Gipuzkoa creativa. Report.

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

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

Table of Contents

Introduction

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The CCI: concept and context Ikas-Ekin and Gipuzkoa Creativa The structure of the report SECTION 1 Part 1

METHODOLOGY AND CARTOGRAPHY OF THE RESEARCH Methodological aspects 1.1 1.2 1.3 1.4

Part 2

SECTION 2 Part 3

4

32

Measurement interval and components Indicators Results

The Technological Competences Index

38

Measurement interval and components Indicators Results

Integrated vision of the indices 6.1 6.2

26

Measurement interval and components Indicators Results

The Functional Competences Index

5.1 5.2 5.3 Part 6

The subsectors and their agents The agents participating in the sample

The Organisational Capacities Index

4.1 4.2 4.3 Part 5

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CAPACITIES AND COMPETENCES

3.1 3.2 3.3 Part 4

The quantitative technique: the survey The questionnaire The delimitation of the sample The choice of the subsectors

Territorial distribution of subsectors and organisations 2.1 2.2

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Justification The integrated vision

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SECTION 3 Part 7

INNOVATION The Innovation index 7.1 7.2 7.3 7.4

Part 8

Definition Indicators The reference levels of innovation Results

The key factors for innovation 8.1 8.2 8.3 8.4 8.5

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58

Objectives Model Indicators Results 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

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 3 institutions like the European Union, the UN, UNESCO, OECD, NESTA etc.

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 (2014-2020) COM 2011 786/2. Brussels; NESTA (2008): Creating Innovation: Do the creative industries support innovation in the wider economy. Nesta.

London.

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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 2010. 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 4 consolidation of the organisations.

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.

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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

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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 Competences” 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.

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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.

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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.

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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 Competences Index and Technological Competences 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 Competences and Technological Competences. Each of the above is thereby make up of questions aimed at the 4 factors (Knowledge, Cooperation, Innovation and 5 Financing).

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.

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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: • • • • •

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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.

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:

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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

Sample distribution

1.4

Non-probability Strategic information + Snowball Organisations from five CCI subsectors 102 organisations from five CCI subsectors Fashion Subsector

22 surveys

Museums Subsector

21 surveys

Music Subsector

23 surveys

Services Subsector

25 surveys

Videogames Subsector

11 surveys

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: • • • • • • •

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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

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.

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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.

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1 64

15

8

15

8

Total

36 6 2 95

36 27

Private

53 86 26 194

3 1 10 4 2 20

Foundation

51

Public Administration

29

Association

Self-Employed

Fashion Museums Music Cultural Services Videogames Total

Company

Table 2 Agents according to subsectors and registered name

83 60 126 96 31 396

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.

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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 1 3 5

1

1

1

2

11

1

1

1

16 5

11 8

1

1

2 1

2

1

1

3

1

1

1

1 2

1

1

1

1

1

1 1

1 1 1

1

1

1

1

1

1

1 1

1

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 IrĂşn, which has 12% of the participating agents.

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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.

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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 6 professional performance and the effective management of the organisations .

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

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Capacities index, the Functional Competences index and the Technological Competences index.

The following interpretation guidelines should be stressed beforehand and which cover all of the INDICES: • • • •

•

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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.

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Part 3

3.1

The ORGANISATIONAL CAPACITIES index

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: 3.2.1 Knowledge Organisational Capacities • • 3.2.2

Cooperation Organisational Capacities • • •

3.2.3

Average academic level in terms of qualification acquired.

Labour experience in the sector measured according to years’ work.

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.

3.2.4 Innovation Organisational Capacities • • •

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New features generated measured according to their diversity Products generated measured according to innovation level Services generated measured according to innovation level

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

4,9 3,5

Music

Services

4,2

4,0

Videogames

4,1

TOTAL

4,1

ORGANIZATIONAL CAPACITIES index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

The information obtained indicates that the organisational capacities of subsectors as a whole reach a discrete result given a scale from 0 to 10. In event, it should be taken into account that this index is constructed from capacities in place (not potential), which increases the level of demand on interviews agents.

the any the the

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.

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Diagram 6 Scores obtained in the different organisational capacities considered by subsectors

Fashion

Museums

6,0 4,1

4,5

Services

Videogames

TOTAL

5,6

5,1 4,94,9

3,9 3,0

KNOWLEDGE Organisational Capacities

Music

3,4

3,94,0

COOPERATION Organisational Capacities

4,2 3,1

5,0 3,4

3,1 3,3

3,4

INNOVATION Organisational Capacities

3,7 3,9

4,3 4,44,3

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

KNOWLEDGE Organisational Capacities

3,0

3,1

COOPERATION Organisational Capacities

INNOVATION Organisational Capacities

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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3,7

FINANCING Organisational Capacities

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

KNOWLEDGE Organisational Capacities

5,6

COOPERATION Organisational Capacities

4,2

3,9

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.

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Diagram 9 Scores obtained in the different organisational capacities considered in the Music subsector

Music

4,5

KNOWLEDGE Organisational Capacities

3,9

COOPERATION Organisational Capacities

3,4

INNOVATION Organisational Capacities

5,0

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

KNOWLEDGE Organisational Capacities

3,4

3,1

COOPERATION Organisational Capacities

INNOVATION Organisational Capacities

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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4,3

FINANCING Organisational Capacities

Diagram 11 Scores obtained in the different organisational capacities considered in the Videogames subsector

Videogames 4,9

KNOWLEDGE Organisational Capacities

3,9

COOPERATION Organisational Capacities

3,3

INNOVATION Organisational Capacities

4,4

FINANCE Organisational Capacities

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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.

