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ATLAS Arts seeks BLUE SKYE:LAND Blogger for Hogmanay!

This post comes from Creative Carbon Scotland

This opportunity comes from ATLAS Arts.

The event, at one of Edinburgh’s most resplendent buildings is part of Scot:Lands, a series of events across Edinburgh’s Old Town that celebrate the start of 2016 with the very best in music, art and theatre.ATLAS Arts is curating an afternoon of performances inspired by and made for the Isle of Skye as part of this festive event.

We would like to invite an avid blogger to attend BLUE SKYE:LAND and the wider Scot:Lands event. The blogger will capture the spirit of this unique afternoon recording the experience of BLUE SKYE:LAND for the ATLAS website.

About the event:

  • Gaelic singer, Anne Martin, and vocal sculptor, Jason Singh, will headline an afternoon of Gaelic song, Indian Raga, electronica and beat boxing woven into a unique soundscape. This event follows a three-week research trip to India in which the pair explored the vocal similarity between Gaelic and Indian working songs. For this special event, Anne and Jason will perform new material that was written and recorded in India.
  • Alongside this will be an extraordinary intervention by acclaimed artist and composer, Hanna Tuulikki, and special performances by Leighton Jones and Hector MacInnes.

What we’re looking for:

We are looking for someone who is interested in writing about music, contemporary art and Gaelic culture, who will capture the experience of this unique afternoon of performances and situate BLUE SKYE:LAND within the wider Scot:Lands event and Hogmanay celebrations.

This bursary also offers the opportunity for the successful applicant to attend BLUE SKYE:LAND the wider Scot:Lands event and the Edinburgh Hogmanay Street Party. There will also be a chance for the blogger to attend a special celebratory meal with the artists and the ATLAS team.

If you’d like to apply for the bursary please send us 200 words on why you’d like to attend as our official blogger.

Your text should be included in an email and sent to Gayle Meikle at  gayle@atlasarts.org.uk by 5pm Friday 11 December. We will notify the successful individual by Monday 14 December 2015.

Applications are welcome and encouraged from across the UK.


ATLAS Arts, based on Skye, are members of our Green Arts Initiative: a community of arts organisations across Scotland committed to reducing their environmental impact. Find out more about BLUE SKYE:LAND here.

Scot:Lands is part of Edinburgh’s Hogmanay: one of Edinburgh’s twelve major festivals (and also a member of the Green Arts Initiative!).

image : BLUE SKYE:LAND courtesy of Scot:Lands

The post ATLAS Arts seeks BLUE SKYE:LAND Blogger for Hogmanay! appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Opportunity: Environmental Artist for Garden Lane Project

This post comes from Creative Carbon Scotland

North Light Arts and East Lothian Arts Service are in the process of developing the John Muir Residency 2016 and events, workshops and projects in connection with the development of a community garden and outdoor environmental arts space at our new Garden Lane project, part of the Backlands Regeneration Project Dunbar.

We are looking for environmental artists who have an interest in the work of North Light Arts; in public art and participatory practice, sustainability, horticulture, food production, recycling and repurposing materials, biodiversity, heritage and community.

The Backlands garden site is located behind Dunbar High Street and is a strip of land off Garden Lane, a name that hints at its heritage. Currently the lane is just a thoroughfare from the High Street to the supermarket and car park but this is a key historical site, the area potentially being on the ground of the gardens of an early monastery for the Trinitarians (Red Friars), which was founded 1240 to 1248; the site still retains small traces of the stone walls of the ‘Monks Walk’. Historically the site is known to have been in continuous cultivation and we aim to restore some of the heritage varieties which would have been grown in the locality as mentioned in various historic records and briefly in John Muir’s autobiography from his childhood years in Dunbar.

We plan to engage the community in the process of researching and developing ideas for this inspiring site and the potential this outdoor environmental arts space offers; perhaps for or shelter, perhaps a project space for participatory workshops, events and public art works. We are collaborating with The Ridge who are developing the community garden as a horticultural training centre and they are currently working on the adjacent site to develop a market garden and a produce market. We also hope to work with as many recycled and repurposed materials as possible working in close connection with Zero Waste Town Dunbar.

We are looking for artists whose environmental practice is participatory, artist’s who work with the environment to deliver workshops and those who work with themes of horticulture, heritage, health and well being, biodiversity and sustainability.

If you are interested in working with North Light Arts please send your CV with six images of your work and explain how you could work with us to deliver our ambitions for the garden at Garden Lane.

