Rosie Kay

K2CO • 6K followers

Afraid to Speak Freely: The State of Artistic Freedom in the UKThis report from Freedom in the Arts (FITA) explores growing concerns around freedom of expression in the UK arts sector. Drawing on first-hand testimonies, case studies, and survey data, it reveals a climate in which many artists, producers, and cultural workers feel unable to speak openly about their views or creative choices.The report highlights how funding structures, institutional policies, and fear of reputational risk are shaping what can — and cannot — be said or made in the arts. It calls for a renewed commitment to artistic integrity, open debate, and genuine diversity of thought across all cultural institutions.

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Graham Lovelace

Charting Gen AI • 10K followers

🚨THE UK GOVERNMENT pulled off a rare feat this week. It brought the diverse and fragmented creative industries together to object with one powerful voice its plans to weaken the UK’s centuries-old copyright regime. #MakeItFair #IsThisWhatWeWant? Two brilliantly executed campaigns, thousands of participants, one loud clear voice. FULL STORY ON CHARTING GEN AI: https://lnkd.in/eVsU37QxPLUS:◼️DOGE ‘to use AI on Musk’s accomplishments emails’ (what could possibly go wrong?)◼️Chegg accuses Google of violating anti-trust laws with generative search◼️Academic publisher gains consent from ‘majority’ of authors for AI licensing◼️Christie’s AI-only artworks sale goes ahead despite creators’ objections◼️Microsoft CEO Satya Nadella dismisses ‘AGI hype’, says focus on demandOUR QUOTES OF THE WEEK feature this gem:“Creativity isn’t about knowing how to use AI; it’s about knowing when not to. Sure, use AI to speed things up, refine execution and push ideas further. It’s here to stay. But the real test isn’t whether you can use AI; it’s whether you know when to stop. It’s about what you refuse to let a machine create for you.” — Pieter Claeys, FCB New York creative director, talking to The DrumAND: How did a collage made from generative AI outputs become the very first image to gain protection from the US Copyright Office? We have the full story.That’s all in this week’s Charting Gen AI. Subscribe so you don’t miss our mid-week updates!News Media Association Owen Meredith Sebastian Cuttill Ed Newton-Rex Dame Caroline Dinenage MP DBE Baroness Beeban Kidron UKAI Tim Flagg Kelsey Piper Cambridge University Press & Assessment Ella Colvin Janet Salmons, PhD Lauren Barbeau Reid Southen Joseph Cox Virginie Berger Paul Hood Ed Zitron Kent Keirsey Danielle Coffey News/Media Alliance

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Aabhinav M.

Wärme • 3K followers

In conversations around mental health, every approach including music therapy has strengths and limitations.Being clear about these boundaries is not a weakness. It’s responsible practice.Music therapy is highly effective for emotional regulation, engagement, expression, and nervous system support.But there are areas it does not replace or fully address.• Music therapy does not diagnose psychiatric or neurological conditions• It does not replace medication in cases of severe psychosis, bipolar disorder, or acute risk• It does not resolve trauma without additional therapeutic processing• It does not automatically create insight, behavioural change, or life restructuring• It is not equally effective for every individual or in every contextLike any modality, music therapy works within a defined scope.Its strength lies in facilitating regulation and embodied emotional experience often creating the conditions in which other therapeutic work becomes possible.Sustainable mental health outcomes rarely come from a single method.They emerge from thoughtful integration, clear boundaries, and collaborative care.Respecting what music therapy can and cannot do is how it remains ethical, effective, and truly client-centred.

