The Low Carbon Transition:

Implications for the Creative and Interactive Industries

Edinburgh, January 2011

Report of First Workshop

Background
Envirodigital asked the Scottish
Government’s 2020 Climate
Group to give the Creative
and digital industries an
opportunity to join other key
sectors in Scotland, like
transport, like petro-chemicals,
like energy - in scoping out
what a journey to carbon
neutrality in 2050 might look
like. We approached the 2020
group to let us report back to
them as the 2 sectors, digital
and creative, collaboratively.
The work we do in the
workshops, imagining that
journey, creating that vision, will
inform our recommendations back to the 2020 Climate Group, who will then
in turn report back to government on behalf of all sectors.

Purpose of the workshop

Ewan Mearns from Scottish Enterprise, which hosted the event, welcomed
participants to the first of two planned workshops to investigate the initial
steps the Creative and Interactive Industries in Scotland could take on its low
carbon journey.

Scotland’s 2020 Climate Group (see http://2020climategroup.org.uk/) has

been invited by the Scottish Government to act as a ‘critical friend’ of
Government policy and action relating to climate change. Its Opportunities
and Challenges Sub-group is sponsoring a series of sector-focused discussions
to explore the specific implications of the low carbon transition for particular
industries. The suggestion that the Creative and Interactive Industries could
be the focus for one of these was made by Hannah Rudman and Alan Blunt
(Envirodigital), and the process was being jointly facilitated by Scottish
Enterprise and Envirodigital.

Three objectives were set for the workshop:

I. Provide a deeper understanding of specific business implications and

opportunities relating to the low carbon transition;
II. Identify the strategic preparedness of the Creative & Interactive
industries;
 III. Recommend further collaborative work needed to address the
issues/opportunities and embed these within the industry-led
strategies.

It is intended that the final report from the two planned workshops will be
used to deepen the discussion through the relevant Industry Advisory Groups
and/or industry bodies. Its purpose is therefore to inform and influence wider
action on behalf of individual organisations and those bodies charged with
leading the strategic development of the Creative and Interactive Industries
as a whole.

Context

Gordon Grant (Ineos and Chair of the 2020 Climate Group’s Opportunities
and Challenges Sub-group) provided an overview of the Scottish policy
context and the work of the 2020 Climate Group. See Annex C, below.

The Climate Change (Scotland) Act 2009 provides a legislative basis for
reducing carbon-equivalent emissions over the next four decades, resulting in
a transformation in the ways in which we live, travel, do business and prosper.
The transformation has already begun - and will continue to evolve – for
decades to come. The ‘interim’ 42% CO2 reduction target (to be met by
2020) demands new solutions, new technologies and new behaviours, and
the Scottish Government’s proposed Report on Policies and Programmes sets
out the policies that will help achieve this. This is ambitious by any standard –
but needs to achieved all over again in order to meet the eventual 80%
target by 2050.

The Scottish Government published its Low Carbon Economic Strategy in

November 2010, setting out a strategic framework for the low carbon
economic transformation to take place over the next 10-20 years. It identifies
a range of emerging ‘low carbon’ business opportunities, and the role of
Government and the wider public sector in realising them. While the
opportunities for the Creative and Interactive Industries are briefly
highlighted, the purpose of these workshops is to provide further intelligence
on the implications and opportunities and to suggest how they could be
addressed.

Recognising the importance of business in contributing to the low carbon

transition, the Scottish Government established the 2020 Climate Group
(http://2020climategroup.org.uk/) to act as a ‘critical friend’ to help inform
and scrutinise Scottish Government climate change policy. It involves senior
leaders from business and the public sector to:

• provide strong, visible leadership to Scotland’s business and non-

governmental communities to inspire them to do more to reduce
carbon emissions;
• help drive innovation through partnerships and synergies between
members;
• advise on, and aim to make early progress towards, achievement of
the outcomes and targets of the Climate Change Delivery Plan;
• identify relevant action and opportunities, and collaborate, to bring
benefits to the Scottish economy;
Its ‘Opportunities and Challenges’ Sub-group, chaired by Gordon Grant, is
primarily taking a sector-based approach to its work, exploring the nature of
low carbon issues and opportunities and identifying the steps that sectors
could take to address these. This process builds on earlier work involving the
Chemical Sciences industry in Autumn 2010; the intention is for the Sub-group
to also support similar discussions within the Food & Drink and Tourism
industries during Spring 2011.

