"Protecting Cultural Heritage: International Law after the War in Iraq", which took place on February 3, 2006 in Chicago, examined international legal provisions for protecting cultural property during armed conflict and occupation, and offered suggestions on how to strengthen them. Panelists considered the legal status of the 1954 Hague Convention, its applicability to the events in Iraq, and proposals for a new protocol to the Hague Convention that addressed the problems that arose in Iraq. The need for a new protocol is urgent given the possibility of war in other regions rich in cultural heritage resources.

The Culture 2007 is a funding programme which is intended as "a coherent, global and complete tool for multicultural cooperation in Europe and should contribute actively to the development of a European identity from the grassroots". The general objective of the programme shall be "to enhance the cultural area shared by Europeans and based on a common cultural heritage through the development of cultural cooperation between the creators, cultural players and cultural institutions, of the countries taking part in the Programme with a view to encouraging the emergence of European citizenship".

This programme has 1-2 year collaboration projects and 3-5 year multi-annual collaborative projects. The deadline of application is on February 28, 2007.

This extended paper focuses on contemporary debates around the social impacts of the arts and the problem of their measurement and evaluation. It attempts to put forward a new framework for the understanding of the so-called transformative powers of the arts, by suggesting that a historical-critical approach is needed to tackle this research topic. The paper therefore presents a detailed critical analysis of the numerous claims that have been made in the West over time, from Classical Greece (V century BC) to the present day, for the ways in which the arts can affect individuals and transform society. It offers a taxonomy of these suggested impacts, both positive and negative, with a view to establishing an appropriate conceptual basis for the discussion and investigation of what the social impact of the arts might mean.

Under pressure from rampant file-sharing and dwindling sales, major record labels are closer than ever to releasing music online with no copying restrictions, a step they once vowed never to take.

This article explores the growing significance of legal questions to innovation and creative practice in what are now being termed the creative industries. Noting that the case for strong copyright protection as the cornerstone of innovation is highly contested, it explores the significance of Creative Commons licences as an alternative to Digital Rights Management and copyright law. It also introduces the case studies of music, online computer games, and remix culture that are covered in this special issue of the Media & Arts Law Review.

The article explores the challenges of community involvement and of equal representation agendas in museums in a multicultural society. The aim is to contribute to an increased understanding of power struggles and controversies associated with community dialogue and shared authority approaches in museums. These topics are analyzed in relation to the colonial legacy of Western museums and to discourses of multiculturalism, representation and inclusion.

Dr. Harry Hillman Chartrand examined five significances of the Canadian Copyright Act from the historical, cultural, economic, legal and political sectors in this paper. However, what are his viewpoints and individual statutes?

The film industry in Sweden is in constant change. This thesis focuses on the different authors in film projects and their rights. We have examined how the rights affect the development of the industry. Interviews have been made with five production companies and other people involved in the film industry in an effort to map out how the Swedish industry looks today and what challenges it is facing. Who the author is has a great influence on the financial and legal structure within the business.

Turn on the television and switch to a music channel. All you will see are big superstars with new hits. Tune in to the radio and all you will hear are the same songs over and over again. The music you hear is all very much the same. What happened to creativity? It looks like new, innovative and creative music is not given a chance to flourish. There are however hundreds of thousands of musicians in this world who are bound to create beautiful new music. The majority of them might never be discovered. Whether it is because of the corporate control of the music industry, lack of money or other factors; these musicians should be given a chance to expose their music
effectively.

The main aim of the Cultural Policy Research Award (CPRA) is to stimulate academic research in the field of cultural policy. The overall area covered by the award is applied comparative cultural policy research. Emphasis is placed on research which analyses various aspects of cultural diversity in Europe and which seeks to inform policymaking and benefit practitioners active in the field.

What can Cultuur 2.0 mean? Is it dangerous, a precious gift, or maybe even both? How can art & cultural institutions, artists and Web 2.0 companies conspire to make the most of the opportunities Web 2.0 brings?

The international conference will take place on May 30 - 31, 2007 in Amsterdam, Holland.

This paper deals with the Danish cultural heritage understood as the tangible heritage, mainly buildings. The paper briefly describes the political economy of conserving the cultural heritage and the means of preserving it. The main focus of the paper is, however, on the present Danish conservation policy. The paper presents estimates of the costs of preserving the cultural heritage on a national scale. It is concluded that while the level of conservation probably conforms to the wishes of the Danish people marginal decisions are probably misguided. In particular, a detailed examination of the practices of the Danish Conservation Board is presented. The Board is not guided by the recommended cost-benefit perspective but rather in practice devoted to preserving architectonical values.

In November 2006, ICOM held the annual meeting and conference in Taipei, Taiwan. The main theme was New Roles and Mission in Museums, which focused on fivefold:
1. A New Social Relevance Human vs. Economic Values
2. Local, Regional and National Identity
3. Different Types / Roles for Museums from the Perspectives of Management
4. International Activity
5. New Challenges: What Role for Central / Local Governments?

This issue is all about Entrepreneurship and Business Start-Up.

Museums and the Web addresses the social, cultural, design, technological, economic, and organizational issues of culture, science and heritage on-line. Taking an international perspective, senior speakers with extensive experience in Web development review and analyze the issues and impacts of networked cultural and natural heritage. Together, we are transforming communities and organizations. The annual conference will take place from April 11 to 14, 2007.

Contacting the World (CTW) is a bi-annual theatre project on a global scale. It aims to build communication and develop understanding between young people from a diverse range of cultures and backgrounds. It is also strives to push understanding of what theatre is and can be, internationally. Since 2002, theatre companies have participated from India, Sri Lanka, Nigeria, Pakistan, Bangladesh, Syria, Jordan, Trinidad, and Malaysia and in the UK, London, Manchester, Newcastle, Oldham, Cardiff, Bolton, Cumbernauld, Bradford / Leeds.

This paper investigates consumers perception of the three kinds of sponsor that play a role in backing financially Canadian artistic and cultural organisations: government departments, crown corporations and private companies.

This report presents 10 strategies for Newfoundland and Labrador Arts Council, which aims to protect cultural heritage, reduce cultural diversities, and improve arts development. It includes: to recognize and support professional artists, to foster creative communities and regions, to support aboriginal peoples and regions, to increase and enhance creative education, to provide creative workforce and career development, to preserve and strengthen tangible cultural heritage, to safeguard and sustain intangible cultural heritage, to increase and promote cultural industries and creative enterprises, to develop and encourage cultural tourism, and to establish creative cultural research and information.

Let us begin with a story about art. In this story, art produces aesthetic works of durability and stability things that stand up on their own. The act of artistic production doesnt come from nowhere; neither is it born in the heads of private individuals. It doesnt dwell in a social nothingness. Nor does it start with a blank canvas. Any moment of production involves the reassembling and rearranging of the diverse materials, practices and inuences that came before it and which surround it. Out of this common pool, art creates aesthetic works with emergent properties of their own. From the social world in which it lives, art creates affect and precept. It forms new ways of feeling, seeing and perceiving the world. It gives back to us the same object in different ways. In so doing, art invents new possibilities and makes available new forms of subjectivity and life. Art is creative
and productive.

This paper was published in July 2006 by Institute for Public Policy Research. It presented what copyright industries it is the author Anthony Lilley in mind. He also highlighted three tasks for policy makers: to look at how copyright works as part of overall system of value transfer and to reduce inefficiencies and friction, to concern the context in which copyright work is placed, and to influence the content in the market place and the mode of copyright.