Beautiful Innovation: Understanding Management Innovation in the Spanish Arts, Heritage and Recreation Industries

Exploring the Evidence-Based Driving Factors of Innovation in Arts and Cultural Organizations

“…Second, technological innovation often aims at the improvements of functional and technological features embedded in heritage conservation and management processes, as well as new cultural product development, based on available stock of analytical and synthetic knowledge. De-Miguel-molina et al (2013) described process innovation in artworks restoration and conservation as an advance in tools, technologies, and materials of examination, analysis, conservation, and restoration in terms of facilitation, speed, and quality through R&D activities. Certainly, arts and culture have traditionally not been viewed as an R&D-intensive sector and many organizations in this sector intend to innovate by adopting new technologies from other sectors instead of internal R&D (Li & Ghirardi, 2019).…”

“…Comparing to competition, it is clear that collaboration promotes innovation due to (1) innovation is a process of interaction (Lundvall, 1988) and collaboration constitutes a major means of direct interaction by organization with external individuals and organization (Bureth, Wolff, & Zanfei, 1997) and (2) innovation is reliant on the transfer and creation of knowledge through organizational learning (Harkema, 2003) and collaboration is an important source of knowledge flow and exchange via interorganizational interaction (Martin & Moodysson, 2011). Several empirical studies have shown that cross-organizational collaboration can help to adopt external technologies and innovation in the early music industries (Castro-Martínez, Recasens, & Jiménez-Sáez, 2013), museums (Camarero et al, 2011;Vicente et al, 2012), and heritage restoration organizations (De-Miguel-molina et al, 2013;Verbano et al, 2008). Besides, Li and Coll-Serrano (2019) have explored the potential relationship between collaborative arrangements and innovation in Spanish museums, concluding that different types of collaborators play different roles in innovation outcome in terms of the type of innovation.…”

“…Second, practitioners also generally agree that different types of organizations may have different innovation performances. This is often explained by examining the case of museums from a knowledge-based perspective, where the diversity of knowledge and the combination of knowledge and technology have a positive impact on the amount of innovation (De-Miguel-molina et al, 2013). Given that science museums are typically staffed with more specialists with analytical and synthetical knowledge backgrounds (e.g., biology and geology), while arts and history museums have more staff with symbolic knowledge backgrounds (e.g., fine arts and history), this implies that science museums are more likely to engage in technological innovation than arts and history museums.…”

“…Although cultural production itself is not characterized by functional changes based on new technologies, technological advances can contribute to the development of new cultural products and services in three ways. First, new technologies adopted can enhance creativity as an intermediate product that contributes directly to the final product of culture (De-Miguel-molina et al, 2013), for example, digital technology is the catalyst behind the new media arts; second, they can create new forms of creative processing by incorporating technology into the process of cultural production (Camarero et al, 2011;Hunter & Fairchild, 2013), for example, the application of virtual reality in the heritage conservation; third, they also may encourage new business models by reshaping cultural consumption patterns (Bakhshi & Throsby, 2012;Solima & Izzo, 2018) and the role and mission of cultural organizations (Bertacchini & Morando, 2013;Lazzeretti & Sartori, 2016), for example, utilizing multimedia tour to enrich exhibition experience.…”

“…In the arts and cultural sector in particular, there is a growing interest and call for a culture-led development model (Sacco et al, 2014), and how different drivers of innovation can be harnessed to enhance the innovation capacity and growth of arts and culture organizations has become an important academic and practical debate for cultural researchers and practitioners today. This debate is concentrated in the cultural economics literature and focuses on the causal relationship between innovation outcomes and a series of internal and external factors, such as institutional environments (Vicente et al, 2012), organizational features (Camarero et al, 2011; De-Miguel-molina et al, 2013), and marketing strategies (Camarero & Garrido, 2012; Camarero et al, 2015; Carmen & José, 2008). The problem is that these studies are largely based on the traditional paradigm of technological and organizational innovation, while cultural innovation in arts and cultural organizations has been largely ignored.…”