GIPUZKOA CREATIVA. May Report prepared by SINNERGIAK Social Innovation UPV/EHU for the Provincial Council of Gipuzkoa

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1 GIPUZKOA CREATIVA May 2013 Report prepared by SINNERGIAK Social Innovation UPV/EHU for the Provincial Council of Gipuzkoa [Escribir el subtítulo del documento] Irene

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3 GIPUZKOA CREATIVA May 2013 Report prepared by SINNERGIAK Social Innovation UPV/EHU for the Provincial Council of Gipuzkoa

4 Table of Contents Introduction 6 The CCI: concept and context Ikas-Ekin and Gipuzkoa Creativa The structure of the report SECTION 1 METHODOLOGY AND CARTOGRAPHY OF THE RESEARCH Part 1 Methodological aspects The quantitative technique: the survey 1.2 The questionnaire 1.3 The delimitation of the sample 1.4 The choice of the subsectors Part 2 Territorial distribution of subsectors and organisations The subsectors and their agents 2.2 The agents participating in the sample SECTION 2 CAPACITIES AND COMPETENCES Part 3 The Organisational Capacities Index Measurement interval and components 3.2 Indicators 3.3 Results Part 4 The Functional Index Measurement interval and components 4.2 Indicators 4.3 Results Part 5 The Technological Index Measurement interval and components 5.2 Indicators 5.3 Results Part 6 Integrated vision of the indices Justification 6.2 The integrated vision 4

5 SECTION 3 INNOVATION Part 7 The Innovation index Definition 7.2 Indicators 7.3 The reference levels of innovation 7.4 Results Part 8 The key factors for innovation Objectives 8.2 Model 8.3 Indicators 8.4 Results 8.5 The key factors Conclusions 64 The statistical representativeness of the research The cartography The organisational capacities The organisational competences The subsectors The orientation towards innovation Cited bibliography 69 Index of Tables 71 Index of Diagrams 72 5

6 Introduction The CCI: concept and context More than three lustrums have passed since the first voices and written documents appeared in Europe warning about the importance and potential of creativity and culture as factors capable of causing a relevant and sustainable economic impact in our developed setting. Creative Industries Mapping Document 1 is the name of the report prepared by the British Government Department of Culture, Media and Sports in 1998, which puts emphasis on the increasingly important role of the creative and cultural areas, on their expansive projection in social and economic terms, and on the need to define the way to fence in and measure the impact of this emerging area. What really happened is that what has traditionally been considered the space for culture and cultural industry (activities related to the audiovisual world, the scenic arts, heritage, publishing, etc.) was conceptually and materially expanded to incorporate new work with a greater creative component. Included in this latter we could mention, amongst others, industrial design, videogames or software production. This is how a path was opened towards a more integral and relational focus between culture and creativity. As a result, the strong concept of Cultural and Creative Industries (CCI) has become consolidated in the academic and research arena from increasingly diverse perspectives: the coordination as a specific and differentiated sector, the strategic importance, their value in financial terms, the link with the development of the technological and non-technological innovation, etc. 2 Additionally, the CCI start to take up space on the agenda or international public and private organisations and institutions like the European Union, the UN, UNESCO, OECD, NESTA etc. 3 1 DCMS (1998), (Department of Culture, Media and Sport): Creative industries Mapping Document. Creative Task Force. U.K. Government. U. K. 2 La production is broad and diverse. Here we shall only cite some reference works from the end of the nineties and beginning of the 2000s: Pratt, A. C. (1997): The cultural industries sector. London School of Economics. London; Howkins, J. (2001): The Creative Economy: How People Make Money From Ideas. Penguin. London; Florida, R. (2002): The Rise of the Creative Class. Basic Books. New York; Hartley, J. (Ed.) (2005): Creative industries. Blackwell Publishing. Massachusetts. 3 Some exponents of this are: UNCTAD (2004), United Nations Conference on Trade and Development: Creative Industries and Development. Document TD(XI)/BP/13; OECD (2006): International Measurement of the Economic and Social Importance of Culture. OECD. Paris; European Commission (2010): Green Paper: Unlocking the potential of cultural and creative industries, COM(2010) 183, European Commission, Brussels; European Commission (2011): Creative Europe - A new framework programme for the cultural and creative sectors ( ) COM /2. Brussels; NESTA (2008): Creating Innovation: Do the creative industries support innovation in the wider economy. Nesta. London. 6