The report of the Chemical Sciences workshops is now informing a refresh of

their industry-led strategy and the process helped to significantly raise the
profile and potential implications of the low carbon transition. A combination
of policy, market and regulatory drivers is likely to create a ‘perfect storm’
that will both drive the industry to maximise the use of each barrel of oil
extracted, as well as accelerate the relative shift from petrochemicals to bio-
based products. In short, Scotland’s competitiveness in this industry is strongly
reliant on existing firms adapting positively and early to changing market
conditions.

“Low carbon is a way of thinking, behaving and operating that minimises

carbon emissions while enabling sustainable use of resources, economic
growth and quality of life improvements”

Ian Marchant (Scottish & Southern Energy / Chair, 2020 Climate Group)

Carbon impacts of the Creative Industries – The current picture

[Transcript of Hannah Rudman’s presentation]

Creative and digital

industries are those that
have their origin in individual
creativity, skill and talent.
They also include industries
that have the potential to
create wealth and job
creation through the
development, production or
exploitation of intellectual
property. The sector is made
up of 13 distinct industries

•The stats here are for the

Scottish Govt's definition of
the Creative Industries (ie
broader than SE's focus on
Digital Markets) - for 2007

Why are we here today? We either work in the creative or digital industries
and we’re interested or concerned enough to be here. We probably don’t
yet have to work at reducing our organisations’ carbon emissions because of
legislation. Unlike other sectors, we don’t yet have that driver, but we know
that Britain’s ‘Creative Industries’ are growing at twice the rate of the rest of
the economy. And sense that as well as having economic muscle,our
industries have a vital role to play in delivering a sustainable future.

The legislation is coming though: the 2009 Climate Change (Scotland) Act,
creates the statutory framework for greenhouse gas emissions reductions in
Scotland by setting an interim 42 per cent reduction target for 2020, and an
80 per cent reduction target for 2050. To help ensure the delivery of these
targets, this part of the Act also requires that the Scottish Ministers set annual
targets, in secondary legislation, for Scottish emissions from 2010 to 2050.

So for example, new duties came into force on 1 January 2011 and apply to
all 'public bodies. Part 4 of the Climate Change (Scotland) Act places duties
on public bodies relating to climate change. The duties on the face of the
Act (section 44) require that a public body must, in exercising its functions,
act:
- in the way best calculated to contribute to delivery of the Act's emissions
reduction targets;
- in the way best calculated to deliver any statutory adaptation programme;
and
- in a way that it considers most sustainable.

The SG has written guidance. Two

relevant paragraphs are quoted
here:

I take this to mean that funding

bodies may impose climate change
conditions on grant recipients.

That’s why we’re here. So where are

the Creative and Digital industries
at? We’re working to measure our
direct footprint. Let me give you
some sector examples.

The BBC launched in November 2010 a carbon calculator for television

production as part of efforts to improve its environmental sustainability and
cut carbon emissions.

Towards the target of reducing its energy

consumption by 20% by 2012, the BBC
has created the carbon calculator to
enable programme-makers to estimate
their carbon footprint. The calculator is
among the various measures being
introduced as part of The Difference
campaign, launched across the BBC to
encourage a sustainable approach to
production.
Use of the calculator is mandatory for all teams at BBC Vision Productions,
while the BBC is also planning to share the technology with the wider industry.

The BBC has set itself the target of a 20% reduction in energy consumption by
2012, along with a 20% cut in CO2 emissions from transport, a 25% reduction in
water usage and a 25% cut in waste to landfill (with 75% of waste to be
recycled). The carbon calculator will be offered to other broadcasters and
independent production firms to promote sustainable across the industry.