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Part 4

4.1

The FUNCTIONAL COMPETENCES Index

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: 4.2.1 Knowledge functional competences • • • • •

4.2.2

Cooperation functional competences • • • • •

4.2.3

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 • • •

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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.

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.

• •

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.

4.2.4 Innovation functional competences • • • • • 4.3

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.

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

5,6

Museums

6,6

Music

Services

5,7

5,9

Videogames

5,1

TOTAL

5,8

FUNCTIONAL COMPETENCES Index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

When considering the components which take part in determining the Functional Competences 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

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

7,4

7,1

6,8 7,0

Museums

7,3 7,1

6,6

4,4

6,1

Music

Services

6,4

TOTAL

Videogames

6,4 5,7 4,8

5,3

6,0 5,1

4,7 4,8

5,3

5,2

5,5

4,9

4,8 3,2

KNOWLEDGE Functional Competences

COOPERATION Functional Competences

INNOVATION Functional Competences

FINANCING Functional Competences

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

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

Fashion

7,4 4,4

KNOWLEDGE Functional Competences

COOPERATION Functional Competences

5,3

5,2

INNOVATION Functional Competences

FINANCING Functional Competences

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 Competences

COOPERATION Functional Competences

INNOVATION Functional Competences

FINANCING Functional Competences

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

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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

KNOWLEDGE Functional Competences

6,1

COOPERATION Functional Competences

5,1

4,8

INNOVATION Functional Competences

FINANCING Functional Competences

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

KNOWLEDGE Functional Competences

Services 6,4

COOPERATION Functional Competences

4,7

INNOVATION Functional Competences

5,5

FINANCING Functional Competences

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

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

KNOWLEDGE Functional Competences

Videogames 4,8

4,8

COOPERATION Functional Competences

INNOVATION Functional Competences

3,2 FINANCING Functional Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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Part 5 5.1

The TECHNOLOGICAL COMPETENCES Index

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: 5.2.1 Knowledge technological competences •

5.2.2

Cooperation technological competences •

5.2.3

Technological development in order to manage the innovation measured in terms of degree.

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.

5.2.4 Innovation technological competences •

5.3

Technological development in order to promote and manage innovation measured in terms of degree.

Results

As shown in Diagram 19, the global score of the Technological Competences (5.7) is only a tenth lower than the average in the subsectors as a whole in the Functional Competences 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

highest score in the Technological Competences 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

5,0

Museums

6,0

Music

4,7

Services

5,9

Videogames

6,8

TOTAL

5,7

TECHNOLOGICAL COMPETENCES Index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

The disintegration of this Technological Competences 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 Competences 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 Competences Index.

39

Diagram 20 Scores obtained in the different technological competences according to subsectors.

Fashion

Museums

5,3

5,2 5,2

Services

TOTAL

Videogames

8,1 8,2

7,5 5,7

Music

5,8

6,4

7,0

7,2 6,2

3,8

KNOWLEDGE Technological Competences

COOPERATION Technological Competences

7,1

6,4 4,3

4,8

4,6

3,7

INNOVATION Technological Competences

4,4

5,4 5,25,2 3,7

FINANCING Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

Analysing the results for each of the subsectors, the first thing that comes to mind is that in the case of the Fashion Subsector, the order of the different components is mimetically copied according to the value obtained in the general average (Diagram 21). In other words, situated in a scale from high to low score, the score for the cooperation competences is higher than for the knowledge competences, later and in this order the competences aimed at financing and those aimed at innovation.

Diagram 21 Scores obtained in the different technological competences considered in the Fashion subsector.

Fashion 5,3

KNOWLEDGE Technological Competences

6,4

COOPERATION Technological Competences

3,8

INNOVATION Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

40

4,4

FINANCING Technological Competences

Given the above, it is at least equally significant that in all of the knowledge components measured, the score obtained by the fashion subsector is lower than the general average of the subsectors, with a difference which ranges between 5 and 8 tenths depending on the component. It can therefore be affirmed that it is a subsector with a large margin for improvement in training and application of the technology.

The behaviour of the Museums subsector is more unequal. It all cases it obtains higher scores than in the Fashion subsector, but these are below the general average except as regards the technological competences aimed at financing (Diagram 22). Additionally, in this last case, the score obtained by this subsector is 1.9 points higher than the general average for the subsectors and much higher than that obtained by the next subsector, the Cultural Services subsector.

Diagram 22 Scores obtained in the different technological competences considered in the Museums subsector.

Museums

5,7

KNOWLEDGE Technological Competences

7,0

COOPERATION Technological Competences

7,1

4,3

INNOVATION Technological Competences

FINANCING Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

The Music subsector follows the pattern seen in the Fashion subsector, but with even lower scores (Diagram 23). Hence the scores obtained in all of the components are lower than the general average score for the subsectors, although with even more significant differences than in the case of Fashion. In fact, the percentage differences range between 0.6 tenths difference (competences aimed at knowledge) and 1.5 points difference (competences aimed at financing).

Looking further at this position below the general average, the score obtained by the Music subsector is the lowest in all of the technological competences which have been measured, and in particular in the case of the technological competences aimed at financing.

41

Diagram 23 Scores obtained in the different technological competences considered in the Music subsector.