7 In the Basque Country the actions which have been started in recent years show the growing interest in the phenomenon of the CCI, mainly by the Public Administrations which have been promoting programmes and projects largely related to the reorientation of the growth strategies for this sector. To give some examples, the Basque Government has been participating in the ECIA Forum (European Cultural Industries Alliance), sponsored by the European Union in By way of example we could also cite the Creation Factories Programme (Programa Fábricas de Creación) developed by the Basque Government Department of Culture. Also in the area of Provincial competence initiatives have been carried out in the different territories. In the case of Gipuzkoa, in the Department of Culture, Youth and Sports through the Gipuzkoa Kultura programme, and in the Department for Innovation, Rural Development and Tourism through three programmes aimed at different populations and purposes; Gipuzkoa Emprendedora, Ikasmina, or Gipuzkoa Artisauak. We are therefore dealing with a concept capable of building a strong economic sector to which the Public Administrations, in particular, and an increasing number of cultural and social agents in general, grant a relevant role in development, economic growth, innovation and job generation, particular for young people. Once the concept had been installed, the interest has mainly been focused on the recognition and identification of the sector, which is basically known as mapping, the estimations in economic and employment terms on the capacities of the CCI, and the detection of the strengths and weaknesses in a youthful and dynamic business framework which destined to undergo a notable process of specialisation and differentiation in its activity. As regards the latter, the functional and technological competences present in a certain sector, the absorption, assimilation and cooperation capacities, the access to the sources of financing, or the orientation to innovation are usually understood as conditions which allow for the growth and consolidation of the organisations. 4 Ikas-Ekin and Gipuzkoa Creativa The Ikas-Ekin Programme for the promotion of Gipuzkoa as a territory which learns has been incorporating amongst its action priorities the promotion of innovation and the promotion of knowledge with the objective to attract people and organisations to the territory. 4 Many works have dealt with this issue. Some examples are: Bilton, C. (2007): Management and creativity from creative industries to creative management. Blackwell publishing, Malden, USA; European Commission (2011): Empowering people, driving change. Social Innovation in the European Union. Bureau of European Policy Advisers. Luxemburg; LALL, S. (2001): Competitiveness, Technology and Skills, Edward Elgar Publishing Ltd. Chettenham,.U. K. ; Mahroum, M; Huggins, R; Clayton, N; Pain, K; and Taylor, P. (2008): Innovation by adoption. Measuring and mapping absortive capacity in UK nations and regions. NESTA. London. 7

8 Gipuzkoa Creativa: Competencias Creativas e Innovación Social is a project presented by Sinnergiak Social Innovation UPV-EHU and approved by the Department for Innovation, Rural Development and Tourism within the 2012 Call of the Gipuzkoa como Territorio de Aprendizaje (Gipuzkoa as Territory for Leaning) Programme. The general objective of Gipuzkoa Creativa consists in developing a pilot experience on the development of creative competences within Gipuzkoa s Cultural and Creative Industries (CCI) Sector, based on the mapping of competences (research) and the development of training spaces by competences (action), as well as their diffusion for the activation of the public-private agents around the experience. This general objective is broken down into four specific objectives: Identifying and presenting the organisational reality of the subsectors in this research. Improve the knowledge about the current and emerging learning requirements of Gipuzkoa s cultural and creative industries sector. Allow, in collaboration with the agents from the different subsectors, the contrasting of the results from the research in order to generate new knowledge and ideas surrounding the CCI industries. Contribute towards the future learning and training policies and programmes aimed at the sector of the CCI by assessing the results of the project and presenting the actions performed in the Territory of Gipuzkoa and on the European level. Gipuzkoa Creativa is therefore a research-action proposal which assumes at least four successive and linked tasks. It first of all considers the preparation of a map of five subsectors of the ICC sector. The development of this task seeks on the one hand the result of identifying and presenting the organisational structure of subsectors which, due to their nature and size, remains hidden and weakly coordinated, and on the other hand allows for an account to be given of their degree of territorial implementation and distribution. The identification and recognition of the different subsectors allow for the second task to be tackled, namely the analysis of the competences and capabilities of the organisations identified in each of them. This task includes a first objective of recognition and measurement, and a second objective consisting of gathering and categorising the perception of the actors, i.e. the manner in which they formulate their ideas and attitudes and perform their practices. All of this produces not only information but also allows for diagnosis and for explanatory factors to be highlighted. The third task is to allow for meeting spaces where the people can get to know, think about and express ideas and opinions. This type of meeting has two purposes: it allows the promoters to report to the state agents about its subsectors in terms of 8