Send your application to  contact.northlightarts@gmail.com  by 12.00 mid day on Monday 14 December 2015.

Selected artists will be invited to interview in the New Year.

image courtesy of Queen Bee by Natalie Taylor – NorthLight 2012

The post Opportunity: Environmental Artist for Garden Lane Project appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Opportunity: “On Energy” Residency at Banff Centre

This post comes from Creative Carbon Scotland

This opportunity comes from the Banff Centre (Canada) with a deadline of December 16th.

Applications information can be found at: https://www.banffcentre.ca/programs/banff-research-culture-energy

Banff Research in Culture 2016 / The Banff Centre

May 30 to June 24, 2016 

Our lives revolve around energy. From driving our cars—or bikes—to work, to eating food and heating our homes, energy in some form or another conditions the quotidian at every scale. Energy grounds the daily, the quarterly, the annual, and the epochal. Futures trading in New York and Chicago makes the extremes of weather a fiscal crisis for working families hard pressed to pay their utilities, while the growth rate of nations bends to the capacities and supply of domestic and international energy markets. Since the industrial revolution, our lives have been fueled by the social and physical energy available from coal, oil, and natural gas. No longer dependent on the rhythms and limits of organic energy, such as wood, water, and animal power, fossil fuels have simultaneously made the modern, globalized economy possible, and redefined the social history of energy in the meantime. What Leibniz called the living force has become, since the systematic mechanization of fossil fuels in the 19th century, the fundamental force of modern history.

“On Energy” invites participants in the fields of visual art, architecture, design, literature, humanities, social sciences, and physical sciences to consider energy; its conceptual, corporal, and cultural development since its thermodynamic invention, and the sort of materialism that can emerge when energy is redefined in a postindustrial capitalist society. This residency asks artists and researchers to collectively address energy’s historical figures and futures, its visual and social economy, and its capacity todisfigure, since energy is not a thing, but rather a representation of the force embedded in matter and the relations between materials. Over four weeks of intense workshops, discussion groups, studio time, and individual research, we will consider the cultural, political, and historical components of energy, explore new ways to artistically and conceptually figure energy in history, as well, examine the social and physical forms energy might ground in the future. While participants are expected to arrive with interests and ideas particular to their own research and artistic practice, the collective aim of “On Energy” is to reimagine energy in the long view, and to establish the possibilities and limitations of a theory of energy.

Banff Research in Culture 

Banff Research in Culture (BRiC) is a research residency program designed for scholars engaged in advanced theoretical research on themes and topics in culture. BRiC is designed to offer researchers with similar interests from different disciplinary and professional backgrounds an opportunity to exchange opinions and ideas. Participants are encouraged to develop new research, artistic, editorial, and authorial projects, both individually and in connection with others.

During the residency, participants will attend lectures, seminars, and workshops offered by visiting faculty from around the world. The residency will help to develop new approaches toward the study and analysis of culture, as well as creating lasting networks of scholars who might use this opportunity as the basis for future collaborative work.

The Banff Centre is a world-renowned facility supporting the creation and performance of new works of visual art, music, dance, theatre, and writing.

Who Should Apply

We look forward to receiving compelling and original proposals from thinkers, researchers, architects, writers, curators, humanists, social scientists, and artists. This programme is open to current PhD researchers and post-doctoral researchers (faculty up to tenure) beginning their careers. Artist applicants must have completed formal training in visual arts and demonstrate a commitment to professional practice.

(Note: Our aim is to offset applicants’ cost of participation in BRiC through grants and awards.)

Faculty: Keller Easterling, Matthew Huber, Imre Szeman; others TBA

Program Director: Jeff Diamanti

Application Deadline: December 16, 2015

Applications information can be found at: https://www.banffcentre.ca/programs/banff-research-culture-energy

Please direct questions to: diamanti.jeff@gmail.com

The post Opportunity: “On Energy” Residency appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

October Green Tease Reflections #artcop21

This post comes from Creative Carbon Scotland

The Green Tease events are a monthly opportunity for people interested in arts, sustainability or both to come together and discuss various ways in which the arts can engage with sustainability issues. This month, we invited individuals to hear more about the upcoming Conference of the Parties (COP21) in Paris and learn how art can play a role in climate change and sustainability.

For those who missed the event, we decided to sit down with our director, Ben Twist, to help us fully understand what COP is and what we can and can’t expect to see at the conference.