Music

5,2

KNOWLEDGE Technological Competences

6,2

COOPERATION Technological Competences

3,7

3,7

INNOVATION Technological Competences

FINANCING Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

The Cultural Services subsector gives a slightly higher score than the average from the subsectors as a whole in the Technological Competences Index. Looking at the results broken down between the different components (Diagram 24), the values obtained by this subsector are higher than average in the case of the competences aimed at cooperation, innovation and financing.

Diagram 24 Scores obtained in the different technological competences considered in the Cultural Services subsector.

8,1

Services

5,2

KNOWLEDGE Technological Competences

4,8

COOPERATION Technological Competences

INNOVATION Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

42

5,4

FINANCING Technological Competences

Particularly significant is the score from this subsector in relation to the competences aimed at cooperation (8.1), which is probably very much connected to the content of its activity.

What also stands out is the low score obtained when measuring its knowledge technological competences (5.2), which places the subsector 6 tenths below the general average for the subsectors as a whole for this component (5.8).

Diagram 25 Scores obtained in the different technological competences considered in the Videogames subsector.

7,5

KNOWLEDGE Technological Competences

Videogames

8,2

COOPERATION Technological Competences

6,4

INNOVATION Technological Competences

5,2

FINANCING Technological Competences

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

The Videogames subsector is the one which gets the highest score in the Technological Competences Index and also in three of its four components (knowledge, cooperation, innovation). As seen in Diagram 25, and also in relation to the general average for the subsectors, the high values are significant obtained when measuring these three components, with a score higher than the average by between 1 and 1.8 points. In the case of the financing technological competences the score obtained is the same as the general average for the subsectors.

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Part 6 6.1

Integrated vision of the indices

Justification

It is not only important to know about the sector through the indices which measure organisational capacities, functional competences and technological competences.

It is also relevant to see how the measures levels of organisational capacities, functional competences and technological competences affect the functioning of the organisations. In other words, clarifying insofar as possible the influence of these capacities and competences on the degree of innovation measured in the organisations.

The integrated vision of the indices is the first step in this direction and provides us with a general panorama which must be completed by an INNOVATION INDEX which we will presented in the next Section.

6.2

Integrated vision

The first issue which stands out by looking at Diagram 26 is that the measurement of the subsectors in terms of organisational capacities and functional and technological competences shows a significantly higher score in favour of the former over the latter. We are therefore dealing with subsectors which have improvable competencies capacity but sufficient, while the measurement of the organisational capacities gives a value of 4.1 on a scale from 0 – 10.

The above would appear to indicate that in general the subsectors find organisational management to be a hinder to their development and need therefore to mobilise resources which increase the capacities of their organisations. The measurement carried out gives evidence of this, particularly as regards the capacities aimed at cooperation, financing and innovation.

On the other hand it is significant that in all of the subsectors the average score obtained by the functional competences and the technological competences are practically the same, which proves the increasing value given by the companies to technology, or in other words that the activities performed by the companies increasingly incorporate the technological component.

44

Diagram 26 PRIMARY INDICES. Integrated vision

Total 5,8

5,7

FUNCTIONAL COMPETENCES Index

TECHNOLOGICAL COMPETENCES Index

4,1

ORGANISATIONAL CAPACITIES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

6.2.1 Fashion The scores which are seen in the case of the Fashion subsector (Diagram 27) follow the general pattern described in the previous section, and, what is more, the low organisational capacity is even clear in this subsector. On the other hand the technological competences score lower than the functional competences, and it is therefore a subsector with room for improvement in the development of technological competences. The score shown in Diagram 27 allow us to affirm that the subsector needs a coordinated boost to significantly improve both organisational capacities and technological competences.

Diagram 27 PRIMARY INDICES. Fashion

Fashion

3,4

ORGANISATIONAL CAPACTIES Index

5,6

FUNCTIONAL COMPETENCES Index

5,0

TECHNOLOGICAL COMPETENCES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

45

6.2.2 Museums This subsector gives higher score than the general average in the three indices included in Diagram 28. Said better behaviour must be analysed in light of the subsector’s characteristics, including the fact that it is a subsector with longer tradition, and therefore more and better coordinated, and very dependent on public initiative. Given the above, the favourable differential of 6 tenths obtained in the Organisational Capacity Index is not so significant if we consider the accumulated experience. On the other hand, the differential between the score obtained in the measurement of the functional competences (6.5) and the technological competences (6.0), allows us to propose the activation of processes which develop more the subsector’s technological competence.

Diagram 28 PRIMARY INDICES. Museums

Museums 4,7

ORGANISATIONAL CAPACITIES Index

6,5

FUNCTIONAL COMPETENCES Index

6,0

TECHNOLOGIOCAL COMPETENCES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

6.2.3 Music The Music subsector behaves in a singular manner due to its lack of homogeneity and the low technological competence found (Diagram 29). Although the score for the organisational capacities coincides with the average for the subsectors, as far as competences are concerned both the Functional Competences Index and the Technological Competences Index give lower scores to the average for the subsectors.

This low score is particularly significant in relation to the technological competence, one point lower than the general average. As a result, the subsector is notable imbalanced between the functional competences and the technological competences, which is particularly striking if one looks at the content of a large part of its activity. .

