hosted by Søren Smed and Helle Gransgaard from the Danish innovation network on knowledge and experience economy (InVio). InVio was established in 2010 and is organised under and funded by the The Danish Agency of Sciene Technology and Innovation as one of one of 22 innovation networks in Denmark. The network consists of knowledge institutions, companies and others (approx. 1300 members)

InVio’s objectives are to create a catalogue of prioritised opportunities for international cluster cooperation in the creative industries, to strengthen innovation in

The Internationalisation Jouney. Source: TACTICS (2012): Handbook on Cluster Internationalisation

The Internationalization Jouney. Source: TACTICS (2012): Handbook on Cluster Internationalisation

experience sectors (creative sectors, tourism, events etc.), to strengthen experience based innovation in all business sectors, as well as the support of cross-sector innovation and spill over effects etc.

Their focus lies on 1) new research 2) knowledge sharing 3) matchmaking and collaboration between companies and knowledge institutions 4) internationalisation.

Based on the feasibility study on the motives and interests behind cluster cooperation which InVio is just conducting, this workshop session’s first part was all about formats and benefits for international cluster collaboration within the creative and experience economy.

Theses and major points for discussion:

  • Very nationalistic way of thinking – the best way would probably be getting rid of obstacles that stop international connections to work.
  • It would be interesting for creative capacity to match with other sectors and not to match creative industries with other creatives! because … Clusters between creatives already happen.
  • the problem is that companies don’t care about creative input when it is not profitable.
  • Challenge for small clusters: maybe it is an advantage to be part of a bigger one, speciality might evaporate. Where are the limits in this „clusterish“ way of thinking?
  • Working with individuals versus working with institutions: bottom up development. How to empower the people who bring the value?

Questions to be asked in the future: Where do we (and our clusters) go from here? Are clusters within the creative industries different from other clusters? What should the clusters be aware of? 

The benefits of international cluster cooperation

  • to the business of the international cluster cooperation: a raised profile, access to knowledge (to use in new products and services), to new markets, key infrastructure, e.g. pilot plants, living labs etc, new international partners for collaboration

  • to other organizations in the cluster: a raised profile, access to knowledge, to new markets, new and wider customer base, new international partners for collaboration

  • to the cluster organization: a raised profile, new international partners for collaboration, new international partners for staff exchange, improved ability to benchmark performance

  • delivered to the region/member state by the cluster organisation: increased competitiveness and export performance by key businesses, increased access to potential inward investors, increased level of external funding utilised by the region/member state

Examples

 

Further Information:
TACTICS Handbook on Cluster Internationalisation (PDF)

Barcamp review: A toolkit for creative industries support

Barcamp review: A toolkit for creative industries support

This session was hosted by Dirk Kiefer, head of the Creative Industries agency in Thuringia and newly appointed head of the Center for entrepreneurship and start-ups in the region of Thuringia.. He is also the chairman of the C2C advisory board and dedicated to design a toolbox for the ideal creative industries business support. The two specially relevant aspects of new markets and matchmaking where each discussed with regards to the following five partial aspects and questions: Target groups and problems; Aim/how does success look like?; Instruments; General preconditions and assumptions, Critical issues and how to fail (or not)?

1. New markets

  • Target groups and problems: The target group are the creative services and product providers but also the traditional market. The problem is to break the „silos“, to create bridges between traditional economies and CCIs (the crisis is part of the value chain)

  • Aim/how does success look like? Success means to build bridges, to move and work together and to have a common language. Creatives should be integrated in the value chain from the beginning. This requires more dialogue and knowledge about other creatives/products

  • Instruments: Rational approaches have proven wrong. Instead: identify one person in the organization who carries the idea of creative services, who has an affinity for creativity (trojan horse, contamination lab, translators)

  • General preconditions and assumptions: to identify and create a community of “creativity champions” that can co-create a new model with creatives. There should be a change in the discourse about design/creativity. Involving creatives in an early stage is “more fun, less risky and cheap”.

  • Critical issues and how to fail (or not)? It takes too much time to connect different cultures. Companies don’t want/need the infiltration by the „creative link“, they are doing fine without it. They don’t understand it.

2. Matchmaking

  • Target groups and problems: the main problem is how to make the chaos generative = how to use the self organizing powers while finding the matches. The chaos is the motor /driving force, to instrumentalize it will cause harm so we have to keep it generative. We should try to bring order to chaos without losing the driving force, the potential

  • Aim/how does success look like? Matching creates value and acceptance (not necessarily money), the impredictable is a bonus.

  • Instruments: to bring people together for networking is difficult (to get a value out of it). People should be more open to match-making and therefore a new cultural approach can be useful (e.g. documentation with films). Another instrument is a pre-analysis of the resepective needs of all involved parties.

  • General preconditions and assumptions: One precondition is money, also to gather people with common interests (but it doesn’t have to be in a match-making sense). People have to be open-minded and willing to change and they should feel privileged and chosen.

