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Seòmar agus comataidhean

Official Report: search what was said in Parliament

The Official Report is a written record of public meetings of the Parliament and committees.  

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Dates of parliamentary sessions
  1. Session 1: 12 May 1999 to 31 March 2003
  2. Session 2: 7 May 2003 to 2 April 2007
  3. Session 3: 9 May 2007 to 22 March 2011
  4. Session 4: 11 May 2011 to 23 March 2016
  5. Session 5: 12 May 2016 to 5 May 2021
  6. Current session: 12 May 2021 to 21 August 2025
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Displaying 2406 contributions

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Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

As I understand it, you seem to be saying that the issue is not polarised, and happy mediums already exist.

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

Does Britain’s high adoption level of those types of new technologies help its influence? We have high levels of adoption, do we not?

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

Do we have any comparative advantages in that area? Should we have a broader strategy?

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

The maniac hoover!

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

You mentioned that a music export office and an investment fund should be set up. I want to go back to those ideas, but before I do, I note that you talked about costs spiralling and the fact that the situation had got worse in the past 18 months. Is that tied to what has happened with inflation generally, or are there particular costs that have gone up that have hit touring artists but which might not be felt by others?

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

Okay, that is very interesting.

You said that the UK had a role to play in the emergence of some kind of regulatory framework around the application of AI, or perhaps—to follow Patrick Harvie’s line of reasoning—in how people interact with it and utilise it. What role does the UK play in that? We are between the United States, which has one dominant philosophy in almost every area of human activity, and the EU, which is at the other end of the scale. Where does the UK fit in and what is the role that you described?

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

It is called DeepSeek.

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

It is 70 million people versus 500 million people.

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

My last question is about Scotland’s opportunity, because our Parliament is, rightly, laser focused on Scotland. In your paper, you talk about that, but I am interested to hear you talk a bit more about your view of the strategy for AI compared to that for broader tech—robotics, automation, the machine learning stuff—and whether Scotland has a unique opportunity. I think that you are suggesting that AI should be bundled into a much more ambitious, broader strategy. Is that right?

Constitution, Europe, External Affairs and Culture Committee

Review of the EU-UK Trade and Co-operation Agreement

Meeting date: 13 March 2025

Stephen Kerr

It sounds as though it is a bit of a nightmare for touring artists to go just about anywhere at the moment. That is my conclusion from what you have all said, which has been pretty comprehensive.

I turn back to Lisa Whytock, who started off by giving a really full picture of the evidence. Do artists qualify for any form of export support other than the fund that you mentioned that the UK Government offered, which you said that you thought was biased towards London-based artists? Are there any other forms of export support?