What the UNFCCC is COP21?

COP 21 is the 21st annual Conference of the Parties to the United Nations Framework Convention on Climate Change (the UNFCCC). (Other meetings of sub-groups also take place but the COP is the main event.) The UNFCCC was adopted at the Rio (or Earth) Summit in 1992 and entered into force in 1994 once governments (rather than summit representatives) had ratified it in 196 countries. The UNFCCC is ‘broad but shallow’, in that it was deliberately made undemanding in terms of action against climate change so that nearly every country in the world could sign up to it: the aim was to get consensus. But it was quickly realised that action was necessary so a sharper-toothed agreement was negotiated in 1997 which is ‘narrow but deep’: the Kyoto Protocol. It committed countries listed in Annexe 1 (ie the developed world) to reduce their carbon emissions by 5% against 1990 levels by 2012. There was much controversy over the Kyoto Protocol (KP), at least partly because the US senate wouldn’t ratify it. Eventually in 2005 (eight years later!) it was ratified by enough countries to cover 68% of the world’s carbon emissions, which was required by the KP for it to come into force. But even that took a deal with Russia which allowed them to join the World Trade Organisation in return for their ratifying the KP – the climate change talks are all about geopolitics.

But even as the KP came into force, it was realised that time was short and a new treaty was needed for the period after 2012, when the agreement to reduce carbon emissions would run out. So the negotiations on post-2012 started in 2005 and COP15 in Copenhagen in 2009 was meant to be the occasion when a new agreement would be reached. However, it ended in chaos as the parties failed to agree post-2012 targets. COP15 was marred by accusations of a lack of transparency because a last ditch deal, ‘the Copenhagen Accord’, was stitched together by the US, China, Brazil, India and South Africa then presented as a done deal to the rest of the world. COP15 was also riven with division because the rich world was focusing on climate change and carbon reduction whilst the poorer countries were saying ‘we need to develop, get clean water and electricity for the 20-25% of the world’s population which don’t have them’. They also wanted more focus on adaptation to the effects of climate change, which their people were already feeling, and more financial support to help them transition to low carbon economies.

Copenhagen; however, in my view, wasn’t a total failure, as it provoked much discussion and action – and probably the expectations before the COP had been too high (the same is true this year). In Cancun in 2010, development and adaptation was much more in focus and importantly the COP agreed a target of a maximum global temperature rise of 2°C – no target had ever been set before. It also agreed on a Green Climate Fund and technology transfer mechanisms to enable poorer countries to develop along a lower carbon pathway. And the discussions at the COPs became much more transparent and inclusive.

Since 2010, there has been much work on developing binding carbon reduction agreements in place for 2016 onwards – and this is what COP21 aims to finalise.

For anyone interested in a more detailed history of the climate change talks (and it is interesting, in a geeky sort of way), I’d recommend looking at the Earth Negotiations Bulletin summary of the most recent interim talks at http://www.iisd.ca/download/pdf/enb12644e.pdf.

What happens at a COP?

The COP aims to finish negotiations on a text which can then be agreed by all parties – the UN works by consensus rather than majority voting. In between COPs, there are ‘intercessional’ meetings at which negotiators hammer out the broad framework so that at the big meeting the details can be agreed. Before the COP, they will confirm with their governments what they can commit to at the COP and in the first week or so of the COP, they will try to finalise the text which the politicians can jet in to sign off during the ‘high level section’ which takes place towards the end of the conference. What follows is a bit of the text for COP21. The square brackets […] indicate bits of text which aren’t yet agreed. The job of the negotiators is to get rid of all the square brackets so the text is acceptable to all. As you can see, there is quite a lot of work to do.

[The Parties to this Agreement,

Pp1`Being Parties to the United Nations Framework Convention on Climate Change, hereinafter referred to as “the Convention”,

Pp2      In furtherance] [pursuit] of the objective, [principles and provisions] of the Convention [as set out in Articles 2, 3 and 4], [including the principles of equity and common but differentiated responsibilities^ and respective capabilities in light of different national circumstances,]]

Pp3      Recalling decisions 1/CP.17, 2/CP.18, 1/CP.19, and 1/CP 20,

Pp4      [Taking account of the [particular vulnerabilities and specific needs of][particularly vulnerable][urgent and immediate needs and special circumstances of] developing country Parties, especially [those that are particularly vulnerable, including] the least developed country (LDC) Parties[ and other Parties identified in Article 4.8 of the Convention], small island developing states (SIDS) [, small mountainous developing states] and Africa, [and the central American isthmus]][Taking full account of the specific needs and special situations of the least developed countries and small island developing states arising from the adverse impacts of climate change],

There will be separate groups working on different bits of the text in different rooms, with groups of delegations trying to work out common positions on certain areas. Every now and then, everyone will come together in the main plenary sessions to discuss where they have got to. Not much work gets done in the plenary sessions, which are very unmanageable with 196 countries all wanting to have their say (in many different languages – there is simultaneous translation always available). The action is all in the smaller groups.