46

Diagram 29 PRIMARY INDICES. Music

Music 5,7

4,1

ORGANISATIONAL CAPACITIES Index

FUNCTIONAL COMPETENCES Index

4,7

TECHNOLOGICAL COMPETENCES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

6.2.4 Cultural services In light of the data contained in Diagram 30, this is another subsector with plenty of room for improvement. What is first of all surprising is the low score obtained in the Organisational Capacities Index in a subsector which has nodal activity between the CCI. Secondly, although the values obtained in the measurement of functional and technological competences are homogenous, the score of 5.9 is in both cases slightly higher than the general average, i.e. neither does the subsector stand out from the rest due to its competence capacity. A subsector which includes amongst its objectives to deal with and channel the needs of the companies in a growing environment as is the case of the CCI, must aspire to achieve results in the measurement of its capacities and competences which place it in a prevalent position in its reference sector.

Diagram 30 PRIMARY INDICES. Cultural Services

Cultural Services

3,9

ORGANISATIONAL CAPACITIES Index

5,9

5,9

FUNCTIONAL COMPETENCES Index

TECHNOLOGICAL COMPETENCES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

47

6.2.5 Videogames This is a subsector whose results are different to the rest of those analysed. What obviously stands out is the score obtained in the measurement of the technological competences, 1.1 points higher than the general average, and also the difference between the score for the functional competences and the score for the technological competences (Diagram 31). In any event, what this data shows is the subsector’s specialisation, its technological vocation and the need to improve the functional competences. The measurement of the organisational capacities gives a score of one tenth lower than the average for the subsectors as a whole, which proves the need also for improvement in this area.

Diagram 31 PRIMARY INDICES. Videogames

Videogames 4,0

ORGANISATIONAL CAPACITIES Index

5,0

FUNCTIONAL COMPETENCES Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

48

6,8

TECHNOLOGICAL COMPETENCES Index

SECTION 3 INNOVATION If innovation is a strategic objective of companies and organisations in general, this innovative aim must be even greater in a sector like that of the CCI. Precisely one of the tasks associated to this innovative vocation in our setting is to develop instruments which allow evidence to be established, comparing it and establishing models to measure the innovative activity.

In the planning process for this project and the measurement instruments to be used for its correct performance, we decide to generate empirical information which if treated correctly allows us to construct a pilot index for innovation in the CCI sector.

As such the aim of this Section is to configure the Index which reports on the state of the Innovation in the considered ICC subsectors.

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Part 7 7.1

The INNOVATION Index

Definition

This index is the result of integrating organisational capacities, functional competences and technological competences aimed at innovation, giving them a score from 0 to 10.

The index gives the same importance to each of the capacities and competences mentioned in the previous paragraph, as in theory there is no reason for giving more weight to any of them.

7.2

Indicators

The indicators indicated below have been used In order to measure the capacities or competences associated to each of the components. These indicators work as control variables in order to determine the index.

7.2.1 Organisational capacities aimed at Innovation • • • 7.2.2

Functional competences aimed at Innovation • • • • •

7.2.3

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.

Technological competences aimed at Innovation •

7.3

New features generated measured according to their diversity.

Products generated measured according to level of innovation Generated services measured according to level of innovation

Technological development to promote and manage innovation measured in terms of degree.

The reference levels of innovation

Four categories have been obtained by grouping the interviewed agents according to the score given in the Innovation Index. These four categories are as follows:

50

• •

•

•

7.4

Non-innovative. When the value obtained in this index is between 0 and 2.5. This category includes those agents without innovative initiatives.

Potential innovator. When the value obtained in this index is between 2.5 and 5.0. This category includes those agents which create new features which do not meet the sufficient requirements in order to be considered innovative.

Emerging innovator. When the value obtained in this index is between 5.0 and 7.5. This category includes those agents which have makes innovations which a generally internal impact.

Consolidated innovator. When the value obtained in this index is between 7.5 and 10.0. This category includes those agents which have an internal and external impact.

Results

The data which we provide below is ordered so that first of all a global vision is presented of the distribution of agents according to the established categories and secondly analyses the distribution of the agents in categories within each subsector.

7.4.1 Global vision Diagram 32 reports the result of the Innovation Index which reaches a discreet value (4.4) for the subsectors as a whole. This value is 3 tenths above that obtained in the Organisational Capacities Index, 1.4 points below that found in the Functional Competences Index, and 1.3 points below that found in the Technological Competences Index From our point of view, the fact that the measurement of the subsectors gives a higher score for Innovation than for Organisational Capacities, although both values are modest, indicates the innovative potential of the CCI and their willingness to innovate, despite the limitations which they have to overcome.

Diagram 32 informs us about the scores obtained in the case of each of the subsectors. Two of them are higher than the general average (Museums and Videogames) while the value obtained by the rest do not reach it (Fashion, Music, Cultural Services). The highest scores correspond therefore to two sectors with quite different characteristics. While the Museums subsector is stable and accumulated notable experience, the Videogames subsector is emerging and highly specialised and also, as we have seen, has a predominance of technological competences.

The above appears to show that the age of the organisations does not necessarily correlate to innovation, at least in the negative sense. It is rather the proven capacities and competences which explain the result of the organisations in terms of innovation. A different matter, as we shall see below, is detecting and analysing the critical components which have a more direct favourable impact on innovation.

51

Diagram 32 INNOVATION index according to subsectors

Fashion

4,0

Museums

5,0

Music

Services

4,1

4,2

Videogames

4,8

TOTAL

4,4

INNOVATION Index Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

A desegregated vision of the behaviour of the agents and their position on the scale from 0 to 10 on the Innovation Index is provided in Table 3. As can be seen, most of the agents are in the two intermediate categories which we have defined, and as such very few have a lack of innovation or more consolidated innovative practice.

