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Welcome to the International Association of Cultural & Creative Industries (IACCI)

IACCI is a strategic cooperative association for international cultural communication and industry cooperation, with the mission of fully exploring the cooperation possibilities among the association members, promoting the integration of resources in and out of the association, constructing international cooperative platform and accelerating the development of international cultural industries.

Welcome to 14th CCI Symposium
            
 
Research Fellow at the Centre for Urban Research, has been appointed to UNESCO’s Creative Cities Network expert evaluation panel. The network aims to foster cooperation amongst cities around the globe that have identified culture and the creative industries as a basis for sustainable urban development. The role of expert evaluators is to assess new bids by cities seeking to join the network. For more information visit www.unesco.org/new/en/culture/themes/creativity/creative-cities-network/external-evaluators/.

 

CCI in the media

Stuart Cunningham was interviewed by the Australian Financial Review for its story 'Design skills the key to a "real job"', which discusses the increasing need for and popularity of degrees which combine design and creative disciplines with traditional offerings such as science, technology and business to produce graduates who are inventive and entrepreneurial.

CCI researcher Nic Suzor, writing for The Conversation, discusses how the US decision of 'fair-use' in the Google Books case shows why US copyright law is much more supportive of innovation than Australia's. Read the article 'Google Books wins 'fair use' but Australian copyright lags'.

Jason Potts, writing for The Conversation, argues that the political model of funding allocation is very bad at creating – or even recognising – new knowledge, and that, in fact, political allocation mechanisms cause incentives that reward lobbying and punish experimental or innovative thinking. It is only by weakening those incentives, he argues, that arts and cultural funding can seek to be more than a rearguard


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