#creativeindustries — Public Fediverse posts

London named world’s top cultural city – beating Paris and New York

London has been crowned the world’s top cultural destination, beating cities including Paris and New York. The ranking…
#France #FR #Europe #EU #Paris #CapeTown #cityresidents #CreativeIndustries #culturallandscape #IntrepidTravel #London #MuseumofLondon
https://www.europesays.com/france/15524/

https://www.europesays.com/africa/?p=223625 Canon Expands Miraisha Youth Skills Initiative in Senegal Through Partnership with SOS Children’s Villages #AfricaCreativeEconomy #Canon #CanonCentralAndNorthAfrica #CreativeIndustries #DigitalStorytelling #Miraisha #PhotographyTraining #Sénégal #SkillsDevelopment #SocialImpact #SOSChildren’sVillages #VisualStorytelling #WestAfrica #YouthEmployment #YouthEmpowerment

How Creators and Creative Industries Are Pushing Back Against AI Theft

https://copyrightalliance.org/creative-industries-pushing-back-against-ai-theft/ #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Industries Are Pushing Back Against AI Theft

https://copyrightalliance.org/creative-industries-pushing-back-against-ai-theft/ #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Industries Are Pushing Back Against AI Theft

https://copyrightalliance.org/creative-industries-pushing-back-against-ai-theft/ #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Industries Are Pushing Back Against AI Theft

https://copyrightalliance.org/creative-industries-pushing-back-against-ai-theft/ #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Industries Are Pushing Back Against AI Theft

https://copyrightalliance.org/creative-industries-pushing-back-against-ai-theft/ #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Industries Are Pushing Back Against AI Theft copyrightalliance.org/creative-ind... #Copyright, #AI, #AIEthics, #CreatorsRights, #CopyrightLaw, #CreativeIndustries, #AITrainingData, #ContentTheft, #FairUse, #DigitalRights

How Creators and Creative Indu...

Opinion: The Invisible Powerhouse – Why The Herald’s Culture 50 Has An Interactive Blind Spot

This is a fantastic list. Truly. As I read through The Herald’s 50 most powerful people in Scottish arts and culture (Paywall), I see names that represent the very best of our nation – musicians, producers, actors, and advocates who have fought to keep Scotland’s creative heart beating during some of the toughest years in recent memory. I recognise many of them as allies. I respect all of them as peers.

But I also noticed something else. Or rather, I noticed a void.

In a list of 50 powerbrokers shaping what Scotland consumes in theatres, galleries, and concert halls, there is not a single representative from the Scottish games ecosystem. Not one. In 2026, as our world becomes increasingly defined by digital interaction, the country’s largest, most successful, and most productive creative export has been missed entirely.

The Billion-Pound Ghost

This is not a new phenomenon, but it is one that we can no longer afford to ignore. For decades now, the games industry has been the billion-pound ghost in the room of Scottish culture. We are frequently cited for our extraordinary GVA and our global commercial reach, but we are almost never invited to the table when the conversation turns to artistic merit or cultural impact.

By excluding (ignoring? Missing?) games from a list of the most powerful people in culture, we are essentially saying that the millions of people who engage with interactive storytelling, virtual performance, and digital art are not engaging in culture. We are saying that the world-class designers in Dundee, Edinburgh, Glasgow, and Elgin – people who are masterminds of empathy, systems, storytelling and aesthetics – are somehow separate from the creative fabric of the nation.

Beyond the Bottom Line

While the economic argument for games is inarguable – as I have highlighted in the Level Up Scotland Games Action Plan – my challenge to the wider arts sector is to look beyond the balance sheet.

Games are the golden thread of the 21st-century creative economy. They are where music, narrative, visual art, and technical engineering collide to create entirely new forms of human experience. When we talk about the power of the arts to transform lives, why are we not talking about the therapeutic impact of the Gamer-in-Residence at Glasgow Children’s Hospital? When we talk about cultural legacy, why is the ongoing lack of preservation of our digital heritage still treated as an optional extra?

The isolation of games is a uniquely Scottish problem in one specific, structural way. In the rest of the UK, games are tucked under the wing of the screen industries. In Scotland, we are one of the 16 official sub-sectors of the creative industries – standing alongside architecture, design, and visual art. On paper, we are integrated. In practice, we are siloed. In policy terms, we are entirely invisible.