Table 3 Number of agents according to scores interval in the INNOVATION Index

Total

0-2.5 13

2.5-5 57

5-7.5 28

7.5-10 4

Based on the above data, Diagram 33 sets out in percentage terms the makeup of the different categories into which we have divided the agents according to the score obtained in the Innovation Index. More than eight out of every two agents are Potential Innovators and Emerging Innovators while only 4% are Consolidated Innovators. In any event, getting into this last category requires obtaining a score of more than 7.5, which is a reference value which could be considered quite demanding.

52

Diagram 33 Distribution of frequencies according to the agents’ level of innovation

Total

4%13%

27% 56% Non-Innovative

Potential Innovator

Emerging Innovator

Consolidated Innovator

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

In the next sections we are going to present the distribution within each of the subsectors according to the proposed innovation categories, in order to obtain a specific vision of each of them. In any event it should not be forgotten that the results which are presented show trends applicable to the studied agents but the sample must be increased and the research action continued if we wish to confirm and stabilise them as patterns within each of the subsectors.

7.4.2 Fashion Diagram 34 Distribution of frequencies according to the level of innovation of the agents in the Fashion subsector

Fashion 23%

Non-Innovative Emerging Innovator

5%

73%

Potential Innovator Consolidated Innovator

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

What basically stands out in this subsector is the very low presence of agents in the two categories situated at the extremes of the scale (Non-Innovative and Consolidated Innovator). On the other hand, more than 7 out of every 10 agents are in the Potential Innovators group which informs us about the potential which needs actions aimed at allowing a gradual transit towards more innovative categories.

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Furthermore, Diagram 34 shows us that the group of agents more consistently orientated towards innovation (Emerging Innovators) is not residual.

7.4.3 Museums It is in this subsector which has the greatest presence of Consolidated Innovators, given that up to 10 out of every 100 agents are in this category, which is the highest on the scale (Diagram 35).

Another notable difference as regards the Fashion subsector is that there are no Non-Innovative agents and nearly 4 out of every 10 agents are found in the two highest categories of the proposed scale. Although not as numerous as in the Fashion subsector, the Potential Innovators group is sufficiently broad (62%) in order to focus actions which allow for transition towards higher levels of innovative activity.

Diagram 35 Distribution of frequencies according to the level of innovation of the agents in the Museums subsector

Museums 10% 29%

62%

Non-Innovative Potential Innovator Emerging Innovator Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

7.4.4 Music The distribution shown in Diagram 36 shares the pattern already described of a singular and heterogeneous subsector as regards its work. On the one hand, it is the only subsector where there are Consolidated Innovators although in a small percentage (8%). On the other hand, the percentage of Non-Innovators is the highest from all of the analysed subsectors (25%). Furthermore, 5 out of every 10 agents are situated in the group of Potential Innovators which, like in other cases, seems to facilitate their transition towards a more innovative category.

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Diagram 36 Distribution of frequencies according to the level of innovation of the agents in the Music subsector

Music 25% 8%

50%

17%

Non-innovative Potential innovator Emerging innovator Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

7.4.5 Cultural Services The Cultural Services does not have Consolidated Innovators although the percentage (25%) of those which have already passed the first two categories in the innovation scale is the same as that seen in the Music subsector (Diagram 36). On the other hand, Cultural Services also have a significant percentage of NonInnovators (17%) (Diagram 37).

Like in other subsectors, the group of Potential Innovators is the most numerous, in this case 58% of the total, which again shows the need for actions which promote more agents towards a higher level on the innovation scale.

Diagram 37 Distribution of frequencies according to the level of innovation of the agents in the Cultural Services subsector

Cultural Services 25%

Non-Innovative Emerging Innovator

17%

58%

Potential Innovator Consolidated Innovator

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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7.4.6 Videogames In the Videogames subsector 64% of the agents are placed above the first two categories on the innovation scale. All of these are in the Emerging Innovator group which means that there are no Consolidated Innovators. It is in any event the subsector which has most agents in the third category of the innovation scale. It should however be remembered, particularly in this case, that the size of the sample does not allow for firm conclusions to be drawn, but only refer to a trend noted in the surveyed group.

Diagram 38 Distribution of frequencies according to the level of innovation of the agents in the Videogames subsector

Videogames 18%

64%

18%

Non-innovative Potential Innovator Emerging Innovator Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

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Part 8

8.1

The key factors for innovation

Objectives

The objective of this part is to try to establish and analyse a relationship between the following elements: • • • • 8.2

Model • • •

• • •

8.3

Knowledge - Innovation Cooperation - Innovation Financing - Innovation Strategy - Innovation

We have placed the organisations in four innovation categories which have already been identified and defined in section 7.3 of Part 7.

We have calculated an index for each of those categories.

It aims to establish and analyse the relationship seen between the organisational capacities and the functional and technological competences on the one hand and on the other hand the orientation towards innovation.

We have added strategy to the basic components used throughout this project (knowledge, cooperation, financing), which is defined by the indicators which we have stated in the next section (8.3.4).

The innovation index presented in section three of this report has given scores to the different agents. Depending on the result obtained we have distributed the agents into four categories (non-innovative, potential innovator, emerging innovator and consolidated innovator). Said categories shall be used as the basis in order to analyse the key factors for innovation.

Indicators

8.3.1 Knowledge index • • • • • •

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Academic level measured in terms of qualifications acquired.

Working experience in the sector measured according to years’ 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.

Technological development in order to manage the innovation measured in terms of degree.