Other measures include the rollout of low-energy studio lighting and 24-hour
zones for working outside of office hours to reduce energy consumption in
BBC buildings, along with the installation of water-saving devices and video
conferencing to reduce the need for travel.
From full scale carbon footprinting and campaigns in some industries (music,
film and architecture) to ad-hoc communications that advise creative
businesses on how to reduce their environmental impacts (design) – there are
transferable formats, learning and a raft of tips and guidelines for how to run
a successful, sustainable, creative business.

Where are the creative and digital industries at then? What’s happening
already?
Established in 2007 by the UK
music industry, Julie's Bicycle has
spent the last few years working
across the music industry to
research the carbon emissions
baseline of the UK music industry,
and international touring of
theatres, bands and orchestras.
This research has informed the
development of their not for profit
certification programme Industry
Green - a simple framework
supporting improvement in
environmental sustainability or
creative companies. Industry
Green is supported by a series of
industry campaigns, project partnerships and practical resources including
case studies and the free online carbon calculators the IG tools.

As from 2010, they have expanded their remit to include theatre - embarking
on a UK- wide programme which will bring together the commercial and
subsidised theatre industry in England, Scotland, Wales and Northern Ireland
in a collective effort to improve the environmental sustainability of their work
and help it to flourish in a low- carbon economy. They are currently working
with London galleries, studios and art fairs to produce the Green Visual Arts
Guide for the Mayor of London. They have already produced the Green
Music Guide.

CarbonCulture is a user-centred, design-led initiative aiming to create

substantial energy savings in workplaces by transforming behaviour of
building managers and building users with a novel evidence-based change
programme. Designed and developed by design consultancy, More
Associates, it is currently being piloted by DECC and Defra, and real-time
energy reporting has been deployed at six other Whitehall Departments. At
the core of the project is a design process that will develop best practice
socio-technological behaviour change techniques. The approach will
generate valuable energy performance data for staff and management,
producing high quality decisions and enabling high performance
improvements to be implemented at low cost across large and complex
estates. The project will also create best practice examples of behaviour
change and carbon reduction. Once the first projects are complete later this
year we will have developed an evidence base on what works and what
does not, how much control and influence building users have over energy
demand and a sense of the scalability of the solution.

As promising as it is that work is being done on these fundamental issues, the

uptake of the handy tools available is still nowhere near proportionate to the
scale of the challenge we’re facing. Aside from the benefits of reducing
carbon emissions and water use, for example, addressing these direct
impacts reduces the cost of running a business and tightens up efficiency.
Putting their ‘house in order’ then gives creative businesses a licence to
operate within the space of sustainability – if you’re not doing it yourselves
how can you credibly influence others?

Here in Scotland, there’s

work underway on
Festivals Edinburgh's
Green Venue Initiative -
this is being rolled out out
to another 12 or so
venues this year, and
they’re developing the
footprint calculation
methodology and the
website. Those involved
include the Filmhouse/
Film Festival, Imaginate
and the Children's
Festival, Edinburgh's
Hogmanay and various
venues covering the
summer festivals including the Traverse, the Lyceum, the Hub and others. Also,
Festivals Edinburgh are working on a big study of the carbon impacts of
cultural tourists in Edinburgh.

The Federation of Scottish Theatre are going to be developing a climate

strategy for the theatre sector, part of which will be gathering some data on
the carbon profile of the sector: measuring energy use, water use, waste and
some audience travel. They aim to get a full year's data for the new financial
year.

Ben Twist is leading on these bits of work, and is also looking into research into
the role the creative sector has in helping enable the public behavioural and
attitudinal change that is necessary to deliver Scotland's climate strategy.
Cultural organisations particularly have the ability to influence people's
values, emotions and beliefs in a way that is very powerful in effecting
behavioural change - and the research demonstrates that without those
emotional triggers, change doesn't happen.

