We have had a tremendous response to the conference launch two weeks ago, with hundreds of people from around the world joining the network, writing in with suggestions and a few already sending in proposals for presentations. We have not been able to reply personally to all the email we have received - thank you for your feedback, your comments and suggestions, and please keep them coming.

We have clearly struck a chord with this conference. Here is aa 'wish-list' of issues that people would like to see covered.

* Financing media centres. How do you convince sceptical banks and property professionals inexperienced in managed workspace development that they work?

* Networking. What actually makes a good network, where some of the talk leads to action? Who should pay for networks? Are they private interest groups that should be supported by their members (like trade associations) or, in micro-enterprise-dominated creative industries, are they part of the public business infrastructure that should be supported bygovernment?

* Culturally diverse quarters.

* Creative exports from (and activity in) small and isolated communities.

* What is media entreprenership - is it fundamentally different from entrepreneurship in any other sector? Do real entrepreneurs need business support?

* Managed studios for visual artists. What facilities are required? Where should they be located - in town where the buzz is, but where rents are likely to rise, or in out of the way places that can stay dirty and cheap?

* Mentoring, coaching or training. 'Creative industries need aptitudes and dispositions, not vocational training', says a CI networker. Is this true?What is the HE/FE establishment doing for creative industries?

* 'I want a nature Vs nurture debate about creativity in cities.' Are some places just 'right' for culture and others not? And if all places are not equal should development resources flow to the places best suited to succeed, or to those least likely?

* Investing in creativity - where should the money go? Flagship projects? Local creativity? Or, as the Observer reported a few weeks ago, into gay bars and bohemian markets?

* How do you identify the real high-flyers, the future Demons and Victoria Reals? Can this really be done? 'I'd like to see some hard examples of where incubation has actually worked for a media business'.

* Finance for independent film production.

* Creative partnerships with post-Soviet states.

* The economic impact of festivals and events programmes.

* How to include marginalised groups in the creative industries boom. Can there be benefits in economic as well as social development terms? (Does it make any sense to treat these two as separate?)

* Wired and virtual networks - do clusters need to be in one geographic location. Are we making the best of today's networking technologies?

If you have a story to tell about any of this, then please think about sending it to us as a case study. Any issues such as these that we get feedback about will have priority in the programming process.

If the matters that concern you are not mentioned here, then please let me know, either by replying to this email or through the feedback form on the website.

Finally, please spread the work about Creative Clusters, by copying this email on to colleagues and to any networks or apppropriate lists you belong to.

Many thanks.