A Hand Across the Aisle

I am not writing this to complain; I am writing this to offer outreach. The ongoing exclusion of games is a missed opportunity for the traditional arts. Imagine the cultural impact of a collaboration between the Citizens Theatre, or Dance Base and a real-time 3D studio, or the RSNO performing alongside a live interactive performance. These are the opportunities that stay locked away when our worlds remain apart.

At the Scottish Games Network, we are working to bridge this gap. Following our More Than Games events in 2022-25, we are preparing to launch Project Pathfinder. This initiative is specifically designed to bring games technology into the wider creative and cultural sectors, acting as a force multiplier for artists, filmmakers, musicians, writers and performers.

The Wake-Up Call

To my friends and colleagues in the traditional arts: consider this a friendly wake-up call. The next generation of Scottish creators does not see a boundary between a play and a game, or a gallery and a virtual world. They see a single, fluid creative landscape and open opportunities.

If we want a Culture 50 that truly reflects the power and influence of Scottish creativity, we have to start looking at the digital screen with the same respect we give to the stage, the cinema screen or the canvas.

SGN is here to facilitate that conversation. I am here to be the architect of that bridge. Let us make sure that by 2027, the 50 most powerful people in Scottish arts and culture include the pioneers who are building the interactive future of our nation.

Brian Baglow is the Founder and CEO of the Scottish Games Network.

Photo by Anthony Camp on Unsplash

Opinion: The Invisible Powerhouse – Why The Herald’s Culture 50 Has A Interactive Blind Spot

This is a fantastic list. Truly. As I read through The Herald’s 50 most powerful people in Scottish arts and culture (Paywall), I see names that represent the very best of our nation – musicians, producers, actors, and advocates who have fought to keep Scotland’s creative heart beating during some of the toughest years in recent memory. I recognise many of them as allies. I respect all of them as peers.

But I also noticed something else. Or rather, I noticed a void.

In a list of 50 powerbrokers shaping what Scotland consumes in theatres, galleries, and concert halls, there is not a single representative from the Scottish games ecosystem. Not one. In 2026, as our world becomes increasingly defined by digital interaction, the country’s largest, most successful, and most productive creative export has been missed entirely.

The Billion-Pound Ghost

This is not a new phenomenon, but it is one that we can no longer afford to ignore. For decades now, the games industry has been the billion-pound ghost in the room of Scottish culture. We are frequently cited for our extraordinary GVA and our global commercial reach, but we are almost never invited to the table when the conversation turns to artistic merit or cultural impact.

By excluding (ignoring? Missing?) games from a list of the most powerful people in culture, we are essentially saying that the millions of people who engage with interactive storytelling, virtual performance, and digital art are not engaging in culture. We are saying that the world-class designers in Dundee, Edinburgh, Glasgow, and Elgin – people who are masterminds of empathy, systems, storytelling and aesthetics – are somehow separate from the creative fabric of the nation.

Beyond the Bottom Line

While the economic argument for games is inarguable – as I have highlighted in the Level Up Scotland Games Action Plan – my challenge to the wider arts sector is to look beyond the balance sheet.

Games are the golden thread of the 21st-century creative economy. They are where music, narrative, visual art, and technical engineering collide to create entirely new forms of human experience. When we talk about the power of the arts to transform lives, why are we not talking about the therapeutic impact of the Gamer-in-Residence at Glasgow Children’s Hospital? When we talk about cultural legacy, why is the ongoing lack of preservation of our digital heritage still treated as an optional extra?

The isolation of games is a uniquely Scottish problem in one specific, structural way. In the rest of the UK, games are tucked under the wing of the screen industries. In Scotland, we are one of the 16 official sub-sectors of the creative industries – standing alongside architecture, design, and visual art. On paper, we are integrated. In practice, we are siloed. In policy terms, we are entirely invisible.

A Hand Across the Aisle

I am not writing this to complain; I am writing this to offer outreach. The ongoing exclusion of games is a missed opportunity for the traditional arts. Imagine the cultural impact of a collaboration between the Citizens Theatre, or Dance Base and a real-time 3D studio, or the RSNO performing alongside a live interactive performance. These are the opportunities that stay locked away when our worlds remain apart.