Many creative projects and

businesses, already up and running,
are geared up to use this influence as
a form of what Lord Puttnam
describes as ‘constructive persuasion’
and what I call our ‘art of persuasion’
– that is, ways of innovating that
change our thinking and mindsets and
make sustainable behaviour
palatable, even desirable, to business
and the general public. Some specific
industries doing more in this space
than others – film, design, music,
architecture, art and fashion.

The C&DIs part to play in creating a sustainable future is definitely not only in
their green housekeeping, but also in their ability to influence our behaviour
and inspire new lifestyles. This is where the industries can really make their
mark and start to lead. We are inspired and influenced everyday by what the
CIs do: the adverts, magazines and books we read; the films and plays we
escape into; the TV and radio shows that entertain and educate us; the
digital games that challenge us; the buildings we live and work in; the
exhibitions we flock to; the clothes we choose to express who we are; the
artefacts that fill our homes. These are just a handful of ways the industries
reach us on a daily basis. It’s big business too, and the influence creative
innovations have on people, society, and culture result in changes of
mindset, habits, behaviour and consumption patterns. And a few other
examples from across other creative industries:
• Thomas Matthews is a sustainable design agency - good design for them is
about reducing the impact of design.
• In 2009 the world’s biggest ad agencies announced in the FT that their
biggest growth area was from green advertising. And they were slow, as the
worlds biggest 10 PR agencies had almost all set up in-house green
communication teams already.

Do the Green Thing is a not-for-profit communications organisation that

inspires people to lead a greener life. With the help of brilliant videos and
inspiring stories from creative people and community members around the
world, Green Thing focuses on seven things you can do (and enjoy) to be
greener.

In fashion we’re seeing campaigns like estethica and movements like worn
again, where leading product designers transform discarded fabrics such as
decomissioned Eurostar uniforms into fashionable laptop bags and oystercard
holders

In architecture, RIBA have toolkits for architects to use as well as their

Sustainability Award for energy efficient and beautiful buildings.
 Another important resource that helps us
map activity but perhaps more importantly
helps us understand the mindset and
organisational barriers that must be
overcome is http://
www.sustainableability.com. It focuses on
the role of the cultural sector in bringing
people together, questioning the
assumptions of modern life and
experimenting with the norm and ask us to
consider whether this is an issue of personal
choice of collective responsibilty.
Emerging out of conversations that the
directors (Roanne Dods here today) and I -
as an associate of Mission Models Money - had about focussing research on
the cultural sector, the insights here are applicable to the wider creative and
digital industries. sustainableability.com maps organisations who are
endeavouring to change their organisations to lesson their impact and
strengthen their resilience. Mission Models Money reports on transformative
responses to resource scarcity and climate change from individuals and
organisations working in the cultural sector, leveraging their art of persuasion,
many of these utilising digital technologies.

We are also innovating for

sustainability. The CIs are serial
innovators and have a track record
of using new technology for
commercial advantage. The digital
market has continued to grow as
UK consumers have embraced new
technologies, responded to
ecommerce, internet advertising
and mobile communications and
for many aspects of life have
accepted and adapted to a new,
digital ‘version’ of what they once
knew.

By technology and innovation for

sustainability, we mean finding new, low-carbon ways to meet our needs as
well as maintaining the UK’s creative competitiveness.

Apps For Good is a leading-edge technology programme where young

people learn to create mobile and web apps that change their world. With
special focus around solving real life issues that matter to them and their
community. The courses are sponsored by Dell YouthConnect.

BASDA, the Business Application Software Developers’ Association launched

Green-XML in July. The software extension has been designed with the
developers of other standards to make it easy to extend all XML standard that
use the elements of BASDA Green XML. Green XML makes it easier for
software developers around the world to produce integrated environmental
management systems that are capable of sharing green data with software
applications operated by partners or other parts of the business'

Serious Games enables the growth of games, virtual worlds and connected
industry specialists by supporting research and development into the use and
effects of these products, platforms and technologies. One such game, the
LivingStories project is the first alternate reality game in the UK addressing
environmental issues. Living Stories combines social networking sites such as
facebook and twitter with SecondLife.

