#top-50 — Public Fediverse posts

Hace unos días @[email protected] publicó que había superado los 45M de usuarios.

Sin embargo no hay estadísticas sobre #España. ¿De cuántos podríamos hablar? Difícil saberlo.

Y tampoco hay datos oficiales de #Top50 de cuentas activas. Las que tengo en el radar:

1º @[email protected]: 165k
2º @[email protected]: 148k

Hace unos días @[email protected] publicó que había superado los 45M de usuarios.

Sin embargo no hay estadísticas sobre #España. ¿De cuántos podríamos hablar? Difícil saberlo.

Y tampoco hay datos oficiales de #Top50 de cuentas activas. Las que tengo en el radar:

1º @[email protected]: 165k
2º @[email protected]: 148k

Hace unos días @[email protected] publicó que había superado los 45M de usuarios.

Sin embargo no hay estadísticas sobre #España. ¿De cuántos podríamos hablar? Difícil saberlo.

Y tampoco hay datos oficiales de #Top50 de cuentas activas. Las que tengo en el radar:

1º @[email protected]: 165k
2º @[email protected]: 148k

Hace unos días @[email protected] publicó que había superado los 45M de usuarios.

Sin embargo no hay estadísticas sobre #España. ¿De cuántos podríamos hablar? Difícil saberlo.

Y tampoco hay datos oficiales de #Top50 de cuentas activas. Las que tengo en el radar:

1º @[email protected]: 165k
2º @[email protected]: 148k

Hace unos días @[email protected] publicó que había superado los 45M de usuarios.

Sin embargo no hay estadísticas sobre #España. ¿De cuántos podríamos hablar? Difícil saberlo.

Y tampoco hay datos oficiales de #Top50 de cuentas activas. Las que tengo en el radar:

1º @[email protected]: 165k
2º @[email protected]: 148k

On to numbers! Booyah! Back on #Page1 in #Top50! As I typically remember to point out, the most important metric is that the average number of new #Followers per day continues to rise. 🤸🏻‍♀️🤸🏻‍♀️🤸🏻‍♀️ Tonight the #Research is where do I do #501c(3) financial sponsorship arrangement.
🩵🩵🩵 THANK YOU SO MUCH! 🩷🩷🩷

1 of 3 goals accomplished finally. #MissKitty is caught up at 4:26pm for first time today! Booyah! Hoping that means we stayed in the #Top50. But whatever, that is a number that does not matter like the 126 that #Die #Outside every day in America matter. There are opportunities to help. More later.

https://www.europesays.com/hu/162769/ Egy budapesti hely is bekerült a világ 50 legjobb pizzériája közé #BelliDiMamma #budapest #Európa #Hungarian #legjobb #lista #Magyar #News #pizzéria #rangsor #Top50 #Világ #World #WorldNews

https://www.fogolf.com/1291169/how-is-this-golf-course-not-in-scotlands-top-30/ How Is This Golf Course NOT in Scotland’s Top 30?! #Break80 #Break90 #CampervanGolf #EastRenfrewshire #GaryMartinGolf #GlasgowGolf #Golf #GolfChannel #GolfCourse #GolfCourses #GolfMates #GolfReview #GolfRoadTrip #GolfScotland #GolfVideos #GolfVlog #GolfWithYourFriends #golfing #HiddenGem #HiddenGemGolf #HiddenGems #HighHandicapGolf #JamesRobinsonGolf #LinksGolf #LowHandicapGolf #MidHandicapGolf #RickShielsGolf #RoadTrip #ScotlandGolf #ScotlandGolfTrip #Top100 #Top50

https://www.fogolf.com/1291169/how-is-this-golf-course-not-in-scotlands-top-30/ How Is This Golf Course NOT in Scotland’s Top 30?! #Break80 #Break90 #CampervanGolf #EastRenfrewshire #GaryMartinGolf #GlasgowGolf #Golf #GolfChannel #GolfCourse #GolfCourses #GolfMates #GolfReview #GolfRoadTrip #GolfScotland #GolfVideos #GolfVlog #GolfWithYourFriends #golfing #HiddenGem #HiddenGemGolf #HiddenGems #HighHandicapGolf #JamesRobinsonGolf #LinksGolf #LowHandicapGolf #MidHandicapGolf #RickShielsGolf #RoadTrip #ScotlandGolf #ScotlandGolfTrip #Top100 #Top50