At the Scottish Games Network, we are working to bridge this gap. Following our More Than Games events in 2022-25, we are preparing to launch Project Pathfinder. This initiative is specifically designed to bring games technology into the wider creative and cultural sectors, acting as a force multiplier for artists, filmmakers, musicians, writers and performers.

The Wake-Up Call

To my friends and colleagues in the traditional arts: consider this a friendly wake-up call. The next generation of Scottish creators does not see a boundary between a play and a game, or a gallery and a virtual world. They see a single, fluid creative landscape and open opportunities.

If we want a Culture 50 that truly reflects the power and influence of Scottish creativity, we have to start looking at the digital screen with the same respect we give to the stage, the cinema screen or the canvas.

SGN is here to facilitate that conversation. I am here to be the architect of that bridge. Let us make sure that by 2027, the 50 most powerful people in Scottish arts and culture include the pioneers who are building the interactive future of our nation.

Brian Baglow is the Founder and CEO of the Scottish Games Network.

Photo by Anthony Camp on Unsplash

Opinion: The Invisible Powerhouse – Why The Herald’s Culture 50 Has An Interactive Blind Spot

This is a fantastic list. Truly. As I read through The Herald’s 50 most powerful people in Scottish arts and culture (Paywall), I see names that represent the very best of our nation – musicians, producers, actors, and advocates who have fought to keep Scotland’s creative heart beating during some of the toughest years in recent memory. I recognise many of them as allies. I respect all of them as peers.

But I also noticed something else. Or rather, I noticed a void.

In a list of 50 powerbrokers shaping what Scotland consumes in theatres, galleries, and concert halls, there is not a single representative from the Scottish games ecosystem. Not one. In 2026, as our world becomes increasingly defined by digital interaction, the country’s largest, most successful, and most productive creative export has been missed entirely.

The Billion-Pound Ghost

This is not a new phenomenon, but it is one that we can no longer afford to ignore. For decades now, the games industry has been the billion-pound ghost in the room of Scottish culture. We are frequently cited for our extraordinary GVA and our global commercial reach, but we are almost never invited to the table when the conversation turns to artistic merit or cultural impact.

By excluding (ignoring? Missing?) games from a list of the most powerful people in culture, we are essentially saying that the millions of people who engage with interactive storytelling, virtual performance, and digital art are not engaging in culture. We are saying that the world-class designers in Dundee, Edinburgh, Glasgow, and Elgin – people who are masterminds of empathy, systems, storytelling and aesthetics – are somehow separate from the creative fabric of the nation.

Beyond the Bottom Line

While the economic argument for games is inarguable – as I have highlighted in the Level Up Scotland Games Action Plan – my challenge to the wider arts sector is to look beyond the balance sheet.

Games are the golden thread of the 21st-century creative economy. They are where music, narrative, visual art, and technical engineering collide to create entirely new forms of human experience. When we talk about the power of the arts to transform lives, why are we not talking about the therapeutic impact of the Gamer-in-Residence at Glasgow Children’s Hospital? When we talk about cultural legacy, why is the ongoing lack of preservation of our digital heritage still treated as an optional extra?

The isolation of games is a uniquely Scottish problem in one specific, structural way. In the rest of the UK, games are tucked under the wing of the screen industries. In Scotland, we are one of the 16 official sub-sectors of the creative industries – standing alongside architecture, design, and visual art. On paper, we are integrated. In practice, we are siloed. In policy terms, we are entirely invisible.

A Hand Across the Aisle

I am not writing this to complain; I am writing this to offer outreach. The ongoing exclusion of games is a missed opportunity for the traditional arts. Imagine the cultural impact of a collaboration between the Citizens Theatre, or Dance Base and a real-time 3D studio, or the RSNO performing alongside a live interactive performance. These are the opportunities that stay locked away when our worlds remain apart.

At the Scottish Games Network, we are working to bridge this gap. Following our More Than Games events in 2022-25, we are preparing to launch Project Pathfinder. This initiative is specifically designed to bring games technology into the wider creative and cultural sectors, acting as a force multiplier for artists, filmmakers, musicians, writers and performers.