Of course, it’s in the nature of negotiations that nobody cedes much ground until they have to at the very end of the process and the negotiators – who will be constantly in touch with their governments by phone – are not able to make concessions that they don’t think their Prime Ministers and Presidents will be able to get through their parliaments. In the end, only the top dogs can do the final deal. So although the plan is to get everything sorted before they arrive, it won’t happen. The politicians will fly in (and for COP21 they are being encouraged to arrive earlier than normal) and then the horse trading will start. Although the COP is due to finish on Friday 11 December, the negotiations will continue through the night until Saturday and probably Sunday, with exhausted politicians being brow-beaten and deals being done in side rooms.

What to look out for:

Here is my list of some of the important things to look out for which will be discussed and we hope agreed at COP21

  • Carbon reduction &/or adaptation targets for each country (INDCs) Will they be realistic and achievable; and will they be ambitious enough? (no, and no is the answer)
  • Increasing the ambition of the process See above
  • Adaptation (costing $150/yr (2030) – $500bn/yr (2050)) This may be one area where agreement is possible.
  • Financing for developing countries ($100bn/year from 2020) This will be provided by the rich countries. This may also be achieved, we are hearing.
  • The transition to low-carbon economies ie finance and technology transfer (ie rich countries letting poor countries have access to their new and more efficient technology at reduced rates)
  • The UN Sustainable Development Goals An interesting development is the fact that the SDGs were agreed by the UN earlier this year and they have bearing on all the development issues above. Unlike at Copenhagen in 2009, development will be high on the agenda.
  • Binding ‘legal’ commitments This is tricky, because the US Congress will be reluctant to let Obama agree to binding commitments, but the rest of the world wants them
  • Transparency Has the process been fair and transparent.
  • ‘Common but differentiated responsibilities’ This is the term in the UNFCCC which notes that although this is a joint problem, some countries (the rich ones) have the ability to put more into the pot; that some (like the UK) emitted lots of CO2 in the past which is still causing the problem; and that some (like China) are becoming big emitters although that is relatively recent.

Although the process is flawed and much criticised, I think that’s perhaps unfair. It’s an impossible task. The whole UN process is about putting the world’s collective good above that of one’s own government, one’s own people. That isn’t generally in human nature, and the UN and the UNFCCC could be argued to be an attempt to be better together than we are on our own. At a time of great individualism, that’s a great and noble thing. It’s better to try than to give up. As Samuel Beckett said in Worstward Ho (1983): ‘Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.’

The post October Green Tease Reflections appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

ArtCOP Scotland: Beautiful Renewables Event

This post comes from Creative Carbon Scotland

ArtCOP Scotland got off to a flying start on Wednesday when CCS hosted a talk by the Land Art Generator Initiative at the Edinburgh Centre for Carbon Innovation. ArtCOP Scotland is Scotland’s Climate Change Arts Season, coordinated by Creative Carbon Scotland but incorporating events and commissions from many different partners and all over the country. Check out the website for more details.

Diphoto 1rectors of the Land Art Generator Initiative Robert Ferry & Elizabeth Monoian gave a good and very varied crowd a lightning tour of the project, which aims to combine public art with reasonably large scale renewable energy generation, and therefore, make renewables both more acceptable and more wonderful! The project started with a competition in Abu Dhabi in 2010, an open call seeking inspirational projects from teams of artists, engineers and architects to design beautiful renewables for the low carbon city of Masdar. This was followed by further competitions in New York (2012) and Copenhagen (2014). The next competition will be for Santa Monica in California in 2016, but Glasgow is hosting a mini LAGI this year.