  • Critical issues/how to fail (or not): to fail doesn’t have to be a waste of time because you will always learn from your mistakes and gain experience for the future. One risk is to promise too much or to have too high expectations. The lack of sustainability and the arrogance of partners (lack of respect) could also be a critical issue.

Barcamp review: New finance instruments for incubators

Session Host Corrado Bottoli introduces the work of the Milan Chamber of Commerce that helps to promote new businesses and support high potential growth companies. He points out the relationship between the public and private sector for new companies (like startups). Background is that in Milan 25% of new companies die after one year. Bottoli’s goal for the session is to show different ways to support startups and find new instruments with the help of the participants.

The Milan chamber of commerce gives support on three levels:

  1. Equity capital market with equity funds in terms of creating equity funds with a direct investment and setting up a co-investment with the private sector (ongoing project)
  2. Debt capital market in terms of guarantee funds for startups and grants to reduce the cost of bank loans
  3. Setting up new incubators in terms of low price for facilities and training/tutoring to reduce risk of investment 

The theses and major points for discussion of the session were:

  • With regards to equity capital market, the participants criticise the focus on only high potential startups like in the technology sector that gets enough support anyways. The creative sector, e.g. fashion design seems to be underrepresented. One Participant points out that high tech sector is not necessarily supported anyways because there are long production process, too, e.g. for computer game developers. The creative sector has the advantage of being able to form working groups that share space and capacities.
    The participants express their doubts that startups in the creative sector want to have equity money because banks wouldn’t finance their projects anyways and that debt instruments might be more suitable.

  • With regards to dept capital market, the participants note, that clients usually prefer grants while there is no proof that grants have a growth effect. The garantee system via microfinancing agencies (in Brandenburg) on the other hand doesn’t seem to have any effect. In Estonia grants sometimes work but very often it is a black whole. One suggestion for cultural support is to demand more professionalism from their clients/startups. The participants agree that grants are not the solution or at least should be designed in a better way. One suggestion is to follow the investors and how much money they want to invest.

Further points of discussion and other contributions:

  • The role of the public sector is also discussed, but the situations in the participants’ respective home countries are very different.

  • Crowdfunding as a potential alternative which also allows for early market research.

  • The idea of paying back some of the money or providing new jobs after success was brought up. The problem is to give the right incentives. If the condition is to employ new people companies would employ anybody to keep the money. It is always a distortian of the market. Another option is to pay pack if you are not successful in order keep the motivation to succeed alive. 

Examples:

  • Milano Speed Mi Up: incubator run by Milan Chamber of Commerce and Bocconi University. The idea is to combine startups with young freelancers to work together by providing services (training, innovation, internationalization), working spaces, tutoring and IT services. The goals are to set up about 10 startup/year (startup hub) and support 20 professionals/year (professional hub). http://www.speedmiup.it

  • Exist Gründerstipendium: provides a basic salary for the company members, money for the company and coaching. The project members have to reach milestones but if they are not successful they dont have to pay back anything. The advantage is they can concentrate on their project. http://www.exist.de/exist-gruenderstipendium/

There is no ideal model for public support due to the differences of the countries. All three introduced models could be helpful. There seems to be an agreement that debt instruments and creating new incubators might be more suitable for the creative sector. New instruments could be crowdfunding and networking, they should be added to the three models .

Links:
Milan Chamber of Commerce: http://www.mi.camcom.it

Barcamp review: New approaches to coaching and consulting

Jörn Krug is a scientist at Filmschool Babelsberg and works as a coach at the IBF-Institute. Before, he built „Media Exist“, a platform for creatives of the region of Berlin-Brandenburg who want to set up businesses. Most of his clients think that regular coaches and consultants do not really offer suitable services. This is one of the reasons why he and his colleagues published the book „Beratung und Coaching in der Kreativwirtschaft“ (Kohlhammer Edition Kreativwirtschaft, 2011, Klaus-Dieter Müller, Wolfgang Fischer, Jörn Krug). For him, coaching is more like a mid-term/ long-term process. It gives the client the chance to work on his/her own and it can fail easily if the interests are going appart. He sees consulting more in a short-term perspective, as a knowledge transfer from an expert to someone else. On the other hand, a coach has to accept the clients’ opinions.

In this session, the host and the participants discuss the following assumptions:

Thesis 1: Each stadium needs a specific coaching method/ consulting approach.
Thesis 2: The different structure of creative industries leads to a need of different instruments.

The core question is: “What are the best methods for each entrepreneurial stage (experimental, pre-start up, start up, growth phase, etc.)?”

The results of the participants’ brainstorming on the thesis:

  • Coaching is built on trust.
  • A coach / consultant needs expertise.
  • Looking at the personalities is important in both consulting and coaching.
  • Understanding the clients’ motivation, finding out their individual talents, USPs and needs and helping them to develop strategies is important
  • It is difficult to be coach and consultant at the same time.
  • It’s all about the mix.
  • Coaching includes observing by participating
  • Every step in the process has its challenges.
  • The quality of a consultant must be to have her/ his own techniques so that people can choose.

