Long Hor Izons: An Explorat Ion of

LONG HOR
IZONS: AN
EXPLORAT
ION OF AR
T+ CLIMAT
E CHANGE
A collection of personal reflections about art, artists and climate change.
Commissioned by the British Council and curated by Julie’s Bicycle
featuring contributions from Antony Gormley, Jay Griffiths,
Professor Tim Jackson, Professor Diana Liverman and KT Tunstall.
a snapshot of artists and organisations currently addressing environmental impacts in their work
Aardvark Records Aaron Wolf AC/DC Academy Music Group Adriane Colburn Aerosmith
Aggelos Kovotsos Agnes Denes Aimee Mann Alan Boldon Alanis Morrisette Alessandro Marianantoni
Alex Hartley Alex Uncapher Alice Cooper Alice Oswald Allen Fisher Allman Brothers Band Almeida
Projects Alphonso Arambula Robles Ambassador Theatre Group American Association of Independent Music
Aminatu Goumar Amir Berbic Amy Balkin Amy Sharrocks Ana Cecilia Gonzales Vigil Andrea Polli & Chuck
Varga Andrej Zdravic Andrew Bird Andrew Dodds Andrew Merritt Andy Goldsworthy Andy Goodman
Angela Palmer Ant Farm Anthony Santoro Anthony Utkin Antony Gormley Antti Laitinen Archie Randolph
Ammons Architecture for Humanity Arcola Theatre Arnolfini Art Organic Art Smith Artists Project
Earth (APE) Arts Admin Arts Northwest ASCAP - American Society of Composers, Authors & Publisher
Ashden Trust Atlanta Jazz Festival Aurora Robson Avril Lavigne Ayreen Anastas B.H. Yael Bad Religion
Band Shell Music Summit Banker White Barbican Theatre Barenaked Ladies Basement Jaxx Bash
Beastie Boys Beattrice Bolleta Beck Beggars Ben Folds Ben Kweller Benicassim Bestival Beth Derbyshire
Big Chill Big Session Festival Big Tent Bill Woodrow Bloc Party Blue Man Group Bluesfest BoDeans
Bon Jovi Bonnaroo Bonnie Raitt Boris Bally Bournemouth Symphony Orchestra BPI Brad Pitt
Brandi Carlile Brenndan McGuire Brett Dennen Brian Chippendale Brian Jungen Bright Ugochukwu
Brit Awards British Council Britten Sinfonia Broadway Green Alliance Bruce Hornsby Bush Bush Theatre
Cake Cambridge Folk Festival Cameron Diaz Camp Bestival Candlebox Cape Farewell Carbon Planet Carrie
Marrill Cascade Engineering Cate Blanchett Catherine Prose Catherine Slessor City of Birmingham Symphony
Orchestra Central School of Speech and Drama Chloe Hanks Chris Drury Chris Jordan Chris Levine
Chris Wainwright Christina Aguilera Christine Dhein Christine Lee Circus Kinetica Clare Patey
Clare Twomey Cloud Cult Club4Climate Coldcut Coldplay Colin Firth Copenhagen Playhouse
Cornelia Parker Counting Crows Crockett Bodelson Croissant Neuf Crowded House Dallas Murphy
Dan Gretton Dan Harvey Dan Peterman Daniel B Gold & Judith Helfand Daniel Weddle Danny Seo
Daro Montag Darren Almond Das Fest Dave Matthews Band David Bowie David Buckland David Cotterrall
David Cross David Gilmour David Haley David Hinton David Lan David Nash David W Orr Dennis Lee
Dirk Fleishmann Doll Don McKay Download EAG - Green Books Eco Indie Tour Ecoartspace
Ecorazzi.com Ed Gillespie Eduardo Kac Edward Burtynsky (Canada) Edward Norton Elisabeth Buecher
Elizabeth-Jane Burnett Environmental Media Association (EMA) Emergency Exit Arts EMI Music
Emily Hinshelwood Emma Wieslander Eolica ExtInked EXYZT Faber FACT Fall out Boy Feist
Fiona Apple Firegathering Foreigner Fran Crowe Francesca Galeazzi Franny Armstrong Frieze
Furtherfield.Org Future Sonic 2009: Urban Festival of Art, Music & Ideas, Manchester Environment 2.0
Exhibition Garett Brennan Gary Gulman Gary Hume Gary Snyder Gautier Deblonde Gesche Wuerfel
Glastonbury Festival Global America Today Global Exchange Global Inheritance Glyndebourne Gomez
Goo Goo Dolls Grace Grateful Dead Green Day Green Drinks Green Hands USA Green Music Alliance
Green Notes Green Owl Green Thumb Theatre Green TV Greener Summer Sustainable Music Festivals
Gretel Ehrlich Grizedale Arts Groove Armada Guillermo Calzadilla Gurtenfestival Gustav Metzger Guster
Gwyneth Paltrow Hans Haacke Harriete Estel Hasse Wester Heath Bunting Heather & Ian Morison
Heather Ackroyd Helen Mayer Harrison Henrick Hakanson Hi'may Rivera Hindu Kush Hinterland Symposium
Hootie & The Blowfish Hot Buttered Rum String Band Hot Chip Howard Theatre Huang Zhijian
Hultfred Festival Hyde Park Calling Ian Connacher Ian L McHarg Ian McEwan IFEA - International
Festivals and Event Association Illosarirock Incubus Indigo Girls Inform (Organisation) Isle of Wight
Festival ITC (Independent Theatre Council) J William Thompson Jack Johnson Jackie Eco Jackson Browne
Jacques Nimki Jake Gyllenhaal James Corbett James Marriott James Taylor Jan Zwicky Jane Langley
Jarvis Cocker Jason Griffiths Jason Mraz Jay Griffiths Jennifer Allora Jeremy Deller Jess Brass
Jimmy Buffett Jimmy Fike Joanna Callaghan Joe Gerhardt John Butler Trio John Dewey John Jordan
John Kinsella John Legend John Linden John Mayer John Newling John Ruskin Johnny Hines
Jonathan Dove Jools Johnson Jose Gonzalez Joseph Beuys Josh Ritter Jude Kelly Julia Goodman
Julian H Scaff Julian Stair Justin Timberlake Kaiser Chiefs Karen Michel Kasia Ozga & Valentina Loi
Kate Rich Kate Thompson Kathleen Egan Kathy Barber Kayle Brandon Keith Tyson Kelley Stoltz
Kelly Clarkson Kevin Richardson Kew Kim Sorvig Klaus Weber Klaxons Koekoek Kris Martin Krisanne Baker
KT Tunstall Kylie Minogue Lara Almarcegui Latitude Laurie Anderson Lemn Sissay Leonardo DiCaprio
Les Recontres Transmusicales de Rennes Les Trans Musicales de Rennes Liam Frost Linda Ronstadt
Linda Weintraub Live Nation Liverpool Everyman Playhouse Liz Jensen London Symphony Orchestra
Lou McCurdy Louis Fox Lovebox Lowlands Luc Besson Luca Morino Lucy & Jorge Orta
Ludacris & Tommy Lee Luke Bullen Maggie O'Sullivan Maná Manchester Evening News Arena (cont. page 41 ) >>
LONG HOR
IZONS: AN
EXPLORAT
ION OF AR
T+ CLIMAT
E CHANGE
foreword
british council
The purpose of the British Council, the UK’s preoccupations: our humour, our fears, our sense
international organisation for cultural relations, is to of ourselves. Arts makes our society more
build engagement and trust for Britain through the comprehensible to those outside it and as such is a
exchange of knowledge and ideas between people powerful addition to any cultural relations work.
worldwide. Climate change is one of the defining It seems appropriate that the work of many British
issues of the age, with far-reaching impacts on all artists is already reflecting a growing concern
aspects of our lives as well as upon the natural about climate change and the need for solutions.
environment. It will affect everyone on the planet, The museum and music sectors particularly are
though differences in infrastructure and locality will already changing the way that they make and
profoundly influence vulnerability. Impacts will be present their work but artists from all disciplines
social and cultural as well as environmental and are beginning to frame the climate change crisis in
economic, and solutions need to be social and powerful and moving ways through their art.
cultural as well as technical and scientific. Art and artists can help move the climate change
We believe that cultural relations, which works by agenda from intellectual understanding to
bringing people together to find common purpose emotional engagement, and then on to action.
beyond the range of traditional government-to- We want to encourage artists to take their part in
government diplomacy, has an important demystifying and energising the debate.
contribution to make in the fight against climate The challenge of climate change is international
change. In challenging times, relationships of trust and inter-connected in nature, and any attempt to
between citizens and their governments may waver create change needs to happen regardless of
and the less formal networks of shared interest and national boundaries, and on a global scale.
understanding to which we can all contribute The British Council, with its extensive networks, is
become even more crucial. It is via these links with one of a small number of agencies able to develop
colleagues and peers across the world that dialogues and communities of interest around this
accurate information can be disseminated, subject worldwide. We will continue to work with
potential solutions debated and collective partners who can in turn disseminate information
commitments made. The British Council works with and ideas through their own networks, and by
partners in order to develop shared trust and doing so reach far greater numbers of people than
values and to remove the barriers that currently single actions ever could. Together we can
prevent finding a global solution to this crisis. strengthen understanding of the need for action, of
We want to promote a mutual understanding of the the role that artists can play in the fight against
need for joint action and for innovative responses. climate change, and of the need to support and
Working with art and artists in order to build encourage that role.
relationships of mutual understanding is one of the
British Council's core activities. In addition to the Sally Cowling
inspiration that they can offer, artists are frequently David Viner
at the forefront of cultural change. Their work and
the way they work may often articulate, in an
extraordinarily effective way, Britain's
britishcouncil.org/longhorizons 1
contents
introduction 3
julie’s bicycle
the far-seers of art 5

