The art of innovation - Nesta

4.5 Networks and innovation processes
Innovation is not usually for loners
While respondents often describe their
attitudes to innovation in terms of an individual
response, the process of innovation itself
is almost always social. Even the most selfcontained
painter or sculptor needs other
human ‘resources’ (Becker, 1982).
In this section, we look at how innovations
happen, both through the survey responses
and in the words of our interviewees.
4.5.1 Attitudes to networking
Interviewees had mixed views about
networking
As both the survey evidence and interviews
show, attitudes to both the need to network
and its effectiveness are complex. Networking
is seen as necessary, but people may personally
find it uncomfortable. But some see it as the
only way to get on.
Survey questions about the importance
of networking, not surprisingly, produce
overwhelmingly positive answers. Almost 90
per cent who work in the arts and cultural
sectors consider networking within the arts
important.
Almost three quarters, 73 per cent, of
those working in the arts/cultural industries
consider networking outside these industries
as important too. Survey respondents had
no opportunity to explain their answers, but
interview evidence suggests that it arises from
the combination of a cross-fertilisation of
skills and ideas, the possibility of new markets
and enriching one’s art work with external
influences.
Networks rank low among career
advancement factors, but provide important
sources of encouragement
However, when the survey asks what has
been important in advancing people’s careers,
the top four answers are: experience (74 per
cent); opportunities to exhibit work (74 per
cent); university/art college education (73 per
cent) and natural talent (73 per cent); nobody
mentions networks.
Yet, when listing sources of encouragement
for arts work, ‘peers’ are quoted most often
– again emphasising the importance of
collaborative networking and the role of the
network as support, rather than just what has
been important in advancing one’s career.
The different emphases in these answers show
the complexities that networking provokes
in the minds of fine artists. A write-in survey
answer reflects this ambivalence: “I think it is
important, but it is something I hate to do, as
it makes me feel insincere”, said one female
graduate. Others in the survey seem to regard
it somewhat more cynically: “In fact success is
reliant upon knowing the correct people and
not upon talent”, another observed.
Networking is also good for business, but
may not work for everyone
This ambivalence is again picked up by
interviewees:
“Well just, either through networking,
actually not really through networking,
because we hate networking, but through
people we know really, family, friends and
things like that. But then it became, people
who we met at…through...just through
stuff.” (Female, 2000s graduate)
Here there is clearly a reluctance to use the
term networking. Yet “family, friends and
things like that” are essential to making this
small design business work. The quote is also
revealing of the wider debate about diversity
in these sectors – the notion that one’s family,
friends and “things like that” can get you
access to work and help your career is unlikely
to apply across the social spectrum.
4.5.2 Collaboration and networking
Networking organisations are seen as
providing social support rather than
influence
Another way to look at networks is through the
membership of professional associations. Some
64 per cent of respondents belong to an artist
organisation, studio or collective. However,
when we ask them how this influences their
work, answers focus less on the influence of
such organisations and more on the social
support they offer, “a good chance to meet and
talk to like-minded people”.
When interviewees describe processes of
collaboration, networking is also described,
not just in terms of career advancement, but
also again in terms of support (Currid, 2007),
reinforcing the importance of feedback and
critique.
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