https://www.fogolf.com/1291169/how-is-this-golf-course-not-in-scotlands-top-30/ How Is This Golf Course NOT in Scotland’s Top 30?! #Break80 #Break90 #CampervanGolf #EastRenfrewshire #GaryMartinGolf #GlasgowGolf #Golf #GolfChannel #GolfCourse #GolfCourses #GolfMates #GolfReview #GolfRoadTrip #GolfScotland #GolfVideos #GolfVlog #GolfWithYourFriends #golfing #HiddenGem #HiddenGemGolf #HiddenGems #HighHandicapGolf #JamesRobinsonGolf #LinksGolf #LowHandicapGolf #MidHandicapGolf #RickShielsGolf #RoadTrip #ScotlandGolf #ScotlandGolfTrip #Top100 #Top50

https://www.fogolf.com/1291169/how-is-this-golf-course-not-in-scotlands-top-30/ How Is This Golf Course NOT in Scotland’s Top 30?! #Break80 #Break90 #CampervanGolf #EastRenfrewshire #GaryMartinGolf #GlasgowGolf #Golf #GolfChannel #GolfCourse #GolfCourses #GolfMates #GolfReview #GolfRoadTrip #GolfScotland #GolfVideos #GolfVlog #GolfWithYourFriends #golfing #HiddenGem #HiddenGemGolf #HiddenGems #HighHandicapGolf #JamesRobinsonGolf #LinksGolf #LowHandicapGolf #MidHandicapGolf #RickShielsGolf #RoadTrip #ScotlandGolf #ScotlandGolfTrip #Top100 #Top50

https://www.fogolf.com/1287313/scotlands-newest-golf-course-shocked-us-eastwood-twelve/ Scotland’s Newest Golf Course Shocked Us… Eastwood Twelve! #AverageGolfer #EastwoodTwelve #GaryMartinGolf #Golf #GolfBucketlist #GolfChannel #GolfCourse #GolfCourseReview #GolfCourses #GolfInScotland #GolfMatch #GolfMates #GolfRoadTrip #GolfScotland #GolfTips #GolfTour #GolfTravelVlog #GolfTrip #GolfVlog #golfing #HiddenGem #HiddenGems #JamesRobinson #LinksGolf #ScotlandGolf #ScottishGolf #StAndrews #StAndrewsGolfCourse #Top10GolfCourses #Top100 #Top50 #TopGolf

https://www.fogolf.com/1287313/scotlands-newest-golf-course-shocked-us-eastwood-twelve/ Scotland’s Newest Golf Course Shocked Us… Eastwood Twelve! #AverageGolfer #EastwoodTwelve #GaryMartinGolf #Golf #GolfBucketlist #GolfChannel #GolfCourse #GolfCourseReview #GolfCourses #GolfInScotland #GolfMatch #GolfMates #GolfRoadTrip #GolfScotland #GolfTips #GolfTour #GolfTravelVlog #GolfTrip #GolfVlog #golfing #HiddenGem #HiddenGems #JamesRobinson #LinksGolf #ScotlandGolf #ScottishGolf #StAndrews #StAndrewsGolfCourse #Top10GolfCourses #Top100 #Top50 #TopGolf

Mijn schilderijen “De zee van tijd" en "Mijmeringen over nieuwe avonturen" zijn allebei geselecteerd voor de shortlist in de prestigieuze FIKVA‑competitie. Het is een erkenning die extra bijzonder voelt door mijn grote waardering voor hun inzet voor hedendaags realisme.
FIKVA staat voor: International FiKVA Award voor kunstschilders. Dit jaar, 2026 ontvingen ze 1290 kunstwerken van kunstenaars uit 74 landen. Binnenkort worden de winnaars bekend gemaakt. Ik ben benieuwd, er zitten fantastische schilderijen bij, dus de concurrentie is groot.

My paintings ‘The sea of time’ and "Daydreams about new adventures ’ have both been shortlisted for the prestigious FIKVA competition. This recognition feels all the more special given my great appreciation for their commitment to contemporary realism.
FIKVA stands for: the International FiKVA Award for painters. This year, 2026, they received 1290 artworks from artists in 74 countries. The winners will be announced shortly. I’m curious to see the results; there are some fantastic paintings among them, so the competition is fierce.