Overall then, there’s

lots going on, not
joined up. My
conclusion is
mirrored by report
Can the Creative
Industries lead us to
a sustainable
future? 1 which
comes from Forum
for the Future and
focuses on the
creative industries in
the UK. They find
that generally, we
are being led rather
than leading and
are missing out on
opportunities.

The UK’s CIs are

great inventors and
harnessers of technology, with an impressive track record of responding to
and driving innovation, as our central role in the conversion to the digital
world proves and as creative businesses continue to play a fundamental role
in generating revenue and jobs in the global market.

How will we apply our expertise and experience to the big sustainability
challenges facing society?How will we deliver a sustainable future for our
industries?

And so to today - an opportunity to

respond to those big HOW
questions.“What if” thinking is always a
bit tricky. Too much focus on “what
might have been” can mire us in regret
and feelings of powerlessness or keep us
from savoring our good fortune. But
scientists have proved that “What if...”
thinking might save us from

1http://www.forumforthefuture.org/files/Sustainability%20Baseline%20Review%20for
%20CIKTN%2008%2010%202010.pdf
complacency about our circumstances. Imagining an alternative reality is a
great practical tool for generating new ideas and a new vision for the future.
Lets make the most of this chance today to imagine a sustainable future for
the creative and digital industries.

Hannah Rudman, Envirodigital, 25.01.11, hannah@envirodigital.com http://

envirodigital.com

Results of brainstorm 1:
What are the key carbon impacts of the Creative & Interactive Industries ?

The workshop was designed to highlight the most important carbon impacts
of the Creative and Interactive industries, identify potential ‘solutions’ to
addressing (reducing) these and prioritise the key solutions to be addressed in
the second workshop.

Participants began (in smaller groups) by brainstorming the various ways in

which the industries currently generate carbon, both directly as well as
indirectly via their customers/audiences and supply chains. These were
categorised in terms of buildings; materials; direct travel; visitor travel; wider
impacts and miscellaneous:

Buildings (energy from heating, electricity, IT)

• lighting theatres/ stage (major issue)
• heating rehearsal facilities/ artists rooms
• heating large galleries (some old listed buildings)
• IT use in production and operations - servers, computers and office
equipment (including under-utilised PC processing & overnight/
standby equipment power)
• Data centres
• Storage requirements (museums, galleries)
• Office air conditioning
• Catering outlets/coffee shops in venues
• Poor insulation
• Heat loss through entrances
• Waste eg food, paper
• Water use

Materials
• marketing materials – raw materials – paper, ink, toner, batteries
• materials to make art works/ stages/ costumes/ sets/ exhibitions (supply
chain etc)
• product manufacture (resources, energy, transport)
• materials for packaging (DVD’s, CD’s, games)
• outsourced manufacture and shipping of fashion design
• e-tickets (less paper) – mobiles and barcodes
• loss of trees to produce paper – books, newspapers etc

Travel – staff, goods/materials, artists

 • shipping work internationally
• artist travel – local and international
• travel for location-based filming
• staff travel to work/ commuting/ meetings
• travel for auditions
• staff travel to see UK/international fairs/ events/ exhibitions/ potential
artists
• key decision makers often based outwith Scotland – business travel
• travel of product/ cast./ material to events around the country (touring
exhibitions)
• travel by suppliers

Travel - Visitors
• transport to remote events
• audience travel
• digital distribution, and consumption by audience (less travel)

Wider impacts
• digital exhibitions (tasters)
• inefficient events eg empty venues, low audiences, ‘one off’ events
• communication networks??
• brand identification with our organisations – and the communities that
support us
• highlighting issues – art of persuasion
• positive ability to influence through education
• production of new equipment, and waste of old equipment
• manufacture of digital devices and battery chargers
• increased computer usage by the public (video games, facebook, TV
on demand)
• direct channels to public (digital) ?
• traditional business models
• economic growth leads to higher consumption (unless it reduces
carbon intensity)

Miscellaneous
• fashion – must have new technology, even if existing is not obsolete
• inefficient streaming of video
• lack of regulation
• lack of experience / track record in sustainability – and lack of industry
leadership in this area
• relatively weak strategic thinking across industry

What ‘solutions’ can help reduce carbon impacts and address new, ‘low
carbon’ opportunities ?