jay griffiths
sound and vision 9

kt tunstall
art in the time of global warming 13

antony gormley
keeping out the giraffes 17

professor tim jackson
seeking inspiration:
a scientist turns to the cultural sector 21
professor diana liverman
contributors 26
appendices
i) overview of UK cultural policy and climate change 29
ii) resources and tools 37
iii) glossary 39
2 britishcouncil.org/longhorizons
LONG HOR
IZONS: AN
EXPLORAT
ION OF AR
T+ CLIMAT
E CHANGE
introduction
julie’s bicycle
The pressing issues of climate change and material consumption for its health. When
sustainability, shaping our present and future, are politicians disappoint and science is not enough,
permeating every corner of our business, through artistic engagement with climate change can
legislation, markets, artistic voice and industrial invigorate the issue from a new angle. Above all
infrastructure. It has always been my primary art distils for us our common humanity; it
ambition to support the best in new music and we questions and puzzles and challenges. The arts
have spent many years understanding the can feel and express what Jay Griffiths describes
opportunities and challenges posed by the digital as ‘long horizons’, views of the world that take in
age while maintaining that commitment to the time-scales of climate change but offer deeper
excellence. Now another epoch has arrived, a much and wider perspectives than science alone can
more profound age which requires a total and rapid bring.
market transformation that puts sustainability and
The last five years has seen a proliferation of
environmental respect at its core. We must help our
creative responses to the environment; art and
creative businesses shift and adapt so that we can
artists who are inspired to think, create and act.
all continue to support the best and finest in the
But often the arts infrastructure does not put
arts.
climate change and sustainability at its heart. It is
Tony Wadsworth Chairman, Julie’s Bicycle inherently problematic if, say, an artist is releasing
an album inspired by climate change without
paying attention to generating as little carbon as
It is an extraordinary collective consciousness that
possible in the production.
many of us inhabit today. We live comfortably with
deeply uncomfortable information irritating the This collection of essays, commissioned by the
edge of our thoughts. This information, drawn from British Council and curated by Julie’s Bicycle,
the rich evidence of thousands of scientists, tells offers the perspectives of scientists and artists,
us that the earth’s climate is warming inexorably, their questions and a few answers. Each
ecosystems and species are in crisis, and we have contributor has engaged profoundly with climate
finite time and resources left to deal with it. In a change – they live by it. Each contributor has
rational account of this dilemma disaster would be interpreted the relationship between art and
averted, the narrative would conclude with sustainability personally, so that science and art,
humanity restored. Common sense and heroes both calling on creativity of the highest order, blur
would prevail. But common sense isn’t functioning as disciplines. For all these contributors the quest
as it should and our global crisis cannot be solved for sustainability in their life and their work has
with the effort of even several heroic individuals. become a source of inspiration, a vital defining
It needs much stronger intervention. force within their lives.
At the heart of our necessary metamorphosis is Jay Griffiths’ piece calls for high culture to ground
the removal of greenhouse gases from the planet’s itself in its roots, in cultivating care for the natural
stifled biosphere. This requires reconfiguring our world. She describes art’s potent ability to remind
resource consumption, deploying technology, and us of our place within nature and to give visceral
adjusting our lifestyles in order to achieve a power to the reality of climate change. Her writing
substantial reduction in carbon emissions. We is imbued with hope, joy and conviction in the
need to do this now if we want to preserve some ultimately redeeming power of art to express
choice and flexibility in shaping our destiny. intrinsic meanings about humanity and the
opportunity we have to determine our future.
The arts should have a pivotal role in this
Antony Gormley sees that climate change
metamorphosis. Art can shape and shift
challenges some of our dearest-held beliefs:
perceptions; it is a form of dialogue, it creates
technologically-driven progress and endless
languages between people unbounded by
growth. He questions art’s complicity in these
nationality, ethnicity, religion or class. Art has the
cultural assumptions and calls us to fundamentally
capacity to transcend any particular issue or
re-examine the role of art and the artist in relation
moment; it reflects and reviews the experience of
to climate change and the natural world. KT
being human. Art does not require voracious
Tunstall is joyously pragmatic and urges all those
introduction julie’s bicycle
involved in the business of art to sort out their artists as communicators. Climate scientists,
own environmental impacts. Professor Diana struggling to communicate the dangers of
Liverman, a climate scientist for many years, asks complacency, are calling on the arts community to
for more support from the cultural sector, both to help out. But too prescriptive an application of the
address its own operations and also – crucially – arts to climate change is fraught with tension.
to support the scientific community’s attempts to Artists will not want their work to be propaganda.
communicate. And Professor Tim Jackson muses
Climate change cannot be resolved through the
on the complex but transformative role that art
celebration of a single individual’s efforts or the
has in relation to sustainability and our future.
gallant actions of a few, but through the collective
He suggests that it is through the artistic process
efforts of many. This effort must extend beyond
itself that society will place sustainability at its
borders. The framework for climate negotiations
heart, drawing upon art’s ability to articulate a
takes national obligation and interest as its starting
vision of the future, a resolution of conflicts and a
point: can the arts’ sinuous movements across the
consolation for our failures.
globe help us understand the shared implications
We should not have to live with the apparent of our choices? This collection has five different
paradox whereby we want the arts to actively and valuable perspectives each of which is
campaign for action on climate change, whilst contributing to a bigger whole. And as such it
also understanding that art is not forced. This challenges the focus on the individual, the
paradox is effortlessly solved when we assign celebrity icon, as the holder of truth and influence.
responsibilities appropriately: actors must play in All these responses to climate change and
low energy theatres, musicians should record in sustainability are different and nuanced; they will
solar powered studios, film sets should be sourced speak to different people and perspectives.
from sustainable forest and audiences should
We should start now and build a knowledge base
know it. Then it’s up to the artists to do their work.
that will mandate cultural leaders to act. We must
Much of that work will have nothing to do with
understand what resources (knowledge and
climate change; some of it might inspire millions to
financial), mechanisms (guidance and standards)
think in a new way about the planet. The choice of
and future expectations of transparency and
subject is up to the artists but scientists and
accountability will be required. That means a
policymakers can at least make them aware of the
shared international ambition, with the vision and
choices.
processes that can embed sustainability deeply
Perhaps we should start by recognising that the into culture.
arts share an industrial base with other sectors in
The power of change lies in knowledge and
the global economy. We heat and cool, lighten and
collaborative action.
darken, open and close our buildings, manufacture
spectacle. We create, display and reproduce art It also lies within the experience of art itself.
and artefacts. We tour and travel and our We cannot ask artists to ‘do’ climate change but
audiences follow in huge numbers. All this requires we can engage with, help, encourage and respond
energy – significant amounts of it – and most of it to those artists who choose to make climate
is drawn from fossil fuels. Art has a real carbon change a key part of their work, and perhaps they
footprint. We need to find out what our will inspire the rest of us to action. All of the
environmental impact is and how we can manage contributors are writing as artists or as scientists –
it. Then we could examine our expectations of we need to listen to what they have to say.
Alison Tickell
the far-seers of art
jay griffiths
‘IT IS IN ART THAT
SOCIETY FINDS ITS LONG
HORIZONS, ITS SWEEP OF
AGES. ART DANCES A
WALTZ WITH TIME; THE
THREE STEPS OF PAST,
PRESENT AND FUTURE
WHICH CAN SWING
TOMORROW INTO THE
ARMS OF TODAY, SHOWING
SOCIETY WHERE IT IS
GOING, AND CAN TAKE A
TURN WITH YESTERDAY TO
SHOW SOCIETY WHERE IT
HAS COME FROM. WITH
CLIMATE CHANGE, THE
FAR-SEERS OF ART ARE A
REQUISITE.’
the far-seers of art jay griffiths
Picture this. The audience is watching a Rebalancing the relationship between human
performance of She Stoops to Conquer, dressed to communities and the natural world is a feature of
kill, in feathers and pearls, bowties and waistcoats. shamanism, and artists play that same role, a role
Floodwater, meanwhile, is lapping around the which needs and deserves public support through
paving stones outside. By Act Two the water has policy priorities, through funding and through
risen, up through the foyer and along the hallways recognition that this rebalancing role at the core
and corridors, and by Act Four it has reached the of deep art is now urgent in response to the
front rows. The audience stares rigidly at the unbalanced chaos of climate. ‘The spring, the
stage, ignoring the water, not stooping to notice summer, the childing autumn, angry winter, change
mere nature and necessity seeping into their their wonted liveries; and the mazed world, by
shoes. their increase, now knows not which is which,’
wrote Shakespeare, to describe human dissension
There is an absolute, irrefutable reality to climate
written into the very seasons. His work is rooted in
change, as real as wet shoes and rotting carpet.
a sense of balance between humanity and nature.
It is larger than politics, as wide as ocean currents,
and its effects are the realities of survival and life. It is in art that society finds its long horizons, its
Artists – writers, sculptors, musicians and poets – sweep of ages. Art dances a waltz with time; the
have responded to this, turning reality into three steps of past, present and future which can
artwork, because so many artists have a political swing tomorrow into the arms of today, showing
compass magnetised towards common humanity. society where it is going, and can take a turn with
yesterday to show society where it has come from.
Distilling an image to one drop of pure turquoise,
With climate change, the far-seers of art are a
and with this one drop colouring the waters of
requisite.
society, artists effect a sea-change. It is their role
to do this, to illustrate, to cast light on subjects, Society has a long relationship with artists, a
the light by which society sees more truly and tryst of ages, trusting artists to act as its collective
more richly. Artists are messengers across conscience; medieval Welsh bards were legislators
boundaries, for art transcends the confines of – judges as well as poets. But science can be
nationality – it is an emissary of kind universality. terrified of taking a moral position, as if that would
Climate change forces the need for a greater undermine its authority (although arguably this
intercultural communication than ever before, and abnegation is a corruption of its authority). There
artists – those with the keenest hearing and has been an enormous shift within academia
perfect pitch – can tell the stories of things recently as climate scientists, in desperation at the
unimagined, making immediate the experience of devastation they foresee, break their own rules in
people unknown. Art can do this, collapsing order to speak truth to those in power. It is an act
distance, creating the empathy of nearness, art so of courage for them to do so, but it is a role they
close that it leaves its eyelash on your cheek as it would rather not play; and they need the voices of
passes. poets to speak those truths as well. For writers
and artists have a duty of care to society,
The climate is a commons – a shared, equal and
musicians and poets are legislators of the soul-
invaluable source of life, both international and
world. Good translators are required, not to
intercultural – and all nations hold it in common.
translate from one actual language into another,
The effects of climate change will bring Lear’s
but to translate between worlds, from the world of
storms and hurricanes to the heath: ‘Blow, winds,
science to the world of imagination, rendering
and crack your cheeks!’ and these things need
scientific realities of statistics and graphs into
good messengers on the heath of common
warm and human parables, paintings and plays.
humanity.
Artists are shape-shifters and in this there is a
Art can speak in sudden language, with the
perennial, ferocious hope; the hope which
temerity of a howl in the restaurant: electric,
transforms, which whispers of possibility, of vision,
implacable and now. Artists transport significance
of change and radical healing. Existing art about
through metaphor, literally a ‘carrying across’.
climate change has this characteristic,
There is a shamanic aspect to this and artists are,
acknowledging the truth and severity of the issue
like shamans, movers between worlds, between
but also affirming within it something of grace,
the visible world and the invisible one, able to heal
seeing the starlight within the night.
individuals and society. Art can work above-
ground, in the heightened, precise super-realism When the rhetoric of climate change concentrates
of social portraiture, but also below-ground, on the catastrophic, the result is a freezing-over of
working different and deeper spells of restitution the psyche, a paralysis of the will. All ice-axe and
on the invisible realm of symbolism. question marks, art tilts and urges on, on, finds a
new tense, the future-possible, for its verbs. disobedient streak which my art demands: I can’t
Art can be playful, splitting the moment, jumping even tell myself what to do. For artists with a
the line, burgling predictability. Art can offer the sense of responsibility, a sense of politics, it can
juxtaposition from which springs movement, some be very hard to demand of themselves that they
russet meaning or winter resonance, some dawn create a work ‘about’ an ‘issue’. While the political
of unequivocal urgency. Climate change involves part of oneself is outlining the imperative, the
textures of complexity (political, environmental, creative aspect of oneself is untameable, off the
social, legal) which art can comprehend, for the leash, gainsaying. Yet work on climate change is
best of art draws maps of difficult landscapes. perhaps produced so readily because we, as
human beings, are coming to dwell with the
Art’s job is not propaganda. Propaganda aims for
knowledge of it, coming to know it in our bones.
the cliché and, in attempting to speak to everyone,
Compared to any other issue, climate change has
speaks in fact to no one. Art takes an idiosyncratic
a seismic and ineluctable enormity, and we inhabit
line; the more surely envoiced the artist becomes,
this knowledge because we must. One thing it will
the stronger the response to their work. You can
cause is a change of climate within.
see agit-prop coming a mile away, barging along
the street towards you, giving you time to turn the This isn’t a verbal sleight of hand, it isn’t a gently
other way or shake it warmly by the hand. Art can punning metaphor, it is a description written right
steal up more quietly, coming alongside, maybe at the edge of the future fact. We need a change
with a scent of jasmine or rum, speaking intrigue. in the climate of art. The situation which we face
as humans demands to be matched at every level;
The issue of climate change needs persuasion
philosophical, political, pragmatic and personal.
rather than propaganda and art understands the
The role of art institutions is now truly cultural; to
psychology of persuasion. It is hard to allow
create the culture which nurtures nature, not only
oneself to be drawn by overt dogma, which is
human nature but all forms of nature. This is
delivered in the daylight areas of the mind.
neither a hobby nor a luxury. It is not a Status-
Art works in the shuttered twilights where
Impact Event. It is an exigency which affects
darkness bestows a tenderness and protection, a
everything, from the blunt demand for emissions-
secret place where the psyche feels safe enough
reductions within institutions to the tenor of our
to alter. It is always easier to change one’s mind in
language and the cast of our thought.
the dark.
But there is a narrow strand of aesthetics which
Artists know their place is the edge, fertile,
suggests that art should not stoop to this actual
enigmatic, tricksterish. And the edge is not the
world of nature and environmental event, as if
same as a limit. A limit is the place of absolute
leaning towards this earthy world would
finiteness or of wise cessation; the limits of natural
undermine art’s tantalising artifice or soil the
law or, in terms of climate change, the necessary
spangly fascinator. This sour cast of thought
and just limiting of emissions. An edge, by
suggests that art should be ‘above’ moral issues,
contrast, is a place of maximum tension, a place of
as if art should never dirty itself with matter, as if
paradox, creative by its own geometry; a place of
the artist should stand at one remove, should
apparent contradictions which art explores and
never treat as equals the cabinet members of the
transcends.
Maldives in suits and oxygen tanks, six metres
The distinction between the Edge and the Limit underwater, holding their cabinet meeting
can be related to the distinction between Freedom amongst the fish in the turquoise seas, to
and Licence. Claiming they are acting in the name demonstrate their nation’s vulnerability to climate
of ‘freedom’, modern states, allowing uncurbed change.
carbon emissions, actually promote licence, the
According to that way of thinking, ‘culture’ is the
licence for individuals to use more than their
opposite of ‘nature’, the rise of artifice has firmly
carbon quota, the licence of industries to provoke
defeated the pastoral, and art is in a position of
climate change, the licence of wealthy nations to
enmity towards the real, natural world. But for
take more than their fair share, the licence of
most of human history culture has been rooted in
corporations to bully governments and lie to the
nature, as language tells. In its classical sense,
media. More licence is not needed. But more
culture was effectively the honouring of the
freedom is. The freedom which art knows, the
cultivation of nature, from ‘cultus’ meaning
freedom which results in a transcendence of vision
cultivation, tending, care and respectful treatment.
and a change of heart.
We humans are part of nature. We are animal
It is, of course, notoriously hard to tell artists what
before we are human and our embodiment in the
to do. I know, as a writer, the fiendishly
world is our primal truth. The sour strand in
aesthetics dislikes this fact and hides it, making it a So, yes, we need a change in this kind of climate,
great Unsaid in the halls of art, insisting instead on which involves culture going not ‘back’ to its roots
art’s superiority to nature, scorning the but ‘down’ to its roots, profound in the deep earth,
ineluctability of climate change by the self-deceit in the root of the word cultus: nurturing care and
of exclusivity. Humanity deserves better. Climate respect, and offering truths to humanity.
change demands more, requires looking beyond
In its evidence and reliable data, science offers its
the narrow confines of space and time.
truths, but from art we need truths of a different
The culture of high culture has to shift, has to order: Protean, yes, unpredictable, yes,
stoop to the floodwater and dare to touch the disobedient, yes, but truths nonetheless;
earth itself. The unexamined prejudice against metaphoric, spiral truths, because we are not
nature within aesthetics will come to seem as wholly rational creatures. It is not knowledge that
vacuous and cruel as racism or sexism for, despite we lack but parables to embody it and ethics to
the pretence that culture is antagonistic to nature, sustain the implementation of that knowledge. It is
it never really has been. If you watch carefully, through stooping that art conquers, Lear on the
you’ll catch them glancing at each other, a look of heath, finding his common humanity on the
shy recognition of a relationship never truly common ground. This is the profound task of art,
sundered. Take the Forest of Arden out of to find seeds of transcendence deep in the dark
Shakespeare, shake the linnet from the leaf, snatch and minding earth.
the moon from Neruda, silence the Rite of Spring,
take, in other words, all nature out of culture, and
what do you have left? A few shoddy catalogues
and a tax return.
sound and vision
kt tunstall
‘IF THE MUSIC BUSINESS
CREATES A SUPPORTIVE
OPERATING FRAMEWORK
FOR THE ARTIST IT WILL
MAKE IT EASIER FOR US
TO TAKE ON THE ROLE
OF COMMUNICATING
WITH OUR AUDIENCES.
FROM THIS POSITION
OUR ART WILL HAVE
INTRINSIC INTEGRITY SO
THAT WE AS ARTISTS
CAN SPEAK OUT WITH
CONFIDENCE AND
STRENGTH.’
sound and vision kt tunstall
As a touring musician, I see that for the duration hate being preached at on any subject and it’s
of a show it is possible to create a brand new horrific if the preacher is a phoney. We must
community. It can be of any size, any nationality, approach our messaging from a place of honesty
and any creed; and providing I act as a positive and humility. I believe this boils down to making
force towards the audience, there can be simple, strong, practical choices that, if we decide
moments of genuine, meaningful collective to speak out, will vindicate our words.
euphoria. These thousands of strangers have
Artists as individuals, and in their work-related
shared something. People often remember such
communities, can implement meaningful change
moments for the rest of their lives. I know I do.
as well as respectfully invoking their connection
I feel deeply that these instances of collective with their audiences. An artist has a voice, but
positivity are breeding grounds for meaningful more importantly, has an influence in a complex
change. If you feel good, it is possible to imagine way – through their attitudes and the implicit
better things. values in their behaviour as evidenced in their
actions, how they live. The integrity of an artist is
Music for me is a necessity in life; I am imbued
communicated by combining words with deeds,
with an intrinsic feeling that I couldn’t and
style with content.
shouldn’t ever give it up, regardless of any
attached success. Part of the reason for believing I don’t see this as being a pressured decision to
this is that I recognise that in some very deep way, do all or nothing; I believe it is about doing
music can transcend language, can communicate something. Admittedly, none of this sounds much
beyond explicit meaning, and therefore has the like rock and roll, but I don’t believe that living a
power to capture imagination, bring people more climate-responsible life need be exclusive of
together, and draw attention to any issue. After the fun, the escapism or the bohemian lifestyles
seeing an artist I love, I feel cracked like an egg. I that music is celebrated for. There seems to be an
am opened. A significant part of my motivation to assumption that a life lived which is
be a musician comes from the knowledge that I environmentally responsible will be a life less
am able to provide that experience for others; it is fulfilled and, as an artist belonging to an industry
an incredibly fulfilling transaction. justly criticised for excess, I say that from the
inside. Without challenging this assumption we are
In light of all this, do I have a responsibility as an
consigning much of our world to uncertain and
artist to communicate my feelings on important
dangerous prospects.
issues? After all, here I am, on stage in a room full
of grinning people who feel connected to each And for the record, there are many artists doing
other - open. The importance of climate change something. It might not be everything and
overwhelms all other issues and encapsulates so sometimes we all get it wrong. Our whole-hearted
much – our environment, our sense of humanity enthusiasm for biofuels blinded us to the
across continents and cultures, our responsibility consequences for existing agriculture and
to social justice and global equity, our value deforestation. But this is not a good reason to sit
systems, our futures and our self-respect. We back on our haunches and wait for the perfect
would be mad not to talk about it. solution. It will never come. We need to get on and
make the difference now.
So yes, I feel I have a responsibility to get involved
and push for change. Music and climate change have this is common:
they are universal forces that disregard
But for the artist, acting as a messenger on
geographic and cultural boundaries. I spend a lot
climate change can be fraught with risks of a
of time in other countries, as do all successful
media and fan storm and we find ourselves almost
musicians – it’s part of the job. Many in the
invariably ducking charges of hypocrisy.
international artistic community care deeply about
Increasingly I see artists hesitate, aware of a
the future of our planet. If an artist commits to
virulent press that is keen to identify the smallest
climate responsible actions, and speaks out on
mistake. If we get it wrong we risk spectacular
climate change, people will hear and take notice.
public exposure. I must point out that if artists
The capacity of the individual artist to raise
have a responsibility, so too does the media. We all
awareness is significant; so imagine the force of a
need to move to a more supportive mindset and
united artistic community. We urgently need to
understand that every positive effort is significant,
come together on this issue, to be unafraid to
including ours as artists.
speak out. The potential knock-on effects of a
In this difficult terrain it becomes imperative that global community of artists bringing about change
we get our facts straight, keep up with new in the way things are done could be enormously
information and look hard at ourselves. I myself far-reaching.
sound and vision kt tunstall
It is easy to become disillusioned by the facts and information, advice, and experience will be shared
figures, to feel a sense of futility, but consider between as many artists as possible and hopefully
slavery as an example of cultural transformation. can become a go-to resource for any artist
There was huge opposition to abolition but not wishing to get involved with climate change.
enough to prevent the eventual transformation.
So it isn’t just about speaking out, though that is
Right now 23 million people across East Africa are
always really helpful. We can only succeed if we
facing critical shortages of food and water after
can rely on our artistic infrastructure to support
successive years of failed rains and worsening
us. It requires the entire artistic community – not
drought. Just as was the case in the abolition of
just the artists, but the managers, funders, policy-
slavery, our responsibility as human beings and as
makers, agents, studios and venues, the tours and
artists is to connect with this tragedy. This is
productions as well as the audiences – to heed
compelling; we know that the excesses of the
climate change and reduce the negative impacts
richer nations are responsible for the suffering of
of our own making. We need to come together as
the poor. Solutions to climate change must put
a creative community and understand that we are
climate justice at their heart.
responsible, today, now, as well as in the future, for
The music industry has been working for several untold suffering when we needlessly waste
years across the supply chain to develop climate precious resources. We are much bigger as a
responsible initiatives, such as energy community of shared interest; our sum is much
management in venues, lower carbon CD greater than our parts.
packaging, and best practice guides, all of which
If the music business creates a supportive
strengthen the artist’s capacity to speak out about
operating framework for the artist it will make it
climate change. Accurate science is hugely
easier for us to take on the role of communicating
important: for example, knowing that a card CD
with our audiences. From this position our art will
package as compared to the usual plastic case
have intrinsic integrity so that we as artists can
can produce a staggering 95% less carbon
speak out with confidence and strength.
emissions. What’s more, research has shown that
the majority of music buyers would prefer a card We can all live within the planet’s miraculous
case to an unattractive, easily breakable, plastic natural supply of resources if we are fair,
one. Many retailers are happy to support the intelligent, and treat all its inhabitants with care.
initiative, so why are there still millions of plastic We could catapult over all the apocalyptic
jewel cases entering the marketplace every year? warnings and make with our art a positive,
Is it simply because not enough of us are sustainable vision of the future. I’m so blessed to
challenging the status quo? be part of this creative community and I’m very
aware of my responsibility as an artist to the
I recently read an article about the knock-on
people who are enriched by my songs, as I am
effects of educating children into greener habits at
enriched by others. The creative force of the arts
school. Once a child is convinced they nag their
demolishes petty differences and national
parents into green submission, changing the whole
boundaries and brings us together in memorable
family’s habits. Just think: one school responsible
shared experiences. It is possible to imagine a
for an entire community changing attitudes and
global community that has sustainability and
behaviours. Artists could surely do this; nag until
fairness as core values and we, as artists, can help
you get what you want. I am going to nag my
turn those thoughts into lifetime habits. I’m excited
record label for card CD packaging and hey, if
about what’s to come.
that’s what people want to buy, no record label is
going to argue.
I am leading the establishment of ‘GreenmyBand’,

a partnership of artists looking at the measures
within our control. We are working to address our
own operations – how do we “green” tours, gigs,
merchandise, CDs, and put into practice carbon
reduction as recording and touring musicians. The
12
britishcouncil.org/longhorizons
‘Another Place’ Antony Gormley, 1997. Photograph by Helmut Kunde, Kiel. © the artist.
art in the time of
global warming
antony gormley
‘THERE IS A STRONG
CONNECTION BETWEEN
THE DESIRE FOR
SURVIVAL AND THE
ART OF A PEOPLE AND
A TIME.’
art in the time of global warming antony gormley
I have just driven through the Hatfield Tunnel. language, farming, printing, the industrial
Above it are factory outlet shops that sell revolution, the information revolution and now,
overproduced goods at reduced prices to bargain maybe, the most critical and difficult revolution of
hunters. The tunnel is long and I imagine that the all: a complete reversal of many of the values that
shops are plenty. These out-of-town malls are we have held dear. We can no longer assume that
satellites of emergent in-town superstores, like the more is better. We have to change our cultural
new Westfield at Shepherds Bush and the newer heroes from generals and captains of industry to
one that will be at Stratford East on the Olympic meditators and mediators, from Rambo and
site. Art is similarly involved in a system of Terminator to Ghandi and the Dalai Lama.
exchange and distribution that involves in-town
Our tool systems, no longer stone, having
and out-of-town franchises which might, as with
separated us from the rest of the planet and
the Guggenheim Museum in New York, first spread
biosphere, are now what will, without this
downtown, then to Bilbao, then to Berlin and finally
revolution, destroy both. The notion that human
to Abu Dhabi; or the Tate making outposts in
life was going to be improved by an empirical
Liverpool and St. Ives, then expanding itself into
march of tool-making that would make life
Bankside and now expanding again. Art has
stronger, longer and safer is challenged by the fall-
seemingly become enmeshed in the same
out effects of this very technology. Technology
processes of expansion and growth that have
that was in some senses made to make life better
characterised late capitalism everywhere with its
has now become the problem.
system of exchange, communication and
distribution. But of course art is not technology, it is useless
but vital; it is through art that we communicate
But of course this bland comparison does not
what it feels like to be alive. When you ask ‘what is
really wash. Shops are there to satisfy inflated
the point of art?’ you could reformulate the
desires. Art galleries contain forms and
question to ‘what is the point of human beings?’
experiences that inspire, question and extend
human experience. Art is the way that life tests At the British Museum is a carving of two reindeer
and expresses itself, without which we are already crafted from a mammoth tusk made twelve
dead. thousand years ago. The artist’s depiction of the
antlers pressed against the flanks of the female in
But what happens to your enthusiasm in belonging
front and stag at the rear, the winter markings of
and contributing to this system of distribution
the coat and the rendering of the eyes are the
when you are told that we have ninety six months
result of acute observation and enormous
before we reach the tipping point whereby the
empathy with the life of these animals. It was by
feedback systems of man-made global warming
following the seasonal migrations of reindeer that
take over – probably resulting in tens of millions of
modern Europeans survived between ice ages.
climate-change refugees displaced and homeless
When swimming across a glacial melt river the
by the end of this century?
deer were easily hunted. The making of this object
In facing the challenges of global climate crisis in was an expression of connection, identification
a culture which encourages us to do more, with the continuation of life, its interconnectivity
produce more, be seen more – my initial response both in sex and in death and by inference the
is paralysing fear; I want to shrink, to go into a human position within a chain of being.
hibernating state with minimum muscular effort
What is the basis of art? There is a strong
and put minimal demand on any kind of fuel.
connection between the desire for survival and the
This position is not helpful but perhaps is a good art of a people and a time. We have a task in hand.
place to start to rethink one’s place in the world. Culture in the developed western world has always
positioned itself in distinction to nature: now we
The carbon crisis calls for a re-examination of our
have to discover our nature within nature.
faith in the technological basis of Western
progress. A change in belief is a cultural change; A Constable cloud study at the V&A: a small sketch
art and artists are implicated. As Paul Ehrlich and in oil and pigment on board captures that most
others have pointed out human evolution has been fleeting of things, the effect of sunlight on water
driven by cultural rather than biological change; vapour in our atmosphere. Here are ever-changing
our brain size, synaptic activity, physical forms that evoke time, space and the act of being
characteristics have not changed much in the last itself, but also an invitation to empathise with the
million or so years. What has changed has been exchange systems in our atmosphere. Single dry
the material culture that we have made and which brush strokes capture high cirrus against the thin
has in turn made us, from stone tool-making, cold high air while rotating brush strokes evoke
the lower nimbus clouds that form hovering . . . thus live these – I had almost said happy –
masses of white just above our heads. This sketch people, content with little nay almost nothing. Far
is another object that locates us within the enough removed from the anxieties attending
scheme of things evoking our ability to engage in upon riches or even the possession of what we
elemental exchanges. Europeans call common necessaries. . . From
them appear how small are the real wants of
I feel powerless, locked into a system and
human nature, which we Europeans have
infrastructure that I cannot control, built on the
increased to an excess which would certainly
basis on infinite growth that is unsustainable both
appear incredible to these people could they be
in terms of demography and resources; people, air,
told it. Nor shall we cease to increase them as
water and food. How can I avoid making situations
long as luxuries have been invented and riches
worse? How do I justify my life or indeed this
found. . .
culture as a whole? This was the problem keenly
felt and left unsolved at the recent climate Rising sea levels are destroying the homelands of
negotiations in Copenhagen. How can there be a Kiribati, Tuvalu and the Solomon Islands (amongst
consensus on resource use when half of the others) as a result of too much CO2 in the
developing world wants to experience the same atmosphere put there by us and yet they are
level of modern living as us and wants to undergo furthest away from the benefits and excesses
the last three hundred years of Western through which our industrialised world has enjoyed
development in a sixth of the time? itself. Yeats said that it was suffering that
transforms intelligence into a soul but how many
An overcast sky, a dark river and a distant town.
tornadoes in Tottenham or floods in Cumbria will it
A naked woman sits on the ground and suckles a
take to create a soul brave enough to change?
baby under a stunted holm-oak, sheltered by
It is a cruel fact that the people of Tuvalu are the
bushes. Opposite her on a low brick plinth capped
ones who are suffering for our sins and they are
by stone rise two broken pillars. To the side and
too far away for their soul to have influence on our
front of this altar a fully clothed man stands
intelligence.
nonchalantly holding a staff in his right hand. He is
smartly dressed with slashed breaches and a fine Is it possible to re-think art and take it from this
linen shirt with white and red leggings. He looks finished-object status and make it into a verb, a
over to the naked woman, she looks at us. We are participatory, open space, a place of
involved in this scene that is as engaging and transformation and the exchange of ideas and
enigmatic as when it was painted nearly half a reflection on our state and status? Can we use art
millennium ago. It’s Georgione’s The Tempest and as a way of investigating this perilous time? Can
hangs at the Academia in Venice. Here we are held we change from our obsession with production
by an atmosphere partly meteorological, partly values? Instead of the perfection of an Asprey’s
psychological. Lightning is striking in the distance catalogue or the gloss of the desirable branded
behind the town where the sky is blackest. The object can we accept that art has to find its own
effect of the work envelops us in that moment in raw and direct way of existing? It was great to see
the storm before the rain where the world and an old bleached-out photograph in a recent article
everything in it is waiting to change: continuity, on Boltanski – art needs to have its own genuine
future, life, love, nature – everything hangs in the patina, communicating its journey into the world.
balance.
In the turbine hall at Tate Modern the light is
Has our confidence in human continuity strange, the air is thick, it is summer but cool.
undermined our ability to make art at all? Art, Adjusting to the orange, yellow, modern frequency
certainly Western art, has been an expression of light coming from a great disc in the ceiling,
and dependent on confidence: confidence in a people are moving slowly. Some lie on the ground.
culture’s lifestyle and in its continuity in the future. I had a distant impression that there were bats
Now art undermines and investigates systems of hanging from the ceiling, they moved, black
power and, rather than projecting stable traditional silhouettes scuttling. Looking carefully at the
values into the future, questions the viability of any golden light source I realised it was a half disc
kind of future at all. We have to re-evaluate the pressed against a mirrored ceiling and that the
function of art within the frame of a sustainable mirror stretched the entire length of the turbine
lifestyle best exemplified by those societies that hall. The disk was mirrored so that it became
have had little technological advance. circular and complete, we were mirrored, I was
mirrored in the ceiling, these were not bats, they
Ever since Joseph Banks visited Tahiti and wrote in
were us. Passing under the bridge I laid down
1770 of the Tahitians:
amongst others who were in the picture on the
ceiling: we could change it. I waved to myself, How do I justify the work and life of this studio with
someone waved back. I was in a picture that was its ten thousand square feet of heated space and
unfolding, I was inside an artificial world that was seventeen daily assistants? In the final analysis I
unfolding through and with us as participators. do not have to justify what we do; this workshop is
This was Olafur Eliasson’s Weather Project at the part of cultural evolution, part of an attempt to
Tate Modern in 2003. define my own belief systems and those of my
colleagues. I can only hope that this is a creative
I can think of many artists who can do this. Beuys
community, a place where people can share skills,
and Smithson, Long and De Maria showed the way
ideas and energy. I hope that it can be a fulcrum
of direct working with site, making a place to be in
of change and exchange in which the idea of an
ways that art had only pictured before. Kounellis,
inclusive culture can be born. We create situations
by investigating the materials of trade across
and objects that can become catalysts for a form
Europe continually in smell, texture and
of reflexivity that allows the viewing subject not
arrangement, underscores the relation between
simply to be a passive consumer of an already
man and matter. Simon Starling investigates the
tested experience but for the experience of art
subtle inversions and interdependencies of energy
itself to be testing ground for both the model of
and made structures. Following the lead of Lothar
art and the model of the human subject. We have
Baumgarten, Francis Alys investigates the tribal
in making art a specialisation and its exchange as
relations of the city’s forest floor dwellers and
a matter of high monetary worth lost its central
celebrates them. Cornelia Parker re-stages
subject – the human being. In the art of the 20th
meteoric events asking how humans can
century the Duchampian breakthrough was the
participate in the telluric and teleological. All of
examination of human labour and mass production
these artists’ work makes you feel more alive,
in the ‘found object’. I would like art to re-focus on
more aware, both of the human predicament and
the lost subject.
of our material and elemental surroundings. There
are more – so many more – that are using their But it is also my responsibility to make sure that I
lives to make balance between thought, matter can deal with my own impacts, including the
and feeling in a way that has never existed before. carbon footprint of the studio and all its activities.
I have had the carbon footprint of the studio
Last summer I was up in Scotland in a wood just
assessed, minimised my flights, the studio is
west of the Pentland Hills and came upon a robust
insulated and we will install solar panels on the
hut, its thick walls made of large lumps of the local
roof (it is wide and relatively flat). We must recycle
dark igneous stone. It is slate roofed and there is a
more of our materials and investigate the viability
single door. Stepping in, down, and getting used to
of a wind turbine. I must also decide whether
the low light entering from two unglazed windows
carbon offsetting is a conscience salver or a real
from each gable end, I recognised that the floor
benefit.
was uneven and in the half light, that I am actually
standing on bedrock. This surface revealed the Having done all of this my greatest responsibility is
surface of our earth, unadorned, bruised, cracked, to make work in the most direct way that I can,
wedged open by roots, smoothed by ice, pitted by and interpret this time and place in a way that
water, laid by sedimentation. This revealing of the makes people more aware of themselves and it.
underneath of things, the hidden support that lies
beneath trees, homes, buildings was both shocking
and engaging. Here was a useless building in
which we could encounter our dependency: a
brilliant work by Andy Goldsworthy.
So what I am asking for is a re-assessment of

what art is and how it works. I am questioning the
linear trajectory of art history as part of the
Western development of history recognising that
all art exists in the sense of a continuous present.
We are now in a position to acknowledge that
those stages in an evolutionary past that would, in
previous times, have been thought of as primitive,
are co-existing in this era and are not superseded
– and actually the use of the fetish and the totem
as reference points for a model of art are
enormously useful.
keeping out the giraffes
‘THE BIGGEST DANGER
OF ALL LIES IN
SUBJUGATING ARTISTIC
ENDEAVOUR TO REASON.
BECAUSE DOING SO
RISKS ROBBING ART OF
MEANING. AND MEANING
IS SOMETHING, I
SUSPECT, WE’LL BADLY
NEED IN TIMES TO
COME.’
keeping out the giraffes professor tim jackson
When the moon rises, said Lorca, the sea covers Putting the kids on the bus. Getting to work on
the land and the heart feels like an island in the time. Surviving shopfloor politics and email
infinite. Children understand this feeling. Look! It’s overload. Foraging for groceries. Throwing
the moon, they cry, turning their own moon faces together meals. Escaping for a few hours into
up towards you, delight and trepidation finely primetime TV. Watching the late night weather
balanced there. Who are these kids, you ask forecast. Collapsing into bed. Making it somehow
yourself? Where do they come from? The truth is from one end of the day to another. Locked in
they’re strangers. Visiting us from another country. routine. Lost in anxiety. Striving for status. Keeping
It’s called the future. Your children are not your out the giraffes. For everyone knows (and
children, said Kahlil Gibran. You may house their instinctively fears) the chaos that long-necked
bodies but not their souls. For their souls dwell in creatures wreak when they slip through the cracks
the house of tomorrow, which you cannot visit, not in our lives.
even in your dreams.
That isn’t all there is, of course. Our lives routinely
A few years ago I was installing some insulation in rise above routine. Relationships matter. Family
our home on a Sunday afternoon. My then five matters. Hope for the future matters. And we
year old daughter was helping me. We were constantly strive to keep those hopes alive. The
pressing thin strips of adhesive-backed foam into daily grind is lifted from obscurity by the colour of
the corners of windows and doors to keep out the our dreams. Our aspirations soar on rainbow
drafts. At least, that’s what I was doing. She was wings. We continually crave a better life for
doing something else. Will this really keep out the ourselves and our children. Occasionally, we
giraffes? she said. You can hear the five year old escape into moments of unadulterated pleasure.
mind at work. How did they get into our garden? And from the loose fabric of fantasy and the
Can this tiny strip of plastic really keep them out? radiant colours of desire we create and maintain a
Everyone knows how tall and thin they are. They sense of meaning and purpose in our lives.
can probably squeeze through the tiniest cracks.
What is the objective of the consumer? asked the
And what will happen if they do? Will they tangle
anthropologist Mary Douglas in an essay on
us up in gangly limbs at breakfast time?
poverty written over forty years ago. It is to help
My daughter was a millennium baby. She has a create the social world, she said, and find a
certificate from the Queen to prove it. Her age will credible place in it. This deeply humanising vision
always track the passing years of the twenty-first of consumer lives is also a forgiving one. We would
century. How old will you be in 2050? She will be like to condemn materialism as greed and damn
50. It’s her century. The one in which the climate consumerism to hell. But we are locked into its
(and many other ecological battles) will be won or social logic by our own symbolic attachment to
lost. It’s our planet! What does it look like? How will stuff. Matter matters to us. And not just in
we get there? Will there still be giraffes in it? These functional ways. Beyond the immediacy of material
are her questions. And mine. sustenance –food, clothing, shelter – consumer
goods provide a kind of language through which
I’ve thought a lot about those giraffes. At first I
we communicate. We tell each other stories
mistook them for a childish interpretation of a
through material things. And with these stories we
weekend chore. But now I see I was mistaken. The
create the narratives that sustain our lives.
giraffes are there. They really are in the garden.
The task is real. Keeping out the giraffes matters. This task – and I am coming to the point now – is a
fundamentally artistic endeavour. Technology is
There are lots of puzzles in our failure to
important to its functionality. Science provides the
combat climate change. One of them is the many
understanding. Artefacts provide a language.
easy things we routinely fail to do about it. Like
Goods and services provide what Amartya Sen
draft-stripping, for example. Insulating our homes
called our capabilities for flourishing. But the task
makes unassailable sense. It reduces our energy
itself is an act of creation. A creative gesture.
bill, saves us money, lowers our carbon footprint
It calls on our imagination, our hopes, our vision.
and makes our lives more comfortable. And yet
It engages our values, our identity, our sense of a
they don’t get done, these simple things. Time and
shared humanity. Society hangs on the gossamer
time again. The technologies work, the economics
thread of collective dreams. It always has done.
are favourable, the results are demonstrable. But
our attention is missing. Our priorities are Living is an artistic endeavour. That’s my point.
elsewhere. Climate is bottom of our list. Art doesn’t portray life. Life doesn’t imitate art.
Rainforests are a long way from here. Life and art play swing-ball in each other’s back
yard. The uniquely human adaptation of artistic
Our lives instead are taken up with daily tasks.
expression is as strong a force in our shared
history as were the steam engine, the semi- consolation. Let me finish by speaking briefly
conductor and the internet. Infinitely more so. about each.
The stories we told, the visions we saw, the
I’m fascinated by the proliferation of post-
dreams we shared: these were the building blocks
apocalyptic visions of the world. From Russell
of civilisation, the harbingers of progress, the
Hoban’s Riddley Walker to David Mitchell’s Cloud
bringers of hope.
Atlas; from Saci Lloyd’s Carbon Diaries to Will Self’s
In making this claim, I’m not attempting to Book of Dave. And perhaps most poignant of all,
privilege artists. Art and celebrity are crudely Cormack McCarthy’s elegiac The Road. Literature
intertwined in the modern mind. But celebrity isn’t is replete with memories of the future. And the
the essence of art; only its expression in a astonishing thing is that, even for someone like me
confused culture, adrift from its moorings in who has worked for over two decades in the
shared meaning. Nor am I trying to suggest that science of the future, these stories have an
art can rise above our culpability for ecological extraordinary and unexpected power. They
change. That would be ridiculous. The lifestyle of a connect me to the future in a way that scenario
successful pop star can beggar the carbon models somehow fail to do.
footprint of a sub-Saharan nation.
Perhaps even more striking are the visions of our
The hands of the artist are stained with the inner world. I think for instance of Rembrandt’s
pigment of empire. Art mis-catalogued too many allegories, Chopin’s nocturnes, Rodin’s sculpture.
abuses and stood silent through too many In Rembrandt’s iconic Return of the Prodigal Son
atrocities. But it also suffered these atrocities. the father’s strangely feminine hands rest on the
It bore witness to the cruelty that people inflict on shoulders of the returning son, whose torn and
one another. It gave voice to the oppressed. Spoke tattered garments somehow radiate a golden light.
up for the dispossessed. Understood our joy and In an amazing early sketch of the roadside scene
commiserated in our sorrow. Whispered to us in in the parable of the Good Samaritan, he offers an
our own language. The heart has reasons, reason extraordinarily intimate portrait of the altruist
does not know at all, said Pascal. Art speaks to within. Beneath the noise of human strife,
and from the heart. In its purest form, the artistic Rembrandt reminds us, lies a fragile interior space
endeavour is a form of creation. One that we’re all worth knowing about, worth protecting.
engaged in.
These visions are not always comfortable.
It’s clear that any attempt to change people’s lives They’re not without conflict and suffering. But here
must recognise this. It must speak a language is another of art’s lessons. As an environmentalist,
people understand. Science can sketch the nature I’m struck by our tendency to flatten the conflict
of the problem. Technology can facilitate the landscape. To want to rush immediately to the
solutions. Economics can point out the costs and promised land. But as a playwright, I’m acutely
the benefits. Art engages the soul. It speaks to the aware of the rules of the game. The essence of
moon-struck child in us. It whispers to the giraffes. drama is conflict. The arc of the story requires a
Art looks like the perfect addition to our protagonist, a call to arms, a quest, a series of
instruments of change. trials, a reversal, transformation, a journey home.
Resolution through conflict. Art pays homage to
And yet I want to resist the call to think of art this
the nature of the journey, its sense of struggle.
way. Perhaps art can succeed where policy
The power (and partiality) of resolution: not as an
signally failed. Perhaps we can sketch and
instant, a comfortable future, but as a goal hard-
compose and sculpt our way towards a lasting
earned, easily lost and almost always temporary.
climate treaty. Perhaps celebrity artists can lead us
There are lessons here for climate activitists. For
by example towards sustainability. But this line of
all of us.
thinking falls into too many traps. That art has
traction in politics. That art speaks truth to power. When the moon rises, said Lorca, the bells hang
That art is instrumental at all. Some of these things silent and pathways appear impenetrable. The way
may be partially true. But the biggest danger of all ahead is gone. Our children turn to us and ask:
lies in subjugating artistic endeavour to reason. where now? Which way do we go? What would it
Because doing so risks robbing art of meaning. take for us to admit that we don’t know the
And meaning is something, I suspect, we’ll badly answer? That we’re lost. That our best attempts to
need in times to come. combat climate change have failed. That our
economies are bankrupt. That our technologies
Instead I believe we need to keep art free to play a
are broken. That our politicians have let us down.
far more vital role in the emotional fabric of our
That restraint lost it’s fight with desire, justice its
lives. Three roles in fact: vision, resolution,
struggle against inequity. What would it take for us
to admit that our vision of progress was an illusion. My son asked for a telescope on his eleventh
A dream we once had. A story we told our children birthday and I was pleased – another battle won
to stop them getting frightened by the moon. against DS this or X-box that. Your children are not
your children; but still it gives you hope when their
This is where we need the consolation of art. Its
desire for understanding overcomes the forces
understanding of sorrow, failure, and loss. And its
lined up against them. He pointed his precious
intimations of transcendence. Nobody eats
telescope determinedly at the three quarter moon.
oranges under the full moon, said Lorca. One must
I’m going there one day, he said, looking up at me
eat fruit that is green and cold. You’re not alone in
solemnly. His moon-eyes wide and knowing.
fear, he says. And in the same breath intimates: the
time for oranges will come again. Loss is only part Take me with you, I said. Knowing that he cannot.
of the arc of the story. Reversal is only temporary.
He just smiled.
Art teaches us to look beyond the glitter of
triumph and the shadow of disaster. And to detect
beneath the echoes of immortality.
Vision, resolution, consolation. These are the tools

from which to build a different future. Our ability to
live well, to flourish in less materialistic ways, is in
essence an artistic endeavour. Sustainability is the
art of living well, within the ecological limits of a
finite planet. Art is more than an instrument in this
process. It’s the nature of it.
‘giraffes’ from landofspike.co.uk
seeking inspiration:
a scientist turns to the
cultural sector
‘OUR DISMAL
PREDICTIONS AND
TECHNICAL DISCUSSION
OF UNCERTAINTIES SEEM
DISTANT AND
INTANGIBLE FROM
EVERYDAY LIVES;
PERHAPS WE HAVE
EXHAUSTED PUBLIC
WILLINGNESS TO LISTEN
TO OUR WARNINGS AND
OUR IDEAS FOR
ALTERNATIVE LOWER
CARBON FUTURES.’
seeking inspiration: a scientist turns to the cultural sector professor diana liverman
I have been studying climate change for thirty In the last five years progress has been made in
years. During that time the community I belong to raising public awareness of climate change, but
has expanded in every dimension: size, scale, popular support for action, and knowledge about
depth, scope and academic discipline. We have impacts, responsibilities and solutions is worryingly
gathered ourselves into a global community of low in many countries. Even in countries with a
scholars and offered our insights to decision well informed and mainly committed media,
makers through the United Nations and national enthusiasm for change is rare, patchy and prey to
academies of sciences. The Intergovernmental fashion. Furthermore, any modest progress
Panel on Climate Change (IPCC) is an extraordinary towards raising public awareness is undermined by
concentration of thousands of minds focusing on a dissent from a small number of climate science
common purpose, to gather the best evidence of sceptics, which does not reflect the majority view
the physics, impacts, adaptation and mitigation of of scientific experts that climate change is a real
climate change. What we have discovered over a threat. We clearly need help communicating the
series of four major studies since 1990 is the basic principles of climate change and in
certainty and impending risk of a warming earth explaining what it means for societies around the
caused by a rapid increase in the concentrations world.
of greenhouse gas emissions. Yet despite all our
collective brains, commitment, passion and
What is the message the climate science
creativity, climate science is still failing to prompt
community are trying to convey? Simply, the
change on anything like the scale required.
evidence produced by thousands of scientists
Effective communication of the risks and shows overwhelmingly that the earth’s climate is
relevance of climate change to people’s lives rapidly changing and that this is almost certainly
remains elusive. As scientific evidence has due to human activity. Concentrations of heat-
accumulated scientists have found themselves in trapping gases, such as carbon dioxide and
the precarious position of being the primary methane, are increasing in the atmosphere
communicators to politicians, business, journalists predominantly from the burning of fossil fuels and
and citizens. Scientists gather evidence, undertake industrial agricultural practices. These increased
analysis and present the results. We are not always concentrations of gases are causing global mean
the best communicators of complex ideas, temperatures to rise, changing patterns of
especially to lay audiences. The language and precipitation and wind as well as acidifying the
methods of science are easily lost in translation oceans. The Earth’s natural processes are
and as a result climate science can sometimes intimately – and marvellously – connected: a
seem deliberately arcane, beset with jargon and change in one area triggers a reaction somewhere
caveats. We often hand over information without else, which in turn triggers another, and another.
checking to see if it is what decision makers need
Although the world came together in 1992 to
or presented in a form accessible to the intended
create the UN Framework Convention on Climate
audience.
Change (UNFCCC), the efforts so far to reduce
Furthermore our dismal predictions and technical greenhouse gases have been completely
discussion of uncertainties seem distant and inadequate, with emissions increasing by 2-3% a
intangible from everyday lives; perhaps we have year. Hopes of keeping atmospheric
exhausted public willingness to listen to our concentrations of gases below 450 parts per
warnings and our ideas for alternative lower million (ppm) – a level that might keep warming
carbon futures. Within science there has around 2°C – are receding as we have already
sometimes been a tendency for natural scientists reached a level equivalent to about 430ppm.
to see social scientists as their public relations Last September I helped organise a conference at
consultants to help the public better understand Oxford University to discuss what a world might
what scientists are telling them. But social science look like if we do not control emissions and by the
can be just as academic in its efforts to explain end of the conference I was feeling very
how human actions are changing the natural pessimistic. We heard that within a lifetime the
environment, how human vulnerabilities world may be 4°C warmer with glaciers and arctic
exacerbate environmental impacts, and how sea ice significantly receding, and more regions of
human choices can move us towards sustainability. the world suffering searing heat waves, severe
droughts, and intense, frequent storms with
devastating impacts for people and ecosystems.
Climate scientists Steve Schneider and John This is where arts and culture
Schellnhuber1 - my friends and my role models for come into their own. The arts have much to offer
communicating climate science - helped develop in catalysing understanding, dialogue and vision
the ‘burning embers’ diagram to try and convey for a world that will live within its ecological limits.
the serious risks of climate change2. John has also Art has global reach and can open conversations
captured imagination through his research on between generations, nations, and communities.
‘tipping points’ – places where warming may flip Art can tell stories and give us a language through
the earth system into rapid and irreversible which to express our emotional experiences. In an
changes such as the collapse of ice sheets or the era when travel, media and the internet connect
loss of the Amazon forest. As Steve wrote recently, us internationally, the arts can rapidly
communicate their messages to global audiences
…many unique or rare systems would probably be
in ways that erase national boundaries and create
lost, including Arctic sea ice, mountain-top
communities of common interest. Artistic
glaciers, most threatened and endangered
endeavours can provoke us to question our
species, coral-reef communities, and many high-
humanity, create connections with others and with
latitude and high-altitude indigenous human
the natural world, and offer us a vision for
cultures. People would be vulnerable in other
alternative futures. The arts spring from creativity
ways too: Asian mega-delta cities would face
and we need that human quality not just to
rising sea levels and rapidly intensifying tropical
produce art but also to develop the future visions
cyclones, creating hundreds of millions of
for engineers, designers, businesses, technologists
refugees; valuable infrastructure such as the
and scientists alike.
London or New York underground systems could
be damaged or lost; the elderly would be at risk In my own life I have often turned to literature and
from unprecedented heat waves; and children, music for solace and hope, as well as to better
who are especially vulnerable to malnutrition in understand other cultures and to escape from the
poor areas, would face food shortages.3 daily grind of teaching and research. But over the
last few years I have realised that arts and culture
Aside from communicating the reality of climate
can be partners in my climate change work and
change impacts and therefore urgency to act, the
can play an important role in galvanising a serious
scientific community wants to communicate that
response to the threat of climate change.
we have the ingenuity and ability to reverse the
Until recently I was the Director of the
pathway that humanity is currently on. We are by
Environmental Change Institute (ECI) at Oxford
no means consigned to impending doom. There
University. During my time there we formally
are many technological, political and social
partnered with UK arts organisations Cape
choices available to us from the simple action of
Farewell, Tipping Point, Julie’s Bicycle and Red
insulating our homes to reconfiguring our power
Redemption as well as supporting a number of
generation. However, for us to create a future in
artistic projects. Each organisation’s contribution
balance with the world around us we must agree
to the climate change agenda is different, but in
shared values and responsibilities as well as the
complementary ways they are catalysing a
political and economic framework and
coherent approach by the creative community –
mechanisms for change to happen.
and their audiences – in the climate challenge.
I wonder how many readers have acted on this I see several important functions of this
knowledge and shifted their lives, necessitating connection which is reflected in the organisations
sometimes awkward, limiting and lonely lifestyle and people I have had the privilege to work with.
decisions. Why haven’t I done more myself to These are: open dialogue between scientists and
reduce my travel or invest in making my house artists; establishing exemplary practice and
more sustainable? The broad base of support leadership; and creativity and creative works.
which translates into lifestyle change fails to
Both Tipping Point and Cape Farewell focus on the
materialise. It needs to be a good choice, a
dialogue and the relationships between art and
happier offer. And for this we need good
science: Cape Farewell organises inspirational
governance and substantial finance, sure, but we
encounters with the immediate effects of climate
also need new ideas, shared values and visionary
change – field trips to the Arctic and the Amazon
leadership.
for small groups of artists to join scientists
1
Steve Schneider has been involved in the Rothbury Music Festival, a festival creating interaction between scientists, musicians and
audiences on issues of sustainability. John Schellnhuber helped develop Tipping Point workshops and conferences between scientists
and artists in the UK and Germany. In addition, the Potsdam Institute is the research partner of the Green Music Initiative, Thema1, in
Germany.
2
pik-potsdam.de
3
Steve Schneider, Nature 30 April 2009, 458:1104-5
monitoring the impacts of climate change in some exciting ways that produce some shifts in art and
of the world’s most vulnerable ecosystems. in practice.
Tipping Point runs specialised workshops in which
Traces of the encounters between climate science
the latest science is explained and explored by
and arts and culture were evident at the recent
artists and arts organisations. ECI has been
climate summit in Copenhagen especially in the
involved with Tipping Point since its inception and
side events around the city that included or
is excited to see this dialogue between scientists
presented artists and their work and in the
and artists being extended internationally. It is
announcements of the UK music industry to
through these opportunities for interactions that
international leaders about their commitments to
ideas for joint collaboration can emerge.
reduce emissions. Although Copenhagen produced
Both of these experiential responses have moved a weaker agreement than many had hoped for I
minds and opened hearts – I have seen it with my remain optimistic that the world can rise to the
own eyes and felt it change my own perceptions. challenge of creating a safe climate. The
negotiations will continue over coming months.
Of course, we must be careful not to cast artistic
The consequences of inaction do not bear thinking
communities only as skilled communicators or
about: so we must remain hopeful and energetic.
marketers of climate change science and
solutions. We also need to ask them to share their Nick Stern, a distinguished economist who
experience of business practices that can help convinced many that acting now on climate
better manage the planet. Our collaboration with change will be much less costly than dealing with
Julie’s Bicycle is an illustration of how the cultural the damages later, has also remained positive,
sector can demonstrate leadership by doing, not writing that international agreement
talking. We have been able to help the music
…will allow us to avoid the profound risks of
industry understand how the issue of climate
climate change, to overcome poverty worldwide
change directly relates to their business activities.
and to usher in an exciting new era of prosperity
Although the carbon footprint of the music
based on sustainable low-carbon growth. Through
industry is low compared to many other economic
innovation and investment in new greener and
sectors, it has an impact potentially far beyond its
more energy efficient technologies in the next
immediate operations because of the power of its
two or three decades, we can create the most
artists to influence their audiences, especially
dynamic period of growth in economic history.
young people. And Julie’s Bicycle is extending its
And what is more, a low-carbon world will also be
work beyond music and beyond the UK – there is
quieter, cleaner, more energy-secure and more
no shortage of appetite from creative people to
biologically diverse. Let us not allow mistrust,
get on and do something, of that I am certain.
pessimism and lack of ambition to prevent us
Our work with arts and culture also extends to from achieving these aims. Instead let us have
video gaming: Red Redemption is creating games real vision and leadership in both developing and
that connect players with climate change issues. developed countries which seize the
Scientists provide the data, models and decision opportunities… for us, our children and future
rules for simulating climate change impacts and generations.
negotiations and the company develops an
The commitment of governments, businesses
engaging interface that invites players to destroy
and individuals is growing daily. The vulnerable
or save the planet – hopefully learning more about
island country of the Maldives is going carbon
climate change and its solutions in the process.
neutral, Mexico and other developing countries
An early version of the game – Climate Challenge –
are limiting their growth in emissions, Wal-Mart and
was played by thousands of people on the BBC
Tesco say they will reduce emissions in their
website4.
supply chains, the finance community is seeking
It is interesting to note that all the contributors to climate friendly investments and thousands of
this collection of essays have been inspired by one people in the UK have promised to cut their
or more of these organisations but have moved emissions by 10% in 2010. Although we are still
forward in many different directions. Which is some considerable way from a legally binding
precisely the point. None of these organisations international agreement to combat climate
are overly prescriptive; they are all introducing change, governments are developing regulations
information about the realities of climate change and incentives to drive forward a low carbon
and its consequences to the creative community society. Businesses, especially large businesses,
and hoping that this very creativity will respond in are increasingly pre-emptive of regulation and are
4
http://makesyouthink.net/games/climate-challenge/
making concerted efforts to cut emissions. And Scientists can listen to our colleagues in the arts
citizen movements, such as Transition Towns in the to better understand their audiences, know what is
UK that put sustainability at the core of useful information and research, and to make sure
communities, are gaining momentum. communication is not one way. We must be careful
not to cast the arts and cultural sectors only as
Stern has noted climate change is the ultimate
skilled communicators and marketers of climate
collective action problem because the solutions
change science and solutions, but also to share
require many to act. So given the challenges of
their insights into human emotions, cultures,
communicating the issues, the search for creative
technologies and business practices that can help
solutions, and the need to broaden the scope of
better manage the planet. And getting out a
business responses to climate change there are
message on climate change is not simply down to
powerful reasons to engage the arts and the
the artists or art. We all need the active support of
cultural sector. We need arts and culture more
international cultural structures and institutions
than ever to be a hugely contributing voice:
that support the arts, foster cultural relations and
commenting on, shaping, consolidating and
have global reach.
magnifying the positive responses of governments,
business and citizens. Building the trust to collaborate takes time, as well
as financial support for what may sometimes
From my perspective as a scientist the arts seem
appear to be risky scientific, creative or business
able to provoke and inspire reactions, values and
initiatives, but the immediacy with which deep
practices that could move global society to a more
action is needed means that we do not have time
sustainable future. The arts have the potential to
to lose.
lead a response to climate change through both
creativity and exemplary practice. The arts bring
together those individuals who live for the practice
of creativity, inspiration and ideas – and who often
challenge the status quo through critique and
alternative visions. The arts have begun their own
efforts to catalyse the cultural shift of
consciousness that will put sustainability at the
heart of society. Now the early arts adopters need
to scale up internationally, and perhaps then their
audiences will begin to perceive what scientists
have failed to express.
contributors
antony gormley kt tunstall

Over the last 25 years Antony Gormley has revitalised the A singer-songwriter and guitarist born in Scotland, KT burst into
human image in sculpture through a radical investigation of the public eye with a live solo performance of her song “Black
the body as a place of memory and transformation, using Horse and the Cherry Tree” on Later...with Jools Holland. Her
his own body as subject, tool and material. Since 1990 debut album was released in late 2004 and reached Number 3 in
Gormley has expanded his concern with the human the Album charts. The album also scooped a nomination for the
condition to explore the collective body and the Mercury Music Prize in 2005, and 2006 she received three BRIT
relationship between self and other in large-scale nominations, successfully winning the award for Best British
installations. He has created some of the most ambitious Female Solo Artist. KT won the coveted Ivor Novello Award for
and iconic works of contemporary British sculpture, Best Song, for “Suddenly I See”, and a Q Award for Track of the
including Field, Angel of the North at Gateshead, Quantum Year for “Black Horse and the Cherry Tree”.
Cloud on the Thames in London, and Another Place, now
KT’s home has undergone an eco-transformation – her new studio
permanently sited on Crosby Beach near Liverpool.
and loft extension uses reclaimed wood, sheep’s wool wall
His work has been exhibited extensively at major
insulation, spray taps and solar panels. KT was invited to journey
international galleries and museums including the Tate,
to the arctic with Cape Farewell in September 2008, a UK based
Hayward, Whitechapel and Serpentine galleries in the UK;
arts organisation bringing artists, scientists and communicators
the Museum of Modern Art in New York; the Los Angeles
together to instigate a cultural response to climate change. She is
County Museum of Art; the Louisiana Museum in
leading ‘GreenmyBand’ which will offer advice and support to
Humlebaek and the Irish Museum of Modern Art in Dublin.
artists acting on climate change working with Julie’s Bicycle.
Antony Gormley was born in London in 1950.
british council
Professor Diana Liverman (PhD UCLA, MA Toronto, BA London)
The British Council is the United Kingdom's organisation for
Diana Liverman holds appointments at Oxford University and the
international cultural relations and educational
University of Arizona. At Oxford she is visiting Professor of
opportunities. While fostering inter-cultural understanding,
Environmental Policy and Development and affiliated with the
positive social change and supporting the UK’s creative
Environmental Change Institute (ECI), the School of Geography
and knowledge economy, the British Council has also made
and Environment and Linacre College. She is the former director
climate change a strategic priority; assisting the UK
of ECI. At the University of Arizona she is Professor of Geography
Government’s international objectives to lead a faster
and Development and Co-director of a new university-wide
transition to sustainable, low carbon economies.
Institute of the Environment. Her leadership roles include co-
jay griffiths chairing the U.S. National Academies Panel on Informing America’s
Jay Griffiths is the author of Pip Pip: A Sideways Look at Climate Choices, chairing the scientific advisory committee of the
Time which won her the Barnes & Noble Discover award for International Global Environmental Change and Food Security
the best new non-fiction writer published in the USA. Her project and editing the Annual Review of Environment and
second book, Wild: An Elemental Journey was shortlisted Resources.
for both the Orwell prize and for the World Book Day award.
Her main research interests include climate impacts, vulnerability
It was the winner of the inaugural 2007 Orion Book Award
and adaptation, and climate policy especially the role of business,
in the USA. She has recently completed a short novel to be
NGOs and the developing world in both mitigation and adaptation.
published in 2010, and written articles and columns for
She also works on the political economy and political ecology of
publications including The Guardian, the London Review of
environmental management in the Americas, especially in Mexico.
Books and The Idler. She has broadcast on Radio 4 and the
She has made substantial contributions to our understanding of
World Service. She lives in Wales.
vulnerability to climate change and to developing larger research
julie’s bicycle agendas on the social sciences of global change. Diana sits on the
julie’s bicycle is a not for profit company committed to boards of Cape Farewell, Julie’s Bicycle and Tipping Point.
tackling climate change in the creative industries. The
organisation is a broad coalition of industry, science and
Tim Jackson is Professor of Sustainable Development at the
energy experts who have come together to find the most
University of Surrey and Director of the Research group on
effective ways of reducing carbon emissions and promoting
Lifestyles, Values and Environment (RESOLVE). Funded by the
environmental sustainability. Julie’s Bicycle researches
Economic and Social Research Council, RESOLVE explores the
priority areas which have a significant impact, including
links between lifestyles, societal values and the environment. In
recording, touring, venues and events. The team provide
particular, RESOLVE aims to provide evidence-based advice to
advice and support, audits and tools to help companies
policy-makers in the UK and elsewhere who are seeking to
develop more climate responsible businesses.
understand and to influence people’s energy-related behaviours
and practices. Since 2004 Tim has been Economics Commissioner
on the UK Sustainable Development Commission and is the author
of their report, now updated and expanded in the book Prosperity
Without Growth: Economics for a Finite Planet (Earthscan 2009). In
addition to his academic work he is an award-winning playwright
26 britishcouncil.org/longhorizons with numerous radio-writing credits for the BBC.
appendices
i) overview of UK cultural policy and climate change 29
ii) resources and tools 37
iii) glossary 39
sir nick serota
director of tate
‘WE SHOULD ALL NOTE
OUR RESPONSIBILITY TO
HAND OVER OUR
INSTITUTIONS IN A
SUSTAINABLE SHAPE,
WHETHER THAT IS ABOUT
ENERGY CONSUMPTION
OR THE WAY OUR
INSTITUTIONS ARE RUN;
AND UNLESS WE
RECOGNISE THAT CLIMATE
CHANGE IS A MAJOR
INTEREST FOR OUR
PUBLIC, ESPECIALLY
YOUNG PEOPLE, WE WILL
FORFEIT OUR RESPECT IN
RELATION TO THAT
PUBLIC.’
State of the Arts conference, London, January 2010
appendix i) overview of UK cultural policy and climate change
This overview has focused on UK Climate change mitigation and limited, and that many of the DCMS
cultural bodies to provide a context for adaptation require a collective shift in bodies were unable to provide
British Council policy thinking and to consciousness and behaviour. The adequate information (within the
look at one country in depth. The UK is cultural sector is a primary means by research timeframe) to assess carbon
the first country to adopt a Climate which to reflect, comment on and impacts. A conference on climate
Change Act and legally binding carbon encourage this shift. change was also organised in early
budgets; this survey reveals how such 2008 to raise awareness and build
national policy is beginning to work its consensus among ‘DCMS family’
way through to the sector-specific
National (UK) organisations.
level. Full Review of the Literature Consisting
Department for Culture, of 10 Matrices on the Effect of Climate
The starting point is the government
Media & Sport (DCMS) Change on Cultural and Sporting Assets.
Department for Culture, Media and
(March 08), DCMS Group Carbon
Sport (DCMS). The DCMS will be DCMS is the central government Footprint Assessment (April 08), DCMS
responsible for achieving emissions department responsible for arts, Family Climate Change Conference
reductions within their sectors, in line culture, sport, museums, galleries, Report (Jan 08)
with targets set out in the five yearly libraries, creative industries, film, the
carbon budgets. A carbon reduction historic environment, Royal Parks and As a result of these initiatives, the
plan is expected in Spring 2010 and the 2012 Olympic Games & Paralympic DCMS Sustainable Development Forum
DCMS have produced a sustainable Games. It oversees 55 public bodies, and Museums and Galleries Energy
development action plan (published in including 46 non-departmental public Forum were established, with
2008). More than 60 bodies receive bodies (NDPBs) responsible for representatives of sponsored bodies
funding from the DCMS. We highlight delivering its aims and objectives. and institutions, to share information
those that are responsible for providing DCMS Sustainable Development Action and best practice. A ‘Pathways to
funding, setting policy or guidance. Plan 2008-11 sets out the department’s Sustainability’ section hosts
Therefore we do not discuss in any response to climate change and other information links on the DCMS website,
detail the practices undertaken by arts aspects of environmental, social and including a carbon management
and cultural institutions that are directly economic sustainability. guidance tool.
sponsored as non-departmental public http://bit.ly/400Vap
bodies (NDPBs). Internally, DCMS is taking steps to
reduce the carbon impact of its NDPBs are responsible for developing
Climate change policy and practice operations. Like all government their own action plans and targets, and
within the cultural sector focuses departments, it must meet targets set conducting their own reporting –
largely on process (DCMS, UK Film out in Sustainable Operations on the including with regard to energy and
Council (UKFC)), the built environment Government Estate (SOGE), and utilities. As outlined below, the extent
(Arts Council England (ACE), participate in the Carbon Reduction to which different bodies are achieving
Commission for Architecture and the Commitment (CRC). DCMS property is these aims is variable. Technically,
Built Environment (CABE), English benchmarked and must meet Energy many sponsored bodies (with larger
Heritage, Heritage Lottery Fund (HLF)), Performance Certificate (EPC) and buildings, estates, energy use) should
procurement (CABE) and artistic Display Energy Certificate (DEC) also meet the same government
programming (UKFC, ACE, Design standards. Management information targets as DCMS under SOGE, EPD, DEC
Council). and data systems have been etc. It is not clear to what extent all are
established in order to comply with ISO currently engaged.
Most initiatives are still voluntary, or ‘for
14001 and the Carbon Trust Standard
guidance’ rather than mandatory. The Most of these measures relate primarily
(formerly the Energy Efficiency
DCMS and the cultural bodies it funds to internal processes and operations of
Accreditation Scheme). Environmental
directly are now required to internally NDPBs and institutions.
champions have been appointed to
reduce emissions but this requirement
raise staff awareness. Climate Change does not feature
is not yet being passed on more
DCMS Sustainable Development Action prominently in the major DCMS policy
broadly.
Plan 2008-11 (Aug ‘08) documents which set out the
The sector’s special capacity to engage Government’s strategic aims and
Research was commissioned in
and influence the public is also objectives for the cultural sector and
2007/08 to inform the Action Plan,
acknowledged. CABE argues that arts creative industries in the UK. For
including a review of existing literature
buildings should be required to go instance, the McMaster Review of arts
on the effect of climate change on
beyond minimum standards as they are policy and funding was published in
cultural and sporting assets, and a
in a position to showcase their actions. 2008 after an extensive consultation,
carbon footprint assessment of DCMS
More than many other economic and warmly welcomed by many in the
and 18 of its sponsored bodies and
sectors, the steps taken in the cultural cultural sector, but it makes no mention
cultural institutions. These indicated
and creative industries are on display. of climate change. Similarly, climate
that the evidence base was relatively
change is barely mentioned in either “mainstreaming the climate change individual projects focused on climate,
the Creative Britain report of 2008 or in message.” The campaign launched at e.g. Tipping Point, Cape Farewell, Julie’s
2009’s Digital Britain report. Emissions the Isle of Wight Festival 2009. Bicycle and Arcola Theatre. It provides
associated with digital information are actoncopenhagen.decc.gov.uk/ the online resource Arts Energy, a self-
significant. assessment efficiency toolkit for arts
Supporting Excellence in the Arts organisations. The RSA Arts & Ecology
Arts Council England (ACE)
(2008), Creative Britain: New Talents for centre is a partnership with Arts Council
the New Economy (2008), Digital Britain: ACE is the national development England.
Final Report (2009) agency for the arts in England. It is a artsenergy.org.uk
government sponsored non- rsaartsandecology.org.uk
DCMS has published an action plan for
departmental public body with a
sustainable tourism which includes a Internally ACE is improving its energy
national headquarters and nine regional
short section outlining tourism’s impact management procedures and submitted
offices. It supports visual arts, music,
on climate change. This encourages the a carbon footprint measurement of
theatre, dance, literature, carnival and
tourism sector to engage more fully 1400 tonnes (t) of Carbon Dioxide
digital art, and is responsible for
with sustainability agendas, and (CO2), equivalent to 2.18t per full-time
distributing National Lottery funded
provides information on a range of equivalent for the OGC property
grants to artists and organisations.
relevant resources and initiatives, such benchmarking exercise 2008/2009.
as the Adapting to Climate Change In January 2010 ACE launched its ACE measures and reduces energy,
Programme (ACC) and UK Climate consultation Achieving Great Art for consumables, water, waste, travel and
Impacts Programme. The action plan Everyone which builds on previous work staff engagement in all its offices,
advocates voluntary rather than to define how it will work with artists utilising video conferencing to reduce
mandatory action, except where and arts organisations to create travel. Offices over 1000 m2 have
tourism is already governed by existing positive change for the arts over the Display Energy Certificates (DECs). In
laws (e.g. Climate Change Act). next ten years. The consultation’s vision 2009 Arts Council England’s Yorkshire
Sustainable Tourism in England: A for the future includes an arts sector office was awarded two Green Business
framework for action - Meeting the key that is sustainable, resilient and Awards. ACE has signed up to the 10:10
challenges (2009), http://bit.ly/MjK0l innovative. campaign.
artscouncil.org.uk/consultation OGC Property Benchmarking Service
2008/2009 Performance Statement
Department of Energy and Climate This will be a period for which, it Prepared by IPD
Change (DECC) acknowledges, climate change will be
central to all our thinking. “Artists and ACE Trustees and Management also
DECC is the central government
organisations are playing an inspiring address ‘Responsibility Towards the
department responsible for energy and
role as society prepares to meet the Environment and Sustainable
climate change mitigation policy.
challenge of a low-carbon economy – Development’ in the Annual Review
DECC have recently undertaken an now viewed by many as the single 2009.
investigation of climate change and the biggest issue humankind faces.
‘Best practice in the management of
cultural and creative sector. Undertaken However, the need to adapt capital
energy use’ has been introduced as a
by artist Keith Khan it investigates the infrastructure and to evolve new
criteria in grant assessments for
role the arts can play in communicating approaches to touring and international
regularly funded organisations (RFOs).
climate change to the public. work are challenges that are only
beginning to be addressed.” With Commission for Architecture and
The report will identify where DECC
Consultation preface, Dame Liz Forgan the Built Environment, (CABE), ACE has
should work more closely with the
artscouncil.org.uk/consultation/preface published a practical guide to
cultural and creative industries to help
developing capital projects for the
its climate change objectives, in In parallel with the launch of its
cultural sector that are sustainable and
particular where DECC can leverage consultation, Arts Council England has
energy efficient in every respect (see
leadership, partnerships, expertise, and recognised the significance of
below).
funds to support the sector’s response environmental sustainability for itself
Guidance for Arts Council England lead
to climate change. and the arts in England. ACE is
officers on funding agreement 2009/10
Climate Change and the Cultural and committed to working with others to
–2010/11
Creative Sector, internal publication develop sustainable practice within the
only, January 2010 arts; the sustainable operation of its On an individual, project-by-project
own buildings and processes; basis, ACE regional offices have
DECC’s Act on Copenhagen campaign in
supporting and championing the arts’ supported a range of environmentally-
the lead-up to COP15 included a
role in communicating and exploring themed art works, and continue to do
‘culture’ strand, acknowledging the role
the issue so.
the arts, culture and creative industries
can play in reaching out to society and ACE has funded arts organisations and
British Council sustainable design’ in all of its work, order to showcase best practice.
including its Design Review function Building Excellence in the Arts (2009)
The British Council is the United
(e.g. assessing plans for 2012 Olympic http://bit.ly/2af6Dr
Kingdom's organisation for international
venues). Much of its other work around
cultural relations and educational
energy and sustainability centres on
opportunities. While fostering inter- Design Council
research, disseminating best practice
cultural understanding, positive social
and information resources. The Design Council is the national
change and supporting the UK’s
Sustainability is also central to several strategic body for design in the UK.
creative and knowledge economy, the
main programme strands, including Joint responsibility of Department for
British Council has also made climate
sustainable cities, public spaces, better Business Information and Skills (BIS)
change a strategic priority; assisting
public buildings, schools, home-building and DCMS.
the UK Government’s international
and eco-towns.
objectives to lead a faster transition to Although climate change is mentioned
sustainable, low carbon economies. Internally, CABE has a particularly in the foreword of the current Design
advanced environmental strategy. Council delivery plan, it is not
To support this priority the British
Rigorous and detailed sustainability referenced as a major element of the
Council is developing a new
audits (carbon footprint and wider organisation’s five main objectives.
programme, Arts, Climate Change and
ecological impacts) carried out in 2006 However, Design Council believes that
Sustainability, which aims to harness
and 2008 also took into account its ‘good design is sustainable design’, and
and extend the interest in
influence on stakeholders, for example this should have a role in broader
environmental sustainability shown by
through procurement. CABE aims to be concerns, such as the role of design in
the UK arts communities and promote
carbon neutral by 2012 through a meeting the UK’s social and economic
best practice internationally. Support
combination of emissions reductions challenges.
for an international series of Tipping
and compensation via funds for UK- Good Design Plan: National design
Point conferences for artists and
based, building and energy-focused strategy and Design Council delivery
scientists, and Julie’s Bicycle research
projects. plan 2008-11
into the carbon impacts of UK theatre
cabe.org.uk/corporate/sustainability-
touring are early examples of this. The Some sustainable design resources and
plan
programme will include support for case studies are provided on the
artistic work that inspires and It published a briefing on Sustainable Design Council website, and it has
demystifies the climate change debate, Design, Climate Change and the Built funded sustainable design projects in
dissemination of industry best practice Environment in 2007 – stating that the the past (for example this was an
and the development of international “aim is to frame everything we do aspect of the ‘Designs of The Time’
strategy to support this work in within the context of sustainable design programme)
collaboration with other funding and climate change.” The briefing set 8 designcouncil.org.uk dott07.com
agencies. objectives designed to promote this
britishcouncil.org/climatechange.htm stance for 2007-2009, and called on
government to extend legislation, build English Heritage
At the operational level the British
more stringent sustainability criteria English Heritage is the UK
Council have developed and maintain a
into public contracts, demand better government’s statutory adviser on the
formal certified environmental
monitoring data, local authority historic environment (in England).
management system for its three
planning and joint working with the
largest UK premises. The principles of Along with CABE, English Heritage is
private sector. CABE also co-organised
environmental management and the substantially addressing climate
the first Climate Change Festival in
objectives of the British Council will be change.
2008.
applied to all other UK premises and a
Sustainable Design, Climate Change and
framework for environmental Climate Change and the Historic
the Built Environment (2007).
management (Environmental Environment (2008) outlines the
http://bit.ly/3lpV0P climatechange-
Framework Tool) has been rolled out to potential risks to the historic
festival.org.uk/
their global overseas estate. environment (e.g. from coastal
CABE produced Building Excellence in flooding), and advocates strong action.
the Arts with ACE, a guide to It aims to use its own sites to trial
Commission for Architecture and the mitigation technologies and strategies
developing sustainable cultural
Built Environment (CABE) and demonstrate these to the public
buildings. The guide stresses the need
CABE is the UK government’s adviser for sustainability to be integral to every (for example alternative energy).
on architecture, urban design and aspect of building design, materials, English Heritage advises on optimising
public space. life-long energy requirements, usage, efficiency of old buildings without
management etc. It argues that arts compromising historic significance.
Sustainability is one of CABE’s nine buildings should meet higher standards Climate Change & The Historic
core areas of work. It aims to ‘embed than minimum building regulations in Environment (2008) http://bit.ly/1z0LRJ
In addition the English Heritage website including environmental monitoring and MLA co-funds an online resource
provides more detailed research and control. All new build projects must ‘Designing Libraries’, which includes
guidance on specific issues, such as exceed minimum statutory Building links (mostly external) to information
micro-generation and solar thermal Regulations for energy efficiency; about energy efficiency and
energy. refurbishment projects should aim to sustainable design.
http://bit.ly/12F7vE meet at least minimum Building designinglibraries.org.uk
Regulations for energy efficiency,
English Heritage delivers the Historic Although MLA does not provide strong
unless these pose an overriding threat
Environment Local Management (HELM) strategic leadership on the subject,
to the building’s cultural significance.
programme, providing advice on the many individual museums, galleries and
Planning Greener Heritage Projects
management of local historic libraries are responding to the climate
(2009)http://bit.ly/9sAZU
environments by local authorities and change and energy efficiency agendas.
others, including on energy efficiency HLF will consider funding up-front costs These include many of the major
and environmental sustainability. It for more sustainable options (e.g. national institutions, which are funded
provides information and advice on energy) even if there are cheaper directly by DCMS, such as the Science
energy efficiency in older homes and alternatives. Museum, National Portrait Gallery,
historic buildings through a web Imperial War Museum, V&A and Tate.
resource with energy provider E-On. The South Kensington Low Carbon
Museums Associations
helm.org.uk Futures initiative aims to reduce carbon
An independent membership emissions by 10% between 2005 and
English Heritage works closely with the
association for sector professionals, 2009 across the 35 hectare South
Heritage Lottery Fund (see below) and
institutions and corporates working in Kensington cultural and museum site
National Trust on climate change and
UK museums, galleries and heritage. including the Natural History Museum,
environmental sustainability.
Sustainability and museums, Report on Science Museum, V&A and Imperial
climatechangeandyourhome.org.uk
consultation (2009) http://bit.ly/5KQTE3 College as well as the Royal Albert Hall.
In summer 2008 the Museums

Heritage Lottery Fund (HLF)
Association ran a consultation about National Museum Directors’
The Heritage Lottery Fund distributes sustainability and museums. The Conference
National Lottery funded grants to local, consultation focused on sustainability
The NMDC represents the leaders of
regional and national heritage projects in its broadest economic, social and
the UK’s national collections and major
in the UK, including those relating to environmental sense. Discussions with
regional museums. These comprise the
historic buildings and monuments. over 600 individuals led to the
national museums in England, Scotland,
development of 11 key sustainability
Sustainable development is one of Wales and Northern Ireland, four
principles for museums, a sustainability
fifteen ‘policy directions’ set for the leading regional museums, the British
checklist from which museums can
lottery distributor by government. Library, National Library of Scotland,
build an action plan, and the
Climate change is identified as one of and the National Archives. While its
development of ongoing resources.
the key challenges for the heritage members are funded by government,
sector, and environmental impact and The Museums Association has also the NMDC is an independent,
use of resources have recently been developed an internal action plan, nongovernmental organisation.
strengthened as assessment criteria in formed a staff group to champion
In responding to climate change,
funding applications. sustainability, and senior managers are
NMDC has focused on the unique
Business Plan 2009, Annual Report looking in detail at energy use, print,
challenge museums face addressing
2008-09 paper and waste.
sustainability while maintaining optimal
Planning Greener Heritage Projects environmental conditions for
outlines a range of factors that capital Museums, Libraries and Archives collections. One of the main obstacles
projects funded by HLF should address Council (MLA) is the requirement to adhere to
long-term, including energy efficiency, international standards, which do not
The MLA is the UK government’s reflect the realities of different climatic
renewable energy, water, building
strategic body for museums, galleries, conditions or needs of different
materials, construction waste, soil,
libraries and archives. objects. To achieve real change, this
timber, biodiversity and visitor
Corporate Plan 2008-11 issue calls for not just national, but
transport. There are no minimum
required standards for buildings in Sustainability is central to much of the international cooperation. To address
conservation areas but grant applicants MLA’s work with a strong emphasis on this the NMDC convened a group of
must address these issues in detail, social and economic sustainability. Its conservators from across its
Larger capital projects must prepare strategic priorities are ‘Learning & membership to identify issues and
management and maintenance plans, Skills’, ‘Communities’ and ‘Excellence’. areas for concern and to set out how
an international group of conservators
might liaise. NMDC has developed a set Sport England materials, transport, venue operations,
of interim guiding principles for catering, legacy planning etc. and
Sport England distributes government
rethinking policy and practice which success will be measured by an
and National Lottery funding to support
members have adopted, signaling a independent Commission for a
participation in sport in local
move towards a less energy intensive Sustainable London 2012 – the first
communities.
approach to collections care. The need body of its kind in the history of the
for further research was also identified, Sport England states that it ‘supports Games.
and priorities set out at a series of environmental objectives and have Towards One Planet: London 2012
discussions conducted with the strengthened the environmental advice Sustainability Plan (2007)
National Archives, with funding from the in our published design guidance’.
The Cultural Olympiad is a programme
Arts and Humanities Research Council. Sport England Annual Review 2008-09
of cultural performances, activities and
A report is expected in 2010 from the
One of Sport England’s roles is to events throughout the UK to celebrate
National Archives.
provide advice to local authorities and the Olympics, taking place between
http://tinyurl.com/ygfmof4
others on the development of new 2008 and 2012. All projects must
sports facilities and infrastructure. embrace the Cultural Olympiad values,
RSA (The Royal Society for the Environmental sustainability is one of and adopt three of its six themes, one
Encouragement of Arts, Manufacture the principles informing how Sport of which is to ‘raise environmental
and Commerce) England engages with the spatial sustainability, health & well-being issues
planning system. It works with partners through culture and sport’.
The RSA develops and promotes new
and advises them on how to build http://bit.ly/91rqBI
ways of thinking about human fulfilment
environmental sustainability goals
and social progress through research, Some projects selected for ‘Artists
(among other aims) into regional spatial
projects and providing platforms for Taking the Lead’ (part of the 2012
strategies.
leading experts to share new ideas on Cultural Olympiad) reflect climate
Spatial Planning for Sport and Active
contemporary issues. change and environmental issues,
Recreation (2005)
notably nowhereisland by Alex Hartley
The RSA established the RSA Arts &
Sport England provides design advice and Flow by The Owl Project/Ed Carter.
Ecology Centre in 2005 to catalyse,
to those planning new sports facilities, artiststakingthelead.org.uk/
publicise, challenge and support artists
including guidance on environmentally
who are responding to the
sustainable buildings, taking into
unprecedented environmental The Theatres Trust
account issues such as design,
challenges of our era.
materials, energy, heating, management The National Advisory Body for
artsandecology.org.uk
and transport. Theatres in the UK, the Theatres Trust
Between 2006 and 2008 the RSA Environmental Sustainability: Promoting works to protect theatre buildings by
developed Carbon Limited. The project Sustainable Design for Sport (2007) promoting their importance and
explored the role personal carbon http://bit.ly/1JhDJq providing advice on planning, building,
trading could play in stimulating the restoration, development and use for
behaviour change necessary to reduce the benefit of the nation.
2012 London Olympic and
the UK’s carbon consumption. It has
Paralympic Games The Theatres Trust is responsible for
since been handed over to the Local
ensuring the theatres sector’s
Government Information Unit (LGIU). The Government Olympic Executive
compliance with EU legislation on the
A persuasive climate: Personal trading (GOE) is part of the DCMS and exists to
Energy Performance of Buildings
and changing lifestyles (2008) provide oversight and assurance of the
(Display Energy Certificates and Energy
http://bit.ly/8xdh9O entire Olympic and Paralympic
Performance Certificates).
Programme. A commitment to
The RSA Arts & Ecology Centre is
sustainability was a key element of A conference on Building Sustainable
working with Peterborough’s Citizens of
London’s Olympic bid, inspired by the Theatres in 2008 was followed by
the Future project, where a particularly
WWF/BioRegional concept of ‘One participation in the Green Theatres
forward-thinking administration,
Planet Living’. The London 2012 programme supported by the Mayor of
working with Arts Council East, is
Sustainability Plan sets out the London. With funding from the
setting itself the goal of transforming
organisers’ objectives across a number European Regional Development Fund
itself into a flagship of sustainability.
of cross-cutting themes, including (ERDF) via the London Development
The RSA Arts & Ecology Centre will
climate change, waste and biodiversity, Agency (LDA), the Theatres Trust has
facilitate an understanding of how art
as well as inclusion and healthy living. also developed ECOVENUE, a theatre-
can help people re-envision a place,
These are applied to every aspect of specific, environmental business
and transform people’s fundamental
the Games – design and build of the support project for 48 theatre and
relationships within it.
Olympic park, procurement and performing arts venues across London.
It aims to achieve quantifiable environmental sustainability, with Visual Arts and Galleries Association
improvements in the environmental targets; identifying best practice and (VAGA)
performance of London’s theatres. knowledge base – e.g. green filming
VAGA is a leading independent body
Theatres will be provided with advice to guides; providing training – e.g. to all
and UK-wide professional network
develop Environmental Policies and UKFC-funded productions; developing a
promoting the visual arts and
achieve Display Energy Certificates BSI standard for film.
representing the interests of
(DECs). Savings made will help to UK Film Council Group and Lottery
organisations and individuals working in
deliver the Mayor of London’s Green Annual Report and Financial Statements
all aspects of the presentation and
Theatre Plan, which aims to help 2008/09 (2009)
development of the visual arts.
theatres achieve reductions in carbon
Since then, UKFC has carried out an http://bit.ly/8Vplim
emissions by 60% from 1990 levels by
internal audit and formed industry
2025. VAGA has committed to addressing
working groups for each part of the
ECOVENUE http://bit.ly/8uoITN climate change with its members and
supply chain. Links to useful resources
its own day to day practices. It
are provided on its website, plus a
established a Climate Change and the
UK Film Council (UKFC) short 3-page briefing note, Change the
Visual Arts Working Party in late 2009
Way You Work. An official
The UK Film Council is the Government and is developing a programme of
Environmental Strategy for UK Film is
backed lead agency for film in the UK practical seminars for its members. It is
yet to emerge, and environmental
ensuring that the economic, cultural also working with Julie’s Bicycle to
considerations do not appear to be
and educational aspects of film are review sustainable practice within the
built into funding criteria.
effectively represented at home and visual arts sector.
Change the Way You Work
abroad.
ukfilmcouncil.org.uk/14347
UKFC website states that ‘as a Non- VisitBritain
UKFC has funded productions that
Departmental Public Body, the UKFC is
address climate change. For example, VisitBritain is Britain's national tourism
required by its sponsoring department
in 2008/09, it awarded £99,360 to agency, responsible for marketing
in government, the DCMS, to put in
Dogwoof distributors towards Franny Britain overseas and within the UK
place policies to reduce its own
Armstrong’s The Age of Stupid. itself.
reliance on energy from fossil-fuel
sources and to reduce its waste as part Sustainability is a key policy area for
of its contribution to the Government’s UK Sport VisitBritain. It has partnered with DCMS
Sustainable Development Action Plan.’ and VisitLondon in the development of
UK Sport works in partnership with the
a new sustainable tourism framework
As with other lottery distributors, UKFC home country sports councils and
which encompasses economic, social
must take into account policy other agencies to lead sport in the UK
and environmental considerations.
directions defined by the Secretary of to world-class success. UK Sport is
Winning: A tourism strategy for 2012
State for Culture, Media and Sport. responsible for managing and
and beyond published the results of the
These were updated in 2008 and distributing public investment and is a
consultation on the new framework.
include ‘the need to further the statutory distributor of funds raised by
The framework itself includes an
objectives of sustainable development’. the National Lottery.
update to the National Sustainable
UKFC states that it is supporting digital
UK Sport produced Practical Tourism Indicators first published in
technology, and that ‘on location
Environmental Guidelines for venue 2006, which include carbon emissions,
filming of any Lottery-funded film,
managers and event organisers on how energy efficiency and transport.
producers are expected to be sensitive
to stage a ‘green’ event, drawing from Targets may be considered when the
to the needs of the environment and
UK Sport’s experience supporting the indicators are next reviewed in 2012.
the use of natural resources’.
staging of numerous Commonwealth, Winning: A tourism strategy for 2012
UK Film Council Group and Lottery
European and World Championships on and beyond (2009) http://bit.ly/6Z9CEc
Annual Report and Financial Statements
UK soil over the last few years.
2008/09 (2009) Sustainable Tourism in England: A
Practical Environmental Guidelines
framework for action - Meeting the key
The UKFC commissioned research in Published 2002 (hard copy only)
challenges (2009) http://bit.ly/MjK0l
2007, which focused on the
UK Sport has undertaken various
implications of climate change and
pieces of research to evaluate the
made recommendations for an
impact of major sporting events at a
environmental strategy for UK film.
regional and national level. The next
These included: adopting internal UKFC
report will include a consideration of
environmental management system
environmental issues alongside the
with long-term goals; working with the
economic and social impacts.
film industry to define a strategy for
Devolved Nations – and reduce it annually, and to Film Agency for Wales
Scotland encourage and influence those it works
The sole agency to support and
with.
promote film in Wales. Film Agency for
Scottish Arts Council (SAC) Wales does not appear to have any
Historic Scotland major policy or strategic commitments
The lead body for the funding, to address climate change and
development and advocacy of the arts Historic Scotland is an executive
environmental sustainability.
in Scotland. agency of the Scottish Government
charged with safeguarding the nation’s
SAC is due to become part of the new historic environment and promoting its Devolved Nations –
body Creative Scotland in 2010. understanding and enjoyment. Northern Ireland
SAC and the planned Creative Scotland As part of the Scottish Government, it
have aligned their priorities to five of aims to contribute to the ‘Greener Arts Council of Northern Ireland
the National Outcomes in the Scottish Scotland’ agenda, although
Government’s National Performance The funding and development agency
commitment does not yet appear to be
Framework. One of these is to ‘reduce for the arts in Northern Ireland.
reflected in measurable targets. It aims
the local and global environmental to increase support to technical and In its current five year plan, Arts
impact of our consumption and conservation research regarding Council of Northern Ireland states that
production’. SAC is working with the climate change to increase awareness it will actively support the principles set
cultural sector in 2009/10 to ‘develop in the sector. out in the Northern Ireland Executive
meaningful measures, indicators and Historic Scotland Corporate Plan government’s sustainable development
baselines’. SAC is also developing 2008-11 strategy, although this aim is not linked
internal environmental policy and
to specific measures.
reviewing energy consumption in
Creative Connections: a 5 year plan for
2009/10. Devolved Nations –
developing the arts 2007-2012
Scottish Arts Council Business Plan Wales
2009
Arts Council of Wales (ACW)
Regional
Scottish Screen
The lead body for the funding,
Greater London Authority (GLA)
The national development agency for development and advocacy of the arts
the screen industries in Scotland. in Wales. The Greater London Authority is the
executive body of the Mayor of London,
As with SAC, Scottish Screen is due to Under its agreement with the Welsh
with strategic responsibility for
become part of Creative Scotland in Assembly Government (WAG), activities
transport, planning, economic
2010. Future policy towards climate of ACW are expected to contribute to
development and the environment in
change and film will therefore be set by commitments of the national One Wales
the city.
Creative Scotland when it becomes strategic agenda. These include
fully operational. Like SAC, Scottish promoting a sustainable environment. The Greater London Authority Act of
Screen is committed to meeting ACW must also meet the targets of 1999, gave the Mayor powers and
Scottish Government National Outcome WAG’s Sustainable Procurement responsibilities relating to the
to ‘reduce the local and global Assessment Framework and environment and climate change. This
environmental impact of our Sustainable Development Action Plan. was strengthened in the 2007 revision
consumption and production’. ACW Remit Letter 2008-09 to the Act by obliging the Mayor to
Scottish Screen Corporate Plan produce statutory strategies around
ACW is reviewing its internal
2009/10 to 2010/11 mitigating and adapting to climate
environmental policy 2009/10, and
change in London.
Scottish Screen currently states that it developing targets and actions. ACW
‘is committed to the continual will also address how to engage funded Whether as a direct consequence of
improvement of its environmental organisations and stakeholders in this or not, both the previous and
performance recognising the implementing and monitoring existing Mayoral administrations have
contribution that this will make to the sustainable development goals, and explicitly developed work programmes
wider sustainability agenda in Scotland’. hold workshops to communicate policy. around culture and the creative
It aims to conform with legislation and Operational Plan 2009/10 industries and climate change. The
principles of the ‘greening government’ London Climate Change Action Plan
agenda, to adopt energy and resource aims to reduce the overall footprint of
efficient practices internally (e.g. London’s CO2e emissions by 60% by
travel), to calculate its carbon footprint 2025. This applies to arts and culture.
The GLA has now published three best- Individual regional cultural bodies Local Government and Culture
practice ‘green guidebooks’, for the continue to exist, such as Arts Council
Local authorities are no longer obliged
theatre, music and screen industries, England’s regional offices and the
to produce cultural strategies. Many
providing advice and case studies as to English Regional Screen Agencies.
still do, but these tend to be aligned
how these industries can minimise their Regional MLA Councils have been
with local priorities around education,
carbon footprint. In each instance, restructured and reabsorbed into a
young people, tackling social exclusion,
steering groups composed of leading national body; future mergers or
wellbeing, employment, business
industry figures were established in restructures in other sectors are a
growth and regeneration. Climate
order to ensure that analysis of how possibility.
change is rarely a key issue, although
and where carbon emissions were
sustainable development in the broader
taking place in the sector supply chains
English Regional Screen Agencies sense (social, economic and
were understood and most effectively
(RSAs) environmental) may be a priority.
addressed. A fourth guidebook for the
Visual Arts sector has now been The network of nine RSAs has recently However, energy, climate change and
commissioned. been strengthened with the the environment are becoming
greeningtheatres.com/about appointment of a Chief Executive and increasingly important issues for local
independent Chair, increasing the authorities at the corporate level
juliesbicycle.com/resources/green-
likelihood of a coordinated response to including a number of national
music-guide
climate change. Currently, this is not a indicators of environmental
filmlondon.org.uk/greenscreen priority. Activities of the RSAs differ in sustainability introduced in 2007 as
each region, depending on local part of a new performance framework
priorities, partnerships and levels of for local government. As a result,
English Regional Development
funding. Broadly the RSAs are focused locally-funded cultural venues and
Agencies (RDAs)
on supporting local media production, events may find themselves under
Several of the RDAs have made skills development, creative business pressure to improve energy efficiency
considerable investment in supporting support, film location services etc., and and reduce emissions, while new
and growing creative industries since responding to government agendas buildings will be expected to conform
they were created in 1998. However, such as Digital Britain. to more stringent standards.
although they were established with a National Indicators for Local Authorities
South West Screen has adopted Green
remit to promote ‘sustainable economic and Local Authority Partnerships:
Filmmaking Guidelines, and encourages
development’, they are not obliged to Handbook of Definitions (2008)
productions filming in the region to
consider how to address climate http://bit.ly/4Z0A3K
adopt them.
change in their investments and
Some local authorities, such as
interventions. Where they have done, it Green Filmmaking Guidelines (2009)
Westminster, are taking a proactive
has tended to be through the http://bit.ly/13OtMU
role. Launched in February 2009, the
promotion of ‘green technologies’
Film London has also developed the Westminster Carbon Alliance is a
industries and supporting innovations
Green Screen guide and carbon borough wide partnership of
in the environmental sector (several of
calculator for filmmakers, in organisations and projects aiming to
them have been active in these areas),
conjunction with industry and public deliver carbon reduction and energy
rather than as an over-arching theme
sector partners, and with support from efficiency projects in Westminster.
which would apply to all supported
the GLA. The Alliance is working with partners in
sectors, such as the creative industries.
filmlondon.org.uk/greenscreen the local government estate, creative
industries, the voluntary sector,
Individual RSAs have also funded housing, commercial landlords and
English Regional Cultural Bodies
specific productions with ecological small and medium sized enterprises.
The dismantling of the English Regional themes. For example, Screen South
Cultural Consortia has left no strategic supported the documentaries Garbage In 2008 the Leader of the Council
body capable of linking policies across Warrior and The End of the Line. stated that Westminster is aiming to
the creative sectors at the regional become carbon neutral by 2012
level to broader issues such as climate
Arts Council England (ACE) Individual local authority cultural
change.
Regional Offices officers fund a wide range of small-
scale and community arts projects,
See the main ACE entry above. many of which explore environmental
themes (e.g. projects with schools).
appendix ii) resources and tools
A brief guide to Executive Agencies, including buildings Guidance for

environmental measuring and land managed. sustainability reporting
and reporting systems for • GRI: Sustainability reporting
the UK cultural and Voluntary, sector-specific guidelines
initiatives or awards
creative sector schemes The Global Reporting Initiative (GRI) is a
network-based organisation that has
Responding practically to climate
• BSI (British Standards Institute) and pioneered the development of a widely
change requires that arts organisations
ISO (International Organisation for used sustainability reporting
address their management of staff,
Standardisation) provide both guidance framework. They are committed to its
systems, assets, and ways of working.
for implementing an environmental continuous improvement and
One of the first steps an organisation
management system (see below) and a application worldwide. This framework
should undertake is an audit identifying
standard against which organisations sets out the principles and indicators
their greenhouse gas (GHG) emissions,
can be certified by a third party that organisations can use to measure
and steps to reduce this impact. This
assessor. and report their economic,
should in turn feed into an action plan
environmental, and social performance.
for ongoing engagement probably • BREEAM (The Building Research
sitting alongside or within the Establishment’s Environmental
organisation’s environmental policy. Assessment Methodology) can be Carbon measurement
Implementing an environmental applied to all non-residential building methodologies
management system that supports the refurbishments and new builds.
action plan and environmental policy is Note: these sources of guidance form
• The Carbon Reduction Label can be the basis for many of the schemes listed
critical to success. Therefore
awarded to products or services that above.
organisations will need to identify
have undergone a life cycle analysis of
technical data (actual emissions • Greenhouse Gas Protocol: The GHG
their embodied emissions.
sources and results, i.e. the ‘carbon Protocol is the internationally
footprint’), practical actions and • Carbon Disclosure Project operates recognised standard for corporate
management systems to ensure a the only global climate change accounting and reporting of
comprehensive response. reporting system for any organisation greenhouse gas emissions developed
wishing, or requested, to publicly jointly by the World Resources Institute
It is likely that an organisation may
report their greenhouse gas emissions (WRI) and World Business Council for
engage at a number of levels:
and climate change strategies. Sustainable Development (WBCSD).
• The Carbon Trust Standard is • ISO14064-1 – Greenhouse gases: A
Regulatory schemes
awarded to organisations that measure, specification with guidance at the
• Energy Performance Certificates manage and reduce their carbon organisation level for quantification and
(EPCs) and Display Energy footprint. reporting of greenhouse gas emissions
Certificates (DECs). Mandatory for any and removals.
• EMAS - the Eco-Management and
building being built, sold or rented, the
Audit Scheme is a voluntary initiative • Department of Environment, Food
EPC includes an A-G rating of the
established by European regulation to and Rural Affairs/Department of
energy efficiency and carbon emissions
improve companies’ environmental Energy and Climate Change: In line
of the building. DECs are required of
performance. with the UK Climate Change Act 2008,
buildings occupied by a public
authority or institution and buildings DEFRA/DECC have published guidance
• Industry Green is a certification
more than 1,000m2 in floor area on emissions reporting for businesses
scheme tailored to the creative
including guidance on what conversion
industries managed by Julie’s Bicycle.
• The Carbon Reduction Commitment factors to apply to the activities
Industry Green provides a framework
(CRC) is an emissions trading scheme included within the carbon footprint.
for ongoing GHG emissions reductions.
that will achieve reductions and affects
all government departments and large • The Greener Festival Award scheme
businesses whose annual half-hourly is based around the twin aims of
metered electricity use is above 6,000 promoting greener practices and
megawatt-hours (MWh). promoting sustainability.
• Sustainable Operations on the • The Green Tourism Business
Government Estate (SOGE) sets Scheme is the national sustainable
sustainability targets and reporting tourism certification scheme for the UK.
requirements for all central
Government Departments and their
Guidance for GHG “life Free Tools for GHG • Green Theatre Carbon Calculator
cycle assessment” of a Measurement http://bit.ly/7Pl10t
key product or service A downloadable excel spreadsheet-
• Arts Energy Toolkit based tool that identifies which areas in
• PAS 2050 – Publicly Available artsenergy.org.uk a given theatre production that are the
Specification for the assessment of Arts Council England has developed a biggest generators of carbon
the life cycle greenhouse gas self-assessment web-based toolkit for emissions, enabling the creation of an
emissions of goods and services. arts organisations to help them appropriate action plan.
Developed by BSI for DEFRA and the implement an effective energy
Carbon Trust, the PAS 2050 approach management programme including an • Rural Museums Network Carbon
is different from organisational action plan. Measures building energy Calculator http://bit.ly/76m7NI
reporting as it involves assessing use only, in kWh but not CO2 A downloadable excel spreadsheet-
emissions across the “life cycle” of the based calculator helps rural museums
• Carbon Trust http://bit.ly/4yoQ0K calculate their carbon footprint.
product, otherwise known as the
Web-based calculator that helps
“embodied emissions”, for example
organisations calculate their annual
from those associated with the
carbon footprint using data on fuel and Free Tools for creating
extraction and processing of raw
vehicle usage, the company’s action plans
materials right through transport,
electricity bill and employee travel. An
storage, to use and disposal of the • Arts Energy Toolkit see above
indicator tool that uses energy bills and
product.
sector type is also available. • DCMS Toolkit see above
• ISO 14040 – Environmental
• DCMS Toolkit http://bit.ly/5ugUFg • Eventberry eventberry.com
management. Life cycle assessment.
A downloadable document-based Eventberry is a web-based tool
Principles and framework.
toolkit that provides guidance on how designed to enable sustainable event
International standards on life cycle
to develop a carbon policy and gather management and BS8901 compliance.
assessment (LCA) are available in
data to produce an annual carbon
ISO14040 and 14044.
footprint.
Free Tool for GHG
Guidance for • Enworks efficiencytoolkit.net Emissions and Energy
environmental The web-based ENWORKS Efficiency Monitoring
Toolkit assists businesses to improve
management systems • SMEasure smeasure.org.uk
their resource efficiency across a
SMEasure is a web-based tool for
• ISO14001 – Environmental number of indicators including GHG
building energy use analysis and
Management System. emissions.
carbon monitoring. Unlike the
Provides a framework for the
• IG (Industry Green) tools calculators listed above which are an
development of an environmental
juliesbicycle.com/industry-green annual or one-off “snapshot” SMEasure
management system and the
Web-based tools designed for the analyses building performance on a
supporting audit programme.
specific needs of creative sector weekly basis. Using regular meter
• BS8555 organisations to measure and readings and incorporating weather-
Building on BS EN ISO 14001 and the benchmark annual GHG emissions and energy analysis, it has been developed
EU Eco-Management and Audit Scheme other environmental impacts resulting specifically for the needs of small and
(EMAS), this British Standard provides from venues, festivals and outdoor medium-sized businesses.
guidance to all organisations on the events and offices.
phased implementation, maintenance
• Green Screen Carbon Calculator
and improvement of a formal For more extensive information
http://bit.ly/4Fnocs
Environmental Management System please see
A downloadable excel spreadsheet-
(EMS).
based carbon calculator it enables juliesbicycle.com/resources
• BS8901 setting a ‘carbon budget’ that can be
The British Standard that provides managed along with the production’s britishcouncil.org/climatechange.htm
requirements for planning and financial budget, thus working towards
managing sustainable events of all sizes carbon reductions.
and types.
appendix iii) glossary
Carbon Dioxide. A naturally occurring equipment or emissions from www.wri.org/publication/content/7778

gas, and a by-product of burning fossil organisation-owned premises, such as www.ghgprotocol.org/
fuels and biomass, as well as land-use carbon dioxide from electricity
IPCC. The Intergovernmental Panel on
changes and other industrial processes. generators, gas boilers and vehicles, or
Climate Change. A special intergovern-
It is the principal anthropogenic methane from landfill sites.
mental body established by the United
greenhouse gas that affects the Earth’s
Emissions. The release of a substance Nations Environment Programme (UNEP)
radiative balance. It is the reference gas
(usually a gas when referring to climate and the World Meteorological
against which other greenhouse gases
change) into the atmosphere. Organisation (WMO) to provide
are measured and therefore has a Global
assessments of the results of climate
Warming Potential of 1. Global warming. The continuous
change research to policy makers. The
gradual rise of the earth's surface
Carbon Dioxide Equivalent (CO2e). The Greenhouse Gas Inventory Guidelines
temperature thought to be caused by
universal unit of measurement used to are being developed under the auspices
the greenhouse effect and responsible
indicate the global warming potential of the IPCC and will be recommended
for changes in global climate patterns.
(GWP) of each of the six Kyoto for use by parties to the Framework
greenhouse gases. It is used to evaluate Global Warming Potential (GWP). Convention on Climate Change.
the impacts of releasing (or avoiding the The GWP is an index that compares the
Indirect emissions. Emissions that are a
release of) different greenhouse gases. relative potential (to CO2) of the six
consequence of the activities of the
greenhouse gases to contribute to
Climate. Climate in a narrow sense is reporting company but occur from
global warming i.e. the additional
usually defined as the “average weather,” sources owned or controlled by another
heat/energy which is retained in the
or more rigorously, as the statistical organisation or individual. They include
Earth’s ecosystem through the release
description in terms of the mean and all outsourced power generation (e.g.
of this gas into the atmosphere. The
variability of relevant quantities over a electricity, hot water), outsourced
additional heat/energy impact of all
period of time ranging from months to services (e.g. waste disposal, business
other greenhouse gases are compared
thousands of years. The classical period travel, transport of company-owned
with the impacts of carbon dioxide (CO2)
is three decades as defined by the World goods) and outsourced manufacturing
and referred to in terms of a CO2
Meteorological Organization (WMO). processes. Indirect emissions also cover
equivalent (CO2e) e.g. Carbon dioxide
These quantities are most often surface the activities of franchised companies
has been designated a GWP of 1,
variables such as temperature, and the emissions associated with
Methane has a GWP of 21.
precipitation, and wind. downstream and/or upstream
Greenhouse Effect. Trapping and build- manufacture, transport and disposal of
Climate change. A change of climate
up of heat in the atmosphere products used by the organisation,
which is attributed directly or indirectly
(troposphere) near the Earth’s surface. referred to as product life-cycle
to human activity that alters the
Some of the heat flowing back towards emissions.
composition of the global atmosphere
space from the Earth’s surface is
and which is in addition to natural Kyoto Protocol. The Kyoto Protocol
absorbed by water vapour, carbon
climate variability over comparable time originated at the 3rd Conference of the
dioxide, ozone, and several other gases
periods. Parties (COP) to the United Nations
in the atmosphere and then reradiated
Convention on Climate Change held in
Copenhagen Accord. The outcome of back toward the Earth’s surface. If the
Kyoto, Japan in December 1997.
the 15th Conference of Parties at the atmospheric concentrations of these
It specifies the level of emission
United Nations Conference on Climate greenhouse gases rise, the average
reductions, deadlines and
Change held in Copenhagen in temperature of the lower atmosphere
methodologies that signatory countries
December 2009. It was hoped the will gradually increase.
(i.e. countries who have signed the
Conference would replace or extend the
Greenhouse gases. The current IPCC Kyoto Protocol) are to achieve.
Kyoto Protocol (see below) which will
inventory includes six major greenhouse
expire in 2012. However the outcome United Nations Framework Convention
gases. These are Carbon dioxide (CO2),
was an accord reached between the US, on Climate Change (UNFCCC). The
Methane (CH4), Nitrous oxide (N2O),
China, India, Brazil and South Africa Convention on Climate Change sets an
Hydrofluorocarbons (HFCs),
which still has to be endorsed by the overall framework for intergovernmental
Perfluorocarbons (PFCs), Sulphur
193 countries at the talk in order to efforts to tackle the challenge posed by
hexafluoride (SF6).
become an official UN agreement. climate change. It recognizes that the
Countries have been asked to submit Greenhouse Gas Protocol defines climate system is a shared resource
their pledges for curbing carbon reporting principles and guidelines for whose stability can be affected by
emissions by 2020, by February 1st auditing the GHG emissions of a industrial and other emissions of carbon
2010. The Accord recognises limiting company. Developed by the World dioxide and other greenhouse gases.
temperature rises to less than 2°C above Business Council for Sustainable The Convention enjoys near universal
pre-industrial levels. Development and the World Resources membership, with 189 countries having
Institute, it has provided the basis of ratified.
Direct emissions. Emissions that are
international guidelines on company
produced by organisation-owned
reporting of carbon footprints. britishcouncil.org/longhorizons 39
Julie’s Bicycle thanks the following:
Sian Alexander, Penny Andrews, Simon Banks, Catherine Bottrill, Tom Campbell,
Sally Cowling, Peter Gingold, John Hartley, Emily Kay, Keith Khan, Colin Kirkpatrick,
Catherine Langabeer, Laura McNamara, Judith Nesbitt, Sir Nick Serota, Maurice Walsh
contact details
general.enquiries@britishcouncil.org +44 (0)161 957 7775 britishcouncil.org
This publication is available to download at britishcouncil.org/longhorizons
info@juliesbicycle.com juliesbicycle.com +44 (0)20 7379 6886
>> (cont.) Manchester International Festival Manuela Zanotti Marc Garrett Marcos Lutyens
Marcus Brigstocke Margaret Atwood Maria Thereza Alves Mariele Neudecker Marije De Haas Mario
Petrucci Marjetica Potrc Mark Dion Mark Edwards Mark McGowan Markus & Daniel Freitag Marmaduke
Dando Hutchings Maroon 5 Marta Stysiak Martha Wainwright Martin Sexton Marvin & The Cats
Mary Ann Lazarus Mary Oliver Mary-Chapin Carpenter Mason Jennings Master Shortie Materials for the
Arts (MFTA) Matthew Dalziel & Louise Scullion Mau Mau Max Eastley MCPS-PRS Meadowlands
Entertainment Group Megadeth Melanie Challenger Melissa Etheridge Metal Michael Franti Michael Hopkins
Michael Kerbow Michael Landy Michael Rakowitz Michaela Crimmin Michal Bolton Michele Noach
Miles Epstein Minou Norouzi Missy Higgins Moby moe. Mojisola Adebayo Mona El Mousfy Mona
Hatoum Montreux Jazz Festival Moshi Moshi Music from Another Room Music Wood MusicMatters
My Dad's Strip Club Nathan Gallagher National Portrait Gallery National Theatre National Theatre Scotland
National Theatre Wales Neil Diamond Neil Young Nele Azevedo (Brazil) Newton Harrison Nic Balthazar
Nicholas Grimshaw Nick Cobbing Nick Edwards Nicolas Henninger Nicole Krauss Nils Norman
Nine Inch Nails Ninja Tune No Doubt Norah Jones Norman Foster Northern Stage O.A.R Okkervil River
Oliver Hodge OpenAir St Gallen Oran Cat Orbital Orlando Bloom Oxegen Øya Festival Ozzy Osbourne
Page and Plant Paléo Festival Nyon Pamel Lastiri Panic At The Disco Paule Constable Paddington
Development Trust (PDT) Pearl Jam Peats Ridge Festival Penelope Cruz Perry Farrell (Jane's Addiction)
Pet Shop Boys Pete Seegar Peter & The Wolf Peter Clegg Peter Fend Peter Frampton Peter Gilbert
Peter L Johnson Pharrell Williams Phil Collins Phil Constable Phil Stebbing Philippe Rahm Phish
Pierce Brosnan Pink Floyd Pinkpop Planet Green Portobello Nu-Jazz Festival PPL Provinssirock
PRS for Music Pukkelpop Queensryche Rachel Whiteread Radical Nature Radiohead Ray Lamontagne
Razorlight Recoup Red Hot Chili Peppers Redell Olsen Reel Green Media REM REO Speedwagon
Respond Reverb Rheinkultur Richard Branson Richard Buckminster Fuller Richard Lerman Richard Long
Richard Mabey Richard Rogers Rip Curl Festival RiverWired Rob Newman Robbie Schoen & Isaac Frankle
Robert Bringhurst Robert Smithson Robyn Hitchcock Rock & Wrap It Up Rock Werchter Rod Dickinson
Rod Stewart Rogue Wave Rolling Stones Roo Borson Roskilde Festival Rothbury Rototom Sunsplash
Royal Albert Hall Royal Court Royal Shakespeare Company (RSC) Royal Scottish National Opera Ruisrock
Rupert Murray Rusted Root Ruth Catlow Ruth Jarman Ruth Little Ruth Tabancay Ryuichi Sakamoto
Saci Lloyd Sage Gateshead Sam Bozzo Sam Collins Samir Srouji Sandra Mendler Santana Sarah Harmer
Sarah Smizz Scenary Salvage Scott Hessels Scott Oliver Sean Bonney Sergio Vega Serj Tankian
Shambala Festival Sheryl Crow Ships & Dip V Shiro Takatani Shlomo Sienna Miller Simon Starling
Siobhan Davies Sisters of the Mona Lisa Skip Schuckmann Smashing Pumpkins SMG Europe Soleil Moon
Sonisphere Sony Music UK Sophie Calle Soul Asylum Soundgarden Southbank Centre Southbound
Festival Spencer Finch Standon Calling Stars State Radio Stella McCartney Stephen Kellogg and the
Sixers Steve Trash Steve Waters Sting Stone Temple Pilots Styx Suba Subramaniam Summer Sundae
Weekender Sunand Prasad Sunrise Celebration Festival Superflex Susan Richardson Sustainability and
Contemporary Art Sustainable Art Sustainable Dance Club Sustainable Fashion Sustainable Style Foundation
Sustainable Theatre Company Suzan-Lori Parks Suzanne Moxhay Swallow Theatre Szegedi Ifjusagi Napok
T.R.A.I.L (Trail Recycled Art in Landscape) Tacita Dean Tania Kovats Tate Taubertal Festival Terje
Isungset The Center for Sustainable Practise in the Arts The City of London Festival The Cure
The Dead The Ditty Bops The Duhks The Eagles The Eco Dance The Falls Festival The Fray The Glade
The Green Theater The Junction The Laboratory of Insurrectionary Imagination The Life Poets
The Official Charts Company The Pidgeon Detectives The Presidents of the United States of America
The Roots The Story of Stuff The Swell Season The Three Tenors The Who Theatre Royal Plymouth
Third Ring Out by Metis Arts Thomas Herzog Thomas Ruff Ticketmaster Tim Dey Tim Fitzhigham
Tim Knowles Tim Lilburn T-In-The-Park Tipping Point Tom Petty and the Heartbreakers Tomas Saraceno
Tori Amos Toshifumi Matsushita Tracey Bush Tracey Emin Tracey Rowledge Tracy Moffatt
Trashcatchers' Carnival by Project Phakama UK Truck Tue Greenfort Turtuga Blanku Unicorn
United Visual Artists Universal Music V&A Van Halen Vanessa Carlton Vicky Long Vikram Seth Vince Gill
Volcano Theatre Company Von Gerkan Marg Wallflowers Warner Music Group WATT Waveform Festival
Weekend au bord de l'eau Wembley Arena Wendell Berry Werner Herzog West Beach Festival William Hunt
William McDonough William Odell William Shaw William Stanley Merwin Willie Nelson Wireless
Wolves In The Throne Room WOMADelaide Wood Workhouse Festival Wyclef Jean Wysing Arts
Xavier Rudd Yael Bartana Yann Arthus-Bertrand Yann Martel Yao Lu Yishai Orian Y-Not Young Vic
Zbigniew Kotkiewicz
Graphic design: Positive Design Works. Printed in Surrey using vegetable oil-based inks by Positive Images (FSC certified and registered with The Environment Agency).

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LONG HOR

the far-seers of art 5

sound and vision 9

art in the time of global warming 13

keeping out the giraffes 17

I am leading the establishment of ‘GreenmyBand’,

So what I am asking for is a re-assessment of

Vision, resolution, consolation. These are the tools

‘giraffes’ from landofspike.co.uk

antony gormley kt tunstall

In summer 2008 the Museums

A brief guide to Executive Agencies, including buildings Guidance for

Carbon Dioxide. A naturally occurring equipment or emissions from www.wri.org/publication/content/7778

info@juliesbicycle.com juliesbicycle.com +44 (0)20 7379 6886

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