8.3.2 Cooperation Index • • • • • • • • •

Cooperation activities with other agents measured according to diversity of activities.

Diversity of the cooperation partners measured according to the partner type.

Geographic extension of the cooperation partners measured according to administrative areas.

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.

Technological development in order to measure connectivity measured in terms of degree.

8.3.3 Financing Index • • • • • • • •

Diversity of financing sources measured according to the types of financing.

Diversity of financing sources measured according to the type of public financing agent.

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.

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.

Technological development for the financing management measured in terms of degree.

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8.3.4 Strategy Index • • •

8.4

Future vision of the organisation, measured as coherence between the current needs and the requests for the future.

Continuity of the activities performed by the organisation Degree of sustainable diversity of the organisation, measured as gender, age, training and experience diversity.

Results

Diagram 39 reports on the relationship between knowledge, cooperation, financing and strategy, and the innovation categories defined above (Non-Innovative, Potential Innovator, Emerging Innovator and Consolidated Innovator). Knowledge, cooperation, financing and strategy are presented in indices which result from weighting the indictors described in the previous section.

In view of the above, we propose analysing the links between each of the indices and the innovation categories (Diagram 38) 8.4.1 The link between knowledge and innovation If we look at the score obtained by the different categories of agents in the Knowledge Index, one notes the existence of a directly proportionality between knowledge and innovation, i.e. innovation increases linearly with knowledge. In any event, one must stress that the average level of knowledge is in general reasonably high which means that the progression noted between categories of innovators is not very significant (it increases by 2.4 points). In other words, the minimum knowledge threshold is quite high and even more so when compared with the minimum thresholds of the other INDICES contained in Diagram 39.

8.4.2 The link between cooperation and innovation On the one hand, the relationship between cooperation and innovation is notable given that in net terms the distance between the score for the Non-Innovators (3.2) and the Consolidated Innovators (6.8) is 3.6 points. It is noted on the one hand that the progression is not absolutely linear, noting that cooperation mainly provides to innovation the transit between from the least innovative categories to the more innovative ones, but once the agents move into the more innovative categories the marginal performance of the cooperation is lower.

In other words, there is a certain saturation effect which has an excessive affect on the more innovative agents.

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Diagram 39 Innovation index levels against SECONDARY INDICES for the agents as a whole

Non-Innovative

Potential Innovator

Emerging Innovator

Consolidated Innovator

7,6 6,6 5,2

5,5

KNOWLEDGE Index

7,6

7,0 6,8

6,6

5,4

5,4 4,5

3,2

3,0

COOPERATION Index

FINANCE Index

4,3

4,7 4,9

STRATEGY Index

Source: Gipuzkoa Creativa survey, SINNERGIAK Social Innovation (2013)

8.4.3 The link between financing and innovation There is a clear relationship between financing and innovation which is seen in the difference of 4.6 points between the score obtained by the Non-Innovative category (3.0) and the Consolidated Innovators (7.6). The link between financing and innovation is established through a linear progression where the most significant jump occurs in the transit between the two most innovative categories (Emerging Innovative and Consolidated Innovator).

8.4.4 The link between strategy and innovation The data leads to the conclusion that the strategy is not a determining factor except in the last transition to the most innovative category. In other words, it is necessary for those who wish to become Consolidated Innovators for them to make the strategy more important. Otherwise the progression which is noted in the Strategy Index is very slight (hardly 6 tenths difference between the first and the third category on the innovation scale).

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8.5

The key factors

Based on what we see in Diagram 39, we can state the following: •

•

•

•

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The orientation and access to source of financing is seen as the most critical factor in order to consolidate and increase levels of innovation. The jump between the score obtained by the Consolidated Innovators in relation to the others proves the existence of a preferential link between financing and innovation. It is on the other hand a factor which is outside of the organisations themselves.

Strategy is seen as the second most critical factor out of the four considered, although with a more limited effect. In other words, the strategy shows its crucial nature in the access phase to the highest level on the innovation scale (Consolidated Innovator). Otherwise its effect is barely noticeable. In this case, it is an internal factor.

Knowledge and cooperation are not as critical, at least amongst the agents analysed in this project. In one case because the minimum knowledge threshold measured is in itself quite high and in the other case because after a certain state the cooperation tends to become saturated.

The effects of the links which we have mentioned in the previous paragraphs must be revalidated in order to be considered patterns of innovation. For the moment they are trends noted amongst the agents which have taken part in this sample, but more categorical affirmations on these trends would need contrasted evidence in a larger critical mass which is also measured on more than one occasion.

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Conclusions Any research performed with rigor and backed by measurement instruments provides a set of evidence, analysis, reflections, interpretations, perceptions and conclusions. What we aim to do with these is fully respond to the proposals initially made. Research, and this is not an exception, also has its own limits depending on the proposed contents, the material time of performance, the access availability to the information or the financing conditions.

We are convinced that the area of the CCI in the Territory of Gipuzkoa must be explored in more detail. The particular characteristics of the sector make this advisable. However in any event the result from this research allows us to provide some interpretation and outlook keys which we shall develop in this conclusion section.

The statistical representativeness of the research 1. Strictly speaking, the evidence, interpretations and conclusions provided by this research are exclusively applicable to the agents which have been interviewed, i.e. the sample population which has taken part in the field work.

2. The above affirmation is based on the type, modality and distribution of the sampling which has made the field work possible: • • •

The non-probabilistic sample type does not guarantee equal selection opportunities for each of the components of a sample population.