For each of these broad categories, participants then discussed the potential
‘solutions’ – or ways in which the carbon impacts could be avoided or
reduced – together with the emerging ‘low carbon’ opportunities for the
industry.

Having identified a number of solutions and opportunities, these were

positioned on a prioritisation matrix:
 Carbon impact ie the relative carbon intensity of the activity/issue
the solution is intended to address

Influence ie the degree to which the Creative and

Interactive Industries have some influence over the
design/delivery of the solutions

The outputs are illustrated on the following page. The solutions and
opportunities have been grouped and a title attached to each; the full list of
solutions/opportunities is provided in Annex B.
 The prioritised ‘solutions’

Next steps

The purpose of the second workshop, to take place on the morning of 28 February
2011, is both to discuss how the key solutions and opportunities could be addressed
and to agree how this process could be embedded within mainstream discussions
on industry development.

It is proposed that four higher-priority issues be selected for this deeper discussion:

• new business models

• influencing public behaviour change
• audience travel
• shared infrastructure.

Expand this section to clarify the focus of the discussion (issue/opportunity) for each
and the key questions we will be asking in the second workshop (ie What is it?
What’s the opportunity for the industry? (And what are the implications of the ‘do
nothing’ situation?) What should happen (short/med/long-term) ? The immediate
‘baby steps’ ? Who should lead and support ? Who else needs to be involved in
these discussions ?)
New business models
Explore the idea that new business models are an opportunity to reduce carbon
emissions whilst retaining or improving the customer experience.

A business model is how a company operates. It focuses on how funds flow

between customers, business and suppliers. Improving business models requires a
focus on the needs of the customer. For example, low cost airlines challenged the
established business model by cutting out the travel agent and adopting an
approach to marginal charges based on seat availability.

A sustainable business model is an approach to offering goods or services that

provides financial benefits for the business, helps to improve the natural world and
provides social benefits for employees and the local community.

What models already exist? Are we clear which are lower carbon? What models
could be invented? What are the barriers? Are there other benefits/ costs?

Influence public behaviour change

The Creative Industries have the potential to have a huge beneficial (or adverse)
impact on societies’ carbon impacts through its influencing role (education,
sustainable lifestyles, advertising/ marketing). Explore what these impacts could be,
and consider how to maximise the beneficial impacts and minimise the adverse
impacts.

What are the big influences? Are we clear which are beneficial/ adverse? How do
we influence Creative Industries to have a positive influence? What are the barriers?
Are there other benefits/ costs?

Audience travel
For many Creative Industries the largest carbon impact will be audience travel.
Explore potential solutions (public transport, location of events, incentives, joint
ticketing, links to other partners, new business models).

How can we measure the current impact of audience travel? Are we clear on the
lowest carbon models? What are the barriers? Are there other benefits/ costs?

Shared infrastructure

• Cloud, not individual servers

• Shared, green data centres
• Joint procurement of low carbon shared services
• Local, community-led server farms
• Supply chain ‘communities’
• Shared computer processing applications

General Questions
Are we clear as to the issues?
What are the implications of ‘do nothing’?
What are the opportunities?
What possible solutions are there?
What are the barriers?
Short/ medium or long term?
Who should lead and support?
How build solutions into existing industry processes?

Annex A Attendees

Alan Blunt Envirodigital

Calum Davidson Highlands and Islands Enterprise
Catherine Docherty Glasgow School of Art
Roanne Dods Mission Models Money
Euan Gray
Gordon Grant Ineos
Steve Green Scottish Opera
Clare Hollowell Scottish Government
David Hunter National Library of Scotland
Neil Kitching Scottish Enterprise
Colin Macdonald eeGeo
Andy McLaughlin Scottish Enterprise
Ewan Mearns Scottish Enterprise
Mairi Robertson NMP/Interactive Scotland
Hannah Rudman Envirodigital
Ben Spencer VAGA Scotland
Ben Twist Creative Carbon Scotland
Mark Western Scottish Enterprise
Annex B Grouped ‘solutions’ – Detailed descriptions