The Wake-Up Call

To my friends and colleagues in the traditional arts: consider this a friendly wake-up call. The next generation of Scottish creators does not see a boundary between a play and a game, or a gallery and a virtual world. They see a single, fluid creative landscape and open opportunities.

If we want a Culture 50 that truly reflects the power and influence of Scottish creativity, we have to start looking at the digital screen with the same respect we give to the stage, the cinema screen or the canvas.

SGN is here to facilitate that conversation. I am here to be the architect of that bridge. Let us make sure that by 2027, the 50 most powerful people in Scottish arts and culture include the pioneers who are building the interactive future of our nation.

Brian Baglow is the Founder and CEO of the Scottish Games Network.

Photo by Anthony Camp on Unsplash

Opinion: The Invisible Powerhouse – Why The Herald’s Culture 50 Has An Interactive Blind Spot

This is a fantastic list. Truly. As I read through The Herald’s 50 most powerful people in Scottish arts and culture (Paywall), I see names that represent the very best of our nation – musicians, producers, actors, and advocates who have fought to keep Scotland’s creative heart beating during some of the toughest years in recent memory. I recognise many of them as allies. I respect all of them as peers.

But I also noticed something else. Or rather, I noticed a void.

In a list of 50 powerbrokers shaping what Scotland consumes in theatres, galleries, and concert halls, there is not a single representative from the Scottish games ecosystem. Not one. In 2026, as our world becomes increasingly defined by digital interaction, the country’s largest, most successful, and most productive creative export has been missed entirely.

The Billion-Pound Ghost

This is not a new phenomenon, but it is one that we can no longer afford to ignore. For decades now, the games industry has been the billion-pound ghost in the room of Scottish culture. We are frequently cited for our extraordinary GVA and our global commercial reach, but we are almost never invited to the table when the conversation turns to artistic merit or cultural impact.

By excluding (ignoring? Missing?) games from a list of the most powerful people in culture, we are essentially saying that the millions of people who engage with interactive storytelling, virtual performance, and digital art are not engaging in culture. We are saying that the world-class designers in Dundee, Edinburgh, Glasgow, and Elgin – people who are masterminds of empathy, systems, storytelling and aesthetics – are somehow separate from the creative fabric of the nation.

Beyond the Bottom Line

While the economic argument for games is inarguable – as I have highlighted in the Level Up Scotland Games Action Plan – my challenge to the wider arts sector is to look beyond the balance sheet.

Games are the golden thread of the 21st-century creative economy. They are where music, narrative, visual art, and technical engineering collide to create entirely new forms of human experience. When we talk about the power of the arts to transform lives, why are we not talking about the therapeutic impact of the Gamer-in-Residence at Glasgow Children’s Hospital? When we talk about cultural legacy, why is the ongoing lack of preservation of our digital heritage still treated as an optional extra?

The isolation of games is a uniquely Scottish problem in one specific, structural way. In the rest of the UK, games are tucked under the wing of the screen industries. In Scotland, we are one of the 16 official sub-sectors of the creative industries – standing alongside architecture, design, and visual art. On paper, we are integrated. In practice, we are siloed. In policy terms, we are entirely invisible.

A Hand Across the Aisle

I am not writing this to complain; I am writing this to offer outreach. The ongoing exclusion of games is a missed opportunity for the traditional arts. Imagine the cultural impact of a collaboration between the Citizens Theatre, or Dance Base and a real-time 3D studio, or the RSNO performing alongside a live interactive performance. These are the opportunities that stay locked away when our worlds remain apart.

At the Scottish Games Network, we are working to bridge this gap. Following our More Than Games events in 2022-25, we are preparing to launch Project Pathfinder. This initiative is specifically designed to bring games technology into the wider creative and cultural sectors, acting as a force multiplier for artists, filmmakers, musicians, writers and performers.

The Wake-Up Call

To my friends and colleagues in the traditional arts: consider this a friendly wake-up call. The next generation of Scottish creators does not see a boundary between a play and a game, or a gallery and a virtual world. They see a single, fluid creative landscape and open opportunities.