Examples:

The learnings of this session are not easy to summarize. This might be explained by the complexity of a coaching/consulting process. Every client has a different background and therefore different needs so that each process is individual and tailor-made.

  1. Regarding the question whether we need specific services for each phase of development, there might be appropriate advise according to each phase and a coach should let go if he/she is not the right coach.
  2. Instead of asking whether there was a specific structure of creative industries, it might be more about the question: How can people choose the right coach/ consultant?, Has the public body knowledge about the track record?
  3. Essential features of consulting / coaching
  • experience of the coach / consultant is important but should not dominate the process
  • awareness, empathy and dialogue are essential
  • reflect on the right mixture if you are using elements of coaching and/ or consulting
  • empowerment of the client is importan
  • a coach should be passionate about what he/she does.

 

Links:

IBF-Institut: http://www.ibf-institut.de

HFF Potsdam: http://www.hff-potsdam.de

Media Exist: http://www.mediaexist.com

Barcamp Review: The European Connection

Barcamp Review: The European Connection

Inspired by the potential of international collaboration within and across the creative and experience economy, Rasmus Heyman from ADA, the swedish association for design and advertising, dedicated this session to the idea of a closer individual cooperation between people in Europe, making use of the newly emerging culture of sharing.

Rasmus proposes two own ideas: Since there are many canals in Europe, there could be a boat full of artists with a new crew in each city; cheap rooms in each city combined with the offer to switch and swap appartments and jobs – which are then supplemented with ideas for international collaboration clusters by the participants. The following belonged to the participant’s favorite ideas:

  • a European Championship in creativity
  • a creative boat ride across Europe
  • changing jobs and apartments
  • a working vacation ressort with mindshare
  • Easier and faster application process for the existing funding
  • open spaces in cities

Examples:

Open room Hotel Hamburg openroom-artisthotel.com/home/?L=3,
Open room Hotel in Cologne: das-hotel-koeln.de/entree/das-groesste-hotel-der-stadt/
AirBnb www.airbnb.de
Couchsurfing www.couchsurfing.org

Further links:  
ADA: http://www.adasweden.se

Barcamp review: Radical innovation

Barcamp review: Radical innovation

jensWith his own company JK Innovation and within the Nebula group (a joint initiative of several Danish companies working in the field of innovation), Jens Kruhøffer offers services to private firms but mostly to the public sector, for which he runs projects mainly dealing with education and interventions. The project which served as example for this workshop session – “Nordjylland på spel” – used the means of gamification to enhance young people’s participation in matters of regional development.

The game, developed by a network of consultants under the leadership of Jens Kruhøffer, focused on healthy competition and collaboration. It was not delivered as a ready-made product to the region, but as a co-creational process between the citizens and the government.

Important learnings were that it was hard to convince people that they can play with the fine line between reality and fiction and that a balance between content and process is difficult but extremely important to achieve. Ultimately, collaboration, passion and emotion were identified as immense drivers for innovation.

Before this backdrop, this session was aimed at defining what radical innovation is and where it can lead.

The participants’ ad-hoc definition of radical innovation included:

© by Marie Jacobi (www.visualrecording.de)

  • rule-breaking new ideas
  • challenging of the ordinary world-view
  • different point-of-view/focus
  • combining two incompatible elements
  • disruptive and unconventional
  • complete changes in standards (methods, processes, outcomes, meanings etc.) which create new markets
  • playing with odds, gambling, taking risks

Questions arose, like:

  • How can we innovate the innovation process?
  • How can we create standards and a shared language for innovation without creating barriers?
  • How can we work with companies/organizations that have a very fixed aim/goal/focus that they don’t want to change?
  • How can we create a shared understanding between innovators and companies/organizations? How can we create trust and room for risk?
  • Is an artful transformation (topic of other workshop) a radical innovation?
  • Is this case study really an example of radical innovation or is it more social innovation?
  • What would have been really radical in this example?
  • How can we replicate examples for radical innovation? Are there elemental tools, can we develop a toolkit that can be passed on? How can we design radical innovation processes?
  • What is the benifit of game-based, emotion-based, playful innovation processes for traditional organizations?
  • What are the next steps after an initial pilot phase of radical innovation? How can we achieve long-term effects?

 

Most discussed questions:

How can we create long-term innovation effects?

Through shared experiences, shared language, constant communication. The entire process and communication should reflect innovation, include playfulness and the creating of meaning through fun.

Is radical innovation only applicable for product or service innovation or can it also lead to change in the public sector?

Yes, challenge the given, challenge constraints, as this is were radical innovation is most needed.

 

Examples:

 

At the end of the workshop, the group was asked to identify on which level radical innovation should be applied first and most importantly:

  1. personal dimension (personal skills, drive, goals)

  2. preparing the context (gathering acceptance, shared understanding between partners, definition of problem)

  3. the right process

After intense discussions the group agreed on 3. the right process, as the RIGHT process includes defining needs, problems, research, activation etc. The right process can generate the right mindsets and personal dimensions (process as a catalyst).

 

Links:

Nebula group: http://nebulagroup.dk/

JK Innovation: http://jkinnovation.dk