9 organisational capacity and functional and technological competences; and allows the agents which attend to have direct access to the information and to exchange with people and organisations concerned about the same or similar problems and expectations. Finally, both promoters and those attending have the opportunity to contrast perceptions and self-perceptions, expectations and priorities in a broad and multi-focus setting. The content of the fourth task is the delimitation of a set of relevant conclusions which may operate as recommendations and guides for the action both in the sector area and in the institutional arena. The above must be completed with the awareness activity through different channels and instruments. As a research-action proposal Gipuzkoa Creativa sets out clear objectives which are for practical applications, and its development guarantees tangible results. The project s opportunity is proven by the central ideas upon which it is based. The acquisition of capacities and competences are not considered as per se and the meeting and learning spaces do not appear by magic. These are social processes which are constructed and therefore need to be prepared. The structure of the Report The Report which follows this introduction chapter is divided into four sections. The first is under the heading Methodology and Cartography of the Research and is divided into two parts. The first deals with the methodological aspects and the second part presents and describes the map of participating organisations. The second section is called Capacities and and is in turn set out into four parts, with the first three presenting and analysing three indices: the capacities and competences index; the functional competences index; and the technological competences index. The fourth part presents a global vision of the indices. The third section is dedicated to Innovation and is set out in two parts. One of these presents the Innovation index and the other sets out the key factors for innovation in these subsectors. Finally, the fourth section is dedicated to the conclusions. The Report is completed with an index of tables and another index with charts to facilitate their identification, and a section with bibliographical references. 9

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11 SECTION 1 METHODOLOGY & CARTOGRAPHY There are good reasons to hold that all research needs a methodological design but such a design must in turn take into consideration the spatial and thematic areas in which it is developed. As regards the spatial sphere, this research-action proposal is going to focus on the recognition and identification of the sector (mapping) in five CCI subsectors in the Historical Territory of Gipuzkoa. As far as the thematic sphere is concerned, the proposal considers exploring the capacities, competences and innovative potential present in the five proposed subsectors. 11

12 Part 1 Methodological aspects The methodological design and options start with a revision of the significant bibliography and the available relevant reports. As already indicated, a summary of these bibliographic sources has been incorporated into the Report. 1.1 The quantitative technique: the survey The methodological approach has been the survey technique as a privileged instrument in order to obtain the information. The first reason to back this option is the need to have a closer look at the sector using a broad survey which will allow for significant information gathering in quite an unknown area. This requires the transformation of facts and opinions into values which can be statistically quantified. The second reason which supports this option is the decision to prepare a set of INDICES. The INDICES are numeric values which state the statistical relationship between quantities relating to the same phenomenon. This numerical value allows a reference to be provided which provides information at first sight, in this case the state of various aspects related to the CCI. According to this aim of constructing INDICES, the survey constitutes a suitable procedure in order to statistically handle and process the information. 1.2 The questionnaire The questionnaire designed for the Gipuzkoa Creativa project is made up of a total of 24 questions set out in five blocks: Knowledge Cooperation Innovation Financing Future vision For each of the above, the questions are set out in three analytical categories: Organisational capacities Functional competences Technological competences This organisation of the questionnaire facilitates its reading from two differentiated perspectives. On the one hand the one which focuses on each of the blocks or factors; and on the other hand, the one focusing on the analytical categories. 12

13 Diagram 1 Structure of the ORGANISATIONAL CAPACITIES, FUNCTIONAL COMPETENCES and TECHNOLOGICAL COMPETENCES indices The preparation of the INDICES is directly related to the methodological and statistical structure and management of the questionnaire. A score is allocated to each question on the questionnaire. This allows for different combinations to be established between questions which makes it possible to prepare different INDICES. The result of this is that apart from what we shall call PRIMARY INDICES (Organisational Capacities Index, Functional Index and Technological Index), we have also been able to prepare SECONDARY INDICES which correspond to the factors mentioned above. The PRIMARY INDICES aim to offer a global vision of the set of capacities and competences of each of the interviewed organisations. With this aim, and as shown in Diagram 1, the questions on the questionnaire have been grouped according to their typology into three large groups: Organisational Capacities, Functional and Technological. Each of the above is thereby make up of questions aimed at the 4 factors (Knowledge, Cooperation, Innovation and Financing). 5 5 The Future Vision is a factor which has not been taken into account in the preparation of the PRIMARY INDICES, although it allows for the definition of the Strategy Index which is presented in section two. 13

14 Diagram 2 INNOVATION indices, KNOWLEDGE, COOPERATION, FINANCING and STRATEGY As regards the SECONDARY INDICES (Diagram 2), the questions have been grouped following inverse logic. The focus is now on the five factors (Knowledge, Cooperation, Innovation, Financing and Strategy), while the capacities and competences appears as subordinate elements to the above. In this Report we have paid special attention to the Innovation Index to which we devote the analysis in Section Three. Based on the above, it can therefore be concluded that the difference between PRIMARY INDICES and SECONDARY INDICES is not, from the technical point of view, based on methodological or statistical reasons which allow for differences to be established between them in terms of statistical importance or validity. Said distinction lies in the basic objectives established for this research-action project. It should also be stressed that the questionnaire includes three more qualitative questions aimed at obtaining valuable information for the organisation of the workshop and which have not been included in the quantitative reading presented in this Report. Finally, the reading criteria established for the correct understanding of the INDICES are as follows: The score are given from 0 to 10 The values are rounded to a decimal point. They are presented in the form of histogram. The score given to each sector is its AVERAGE. The total score is the AVERAGE of all the sectors. 14