If we want a Culture 50 that truly reflects the power and influence of Scottish creativity, we have to start looking at the digital screen with the same respect we give to the stage, the cinema screen or the canvas.

SGN is here to facilitate that conversation. I am here to be the architect of that bridge. Let us make sure that by 2027, the 50 most powerful people in Scottish arts and culture include the pioneers who are building the interactive future of our nation.

Brian Baglow is the Founder and CEO of the Scottish Games Network.

Photo by Anthony Camp on Unsplash

Opinion: The Invisible Powerhouse – Why The Herald’s Culture 50 Has A Interactive Blind Spot

This is a fantastic list. Truly. As I read through The Herald’s 50 most powerful people in Scottish arts and culture (Paywall), I see names that represent the very best of our nation – musicians, producers, actors, and advocates who have fought to keep Scotland’s creative heart beating during some of the toughest years in recent memory. I recognise many of them as allies. I respect all of them as peers.

But I also noticed something else. Or rather, I noticed a void.

In a list of 50 powerbrokers shaping what Scotland consumes in theatres, galleries, and concert halls, there is not a single representative from the Scottish games ecosystem. Not one. In 2026, as our world becomes increasingly defined by digital interaction, the country’s largest, most successful, and most productive creative export has been missed entirely.

The Billion-Pound Ghost

This is not a new phenomenon, but it is one that we can no longer afford to ignore. For decades now, the games industry has been the billion-pound ghost in the room of Scottish culture. We are frequently cited for our extraordinary GVA and our global commercial reach, but we are almost never invited to the table when the conversation turns to artistic merit or cultural impact.

By excluding (ignoring? Missing?) games from a list of the most powerful people in culture, we are essentially saying that the millions of people who engage with interactive storytelling, virtual performance, and digital art are not engaging in culture. We are saying that the world-class designers in Dundee, Edinburgh, Glasgow, and Elgin – people who are masterminds of empathy, systems, storytelling and aesthetics – are somehow separate from the creative fabric of the nation.

Beyond the Bottom Line

While the economic argument for games is inarguable – as I have highlighted in the Level Up Scotland Games Action Plan – my challenge to the wider arts sector is to look beyond the balance sheet.

Games are the golden thread of the 21st-century creative economy. They are where music, narrative, visual art, and technical engineering collide to create entirely new forms of human experience. When we talk about the power of the arts to transform lives, why are we not talking about the therapeutic impact of the Gamer-in-Residence at Glasgow Children’s Hospital? When we talk about cultural legacy, why is the ongoing lack of preservation of our digital heritage still treated as an optional extra?

The isolation of games is a uniquely Scottish problem in one specific, structural way. In the rest of the UK, games are tucked under the wing of the screen industries. In Scotland, we are one of the 16 official sub-sectors of the creative industries – standing alongside architecture, design, and visual art. On paper, we are integrated. In practice, we are siloed. In policy terms, we are entirely invisible.

A Hand Across the Aisle

I am not writing this to complain; I am writing this to offer outreach. The ongoing exclusion of games is a missed opportunity for the traditional arts. Imagine the cultural impact of a collaboration between the Citizens Theatre, or Dance Base and a real-time 3D studio, or the RSNO performing alongside a live interactive performance. These are the opportunities that stay locked away when our worlds remain apart.

At the Scottish Games Network, we are working to bridge this gap. Following our More Than Games events in 2022-25, we are preparing to launch Project Pathfinder. This initiative is specifically designed to bring games technology into the wider creative and cultural sectors, acting as a force multiplier for artists, filmmakers, musicians, writers and performers.

The Wake-Up Call

To my friends and colleagues in the traditional arts: consider this a friendly wake-up call. The next generation of Scottish creators does not see a boundary between a play and a game, or a gallery and a virtual world. They see a single, fluid creative landscape and open opportunities.

If we want a Culture 50 that truly reflects the power and influence of Scottish creativity, we have to start looking at the digital screen with the same respect we give to the stage, the cinema screen or the canvas.

SGN is here to facilitate that conversation. I am here to be the architect of that bridge. Let us make sure that by 2027, the 50 most powerful people in Scottish arts and culture include the pioneers who are building the interactive future of our nation.