Robert and Elizabeth showed us fascinating slides of projects as pedestrian (but obvious – why doesn’t this happen as a matter of course?) as long strips of photovoltaic cells along the side of motorways to extraordinary forests of poles that sway in the wind, squeezing piezoelectric actuators to generate electricity whilst creating a magical place to walk and play. Some of the projects are eminently do-able, others are on the edge of sci-fi. Although few (if any) of the designs have yet been built, there are some in the pipeline and it’s surely a great thing to have over 600 developed ideas in the bank, inspiring others, setting the agenda and creating the future. (There’s a long history of sci-fi leading to innovation.)

The mini-LAGI in Glasgow is a different sort of competition. Chris Fremantle of eco/art/scot/land co-hosted the ArtCOP Scotland event. He has worked with Sustainable Glasgow to enable LAGI to invite three successful teams from previous competitions to work with Scottish architects and artists to produce designs for beautiful renewable projects for a site at Dundashill in north Glasgow. (We were thrilled to hear that the project came out of an early Green Tease when Chris got talking with Heather Claridge from Sustainable Glasgow! That’s what the Green Teases are for. Get the next one in your diary now.) Dundashill is an exciting site urban site that is earmarked for development. It has wind potential (clue: it’s on a hill…) and possibilities in the canal that’s nearby. The teams are meeting now and they’ll work remotely over the next few months, reconvening in February with developed designs. Watch this space…

One interesting thing about the LAGI approach is the cross fertilisation that happens when you bring together disparate teams of artists, engineers, architects and others from different backgrounds. That’s precisely what we at Creative Carbon Scotland are trying to do, mashing up art and sustainability; that’s the very aim of the ECCI where we held the event; and that was the very nature of the audience. We had engineers, artists, students, educationalists, funders, energy managers… all mixed together in a glorious and fertile mix. I remembered how on a trip in a biosphere in Mexico I had been struck by the fecundity of that point where sea water meets river water – suddenly the mixture of different kinds leads to enormous variety of life forms. We ended the session with an invitation to the audience get talking to someone they didn’t know, from a different field. It came to a noisy and joyous conclusion.

Also in ArtCOP Scotland are a couple of other projects that link to the Land Art Generator Initiative. Ellie Harrison’s Radical Renewable Art + Activism Fund will use a wind turbine to generate energy to fund a ‘no strings attached’ grant scheme for art-activist projects in the UK. She’s launching the project outside the CCA on December 17th at 6.30pm. A Fairer Greener Scotland by 2030 will provide a different way of looking at the future, asking participants for ideas about how they want the future to look. The discussions are taking place in Edinburgh and Glasgow, so sign up now and maybe take a look at the blog about our Mull Sustainability/Arts residency in 2014 which imagined scenarios of a future Scotland. Or just browse the ArtCOP Scotland site for other events. A glorious mix of artistic responses to climate change.

The post ArtCOP Scotland: Beautiful Renewables Event appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

The 50 Shades of Green Conference: Show and Tell Room

This post comes from Creative Carbon Scotland

Over the course of the day, we heard from nine arts organisations: ranging in geography, activity and environmental action. There is so much green arts work already taking place in Scotland, but often there is no forum for its discussion: we wanted to host an informal space where speakers and attendees could talk about the simple (or difficult) steps they had taken, ask questions of each other, and spark inspiration and connections.

Summaries of the presentations of each of our speakers can be found below:

Rishaad Moudden, Ayr Gaiety: Capital Project Planning and Staff Engagement

Bravely volunteering as one of the first speakers of the conference, Rishaad talked us through current and future plans for Ayr Gaiety – a B-listed Theatre and Arts centre based in South Ayrshire that host over 200 touring productions every year. Ayr Gaiety is preparing for the final stages of the proposed capital project, and Rishaad told us about the challenges to date, as well as filling us in on his strategies for engaging staff members in more sustainable behaviour – including rollerblading to work!

Kirsty Sommerville, Cryptic: Environmental Sustainability in a Smaller Arts Office

Cryptic is a music, sonic art, and multimedia arts organisation that hosts a series of regular and one-off events and festivals with a national and international audience, run by a small team and based in the CCA in Glasgow. Kirsty spoke to us about the opportunities and challenges presented by this small scale, the sustainability limitations of operating as a tenant within a larger organisation (and how to adapt), and the development of an office environmental policy with a wide reaching impact.

Fiona Doring, Impact Arts: Wonky Carrots and the Urban Green Project

The Cranhill Urban Green project demonstrates an evolution in the sustainable design ideas that Impact Arts has been investigating for a number of years. Fiona told us about the social impact that the project has, in terms of green space empowerment, as well as the aesthetic, edible and practical elements of the project, which combines artistic considerations with our engagement with our surrounds.