The chosen sample method accepts the fact that there is no duly delimited reference sample population.

The size and the distribution of the sample is decided in accordance with criteria which are not subject to the normal reliability and confidence controls.

3. In spite of all of the above, as regards the interviewed population, the evidence, interpretations and conclusions from the research are absolutely reliable and provide very relevant information. In fact they allow for comparability, relationship and ordering exercises of the agents which are backed by the reliability of the applied methodology.

4. All of the methodological tools used (survey, indictors, indices, categorisations, etc.) enjoy the utmost technical solvency and the results obtained are particularly valuable due to their descriptive, analytical and prescriptive potential. In short, this research is an excellent diagnosis instrument for the CCI sector.

5. The methodological model used in this research is new and solidly supported.

Although it can obviously be improved, it can be used as a relevant and productive model in order to study the CCI sector.

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Cartography 1. The identification of agents carried out in the five subsectors object of this research is one of its main contributions for various reasons: • • • •

It provides a lot of original information about particularly opaque subsectors.

It distinguishes the agents and the subsectors according to their type of organisational structure, their registered name.

It reports on the territorial distribution of the agents and the subsectors.

It gathers relevant information about the average size of the organisations.

2. The gross information available as a result of this research is a valuable and useful reference which can be used to find out further knowledge about the CCI sector.

Organisational capacities 1. The analysed subsectors show discrete organisational capacity which we would dare to classify as insufficient given the need to meet management challenges in a specialised and competitive environment.

2. The insufficient nature of the organisational capacities analysed affects all of the capacity components which are measured (knowledge, cooperation, financing and innovation), although this insufficiency is particularly critical as regards the organisational capacities aimed at innovation.

3. In order to implement a strategy to improve the organisational capacities, if we consider innovation as an end, the effort to improve the capacities must be focused on those aimed at cooperation and financing.

Organisational competences 1. The organisations which were measured report basic suitability, a sufficient threshold, as regards the possession and application of functional and technological competences.

2. According to the competences suitability indicators subject to measurement, in general terms there is hardly any difference between the functional competence and the technological competence found, although the variability is notable depending on the type of agent and subsector considered.

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3. It can be affirmed that the acquisition, management and application of technological capacities forms part of the culture of the CCI sector.

4. The greatest deficiencies in competences detected in the functional area correspond to the competences aimed at financing, and in the technological sphere to the competences aimed at innovation and financing, in this order.

5. Against looking at innovation as an end, the greatest effort in improving the competence of the organisations must be made in relation to the functional and technological competences aimed at financing.

The subsectors 1. Fashion. Mainly located in the capital, their degree of organisational structuring is precarious as it has a large number of self-employed persons (more than 6 out of every 10 agents). It shows low organisational capacity, 7 tenths below the average score registered, and it must make an effort to improve its technological competences. Its weak points are: • • •

Cooperation and innovation organisational capacities Cooperation functional competences Innovation and financing technological competences

2. Museums. This is a subsector with a wide territorial reach and its organisations are in general small in size. It is the subsector with the highest public administration presence, which conditions is peculiar organisational structure. Its organisational capacities obtain the highest score out of all of the subsectors studied, which is concurrent with the subsector’s longer tradition. Its functional competences also obtain the highest valuation as regards the other subsectors and it has furthermore sufficient technological competence. Its weak points are: • •

innovation organisational capacities Innovation technological competences

3. Music. This is the subsector with the most decentralised territorial distribution and a complex organisational structure which combines companies, selfemployed persons, public administration and, to a lesser extent, associations.

Its organisational capacities are insufficient and its functional competence obtains a score of one point more than its technological competence. It has various weak points: • • •

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Cooperation and innovation organisational capacities Financing functional competences Innovation and financing technological competences

4. Cultural Services. This subsector is very much concentrated in the capital (9 out of every 10 companies are located in Donostia). Its organisations are small and mainly made up of companies. The score for its organisational capacities coincides in its insufficiency with the general average and the measurement of its functional and technological competence gives the same score (5.9). It is a balanced subsector as regards its competences potential.

What particularly stands out is the high score obtained in its knowledge functional and technological competences and also in its cooperation technological competence. Its weakest points are: • •

Cooperation and innovation organisational capacities Innovation and cooperation functional competences

5. Videogames. Apparently this is not a very established subsector (31 organisations identified), mainly made up of companies (over 80% of the organisations are companies) which are mainly concentrated in the capital and not very established in the rest of the territory. It is the subsector with the highest technological competences, although its functional competences score 1.8 points lower than the technological competences. Its weakest points are: • •

Organisational capacities and functional competences orientated, in this order, to financing, innovation and cooperation.

Financing technological capacities

Orientation to innovation 1. In general the agents and subsectors show low orientation to innovation if we look at the score obtained by the Innovation Index (4.4) with three subsectors (Fashion, Music and Services) scoring below this general average.

2. The innovation organisational capacities (3.4) obtain the lowest score out of the components measured by the Organisational Capacities Index.

3. The innovation technological competences (4.6) also constitute the component with the lowest score amongst all of the technological capacities which were measured.

4. The integration of the agents into four categories (Non-Innovative, Potential Innovator, Emerging Innovator, Consolidated Innovator) shows that practically 7 out of every 10 agents are either Non-Innovative (13%) or are Potential Innovators (56%).

5. The orientation to financing is shown as the most critical factor in order to consolidate or increase levels of innovation. The strategy appears as the second most critical factor although it only shows how critical it is in the access phase to the highest level on the innovation scale (Consolidated Innovator).