Brian Baglow is the Founder and CEO of the Scottish Games Network.

Photo by Anthony Camp on Unsplash

Canada and Republic of Korea sign modernized audiovisual coproduction treaty https://www.byteseu.com/1955555/ #Canada #coproduction #CreativeIndustries #GovernmentOfCanada #KoreaMediaAndCommunicationsCommission #MarcMiller #RepublicOfKorea #SouthKorea #TradeMission

https://www.europesays.com/africa/180914/ Morocco’s Cultural Creative Industries Remain Underfinanced Despite Growth Potential #CreativeIndustries #IFC #Morocco

https://www.europesays.com/africa/178896/ Morocco’s Creative Economy Surges as $43 Billion Sector Gains Global Attention, IFC Report Finds #2030WorldCup #CreativeIndustries #CreativeSectorFinance #CulturalEconomy #CulturalPolicy #EconomicDevelopment #EmploymentGrowth #GdpContribution #IFCReport #Morocco #MoroccoEconomy

https://www.europesays.com/africa/178248/ Assessment of the Creative and Cultural Industries in Morocco #Africa(AFR) #CreativeIndustries #Morocco #Morocco(MA) #SMEFinance

https://www.europesays.com/afrique/61750/ South Africa: McKenzie launches cultural and creative industries clusters #Afrique #clusters #CreativeEconomy #CreativeIndustries #CulturalIndustries #DepartmentOfSportArtsAndCulture #GaytonMckenzie #innovation #Jobs #SouthAfrica #UNESCO

'Everyone's got this dog barking. You need to pay rent and the electricity bills,' Tim Rogers on making a living, fatherhood and a You Am I classic https://www.abc.net.au/news/2026-03-31/tim-rogers-take-5-you-am-i-job-hourly-daily-zan-rowe/106512888 #music #musicbiz #creativeindustries

'Everyone's got this dog barking. You need to pay rent and the electricity bills,' Tim Rogers on making a living, fatherhood and a You Am I classic https://www.abc.net.au/news/2026-03-31/tim-rogers-take-5-you-am-i-job-hourly-daily-zan-rowe/106512888 #music #musicbiz #creativeindustries

'Everyone's got this dog barking. You need to pay rent and the electricity bills,' Tim Rogers on making a living, fatherhood and a You Am I classic https://www.abc.net.au/news/2026-03-31/tim-rogers-take-5-you-am-i-job-hourly-daily-zan-rowe/106512888 #music #musicbiz #creativeindustries

'Everyone's got this dog barking. You need to pay rent and the electricity bills,' Tim Rogers on making a living, fatherhood and a You Am I classic https://www.abc.net.au/news/2026-03-31/tim-rogers-take-5-you-am-i-job-hourly-daily-zan-rowe/106512888 #music #musicbiz #creativeindustries

'Everyone's got this dog barking. You need to pay rent and the electricity bills,' Tim Rogers on making a living, fatherhood and a You Am I classic https://www.abc.net.au/news/2026-03-31/tim-rogers-take-5-you-am-i-job-hourly-daily-zan-rowe/106512888 #music #musicbiz #creativeindustries

Capitol AI ramps up UK and EU expansion with regional leadership and new advisory board

London, March 30, 2026 (GLOBE NEWSWIRE) — Mike Nayler joins as Vice President of GTM, UK and Europe…
#Europe #EU #Capitol #CapitolAI #CreativeIndustries #EuropeanUnion #LionelBarber #MikeNayler #UK
https://www.europesays.com/europe/675/

FYI: Lords demand AI firms disclose training data or face UK licensing freeze: House of Lords urges UK to reject commercial text and data mining exceptions, mandate AI training transparency, and build a fair licensing market for creative industries. https://ppc.land/lords-demand-ai-firms-disclose-training-data-or-face-uk-licensing-freeze/ #AIRegulation #DataTransparency #AIEthics #Licensing #CreativeIndustries

FYI: Lords demand AI firms disclose training data or face UK licensing freeze: House of Lords urges UK to reject commercial text and data mining exceptions, mandate AI training transparency, and build a fair licensing market for creative industries. https://ppc.land/lords-demand-ai-firms-disclose-training-data-or-face-uk-licensing-freeze/ #AIRegulation #DataTransparency #AIEthics #Licensing #CreativeIndustries

