Does the framing of AI as a threat place limits on our thinking about a technology that may prove meaningful and constructive in creative practice?

Guy Noble has had enough of the abusive men who populate opera and would love to see a few rewrites.

Steaming platform Bandcamp's new guidelines reject all forms of AI-generated music in an effort to put "human creativity first".

Amid fierce competition, a relative rarity has carried off the top prize.

As the world becomes ever noisier, Guy Noble admits he’d like a bit of peace and quiet in the kitchen and department stores – particularly at Christmas.

After a recent European tour, Guy Noble ponders the delicate balance of accepting applause and the awkwardness of excessive curtain calls.

One remarkable day at the Sydney Opera House reminds us that we shouldn't underestimate the public's thirst for classical music, writes Alexander Briger.

We're celebrating our 250th issue this month. Rather than look back, we've asked leaders in the field to imagine what Australian theatremakers might be presenting when we publish Limelight #500.

The reinstatement of Khaled Sabsabi's invitation to represent Australia at the Venice Biennale is more than a symbolic reversal. It is Creative Australia's chance to restore trust, argues Samuel Cairnduff.

If Australia is to maintain a thriving arts industry, it needs to rethink its cultural leadership and governance, argues Samuel Cairnduff.

Pondering the inconsistency of memory, Guy Noble argues that rather than hold a grudge, it’s better to forgive and forget.

Sydney composer-pianist Andrei Hadap earns a $5,000 cash prize and will have his winning work debuted by the Willoughby Symphony Orchestra.