#FIKVA #FiKVA2026 #ContemporaryRealism #RealistArt #PaintingCompetition #ArtFinalist #Top50 #Top100 #PeterVanOostzanen #Painting #magicalrealisme

Mijn schilderijen “De zee van tijd" en "Mijmeringen over nieuwe avonturen" zijn allebei geselecteerd voor de shortlist in de prestigieuze FIKVA‑competitie. Het is een erkenning die extra bijzonder voelt door mijn grote waardering voor hun inzet voor hedendaags realisme.
FIKVA staat voor: International FiKVA Award voor kunstschilders. Dit jaar, 2026 ontvingen ze 1290 kunstwerken van kunstenaars uit 74 landen. Binnenkort worden de winnaars bekend gemaakt. Ik ben benieuwd, er zitten fantastische schilderijen bij, dus de concurrentie is groot.

My paintings ‘The sea of time’ and "Daydreams about new adventures ’ have both been shortlisted for the prestigious FIKVA competition. This recognition feels all the more special given my great appreciation for their commitment to contemporary realism.
FIKVA stands for: the International FiKVA Award for painters. This year, 2026, they received 1290 artworks from artists in 74 countries. The winners will be announced shortly. I’m curious to see the results; there are some fantastic paintings among them, so the competition is fierce.

#FIKVA #FiKVA2026 #ContemporaryRealism #RealistArt #PaintingCompetition #ArtFinalist #Top50 #Top100 #PeterVanOostzanen #Painting #magicalrealisme

Mijn schilderijen “De zee van tijd" en "Mijmeringen over nieuwe avonturen" zijn allebei geselecteerd voor de shortlist in de prestigieuze FIKVA‑competitie. Het is een erkenning die extra bijzonder voelt door mijn grote waardering voor hun inzet voor hedendaags realisme.
FIKVA staat voor: International FiKVA Award voor kunstschilders. Dit jaar, 2026 ontvingen ze 1290 kunstwerken van kunstenaars uit 74 landen. Binnenkort worden de winnaars bekend gemaakt. Ik ben benieuwd, er zitten fantastische schilderijen bij, dus de concurrentie is groot.

My paintings ‘The sea of time’ and "Daydreams about new adventures ’ have both been shortlisted for the prestigious FIKVA competition. This recognition feels all the more special given my great appreciation for their commitment to contemporary realism.
FIKVA stands for: the International FiKVA Award for painters. This year, 2026, they received 1290 artworks from artists in 74 countries. The winners will be announced shortly. I’m curious to see the results; there are some fantastic paintings among them, so the competition is fierce.

#FIKVA #FiKVA2026 #ContemporaryRealism #RealistArt #PaintingCompetition #ArtFinalist #Top50 #Top100 #PeterVanOostzanen #Painting #magicalrealisme

Mijn schilderijen “De zee van tijd" en "Mijmeringen over nieuwe avonturen" zijn allebei geselecteerd voor de shortlist in de prestigieuze FIKVA‑competitie. Het is een erkenning die extra bijzonder voelt door mijn grote waardering voor hun inzet voor hedendaags realisme.
FIKVA staat voor: International FiKVA Award voor kunstschilders. Dit jaar, 2026 ontvingen ze 1290 kunstwerken van kunstenaars uit 74 landen. Binnenkort worden de winnaars bekend gemaakt. Ik ben benieuwd, er zitten fantastische schilderijen bij, dus de concurrentie is groot.

My paintings ‘The sea of time’ and "Daydreams about new adventures ’ have both been shortlisted for the prestigious FIKVA competition. This recognition feels all the more special given my great appreciation for their commitment to contemporary realism.
FIKVA stands for: the International FiKVA Award for painters. This year, 2026, they received 1290 artworks from artists in 74 countries. The winners will be announced shortly. I’m curious to see the results; there are some fantastic paintings among them, so the competition is fierce.

#FIKVA #FiKVA2026 #ContemporaryRealism #RealistArt #PaintingCompetition #ArtFinalist #Top50 #Top100 #PeterVanOostzanen #Painting #magicalrealisme

Mijn schilderijen “De zee van tijd" en "Mijmeringen over nieuwe avonturen" zijn allebei geselecteerd voor de shortlist in de prestigieuze FIKVA‑competitie. Het is een erkenning die extra bijzonder voelt door mijn grote waardering voor hun inzet voor hedendaags realisme.
FIKVA staat voor: International FiKVA Award voor kunstschilders. Dit jaar, 2026 ontvingen ze 1290 kunstwerken van kunstenaars uit 74 landen. Binnenkort worden de winnaars bekend gemaakt. Ik ben benieuwd, er zitten fantastische schilderijen bij, dus de concurrentie is groot.