FYI: Lords demand AI firms disclose training data or face UK licensing freeze: House of Lords urges UK to reject commercial text and data mining exceptions, mandate AI training transparency, and build a fair licensing market for creative industries. https://ppc.land/lords-demand-ai-firms-disclose-training-data-or-face-uk-licensing-freeze/ #AIRegulation #DataTransparency #AIEthics #Licensing #CreativeIndustries

FYI: Lords demand AI firms disclose training data or face UK licensing freeze: House of Lords urges UK to reject commercial text and data mining exceptions, mandate AI training transparency, and build a fair licensing market for creative industries. https://ppc.land/lords-demand-ai-firms-disclose-training-data-or-face-uk-licensing-freeze/ #AIRegulation #DataTransparency #AIEthics #Licensing #CreativeIndustries

FYI: Lords demand AI firms disclose training data or face UK licensing freeze: House of Lords urges UK to reject commercial text and data mining exceptions, mandate AI training transparency, and build a fair licensing market for creative industries. https://ppc.land/lords-demand-ai-firms-disclose-training-data-or-face-uk-licensing-freeze/ #AIRegulation #DataTransparency #AIEthics #Licensing #CreativeIndustries

4.3.26 0830-0930 Enabling Change in the #CreativeIndustries

In this week's What Next Cymru, Siân Gale of #Creative #Unions Learning Together #Cymru previews their conference to discuss practical solutions for bringing about much-needed change.

Zoom in to be part of the discussion:

https://linktr.ee/whatnextcymru

4.3.26 0830-0930 Enabling Change in the #CreativeIndustries

In this week's What Next Cymru, Siân Gale of #Creative #Unions Learning Together #Cymru previews their conference to discuss practical solutions for bringing about much-needed change.

Zoom in to be part of the discussion:

https://linktr.ee/whatnextcymru

4.3.26 0830-0930 Enabling Change in the #CreativeIndustries

In this week's What Next Cymru, Siân Gale of #Creative #Unions Learning Together #Cymru previews their conference to discuss practical solutions for bringing about much-needed change.

Zoom in to be part of the discussion:

https://linktr.ee/whatnextcymru

4.3.26 0830-0930 Enabling Change in the #CreativeIndustries

In this week's What Next Cymru, Siân Gale of #Creative #Unions Learning Together #Cymru previews their conference to discuss practical solutions for bringing about much-needed change.

Zoom in to be part of the discussion:

https://linktr.ee/whatnextcymru

4.3.26 0830-0930 Enabling Change in the #CreativeIndustries

In this week's What Next Cymru, Siân Gale of #Creative #Unions Learning Together #Cymru previews their conference to discuss practical solutions for bringing about much-needed change.

Zoom in to be part of the discussion:

https://linktr.ee/whatnextcymru

Scraping artists, creators, and right holders with...

No transparency.
No traceability.
No enforceability.
No Accountability.
= No functioning copyright market.

#AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

Scraping artists, creators, and right holders with...

No transparency.
No traceability.
No enforceability.
No Accountability.
= No functioning copyright market.

#AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

Scraping artists, creators, and right holders with...

No transparency.
No traceability.
No enforceability.
No Accountability.
= No functioning copyright market.

#AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

Scraping artists, creators, and right holders with...

No transparency.
No traceability.
No enforceability.
No Accountability.
= No functioning copyright market.

#AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

Scraping artists, creators, and right holders with...

No transparency.
No traceability.
No enforceability.
No Accountability.
= No functioning copyright market.

#AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

Scraping artists, creators, and right holders with... No transparency. No traceability. No enforceability. No Accountability. = No functioning copyright market. #AIAct #CreativeIndustries #Copyright #Audiovisual #Publishing #GPAI #Netopia

The Hague, Netherlands

#creativity #creative #creativeindustries

The Hague, Netherlands

#creativity #creative #creativeindustries

The Hague, Netherlands

#creativity #creative #creativeindustries

The Hague, Netherlands

#creativity #creative #creativeindustries

Kyrgyzstan’s Creative Industries Park: Inside the Country’s Latest Artistic “Miracle”

https://fed.brid.gy/r/https://timesca.com/kyrgyzstans-creative-industries-park-inside-the-countrys-latest-artistic-miracle/

News Summary: French Publishers Sue Meta over AI Concerns; Australia Blocks Copyright Loophole for Tech Firms

Our first story of the week was about AI and a very global market, and in a way the two stories today are in a similar vein—but from a different angle.
https://selfpublishingadvice.org/french-publishers-sue-meta/

#AIandCopyright #Australiacopyrightlaw #creativeindustries #Frenchpublishers #Metalawsuit

News Summary: French Publishers Sue Meta over AI Concerns; Australia Blocks Copyright Loophole for Tech Firms

Our first story of the week was about AI and a very global market, and in a way the two stories today are in a similar vein—but from a different angle.
https://selfpublishingadvice.org/french-publishers-sue-meta/

#AIandCopyright #Australiacopyrightlaw #creativeindustries #Frenchpublishers #Metalawsuit

News Summary: French Publishers Sue Meta over AI Concerns; Australia Blocks Copyright Loophole for Tech Firms

Our first story of the week was about AI and a very global market, and in a way the two stories today are in a similar vein—but from a different angle.
https://selfpublishingadvice.org/french-publishers-sue-meta/

#AIandCopyright #Australiacopyrightlaw #creativeindustries #Frenchpublishers #Metalawsuit

News Summary: French Publishers Sue Meta over AI Concerns; Australia Blocks Copyright Loophole for Tech Firms

Our first story of the week was about AI and a very global market, and in a way the two stories today are in a similar vein—but from a different angle.
https://selfpublishingadvice.org/french-publishers-sue-meta/

#AIandCopyright #Australiacopyrightlaw #creativeindustries #Frenchpublishers #Metalawsuit

Call For Educators & Industry: 2025 Games Education Symposium To Bridge Gap With Wider Creative Sector

The Scottish Games Education Symposium (SGES) a partnership between Scottish Games Education Network and The Scottish Games Network, is thrilled to announce the date, location, and focus of its highly anticipated 2025 event. Taking place on November 19, 2025, from 9:30 AM to 4 PM, the symposium will be sponsored and hosted by West College Scotland in its Paisley campus.

This year we are reaching out to those in the creative industries as well as games development. Currently, the HN Games Development course explores the full spectrum of creating interactive experiences – from initial planning and design to programming, art and animation, storytelling, and sound. While rooted in creativity, the course also develops highly transferable skills that prepare students for a wide range of professional opportunities.

Yet, despite the breadth of creativity involved in making games, Game Development is not always fully recognised as part of the wider creative industries collective. This symposium seeks to bridge the gap between Games, Art & Animation, Storytelling and Sound production. Given that students may study these different subjects at the same institution, but not be aware of the potential creative opportunities between courses.

Purpose of the Day

We are bringing together voices from across the creative industries to:

• Share perspectives on how games are currently viewed within the wider creative landscape.
• Explore opportunities for stronger collaboration between games and other creative fields.
• Discuss how education can better equip students with skills that align with the evolving needs of the creative sector.

By fostering dialogue and collaboration, our goal is to ensure that graduates leave education with not only technical expertise but also the creative and interdisciplinary skills to thrive in a variety of career pathways.

The event is a must-attend for educators seeking to stay ahead of the curve in games education. Business leaders and employers are also encouraged to apply to attend and share their insights from an industry perspective and build stronger connections with educators, academics and institutions across Scotland.

To attend the Scottish Games Education Symposium 2025- Apply Here!

Partners & Sponsors Welcome

The Lead Sponsor of the 2025 Scottish Games Education Symposium is West College Scotland.

The SGEN and SGN welcome any organisations that would like to support the delivery of the Scottish Games Education Symposium 2025. This is an ideal opportunity for businesses which are interested in helping the next generation of games and creative industries talent and connecting with the entire Scottish games ecosystem.

To be a part of this year’s event, please contact us directly.

#art #audio #creativeIndustries #education #EducationSymposium #games #glasgow #scotland