The UK faces a choice between two futures. In the first, the UK becomes a world-leading home for responsible, licensing-based artificial intelligence (AI) development, where commercial model developers using UK content obtain permission, pay fair remuneration to rights holders and can deploy their models without questions of legal liability.

Special Eurobarometer 562: Europeans' Attitudes Towards Culture is publicly available via the European Commission's Eurobarometer portal. Fieldwork was conducted February–March 2025 across all 27 EU member states.

The digitization of batik commerce is simultaneously accelerating the industry's reach and introducing new categories of IP risk that existing governance frameworks are not equipped to handle.

When UNESCO recognized Indonesian batik as an Intangible Cultural Heritage of Humanity in 2009, the designation triggered something beyond international prestige. It sparked a decades-long reckoning with a fundamental question: how does a country protect, commercialize, and scale a cultural asset that is simultaneously a living craft tradition, a national identity marker, and an increasingly contested piece of intellectual property?

The creative economy has historically been treated by ASEAN as a subset of Culture and Arts. However, under the Philippines' 2026 Chairmanship, the establishment of the ASEAN Center of Excellence (CoE) for Creative Industries represents a fundamental shift. It is the region's first dedicated institutional platform designed to harmonize the "Orange Economy" (creative sectors) with the "Digital Economy," transforming fragmented national industries into a unified regional powerh

The Philippine Creative Industries Development Council (PCIDC) represents a landmark institutional framework established under Republic Act No. 11904 (Philippine Creative Industries Development Act) enacted on July 28, 2022. As the Philippines pursues its ambitious vision to become Asia's Premier Creative Hub by 2030, the PCIDC serves as the primary coordinating mechanism for creative industries policy, development, and implementation at the national level.

The AXEAN Festival is a prominent Southeast Asian music export platform, combining a music conference and showcase festival. Launched in 2020 during the pandemic by music professionals across Southeast Asia, AXEAN Festival has successfully hosted both virtual (2020-2021) and in-person (2022-2024) events. Over five editions, it has featured 200 artists from 20 countries, attracted 240 delegates from 32 countries, and reached over 46,000 virtual viewers, along with close to 15

UNWTO-Netflix report examines how streaming films and TV series can foster deeper cultural connections that extend far beyond traditional screen tourism. The study represents a collaboration between the World Tourism Organization and Netflix to understand how digital content distribution creates what researchers term "cultural affinity."

"ART ARCHIVE 01," the inaugural volume of a comprehensive series published by the Japan Foundation, Manila in November 2017. The publication serves as an extensive scholarly examination of contemporary visual and performing arts in the Philippines, bringing together diverse voices from the archipelago's vibrant cultural landscape through essays contributed by practicing artists, performers, art writers, curators, journalists, and academic experts in the field.

Netflix report examines how Korean content is influencing global perceptions of Korea through a comprehensive survey of over 11,000 respondents across eight markets. The research reveals that Korean content has achieved remarkable global reach, with 60% of Netflix's 280 million users having viewed K-Content and over 80% of Netflix members worldwide watching Korean programming. Korean titles have maintained such consistent popularity that at least one has appeared on Netflix's

In the evolving landscape of Southeast Asian contemporary art, few artistic partnerships embody the dual role of producer and researcher as comprehensively as Myanmar-based artists Wah Nu and Tun Win Aung. Their collaborative practice represents a critical voice in contemporary art from Myanmar, one that transcends the simplistic political narratives often imposed on the region's artistic output by international observers.

In the bustling creative hub of the Zhongshan Building in Kampung Attap, Kuala Lumpur, a remarkable cultural institution quietly reshapes how Malaysians understand their visual heritage. The Malaysia Design Archive, founded in 2008 by graphic designer Ezrena Marwan, began as a simple website where she and her collaborator Jac sm Kee shared visually interesting discoveries from Malaysia's past.