Audience travel
• Influence travel behaviours of audiences
• Encourage public transport use via partnerships with transport
providers
• Car sharing/pools
• Use your bike !
• Include transport with tickets – make it an easy option
• Charge lower admission prices for using public/sustainable transport

Influence public behaviour change

• Use the ideas and reputation of the creative industries to exert wider
influence eg. using creative work, and communication channels direct
to general public (because of sectors’ reputations as trusted
communication channels)
• Actively promote sustainable lifestyles eg via advertising, architecture,
games, plays
• Make good educational content available to schools eg Glow

Resource efficiency
• Promote ‘the basics’ within organisations – reduce, reuse, recycle
• Retrofitting buildings & venues
• Find ways to fund improvements to building stock
• Use energy-efficiency equipment/appliances
• Reuse heat from equipment and air conditioning
• Reduce heating requirements – set temperatures and hours of
operation
• Compulsory smart metering (ie transparency of information/costs)
• ‘Green’ energy procurement

New business models

• More virtual content (eg museums, music performances etc)
• Universal digital access
• Webcasts/digital distribution of conferences
• Grouped events & festivals rather than standalone
• Select event location on basis of clustering of actual demand
• Focus on carbon efficiency of events/products
• Know the ‘real’ cost of virtual vs. actual/live performances

Digitise ‘live’ product

• Digitise live performances, auditions and press nights
• Travel of product – digital relays rather than touring ?
• Develop new business models for publishing that are sustainable in
both environmental and economic terms

Staff homeworking
• Reduce need to travel through technology
• Use Skype/video calls for staff meetings
• More homeworking

Measuring carbon impacts

 • Quantify carbon impacts of sub-sectors and activities – and share this
widely
• Include lifecycle as part of creative industry products/solutions

Shared infrastructure
• Cloud, not individual servers
• Shared, green data centres
• Joint procurement of low carbon shared services
• Local, community-led server farms
• Supply chain ‘communities’
• Shared computer processing applications

Next generation broadband

• Universal access to faster broadband
• Enabling wider benefits eg telehealth, productivity, videoconferencing
etc
• Less download time = less energy or rebound effects ?

Low carbon business accreditation

• Low carbon business accreditation

Share best practice

• Identify best practice from elsewhere in the world
• Case studies on how others are making the low carbon transition
• ‘How to’ guides for low carbon packaging etc
• Education for the sector

Green procurement
• Energy, paper etc for production and distribution
• Switch suppliers to those who deliver/promote ‘green’ products

Shared resources
• Share scenery / waste / exhibition materials etc
• Efficient resource use eg double-sided printing, print to PDF, track
usage
• Promote shared recycling / recycling infrastructure

Low carbon buildings & venues (new build)

• ‘Green’ new build – production and insulation
• Venues constructed to highest low-carbon standards, including local
(distributed) renewable energy generation
• District heating

Linking public funding to carbon reduction

• Public funders link funding to carbon reduction
• IT systems (box office) funding links

Lifecycle analysis (supply chain)

• Identify the ‘responsibility chain’ for a product/service
• Manufacturers responsible for end-of-life of product

Access to ‘stored’ items

• Reduce need for storage of items not on public display (museums)
 • Digitise stored items to provide universal access
• Standard methodologies for management

Physical creative industry clusters

• Investigate whether physical clusters (eg Pacific Quay) increase/
decrease overall carbon emissions

Incentivising sustainable business practices (‘carrots’)

• Carbon credits (tax)
• Regulation
• Toner tax used to subsidise e-readers

Penalising unsustainable business practices (‘sticks’)

• Punishable green offences
• ‘Waste taxes’ have commercial value
• Border ‘offset’ tax

Other ideas – not grouped – didn’t fully understand them ?!

• Standards for domestic ‘curation’
• Allowing increased sharing of digital info for non-commercial purposes
(change copyright law?)
Annex C – Introductory slides