My paintings ‘The sea of time’ and "Daydreams about new adventures ’ have both been shortlisted for the prestigious FIKVA competition. This recognition feels all the more special given my great appreciation for their commitment to contemporary realism.
FIKVA stands for: the International FiKVA Award for painters. This year, 2026, they received 1290 artworks from artists in 74 countries. The winners will be announced shortly. I’m curious to see the results; there are some fantastic paintings among them, so the competition is fierce.

#FIKVA #FiKVA2026 #ContemporaryRealism #RealistArt #PaintingCompetition #ArtFinalist #Top50 #Top100 #PeterVanOostzanen #Painting #magicalrealisme

https://www.europesays.com/es/555974/ Encuentro Exclusivo con el número 1 del Top50 de Canal Fiesta #AlejandroAstola #Andalucía #CanalFiesta #Entertainment #Entretenimiento #ES #España #Music #Música #Prometimos #radio #Spain #Top50

https://www.europesays.com/es/554531/ Alejandro Astola llega a lo más alto del top50 #Andalucía #Aslándticos #CanalFiesta #CuentaAtras #Entertainment #Entretenimiento #ES #España #JoséAntonioDomínguez #Music #Música #radio #Spain #top #Top50

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 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

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What's better than a Sunday morning, a USA-Canada gold medal game to watch, and another NEW #Top50 from Prospects1500?

As we get closer to the top 5 farm systems in the game, today we bring you our #7. Here are the Cleveland Guardians Top 50 prospects. https://www.prospects1500.com/top-50-lists/cleveland-guardians-top-50-prospects-2026/

What's better than a Sunday morning, a USA-Canada gold medal game to watch, and another NEW #Top50 from Prospects1500?

As we get closer to the top 5 farm systems in the game, today we bring you our #7. Here are the Cleveland Guardians Top 50 prospects. https://www.prospects1500.com/top-50-lists/cleveland-guardians-top-50-prospects-2026/

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Some offseason moves have added more options to an already solid system. @[email protected] says to embrace the reset #STLCards fans. The future has a chance to be a lot of fun. Here's our St. Louis Cardinals Top 50 prospects for 2026. #Top50 #MiLB https://www.prospects1500.com/top-50-lists/st-louis-cardinals-top-50-prospects-2026/

Some offseason moves have added more options to an already solid system. @[email protected] says to embrace the reset #STLCards fans. The future has a chance to be a lot of fun. Here's our St. Louis Cardinals Top 50 prospects for 2026. #Top50 #MiLB https://www.prospects1500.com/top-50-lists/st-louis-cardinals-top-50-prospects-2026/

Top50SZN rolls on here at Prospects1500. Our #Top50 team including @[email protected], @[email protected], @[email protected], @[email protected] & @[email protected] have our updated #WhiteSox top 50 prospects for 2026. https://www.prospects1500.com/top-50-lists/chicago-white-sox-top-50-prospects-2026/

San Francisco Giants Top 50 prospects.

Drops tomorrow. Wednesday, January 21.

#Top50 #MiLB #SFGiants

San Francisco Giants Top 50 prospects.

Drops tomorrow. Wednesday, January 21.

#Top50 #MiLB #SFGiants

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We'll probably see Imai on our Astros #Top50, dropping tomorrow. 🤔

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We'll probably see Imai on our Astros #Top50, dropping tomorrow. 🤔

https://sportsbots.xyz/users/DynastyHalp/statuses/2008555165456937137

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The 50 Best Pizza Chains in the World

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https://www.diningandcooking.com/2408297/the-50-best-pizza-chains-in-the-world/

The 50 Best Pizza Chains in the World

There are many pizza chains, but which one is the best? The experts at “Top 50 Pizza” have decided once again. TRAVELBOOK presents the three best pizza chains worldwide and shows the Top 50. In larger and medium-sized cities, …
#dining #cooking #diet #food #Italiancuisine #daMichele #Italia #Italian #italiancuisine #italiano #italy #NeapolitanPizza #pizzachain #top50 #Top50Pizza
https://www.diningandcooking.com/2408297/the-50-best-pizza-chains-in-the-world/

The 50 Best Pizza Chains in the World

There are many pizza chains, but which one is the best? The experts at “Top 50 Pizza” have decided once again. TRAVELBOOK presents the three best pizza chains worldwide and shows the Top 50. In larger and medium-sized cities, …
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