15 1.3 Defining the sample In most research works the determination of the sample is usually a mechanical option, normally, normally choosing the simple random sample type and a more or less standardised level of confidence, finally defining the sample size. This sample type does not have problems in its application provided that the population to which it is applied is perfectly limited and defined. This is a probability sampling type, i.e. that which guarantees identical selection opportunities for all of the components of a sampling population. In this research, the probability sampling and, specifically, the simple random sampling type is not application given that there is no duly delimited reference sampling population. As we have already indicated on page 4 of this Report, this research-action project includes amongst its tasks to identifying and presenting the organisational structure of subsectors which, due to their nature and size, remains hidden and weakly coordinated. The recognition of this reality implies that there is no reliably identified population in the subsectors being studied. This circumstance therefore forces us to apply a nonprobabilistic sampling, i.e. resorting to subject procedures to determine the sample. In our case the option chosen to determine the sampling is the result of the combined use of two normal procedures: the strategic informants and the snowball technique. The strategic informants, with privileged knowledge about the subsectors which are being researched, provide an initial list which can be used as the basis for the field work. It is precisely during the implementation process when each interviewed organisation provides information about new organisations not included on the initial list, producing a chain reaction which is called snowball effect. The non-probability sampling lacks the necessary representativeness but allows for a fruitful start in identifying a potential sampling population. In the case of this research the strategic informants have reported the small size of the subsectors object of the study, which to a large extent increases the value of the results obtained. As such, we choose to assign a maximum sample of 25 organisations per subsector, although in the end 102 surveys were performed, varying their distribution according to the reference subsectors. The summary of the options regarding the sampling delimitation can be given as follows: 15

16 Table 1 Characteristics of the sampling done in order to configure the report of the Gipuzkoa Creativa project Sampling type Sampling modality Sampling unit Sample size Non-probability Strategic information + Snowball Organisations from five CCI subsectors 102 organisations from five CCI subsectors Sample distribution Fashion Subsector Museums Subsector Music Subsector Services Subsector Videogames Subsector 22 surveys 21 surveys 23 surveys 25 surveys 11 surveys 1.4 The choice of the subsectors The UNCTAD classification which divides the Cultural and Creative Industries into four large groups has been taken as the reference in order to choose the subsectors: heritage, arts, media and functional creations. These groups are in turn divided into nine subgroups as seen in Diagram 3. Additionally, six criteria have been determined in order to guide the choice: Diversity Sufficient degree of implementation Differential presence of technology in the subsector s activity. Present and future projection Distinct level of visibility Presence of the public and private spheres A sufficiently large initial list of organisations 16

17 Diagram 3 Classification of the Cultural and Creative Industries according to UNCTAD As a result of the application of these criteria the five subsectors indicated below have been chosen: Fashion Museums Music Services Companies Videogames Amongst the limitations which were present in the determination of the sample, we have tried insofar as possible to respect the diversity of legal forms, size or territorial location of the selected organisations. 17

18 Part 2 Territorial distribution of subsectors and organisations As already stated, the CCI sector and therefore the subsectors object of the research, share the characteristic of being notably opaque to the available statistics and information. Given the above, the cartographic work to identify organisations and agents and their territorial location constitutes an inherent need in any attempt to analyse the sector. As such, the first effort made by this project was to identify the agents linked to the five subsectors to which it is aimed. Therefore in this second part we report, first of all, on the agents identified in the different subsectors and secondly we shall refer to the agents which have taken part in the survey, providing valuable information on their territorial distribution. 2.1 The subsectors and their agents In section 1.3 of the first part of this report we have detailed the procedure for determining the sample. As already mentioned, the combined action of strategic informants and the snowball technique allows us to identify a sufficient number of agents which we have used to specify the sampling field. As already explained, this work to determine the sample has been based on relevant information and an initial list which we have completed as the snowball technique has produced its effects. Table 2 contains the number of agents identified in the different subsectors according to their registered name. Table 2 Agents according to subsectors and registered name Company Self-Employed Association Public Administration Foundation Private Total Fashion Museums Music Cultural Services Videogames Total