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Jon Matthews

Funding Eye • 9K followers

The Vinehill Trust The Vinehill Trust is a UK charitable foundation that awards grants to charitable, educational, and ecclesiastical organisations focused on health, heritage, and music. They support projects that further the choral and organ tradition, restore built heritage (including training in traditional craft skills), and address underfunded health needs (for example, life-saving interventions, suicide prevention, or support for underserved communities). The Trust does not fund core running costs, endowments, capital campaigns for new construction, lobbying, or retrospective funding. They expect applicants to be well governed and to deliver project-based work. Exceptions exist: they do accept CICs or non‑profits, as long as the project is charitable and the organisation meets legal and governance criteria (especially for health projects).Deadlines Applications can be submitted at any time (there is no fixed deadline). Responses are usually given within about three months.Application process Applicants must submit a proposal for a specific initiative. Grant requests are assessed relative to the applicant’s turnover and the Trust’s available resources. Projects must start within 12 months of funding.Tips to applyAlign your project clearly with one of the three priority areasBe lean and focused; show strong governance, risk management, and delivery capacityProvide measurable outcomes and a robust budgetDo not rely on them for unrestricted funding or covering core costs vinehilltrust.uk #CIC #Funding #grants

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Brian Loevner

BLVE • 3K followers

This one is tough to write about. In my work with the Cultural Policy Hub at OCAD U one of the serious causes of uncertainty that was discussed over and over again was a feeling that people don't trust us anymore. Who is us? The arts, culture and heritage ecology. From within and from the outside there is the view that the arts ecology has lost the battle of building the kind of imagined art world that allows investment at powerful levels and encourages lifelong engagement. They asked: Have we lost the ability to explain the value of our expertise? The value of our critical thinking, collaboration and creativity? Have we forgotten to mention that the content on Netflix is art? That Mirvish and Broadway are art? In this moment we need to pull together our resources and break down barriers. For example, most of our patrons have little sense of what is "commercial" versus what is "non profit". We have built these lines. Is it time for us to break some norms and do something different? There are lots of ideas out there: impact investing, tax credits, B Corps, commercial arts partnerships and many more. I keep saying this, but now is the time to reach out and ask questions. It's ok if you are unsure of what might be best for you or your organization. Just take a step, ask for advice, engage an expert, take a risk or build a pilot. Move forward on an idea and document the journey. We can all benefit from each others risks, if we can share our knowledge. #trust #reimaginingecology #culturalpolicyCultural Policy Hub at OCAD U | Kelly Wilhelm | Samuel La France | Danielle Pierre | Hamidreza Sheshjavani, PhD | Clara Godbillon-Vasseur | Miriam Kramer | Patti Pon | BLVE

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Ian McLintock

Charity Excellence Framework • 34K followers

Comic Relief Community Fund (England). Up to £5,000 for grassroots, community-led organisations in England that support people living in, or at risk of, poverty or hardship. Funding is available for organisations with an annual income less than £250,000 and can be used for direct project costs or to support core running expenses, or a combination of both. Deadline 12 Noon, 6 Oct. https://lnkd.in/erTyBnvh