Fraser White, Yooz: Social Sustainability and Creative Re-use

Based in Bellshill, Yooz is a reuse and recycling social enterprise which provides creative opportunities for those it works with, as well as providing a materials resource for the local and artistic community. Their show-and-tell item was a massive giant spider planter, created by a member of their team given the creative brief to ‘make something’. As an expert in maximising material capture and re-use, Fraser told us of the variety of items Yooz has received and redistributed: including pantomime sets and antique safes!

Gabrielle Macbeth, Glasgow Women’s Library: Working with Volunteers

Gabrielle discussed the multiple benefits of their PaperGirls scheme. Initiated as a means of increasing the distribution of their events programme, the GWL invite voluntary paper girls to take up paper rounds across the city, dropping off programmes at cafés, venues and community centres which might not be reached otherwise. As well as promoting greener, more active travel modes around Glasgow, the scheme also has a positive social impact, allowing for cyclists to buddy up and discover new parts of the city.

Charlotte Riley, Paragon Music: Claimexpenses.com and Greening the Programme

Charlotte spoke about Paragon’s adoption of ClaimExpenses as well as programme elements of the company’s work which touch upon environmental themes. As an inclusive music company there are important accessibility priorities for the company when it comes to travel and Charlotte sees their role as an important influencing body for partners and participants. She’s embarked upon this first year of using ClaimExpenses as a data gathering exercise, taking on the majority of the work herself before rolling it out to the rest of the team with some aims and objectives for understanding and promoting sustainable travel. She also mentioned a production, ‘Torque’, which showed in 2013 which will be running again next year which looks at renewable energy and the transformation of raw energy into electricity.

Mike Adkins, An Lanntair: Building Improvements and LED Alterations

The group were particularly impressed after Mike revealed how he has not only met the stringent 20% energy reduction target set by management, but is also on track to exceed it through his investment in high-efficiency technology and experimentation with LED lighting for the An Lanntair theatre and arts building. Mike’s tales of testing the effectivity of LED stage and strip lights against staff perceptions and traditional replacement costs proffered a great example of the potential impact of green technology.

Tie MacBeth, Centre for Contemporary Art: Expanding Environmental Policies and Sustainable Creations

As an artistic organisation co-ordinating their own series of activities, a group of artistic tenants, and a café, the CCA’s decision to rewrite their environmental policy in 2014 required input from a large group of internal stakeholders. Tie also told us about their creative solutions to ongoing sustainability issues around their building, presenting the group with a very curious object, later revealed to be a vertical bike storage hook (and a result of an upcycled exhibition install item)!

Emma Beatt, Federation of Scottish Theatre: Procedures, Cocktails and the Recipe for Embedding Sustainability

As an organisation managing a large network and offering a series of trainings and opportunities for the theatre arts sector, FSTs management systems provide an exemplary model for maintaining procedures through staff changes and other irregularities. Emma used the metaphor of different cocktail recipes to explain the useful functions of FSTs procedural database, and we explored how embedding procedural sustainability can impact a wide-ranging organisation.

 


50 Shades of Green: Stories of Sustainability in the Arts Sector took place on 6 October 2015 at the Pearce Institute in Glasgow. It was Creative Carbon Scotland’s first conference for green arts organisations working to affect their environmental sustainability. A copy of the programme for the event can be found here.

To become part of the Scottish green arts community, and to hear more about events like 50 Shades of Green (as well as our other free training sessions and resources), sign up to the Green Arts Initiative.

 

The post The 50 Shades of Green Conference: Show and Tell Room appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

The 50 Shades of Green Conference: Your Questions Answered

This post comes from Creative Carbon Scotland

Our conference was not about pure transmission of information – we wanted our green arts community to get to know each other, to find common points of interaction, and to explore the approach of others to environmental sustainability. However, we know there are those tricky questions which seem particularly difficult to answer and so, as part of the event, we asked for your submissions, with a promise to do our best to answer them directly.

Here are your questions (and our answers!):

1. In a building with elderly strip lighting, is it more expensive to keep switching on and off, than to leave it on for the day?