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Cited bibliography

Alles, M.A. (2003): Gestión por competencias. El Diccionario. Granica. Buenos Aires Ballester, R. y Gil, M.D. (2002): Habilidades sociales. Síntesis. Madrid Bilton, C. (2007): Management and creativity – from creative industries to creative management. Blackwell publishing, Malden, USA Caballo, V. (2005): Manual de evaluación y entrenamiento en habilidades sociales.

Siglo XXI, Madrid DCMS (1998), (Department of Culture, Media and Sport): Creative industries Mapping Document. Creative Task Force. U.K. Government. U. K. 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 (2014-2020) COM 2011 786/2. Brussels European Commission (2011): Empowering people, driving change. Social Innovation in the European Union. Bureau of European Policy Advisers. Luxemburg Florida, R. (2002): The Rise of the Creative Class. Basic Books. New York Guirdham, M. (1990): Interpersonal skills at work. Prentice Hall. Nueva York Hartley, J. (Ed.) (2005): Creative industries.

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Massachusetts.Howkins, J. (2001): The Creative Economy: How People Make Money From Ideas. Penguin. London Lall, S. (2001): Competitiveness, Technology and Skills, Edward Elgar Publishing Ltd. Chettenham,.U. K. Lévy-Leboyer (2001): Gestión de las competencias. Cómo analizarlas, cómo evaluarlas, cómo desarrollarlas. Gestión 200. Barcelona 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.

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NESTA (2008): Creating Innovation: Do the creative industries support innovation in the wider economy. Nesta. London.

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OECD (1997): Proposed guidelines for Collecting and Interpreting Technological Innovation Dafo. Eurostat. Oslo Pratt, A. C. (1997): The cultural industries sector. London School of Economics.

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Index of Tables

Table 1

Characteristics of the sampling done in order to configure the report of the Gipuzkoa Creativa project

16

Table 2

Agents by subsectors and registered name

18

Table 3

Number of agents according to scores interval in the INNOVATION Index

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71

Index de Diagrams

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Diagram 1

Structure of the ORGANISATIONAL CAPACITIES, FUNCTIONAL COMPETENCES and TECHNOLOGICAL COMPETENCES indices

13

Diagram 2

INNOVATION indices, KNOWLEDGE, COOPERATION, FINANCING and STRATEGY

14

Diagram 3

Classification of the Cultural and Creative Industries according to UNCTAD

17

Diagram 4

Territorial distribution of the interviews agents according to subsectors

20

Diagram 5

ORGANISATIONAL CAPACITIES index by subsectors

27

Diagram 6

Scores obtained in the different organisational capacities considered by subsectors

28

Diagram 7

Scores obtained in the different organisational capacities considered in the Fashion subsector

28

Diagram 8

Scores obtained in the different organisational capacities considered in the Museums subsector

29

Diagram 9

Scores obtained in the different organisational capacities considered in the Music subsector

30

Diagram 10

Scores obtained in the different organisational capacities considered in the Cultural Services subsector

30

Diagram 11

Scores obtained in the different organisational capacities considered in the Videogames subsector

31

Diagram 12

FUNCTIONAL COMPETENCES Index according to interviewed sectors

35

Diagram 13

Scores obtained in the different functional competences considered according to subsectors.

34

Diagram 14

Scores obtained in the different functional competences considered in the Fashion subsector

35

Diagram 15

Scores obtained in the different functional competences considered in the Museums subsector

35

Diagram 16

Scores obtained in the different functional competences considered in the Music subsector

36

Diagram 17

Scores obtained in the different functional competences considered in the Cultural Services subsector

36

Diagram 18

Scores obtained in the different functional competences considered in the Videogames subsector

37

Diagram 19

TECHNOLOGICAL COMPETENCES Index according to interviewed sectors

39

Diagram 20

Scores obtained in the different technological competences according to subsectors.

40

Diagram 21

Scores obtained in the different technological competences considered in the Fashion subsector.

40

Diagram 22

Scores obtained in the different technological competences considered in the Museums subsector.

41

Diagram 23

Scores obtained in the different technological competences considered in the Music subsector.

42

Diagram 24

Scores obtained in the different technological competences considered in the Cultural Services subsector.

42

Diagram 25

Scores obtained in the different technological competences considered in the Videogames subsector.

45

Diagram 26

PRIMARY INDICES. Integrated vision

45

Diagram 27

PRIMARY INDICES. Fashion

45

Diagram 28

PRIMARY INDICES. Museums

46

Diagram 29

PRIMARY INDICES. Music

47

Diagram 30

PRIMARY INDICES. Cultural Services

47

Diagram 31

PRIMARY INDICES. Videogames

48

Diagram 32

INNOVATION Index by subsectors

52

Diagram 33

Distribution of frequencies according to the agents’ level of innovation

53

73

74

Diagram 34

Distribution of frequencies according to the level of innovation of the agents in the Fashion subsector

53

Diagram 35

Distribution of frequencies according to the level of innovation of the agents in the Museums subsector

54

Diagram 36

Distribution of frequencies according to the level of innovation of the agents in the Music subsector

55

Diagram 37

Distribution of frequencies according to the level of innovation of the agents in the Cultural Services subsector

55

Diagram 38

Distribution of frequencies according to the level of innovation of the agents in the Videogames subsector

56

Diagram 39

Innovation index levels against SECONDARY INDICES for the agents as a whole

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