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Sylvain Levy

dsl collection • 46K followers

Tate After Dark: When Museums Begin to ListenTate Modern’s decision to extend its opening hours is more than a scheduling adjustment—it’s a quiet revolution in institutional thinking. After drawing over 76,000 visitors during its 25th anniversary weekend—70% of them under 35—the museum is adapting not only to numbers, but to a generational rhythm.At the center of this shift is Tate Collective, the museum’s youth program for 16–25-year-olds. Launched just seven years ago with 2,000 members, it now exceeds 180,000—the largest youth arts membership scheme in the world. For £5, members access exhibitions, receive shop and café discounts, and more importantly, feel seen. Tate is not simply offering affordability; it’s offering belonging.The logic behind late-night openings follows naturally. For many in this demographic—students, shift workers, creatives—the 10am–6pm model excludes. By staying open later, the museum acknowledges a cultural truth: relevance today is not about prestige, but presence. You have to meet your audience where they are—physically, socially, temporally.But this is not just about convenience. It’s about a change of tone. A museum at night doesn’t carry the same weight of tradition. It invites other forms of attention—more casual, more communal, less performative. It becomes not a sanctuary for reverence, but a stage for resonance. This subtle recalibration allows museums to transition from authority to host, from gatekeeper to gathering space.The data supports the shift. Tate Collective’s growth proves that young audiences are not disengaged—they’re underserved. When given the right tools—access, relevance, rhythm—they don’t just visit. They return, they post, they participate. Cultural institutions often chase influence through spectacle. But what this generation values is sincerity, flexibility, and agency. Influence, in this context, is not declared—it’s earned.Tate’s strategy is a masterclass in long-term cultural positioning. It doesn’t pander, but it listens. It understands that the future patron is not defined by wealth, but by affinity. That loyalty is cultivated through gestures, not campaigns. And that architecture matters less than atmosphere—especially when that atmosphere makes space for spontaneity, nightfall, and the unexpected.Will others follow? Possibly. Should they? Only if they understand what’s really at stake: not just foot traffic, but the cultural contract. If museums want to matter tomorrow, they must resonate today—not through programs alone, but through presence.Late openings may appear tactical. But beneath them lies something profound: the idea that a museum is not a fortress of meaning to be visited by daylight, but a living organism that breathes with its public, even after dark.https://shorturl.at/lZe1J

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Rachel Shapey

Music Teacher magazine • 2K followers

Are your students exploring foley and sound effects in film/TV?The BBC has announced that its groundbreaking Radiophonic Workshop archive has been made available to musical artists and producers for the first time.This includes samples of sounds & music made for a huge range of shows from Doctor Who to The Hitchhiker’s Guide to the Galaxy - all created using the Workshop's unconventional methods – including hitting lampshades and manipulating tape loops with milk bottles.Find out more ⬇️https://lnkd.in/euFRPKm6Samuel WrightRebecca Wade-Chung

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Liz Drury

Learning Technologies… • 7K followers

What’s the difference between a voice over artist and a voice actor?Well arguably not a lot!The terms are often used interchangeably and I would say I often see the terms voice actor and voice acting used more on the other side of the Atlantic, with people referring to themselves as VA’s (which I always associate with virtual assistants).I always describe myself as a voiceover artist (or a voice over artist depending on your preference), and the reason for that is that I mostly work in the corporate and e-learning sectors and I think this is probably the term my prospective clients might be searching for.If I worked in the animation, audio drama or gaming industries I would probably describe myself as a voice actor. These genres of voiceover are more likely to need character voices and more ‘acting’.However, all voice over requires acting to some degree. When I’m narrating an e-learning course I might be playing the role of a teacher, a mentor, a health professional etc. When I’m voicing a corporate video script I could be the CEO of a company, the HR manager, or a colleague.Whatever the script is there is always an element of acting. Every script is different and needs approaching in a different way. The first thing to establish is who you are as the narrator (what role you are playing), and then you need to know who your audience is. For one script I might be the voice of the marketing department talking excitedly about a new product or service the company is launching, and for another I might be the Health and Safety manager briefing new colleagues on how to stay safe on site. Both of these would fall under the ‘corporate narration’ umbrella but they would be approached in very different ways.A question I am often asked is whether I do accents. The answer is hardly ever. Generally if a client wants a particular accent, especially for a corporate or commercial voiceover, they will want that accent to be genuine – not my version of it! If I worked more in the animation/gaming world then I probably would do more accents as directors often ask their voice actors to play multiple characters, and of course they all need to sound different.So, there is no hard and fast rule as to whether you call yourself a voice actor (VA) or a voice over artist (VO), but to me the distinction lies in which fields of voiceover you work in (or want to work in). #VoiceOver #voiceoverartist #voiceactor..............................About me:🎙️I'm a British voice over artist (or voice actor if you like), based in the UK🎙️I work from my broadcast quality home recording booth for clients around the world🎙️I've lived in the USA but didn't pick up the accent like my kids did!🎙️My natural accent is neutral/East Midlands UK

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