The consensus from the experts present was… Neither: change the lights to energy efficient LEDs or energy saving lightbulbs! The cost won’t be that great – you may be able to get lamps for the same fittings – and the payback time from reduced electricity costs will probably be in months, not years. In some areas such as toilets or storerooms it’s also worth looking at motion sensors or timers so that lights can’t be left switched on by mistake. Again, the cost will be recoupled very quickly. If you can’t do any of these things, then the experts said switch the lights on and off, don’t leave them switched on.

2. How can we ensure sustainable change in our projects when funding may not be sustainable? With funding periods that sometimes last less than a year, projects can often be piecemeal and ineffective.

This is a perennial problem, not just for sustainability projects. A few tips:

  • Focus on projects that can be accomplished within the funding window you have – some things can be done quickly and will save carbon and money almost immediately.
  • Highlight your sustainability plans and the way in which you are approaching your artistic projects in your applications to funders – this can help gain support.
  • Take a long view and start assuming that something will continue, even if it isn’t the project you planned. If the organisation or company is still there, the sustainability project you planned will still be relevant, even if the artistic or other work that you are doing is different to what was originally planned.

3. Are we doing enough ‘now’?

It depends what we mean by ‘enough’. Clearly we aren’t doing enough, as there is still a problem, Scotland is not quite meeting its carbon reduction targets and at the time of writing the carbon reduction pledges made by countries to the Paris climate change talks aren’t enough to keep the world within the ‘safe’ 2° rise in temperatures. But we’re doing better than we were and it’s a long game. We need to make a start and keep pushing for more. The fact that we were all at the conference was a big improvement on previous years, where nothing like this existed.

4. How can individual artists integrate sustainability into their practice?

  • Look at practices to see how you/they can reduce carbon on travel by travelling more sustainably trains not planes), travelling more effectively (multiple meetings etc), travelling less (video conferencing); switch to lower impact practices and materials (as Edinburgh Printmakers did some years ago when they moved from solvent-based to water-based inks).
  • Work with galleries/theatres/etc and suppliers who are interested in environmental sustainability – seek them out and let them know that you exist.
  • Use your work to engage with the subject.

5. What does the sector look like after another five years of CCS input?

Lower carbon practices will be common. Carbon reporting will be standard. People and companies will have set their own carbon reduction targets related to activity (reductions in carbon per ticket sold or performance or day of exhibition, rather than raw total carbon reductions). Companies’ annual reports will report on environmental impacts – beneficial and harmful – as well as finances. The arts and cultural sector will be recognised both internally and by the wider world as having a crucial role to play in shaping a sustainable Scotland and changing the wider culture that is the way we live to one that is more sustainable.

6. How can CCS pressure Creative Scotland/Scottish Government to increase/raise CO2 reduction targets?

One of our aims for the next year(s) is to widen our focus from the arts and cultural sector to the wider sustainability sector. So Ben is meeting the Minister for Climate Change in November; we’ll be talking more to sustainability organisations and policy-makers as well as arts people and policy-makers. Scotland is pushing anyway at an international level to raise the ambition. CCS is also working with the City of Edinburgh Council and Glasgow City Councils as two major players and will take the opportunity to engage with other authorities as time permits.

7. How can green creatives work together to reduce our carbon footprint?

This conference is a good case in point – the knowledge and the action is happening and out there, and the thing we at CCS need to do is join it up. We’re refurbishing our website to make it more possible for you to talk to each other, rather than us talking to you. We’ll be running more of this sort of event and making it easy for people to exchange knowledge and learning.

I also think we need an artists’ manifesto, almost a movement, and we’ll encourage that if it emerges – I’m not sure we (CCS) are yet in a position to lead that movement or whether it should ever be our job, but we’re here to help if someone wants to get it started.

8. How can we engage the public more with green measures and policies?

I think the best way is to show practically how it is relevant to everything we do: the content of the work we make and the way in which we produce and present it. And then to communicate that regularly and as a matter of course: these are our policies; this is what we are doing; this is how you the public can help us or join us; these are interesting ways of looking at this play, that exhibition, that concert which touch upon climate change.


50 Shades of Green: Stories of Sustainability in the Arts Sector took place on 6 October 2015 at the Pearce Institute in Glasgow. It was Creative Carbon Scotland’s first conference for green arts organisations working to affect their environmental sustainability. A copy of the programme for the event can be found here.

To become part of the Scottish green arts community, and to hear more about events like 50 Shades of Green (as well as our other free training sessions and resources), sign up to the Green Arts Initiative.