19 As we can see almost 400 agents have been identified in the five subsectors studied in this project. Another different matter is the organisational complexity which derives from the content of Table 2. In fact, less than 5 out of every 10 agents identified are companies and more than 2 out of every 10 are self-employed persons. There are other structure forms which are quantitatively less significant although the together they make up 27% of the identified agents. The structure of these subsectors is therefore complex and up to four structuring patterns can be distinguished: Subsectors mainly structured in the form of companies. This is the case of the Cultural Services subsector (90% companies) and the Videogames subsector (84% companies). Subsectors where the self-employed persons are predominant. This is the case of the Fashion subsector where 61% of the agents are self-employed. Subsectors with a significant and greater presence of the Public Administrations. Specifically, the Museums subsector where 6 out of every 10 are managed by Public Administrations. Mixed subsectors, where organisational complexity is predominant and very specifically in the Music subsector with different structuration forms, Several of them with a significant relevant weight: companies (42%), self-employed persons (29%), Public Administrations (21%). In short, except in the case of the Museums subsector, they are subsectors under construction, generally in the stabilisation phase, where the organisational structure logically depends on their activity and in turn quite coherent with their specific work. A fundamental explicative variable given this state of affairs is the size of the subsectors in general and of the identified companies in particular. In the case of the 102 organisations interviewed the average size of the organisations (independently of the registered name) is as follows: Videogames (14 people), Cultural Services (11 people), Music (10 people), Museums (8 people), Fashion (6 people). It is precisely in the Fashion subsector, which has the largest companies, where 6 out of 10 agents are self-employed. The behaviour and inverse correlation occurs in the Cultural Services subsector and the Videogames sector where the number of companies is greater, coinciding also with those which those made up of the most people. The structuring of these subsectors is a vitally important issue not only due to the market requirements, but rather because the existence of organisations of a sufficient size is considered a condition which allow for a certain entity to consider strategic objectives. 19

20 2.2 The agents participating in the sample The data contained in Diagram 4 report the number of participating agents and their distribution throughout the territory according to the reference subsector. Diagram 4 Territorial distribution of the interviews agents according to subsectors Fashion Museums Music Cultural Services Videogames If we look at the territorial distribution of the 102 participating agents, it should be stressed that 50% of them are in Donostia. This average score ranges between the greater concentrations in the capital (73%) seen in the case of the Fashion and Videogames subsectors and the lower concentration (24%) which is seen in the Museums subsector. The distribution amongst the remaining municipalities in which the sampling is performed is quite homogenous (in 22 municipalities the percentage of subsectors present coincides, 1%) with the exception of Irún, which has 12% of the participating agents. 20

21 As regards the territorial extension of the sample, it is the Museums subsector which has the greatest presence (16 municipalities) as opposed to the Videogames subsector, whose sample expansion only covers 3 municipalities. 21

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23 SECTION 2 CAPACITIES AND COMPETENCES Given that the general objective of Gipuzkoa Creativa specifically aims to develop the creative competences within the CCI sector, everything stated in the first section of this Report constitutes the preliminary phase in order to be able to apply research and diagnosis instruments in the five subsectors on which this project is focused. The sustainability of the organisations increasingly depends on their strategy to bring together, develop and renew organisational capacities and functional and technological competences, carrying out guided and effective management of them. In fact, the literature on the types of capacities and competences is very extensive and diverse and is showing the potential of these approaches in order to guide the professional performance and the effective management of the organisations 6. This section deals with the capacities and competences present in the organisations within the aforementioned five subsectors, specifically the organisational capacities, the functional competences and the technological competences. We consider organisational capacities as a set of components (knowledge, cooperation, financing and innovation) which are suitably aimed at increasing the potential and effectiveness of an organisation. The functional competences are tools which account for the degree of non-technical training in an organisation measured, once again, in terms of the four components already mentioned. These same components constitute the scenario for measuring the technological components which are the expression of the presence and use of different technological tools (devices, platforms, applications, etc.) from the organisations ordinary activity. The contemporary situation has shown an increasingly heightened trend which links sustainability, efficiency and success of the organisations with quantity and quality of their capacities and competences. According to the above, this second section reports on what we have called PRIMARY INDICES, namely: the Organisational 6 Some reference works are: Alles, M.A. (2003): Gestión por competencias. El Diccionario. Granica. Buenos Aires; Ballester, R. y Gil, M.D. (2002): Habilidades sociales. Síntesis. Madrid; Caballo, V. (2005): Manual de evaluación y entrenamiento en habilidades sociales. Siglo XXI, Madrid; Guirdham, M. (1990): Interpersonal skills at work. Prentice Hall. Nueva York; Lévy-Leboyer (2001): Gestión de las competencias. Cómo analizarlas, cómo evaluarlas, cómo desarrollarlas. Gestión 200. Barcelona; OECD (1997): Proposed guidelines for Collecting and Interpreting Technological Innovation Dafo. Eurostat. Oslo; Villa, A. y Poblete, M. (2007): Aprendizaje basado en competencias. Universidad de Deusto. Bilbao 23

24 Capacities index, the Functional index and the Technological index. The following interpretation guidelines should be stressed beforehand and which cover all of the INDICES: An index is the result from a previously stipulated scale. In the case of this Report, the INDICES have values from between 0 and 10. The scores which give rise to these values are the result from a scoring criteria for each indicator. As this is a pilot study, said criteria is the outcome from work based on technical arguments. This criteria and the technical arguments which back them may vary in the future according to the specific features of the sector or, if applicable, on the knowledge provided by the repeated application of the model proposed in this project. As there are no studies comparable to this one, the result in this Report are uniquely fertile, above all as regards their internal comparability. 24

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26 Part 3 The ORGANISATIONAL CAPACITIES index 3.1 Measurement interval and components This index is the result of attributing a score of between 0 and 10 to a set of organisational capacities measured in the organisations. Said capacities correspond to four components: knowledge; cooperation; financing and innovation. 3.2 Indicators In order to measure the capacities associated to each of the components have used the indicators which are referred to below: Knowledge Organisational Capacities Average academic level in terms of qualification acquired. Labour experience in the sector measured according to years work Cooperation Organisational Capacities Cooperation activities with other agents measured according to the diversity of activities. Diversity of the cooperation partners measured according to type of partner. Geographic extension of the cooperation partners measured according to administrative areas Financing Organisational Capacities Diversity of sources of financing measured according to types of financing. Diversity of sources of financing measured according to type of public financing agent Innovation Organisational Capacities New features generated measured according to their diversity Products generated measured according to innovation level Services generated measured according to innovation level 26

27 3.3 Results The data shown in Diagram 5 suggests an appreciable degree of homogeneity in the behaviour of the five subsectors under consideration. As the average result is 4.1, three of the subsectors obtain score which at most differ by one decimal point as regards the average. Furthermore, the deviation, whether above or below, noted in the Museums and Fashion subsectors is not particularly significant. Diagram 5 ORGANISATIONAL CAPACITIES index by subsectors Fashion Museums Music Services Videogames TOTAL 3,5 4,9 4,2 4,0 4,1 4,1 ORGANIZATIONAL CAPACITIES index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) The information obtained indicates that the organisational capacities of the subsectors as a whole reach a discrete result given a scale from 0 to 10. In any event, it should be taken into account that this index is constructed from the capacities in place (not potential), which increases the level of demand on the interviews agents. If we now consider the four components which take part in the preparation of the Organisational Capacities (Knowledge, Cooperation, Financing and Innovation) we can certify that the knowledge organisational capacities obtain the highest score, while the innovation organisational capacities have inverse behaviour. This norm is not only noted in the global result but is also applicable to the agents as a whole. In the general perspective shown in Diagram 6 the Museums subsector stands out in three of the four components studied, where it has above average valued. The Music subsector also stands out due to the greater organisational capacity in its orientation towards financing. 27

28 Diagram 6 Scores obtained in the different organisational capacities considered by subsectors Fashion Museums Music Services Videogames TOTAL 6,0 5,1 4,9 4,9 4,5 4,1 5,6 4,2 3,9 3,94,0 3,4 3,4 3,0 3,1 3,1 3,33,4 5,0 4,3 4,44,3 3,7 3,9 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities FINANCING Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) Another useful way of ordering the information obtained is presenting the behaviour of the different components (Knowledge, Cooperation, Financing and Innovation) within each subsector. We give this perspective in the following Diagrams. Diagram 7 Scores obtained in the different organisational capacities considered in the Fashion subsector Fashion 4,1 3,0 3,1 3,7 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities FINANCING Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) 28

29 As regards the Fashion subsector (Diagram 7) a particular lack is noted in the orientation to Cooperation. This circumstance is repeatedly referred to by the agents themselves when asked about their future needs. In fact, there is a notable consensus amongst them, given that more than 6 out of 10 of them consider that creating or extending the collaboration networks and alliances constitutes the subsector s priority in the immediate future. Diagram 8 Scores obtained in the different organisational capacities considered in the Museums subsector Museums 6,0 5,6 4,2 3,9 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities FINANCING Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) In the case of the Museums subsector (Diagram 8) what mainly stands out is the low score obtained in its capacity aimed at Financing. On the matter, it is necessary to clarify that the numeric value obtained in this section reflects the lack of diversification of financing sources. In fact, most of the financing for this subsector comes from public funds, which explains said lack of diversification. In the Music subsector what stands out is precisely its organisational capacity aimed at financing (Diagram 9). The values obtained in the case of organisational capacities aimed at both cooperation and innovation coincide with the average value of the subsectors as a whole. However, the capacities aimed at knowledge are at lower than average levels. 29

30 Diagram 9 Scores obtained in the different organisational capacities considered in the Music subsector Music 4,5 3,9 3,4 5,0 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities FINANCING Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) The Cultural Services subsector (Diagram 10) shows a pattern coinciding with the rest of the subsectors with the exception of the Museums subsector. According to this, the score obtained when measuring the organisational capacities aimed at knowledge and financing exceed that obtained when measuring the organisational capacities aimed at cooperation and innovation. It is together with the Museums subsector the one which obtains a higher score when measuring the organisational capacities aimed at knowledge. Diagram 10 Scores obtained in the different organisational capacities considered in the Cultural Services subsector Cultural Services 5,1 3,4 3,1 4,3 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) FINANCING Organisational Capacities 30

31 Diagram 11 Scores obtained in the different organisational capacities considered in the Videogames subsector Videogames 4,9 3,9 3,3 4,4 KNOWLEDGE Organisational Capacities COOPERATION Organisational Capacities INNOVATION Organisational Capacities Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) FINANCE Organisational Capacities Finally, the values obtained by the Videogames subsector in the four components measured within the Organisational Capacities Index are very close in all cases to the general average of the subsectors. The behaviour of the Videogames subsector (Diagram 11) otherwise follows the pattern of most of the analysed subsectors, namely, prevalence of the organisational capacities aimed at knowledge and financing over those aimed at cooperation and innovation. 31

32 Part 4 The FUNCTIONAL COMPETENCES Index 4.1 Measurement interval and components This index is the result of attributing a score of between 0 and 10 to a set of functional competences measured in the organisations. Said capacities correspond to four components: knowledge; cooperation; financing and innovation. 4.2 Indicators The following indicators have been used in order to measure the functional competences associated to each of the components: Knowledge functional competences Degree of gathering of the information measured with a frequency scale. Degree of integration of the information measured with a frequency scale. Degree of resolution of problems measured with a frequency scale. Degree of evaluation of the activity measured with a frequency scale. Degree of registration of the evaluations measured with a frequency scale Cooperation functional competences Degree of establishment of spaces for exchanging ideas measured with a frequency scale. Degree of people teams management measured with a frequency scale. Degree of collective decision taking measured with a frequency scale. Degree of coordination of the work of external groups measured with a frequency scale. Degree of use of foreign languages measured with a frequency scale Financing functional competences Degree of competence for managing project financing measured by scale of competence. Degree of competence in managing intellectual property rights measured by scale of competence. Degree of competence in managing the financing of the promotion and marketing measured by scale of competence. 32

33 Degree of competence in managing the financing of real estate and other investments measured by scale of competence. Degree of competence in managing the financings of the organisation as a whole measured by scale of competence Innovation functional competences Degree of generation of new ideas measured by scale of competence. Degree of prototyping new ideas measured by scale of competence. Degree of practical transformation and application of new ideas measured by scale of competence. Degree of diffusion and marketing measured by scale of competence. Degree of organisational initiative measured by scale of competence. 4.3 Results In general terms it can be affirmed that the functional competences measured in the organisations ensure basic suitability in order to perform the activities associated with them. The homogeneity should be highlighted which is noted between the scores obtained by the agents in the different subsectors, and where the deviations are not significant (Diagram 12). Diagram 12 FUNCTIONAL COMPETENCES Index according to interviewed sectors Fashion Museums Music Services Videogames TOTAL 5,6 6,6 5,7 5,9 5,1 5,8 FUNCTIONAL COMPETENCES Index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) When considering the components which take part in determining the Functional Index (Diagram 13), first of all the pattern is repeated already seen in the analysis of the organisational capacities according to which it is precisely the 33

34 knowledge functional competences which obtain the highest scores. This is the case for the group and for each of the subsectors analysed. Diagram 13 Scores obtained in the different functional competences considered according to subsectors. Fashion Museums Music Services Videogames TOTAL 7,4 7,1 7,3 6,8 7,0 7,1 6,6 6,4 6,4 6,1 6,0 5,7 5,3 5,5 5,1 5,3 5,2 4,8 4,7 4,8 4,8 4,4 4,9 3,2 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) Secondly, the Museums subsector obtains higher scores in three of the four components measured, where the values exceed the respective average scores. Thirdly, in terms of competences, those orientated at financing obtain a lower average score, while those orientated at innovation improve the average behaviour already mentioned in terms of organisational capacities. The next Diagrams report the score obtained by the four components in the subsectors analysed which allows us to state the specific features of each of them. The Fashion subsector (Diagram 14) has a significant deviation in the score obtained in the cooperation functional competences. This is not only noted in the internal comparison but furthermore the score obtained is also the lowest when compared with that obtained by other subsectors in cooperation competences. On the other hand this subsector is the one with most proven knowledge competences, above the general average. The values obtained when measuring innovation and financing 34

35 competences are either the same as the general average (innovation) or are slightly higher (financing). Diagram 14 Scores obtained in the different functional competences considered in the Fashion subsector 7,4 4,4 Fashion 5,3 5,2 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) The score obtained by the four components in the Museums subsector is equal to (knowledge) or significantly higher (cooperation, innovation, financing) than the average value reached by the subsectors as a whole (Diagram 15). Although with some differences between the scores obtained in the different components, the values obtained of the different competences tend towards homogeneity. Diagram 15 Scores obtained in the different functional competences considered in the Museums subsector Museums 7,1 6,6 6,4 6,0 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) As regards the average competences in the Music subsector a falling scale is noted from the knowledge functional competences (maximum score) to the financing functional competences (minimum score). The competences found in this subsector 35

36 are slightly lower than the general average except in those referring to the cooperation which give a higher score (Diagram 16) Diagram 16 Scores obtained in the different functional competences considered in the Music subsector Music 6,8 6,1 5,1 4,8 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) The Cultural Services subsector is that which gives the lowest score in the measured innovation functional competences. This circumstance contrasts with the values obtained in other competences blocks, which are higher than the general average (cooperation and financing) or practically average (knowledge) (Diagram 17). Diagram 17 Scores obtained in the different functional competences considered in the Services subsector 7,0 6,4 Services 4,7 5,5 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) Without doubt the Videogames subsector is that with the greatest internal variation between the scores for the each component. (Diagram 18) Therefore, while on one extreme the knowledge functional competences give a value of 7.3 which is higher than the average score obtained by the set of subsectors, the competences aimed at 36

37 financing receive the lowest score (3.2), which is much lower than the general average found in relation to this competence (4.9). On the other hand the score resulting from the measurement of cooperation and innovation competences does not in either case reach the average values obtained in the subsectors as a whole. Diagram 18 Scores obtained in the different functional competences considered in the Videogames subsector 7,3 Videogames 4,8 4,8 3,2 KNOWLEDGE Functional COOPERATION Functional INNOVATION Functional FINANCING Functional Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) 37

38 Part 5 The TECHNOLOGICAL COMPETENCES Index 5.1 Measurement interval and components This index is the result of attributing a score of between 0 and 10 to a set of technological competences measured in the organisations. Said competences correspond to four components: knowledge; cooperation; financing and innovation. 5.2 Indicators The indicators referred to below have been used in order to measure the technological competences associated to each of the components: Knowledge technological competences Technological development in order to manage the innovation measured in terms of degree Cooperation technological competences Technological development in order to manage the connectivity measured in terms of degree Financing technological competences Technological development for financial management measured in terms of degree Innovation technological competences Technological development in order to promote and manage innovation measured in terms of degree. 5.3 Results As shown in Diagram 19, the global score of the Technological (5.7) is only a tenth lower than the average in the subsectors as a whole in the Functional Index. This first verification reaffirms the hypothesis that the technological competences are very much taken into consideration by the agents due to their notable advantages and their clear potential. Given the above, what the same Diagram 19 also shows is a pattern of adaptation, even of more suitability, between the characteristics of the subsectors and technology. In fact, it is not surprising that the Videogames subsector gives the 38

39 highest score in the Technological Index, in line with the nature of its activity. Apart from the prevalence of this subsector, what also stands out is the fact that the score obtained by two subsectors (Fashion and Music) is significantly lower than the general average, particularly as regards the Music subsector given its notable technological content. Diagram 19 TECHNOLOGICAL COMPETENCES Index according to interviewed sectors Fashion Museums Music Services Videogames TOTAL 5,0 6,0 4,7 5,9 6,8 5,7 TECHNOLOGICAL COMPETENCES Index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013) The disintegration of this Technological index in its different components (Diagram 20), as well as reiterating the leadership of the Videogames Subsector in three of the four technological competence components which have been measured, also show quite dissimilar results according to the competences component which we take into account. On the other hand, unlike that seen amongst the components of the Functional Index, the cooperation technological competences are those obtaining the highest score, which is significantly higher than that achieved by the knowledge technological competences. As such, the score obtained by that aimed at knowledge, altering the trend already described for the case of the Organisational Capacities Index and the Functional Index. 39