The post The 50 Shades of Green Conference: Your Questions Answered appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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The 50 Shades of Green Conference: GAI Exchange Room

This post comes from Creative Carbon Scotland

The arts often reflect and challenge the society they exist within, and the sector has a wealth of experience in engaging those it works with on a whole range of issues. The GAI Exchange Room heard from three members of our Green Arts Initiative as to how they had explored engaging their various stakeholders in environmental sustainability.

Summaries of the presentations of each of our speakers can be found below:

Martin Latham, Aberdeen Performing Arts: Engaging Staff in Sustainability

Mark Latham of APA kicked us off with a run through of the theatre’s green team and how it functions. He explained some of the green team’s fundamental features:

  • Only one member of staff from each department can join to ensure equal representation across the 300 staffed organisation
  • They meet every 2 months
  • Anything can be added to the agenda by any of its member
  • They review their policies (which includes monitoring and reducing energy and water usage and waste production) annually

Some successful initiatives have included

  • BINWATCH, saving money by keeping an eye on how full the bins are for collection and also keeping track of waste outputs according to what’s on at the APA venues.
  • Power down policy: successfully engaging staff to turn off appliances both in the office and at home, having double the impact

The green team have ensured the credibility of their decisions be ensuring that their meeting minutes are reviewed at board meetings. Martin emphasised the benefit of this in reducing the space between different levels within the organisation – “Housekeeping now has a direct line of communication to the board”.

Donald Smith, Scottish International Storytelling Festival: Engaging Audiences in Sustainability

Donald gave us a different angle on the connections between creativity and environmental crisis, suggesting the two might be more linked than we think. He questioned whether we are at a tipping point both in terms of how we experience culture and how we inhabit the planet. Suggesting, with a twinkle in his eye, that gardening might be the new art form for the 21st century – as an activity which binds creativity and our wider ecosystems – he advocated a more open and more participatory view of culture that involved audiences in its making with the potential to connected participants with the natural environment.

Barry Church-Woods, Edinburgh Festival Fringe

Barry provided an overview of some of the initiatives instigated by the Edinburgh Fringe to engage artists and audiences in environmental sustainability when participating in or attending the summer festival. He highlighted the influencing role that an organisation such as the Fringe can play, when working with such a large number of visiting companies (3000+ shows this August), to highlight creative opportunities for more resourceful practices. Examples included the Fringe Sustainable Practice Guide, the Swap Shop for unwanted props and materials to be re-used/upcycled, and the Fringe Sustainable Practice Award which celebrates innovative practice.


50 Shades of Green: Stories of Sustainability in the Arts Sector took place on 6 October 2015 at the Pearce Institute in Glasgow. It was Creative Carbon Scotland’s first conference for green arts organisations working to affect their environmental sustainability. A copy of the programme for the event can be found here.

To become part of the Scottish green arts community, and to hear more about events like 50 Shades of Green (as well as our other free training sessions and resources), sign up to the Green Arts Initiative.

 

The post The 50 Shades of Green Conference: GAI Exchange Room appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

New Case Study on Sustainability Initiatives at Assembly

This post comes from Creative Carbon Scotland

Read our latest case study, which comes to us from the University of Edinburgh’s Social Responsibility and Sustainability Department, to find out more about how Assembly is:

  • Addressing supply chains to make organisation operations much more sustainable
  • Finding creative solutions for waste management problems
  • Linking social and environment sustainability through local suppliers
  • Greening large-scale publicity materials.

You can find this case study, and other case studies from across the arts sector and on a wide range of topics, here.

The post New Case Study on Sustainability Initiatives at Assembly appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

ArtCOP Scotland website now live!

This post comes from Creative Carbon Scotland

How can you get involved? 

Check out our brand new website artcopscotland.com which has events listings with our ArtCOP Scotland partners including Gayfield Creative Spaces, Royal Conservatoire of Scotland, Deveron Arts, The Stove and Firefly Youth Arts.

Join in by attending an event or list your own event and become part of the ArtCOP Scotland season!

Why is it happening? 

Engaging with what some are calling the most important event of this century – COP21 UN climate change negotiations in Paris (30th November – 11th December), this season is a celebration of creative exploration, debate and discussion connecting art, climate change and environmental sustainability.

What is the COP21? 

COP21 is the 21st annual Conference of Parties to the United Nations Framework Convention on Climate Change (the UNFCCC), a treaty about addressing climate change. Still confused? Read our blog about the COP21!

The post ArtCOP Scotland website now live! appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico