Innovation Archives | Page 3 of 9 | Bristol Creative Industries

HeyFlow is here to help businesses understand the female workforce better, equipping managers with the confidence, practical skills and knowledge that will reduce absenteeism and increase the retention and attraction of women, at all stages of their career.

It is widely recognised that women are leaving the workforce, absenteeism is increasing and there are significant skills shortages across multiple industries in the UK. The link between absenteeism, attraction and retention of women in the workplace directly links to the understanding the impact of female reproductive health in the workplace.

That’s where HeyFlow comes in. An insight-driven data surveying and L&D tool that empowers businesses to build a truly inclusive company by understanding the impact of female reproductive health in the workplace, identifying and implementing management development opportunities and policy advancement.

With the combined expertise of the Founder of not-for-profit MotherBoard, Sophie Creese, Nick Dean, CEO of ADLIB / B Corp Ambassador, and Sabrina Walls, Marketing Director of ADLIB / Marketing Lead of MotherBoard, the Co-Founders of HeyFlow have intricate knowledge of how purpose, understanding and knowledge can drive positive change for businesses, driving significantly improved retention, attraction and absenteeism levels.

HeyFlow has been created to provide a solution for all businesses. From a management introduction to the female reproductive cycle and its potential impact in the workplace, through detailed employee surveying and coaching on periods, pregnancy, maternity and menopause (amongst much more).

HeyFlow provides unrivalled insight into a company’s female workforce and provides understanding of the gap between feeling and policy. Through our insight surveying we provide clear actionable solutions and offer consultancy and training to upskill employees to better support their teams.

Our starting product focuses on cisgender females, our roadmap progresses into a much wider employee community where there is an essential need to understand underrepresented people.

We’re looking forward to being part of a solution that is much needed by businesses and women alike.

Striving to make post-caesarean care more wonderful

Imagine if we could re-address how we care for women approaching and recovering from a C-section. What if it was more considered, or even more wonderful? Rather than expecting them to have a typical post-partum pattern, why not acknowledge the extraordinary, and at times, unwanted circumstances they’ve been through?

Image credit: Erin Patel http://www.erinpatel.com/

Whilst every 4th trimester comes with extreme challenges, the nature of recovering from major surgery whilst entering a new life chapter gives rise to a complex layering of physical and emotional effects, which have been underserved.

According to the WHO, **caesarean sections are rising globally**, now accounting for **21% of all childbirths** and is set to **increase to 29% by 2030**.(1) With those significant numbers and the clear gap in support, it’s time to start *seeing* these women.

**Uncovering more**

We explored this in more detail by sitting down with five women who gave birth via c-section, between 4 months and 8 years ago. Their experiences covered emergency intervention and planned surgery.

What we learned

Within our group, none of the mothers-to-be had spent significant time in the hospital setting, let alone faced the prospect of major surgery. They described feelings of shock, fear and helplessness, whether it was a planned or emergency C-section.

Birthing through caesarean section is not the ‘easy option’ and the road ahead is long. With every step afterwards, from 1 hour post operation to many months later, something else emerges: the need for self-administered stomach injections and a wound to care for, to potential unforeseen heavy bleeding, abdominal difficulties and deteriorating mental health.

The consequences are immediate and limiting. Our group described **an undignified sense of failure, as simple tasks become challenging**, and lifting, breast feeding or bonding with the baby can be tough.

With all childbirth, society has a tendency to focus on the new life. The baby’s condition is scrutinised, but the **women are often considered secondary**. The loss of identity many new mothers face can be exacerbated after such a procedure.

Whilst hospital procedures are for the most part out of our control, the period prior to admission and the time back home are rich in potential to serve mothers who go through a C-section.

The opportunity

Whilst there are plenty of services for women in pregnancy, general post-partum and some stand-alone C-section products, how can we create an empathetic, overall experience to ease post C-section mothers out of the professional but transactional experience they’ve just been through?

We think the key is a unique staggered experience – ‘the right thing, at the right time’ – reducing the complexity and overwhelm associated with the lengthy post-caesarean period.

What if there was a kit with physical and digital elements that are **revealed over time**?

It would address what might be needed prior to the C-section, on the first days back home, to many months later. By combining aspects of clear **information & guidance**, **dignified care**, a **supportive ‘village’** and **curated ‘me’moments** we could enable new mothers to control their care and feel seen.

Lead up (pre-planned C-section)

Medical advice or a previous procedure can mean a C-section is expected, allowing for some planning and preparation.

Imagine if there was a printed guide that honestly summarised what to expect at each hospital stage: waiting areas, the operating theatre, and a post-operation ward.

We’re aware that those who have emergency intervention will not necessarily gain from this section.

Subacute (1 – 5 days back home):

The first hours back home can be emotionally overwhelming, physically tentative but also tedious and sedentary.

Imagine if the next chapter of the guide **helped** **initiate light mobility around the home:** how to comfortably hold & feed the baby and navigate basic tasks simply and safely.

Imagine if an adjacent phone app **prompted women, or partners to administer the stomach injections** on the right schedule.

Imagine if the medical compression socks given post C-section **resembled lifestyle socks instead.**

Imagine if those first nights navigating sleep with an abdominal wound were **soothed with calming pillow spray and a personalised healing tea blend**.

Early recovery (2 – 8 weeks back home):

As new life patterns form and the body improves, previous freedoms start to be recalled and frustrations of feeling restricted start to emerge.

Imagine if the guide clearly explained **when and what exercise you can do.**

Imagine if the app initiated a C-section **community platform when the women was ready to share** and learn from her experience with others.

Imagine if we could provide **shaped scar strips, curated in different skin tones, to offer protection and reassurance** to a delicate area.

Imagine if we introduced **relaxing bath infusions, at the time it’s safer to take a bath,** or a melt in shower version for those without a bath.

Long term realisation (3 – 6+ months):

The reality of the physical and psychological trauma can be delayed and understanding how to come to terms with it can fall into focus much later.

Imagine if the guide concluded with focused pelvic floor AND abdominal exercises, to reintegrate the abdominal muscles and increase strength.
Imagine if the app sent a scheduled notification at 3 months to suggest women seek out specialised physio or talk therapy and provided relevant local contact details.
Imagine if there was a nourishing balm to encourage loving touch of the sensitive skin around their scar.
Imagine if we included a reflection journal, to encourage quiet moments to acknowledge and process what has happened.

Who could ‘own’ this opportunity and deliver the most impact?

We think an existing brand could credibly extend into this space to bring new value to those who need it. What space that brand comes from, is up for grabs.

Could it be a trusted skincare brand with the existing knowledge of women’s bodies? Or could it be a FemTech brand, that already has the digital infrastructure and client base to make huge impact? It could even be a menstrual tracking app, who wish to bridge their audience through a gap in usage?

How could this approach be available to as many as possible? There could be private / public model, where for every kit purchased or gifted, a kit is donated to a state healthcare service or insurance provider – making sure we ‘see’ more women after their caesarean.

References

(1) https://www.who.int/news/item/16-06-2021-caesarean-section-rates-continue-to-rise-amid-growing-inequalities-in-access

Launching a startup or innovation project can feel like stepping into the unknown. While there are countless success stories, the fact remains that 20% of UK startups don’t make it through the first year. However, by focusing on 3 key areas — Validation, Design and Funding — you can massively de-risk your project and be well-set for long-term success.

Hosted by Hugo Walker, Head of Marketing at Gravitywell, this interactive webinar will feature insight from:

Caroline van den Bergh, Co-founder at Lunos — Supporting businesses from early idea to scale up to get market confidence and demonstrable traction

Tom Foster, Head of Commercial at Gravitywell — Providing award-winning Digital Innovation that allows tech startups and scaleups to achieve their goals
Sara Palmer, Head of Partnerships at Granted Consultancy — Securing non-dilutive funding for innovative organisations making the world a better place

If you’re an entrepreneur, startup founder, or a later-stage company looking to innovate, this is the event for you. Come ready to listen, learn and get involved in a Q&A!

Sign up here

From Midjourney to ChatGPT, AI tools are flooding the internet with exciting possibilities, imaginative new imagery and many a meme – from the inspiring and amusing to the downright gruesome.

Possibly the most accessible and widely tested AI tool yet, ChatGPT has got many marketers thinking about the power of this emerging technology. But AI advancement doesn’t come without its critics and controversies – often generating more questions than answers.

So how can marketers make the most of this powerful technology? And should we approach with caution? UX and UI designer Dan Marek explores.

Artificial Intelligence (AI) has taken the world by storm recently, with one of the leading players being the natural language processing (NLP) model known as ChatGPT. In just two months, it set a new record for the fastest-growing user base ever to reach 100 million users.

Tools like ChatGPT have already begun transforming our lives. You can’t go more than five minutes without seeing a news article about it, or stumbling upon AI-generated imagery (albeit mostly more disturbing and amusing than beautiful). But make no mistake, this is the very beginning of a fast-moving revolution. So how can businesses make the most of this opportunity?

This article examines how businesses may leverage AI to solve problems more efficiently and gain a profitable advantage. We’ll also look at some of the limitations of AI tools like ChatGPT, so you can avoid making costly mistakes and stay ahead of the competition.

Imagine generating top-notch product descriptions, social media posts, and even entire search-optimised articles in a matter of minutes. How about 3000% returns on ad spend, automatic meeting notes and summaries, or asking AI to generate spreadsheet formulas? It may not all be possible yet – and it certainly won’t replace your copywriting and UX experts in the near future. But there’s certainly a big opportunity here.

“…It may not all be possible yet – and it certainly won’t replace your copywriting and UX experts in the near future. But there’s certainly a big opportunity here…”

With ChatGPT, businesses can streamline their processes, freeing up time and resources to focus on other areas of operations. It might sound cliché, but the opportunities for companies to leverage AI tools like ChatGPT in 2023 are endless.

Hold on a minute – does this mean we’re ready to replace humans with AI? Not yet. AI-powered tools like ChatGPT are not a quid pro quo for genuine creativity and expertise. For now, it’s far more likely that you’ll be replaced by a human using AI rather than the tools themselves.

Think of ChatGPT as the Iron Man suit to your marketing team’s Tony Stark. Iron Man enhances Tony’s abilities, and ChatGPT can enhance your team’s capabilities. But just as Tony still relies on his human expertise and creativity to save the world, your marketing team should continue to rely on their own skills to resonate with the right audiences and create truly effective campaigns.

The capabilities of these tools are quite difficult to comprehend as they are only really limited by our potential to ask the right questions.

“…the emergence of “prompt engineers” indicates the importance of creating the right prompts to unlock the full potential of AI tools…”

Just like calculators, they can only provide the correct answer with the right input, called prompts. The emergence of “prompt engineers” indicates the importance of creating the right prompts to unlock the full potential of AI tools.

AI tools present real risks of biases, such as generating discriminatory content and spreading misinformation. As responsible users of these tools, we must be aware of this and be sure to evaluate any responses provided. The CEO of OpenAI, the company behind ChatGPT, recently acknowledged inherent bias in the tool and assured users that they’re working to improve the default settings to be more neutral.

AI tools pose a risk of plagiarism and factual inaccuracy. An astronomer recently called out Google’s AI chatbot Bard for making a factual error in its demo. But everyday users may not realise that the output generated by the tool is not original, leading to unintentional plagiarism. You can take measures to avoid this, for example, by including a request for sources of any facts and figures as part of your prompt.

“…everyday users may not realise that the output generated by the tool is not original, leading to unintentional plagiarism…”

The relevancy of information can also be brought into question. While writing this, ChatGPT has only been trained on data from September 2021.

Google’s guidelines favour genuine, relevant, and reliable content. AI-generated content may struggle to meet these guidelines. This means that sole reliance on AI-generated content might negatively impact your website’s ranking on Google.

Using AI tools raises ethical concerns around data privacy, bias, and deception. These tools collect vast data through web scraping – sometimes without explicit consent. So regulations and policies must be implemented to ensure AI tools are used ethically and responsibly.

It’s worth remembering that AI tools are an emerging technology, so there are plenty of limitations to consider. But by using them as a starting point to generate ideas and assist workflows, businesses can largely mitigate these drawbacks.

AI is not the enemy. It’s the opportunity of a lifetime. As AI technology continues to advance, it’s becoming increasingly clear that tools like ChatGPT will play a crucial role in the future of business, with those early movers able to leverage an unfair advantage over their competitors.

We all know that the shorter working week has had proven success in other countries. 86% of Iceland’s workforce, for example, have either moved to a shorter working week or have the right to request shorter hours. So as Bristol tentatively dips its toe into the sea of change with a pilot scheme rolling out across businesses in the city, here we are five years into our four-day working week with some (hopefully) helpful reflections.

Life is short and we want it to be excellent. Every bit of it. We’ve found that since allowing more space for our brains to process, stray, absorb and even rest (what a thought, we know) this has enabled better ideas to flow, calmer attitudes to influence the team and ultimately a higher level of productivity during the time spent at our desks. Don’t get us wrong, we believe in working hard to deliver excellent, refined work – the only difference is that we think it can be achieved successfully within four days. No extra hours, just four normal days.

From a client’s perspective, you wouldn’t know any different. At the start of every project we create a timeline that our clients are happy with and that’s the timeline that we work to. Emails are answered from Monday to Thursday and we’re here to chat over the phone on any of those days too!

Every team member works the same four days which allows for collaboration and efficiency. What each team member does on Fridays is completely up to them. And then after a year of working for Studio Floc, all staff get paid the equivalent of a five-day working week for just four days. It’s our way of saying thank you for the hard work that everyone puts in.

Excellence can be achieved in so many ways. For us, a four-day working week helps us accomplish this – and we don’t just mean in the workplace – but in every aspect of our lives. we would consider that a win-win.

‬Driven by purpose‭, ‬we use creativity to enable the makers‭, ‬equip the innovators and empower the world-changers‭. ‬We specialise in branding‭, ‬print and digital design‭.‬

Have questions about our four-day working week? Looking for help with branding, print or digital design work? Let’s chat! Get in touch at [email protected]

We care about the ordinary products and services that are woven into everyday routines and patterns: they deserve to be extraordinary, for everyone!

We believe that what might seem as simply everyday products, are in fact the heroes in and out of the home. What’s more, we feel they should be accessible and affordable to everyone.

The ordinary products and services that are woven into everyday routines and patterns.

Remove any of these products or services and their impact would be felt. Better still, if they’re elevated, then it can be meaningful for the people who use them and the brands and organisations that provide the them.

Well, everyone. The girls, the guys, the gays, the straights and theys. The young, the old, the middle-aged. The global majority, any minority. The middle-income earner, the lower-income earner. Those of all abilities.

Too many people have been excluded for too long. We want to ensure that businesses recognise the power of inclusion.

We’re here to tackle the complex challenges of intersectional inclusion, along with sustainable futures, for all. With the power of creativity and a strong dose of positivity, we believe we can drive change and decipher the way ahead.

Pre-seed and seed investment are both early stages of venture capital funding for startups. However, there are some key differences between the two that are important for entrepreneurs to understand.

Pre-seed funding is typically the very first round of funding for a startup. It is used to cover the costs of developing a prototype, conducting market research, and building a team. This type of funding is often provided by friends and family, angel investors, or accelerator programmes (such as SETsquared Bristol). The amount of money raised in a pre-seed round can range from a few thousand pounds to a few hundred thousand pounds.

Seed funding, on the other hand, is the next step after pre-seed funding. It is used to further develop the product or service, conduct more extensive market research, and scale the business. Seed funding is often provided by angel investors, seed funds, or venture capital firms. The amount of money raised in a seed round can range from a few hundred thousand pounds to a few million pounds.

One key difference between pre-seed and seed funding is the level of risk involved. Pre-seed funding is considered to be higher risk because the startup is still in the very early stages of development and may not have a proven track record. Seed funding, on the other hand, is considered to be lower risk because the startup has a working prototype, a team in place, and some traction in the market.

Another difference is the level of control and ownership that the investors have in the company. In pre-seed funding, the investors typically have less control and ownership in the company because the startup is still in the very early stages of development. In seed funding, the investors typically have more control and ownership in the company because the startup has a proven track record and is further along in its development.

Ultimately, pre-seed and seed funding are both early stages of venture capital funding for startups. It’s crucial that you know what stage you’re at and therefore what to ask for and what the implications are. Even if you get pre-seed investment it’s useful to also consider how seed investment will be different, if and when you go for it.

At Gravitywell, we love working with enthusiastic startups and can help with prototypes, pitch decks, MVPs, conceptual work and investment advice. If you’d like to discuss how we can take your idea to the next level, get in touch.

Young creatives in Bristol have until 16 December to apply for one of the most unique and cutting-edge creative industry courses found anywhere in the country.

With the last few places now available on this course, young Bristol creatives have until the application deadline on 16 December to be a part of a technological and cultural revolution that is changing the landscape of live events.

Within this programme, scholars will be given the knowledge and skills to allow them to create truly live events in real time, as 3D video (also known as video 3.0). This means that, with the aid of either a VR headset, smartphone, laptop, desktop or even augmented reality glasses, people could enjoy a much more immersive experience of, for example a music concert, from the comfort of their own home.

With content itself streamed into gaming engines such as Unity and Unreal, the potential now exists to create entirely new and engaging live experiences within augmented and virtual reality setting and redefine the parameters of live events.

Condense believe that the ceiling for this kind of technology is truly limitless and that while performing artists are including virtual performances within tours, there are no technological limits to scaling up this proposition into major events such as entire festivals and even major sporting events.

The programme is open to anyone, regardless of their academic background, existing qualifications or experience in the tech industry. By attending this 12 week, intensive, and fully funded course, students will have the opportunity to harness this potential and be part of the bleeding edge of AR and VR technology.

Scholars will learn Digital Graphics; 3D modelling, photogrammetry and textures; Realtime VFX; Plugin integration, in game/ venue scaling and enhancing virtual worlds; Enriching virtual worlds; Interactions, spatial sound, player movement and networking basics.

Successful applicants will also receive a college accreditation and certificate, hands-on experience with the latest technologies and techniques, real world industry skills to support the next step in your career, high level of exposure to local employers, a potential career with Condense and £1500 bursary, dependent on learner performance.

As 2022 draws to a close we’re delighted to be ending the year with top-line growth of +40%. We’ve welcomed major new clients and projects including, Bristol Innovations, Loughborough School of Business & Economics, premium plant-based nutrition brand Vivo Life, Made Smarter Innovation, Medi-Tech innovator Radii Devices and law firm TLT.

We moved to a new home in Engine Shed in March, the natural location for our focus on scaling innovative organisations. From here we continue to support leadership teams in this enterprising region which recorded an investment flow of £1.1bn in 2021 – putting it into the top 20 in Europe.

Moving into 2023, we’ll continue to work alongside The University of Bristol, developing its commercial quantum offering, The Enterprise Sessions and other projects.

And our ongoing relationship with Vittoria, the world’s most advanced bicycle tyre company, has also flourished and we’ll continue to support the leadership team on global brand development. Notable achievements this year include supporting the launch of the 5-hectare Vittoria Park next to the brand’s HQ in Brembate Italy and advertising projects including the benchmark-busting OWN THE UNKNOWN campaign which brought about a collaboration with the Velosolutions team and percussionist Ian Chang.

We also captured the spirit of the brand for internal and external audiences with their Manifesto film.

“It’s been a fantastic year for Firehaus. We’ve worked with some inspirational people throughout 2022 who have maintained a visionary approach to the role of their organisation – even in these difficult times. Each of them is changing the world for the better and it’s great supporting them in that endeavour. We’re super-excited about what’s to come!”
Ian Bates – Founder and Creative Partner

With climate change on the agenda at COP27 in Egypt, a major new report has examined the steps different sectors within the UK’s creative industries are taking to reduce carbon emissions and what more needs to be done.

The government’s strategy for the UK economy to achieve net zero carbon emissions by 2050 says “everyone will need to play their part”. With the creative industries representing 6% of the GVA of the overall UK economy, the study stresses that it’s vital the sector works with the government to achieve its goals.

The sector has responded dramatically to that call to action with the report highlighting how businesses and organisations of all sizes and in all sub-sectors of the creative industries innovating in production, design and supply to reduce their impact on the environment.

Several carbon calculators have been developed for businesses to measure their carbon footprint, and industry associations are forming alliances to produce reports, campaign groups and other activities to tackle climate change.

There are extensive challenges for all sectors though, the report said, and much more action is needed including government support to encourage and more investment for applied research.

Hasan Bakhshi, director of the Creative Industries Policy and Evidence Centre, said:

We found that almost half (46%) of respondents to our survey stated they have not applied for R&D tax credits because they are not eligible.

Another significant barrier is the lack of knowledge of R&D tax credits, the report found. Although these barriers are higher among freelancers, 38% of commercial business respondents believe they are ineligible for R&D tax relief, and 17% admit they lack knowledge.

Professor Christopher Smith, executive chair, Arts and Humanities Research Council, said:

How the creatives industries are tackling net zero

The full report is jam-packed with useful information on how the creative industries are tackling climate change, the challenges that remain and what needs to be done to solve them. We urge you to read it.

In the meantime, here are some sector-by-sector highlights from the report of net zero schemes and initiatives with links to useful resources:

Advertising

The advertising sector is largely computer-based work in offices but approximately 20% of its carbon footprint is generated through production. According to the Advertising Association, the largest footprint of a single production shoot was over 100 tonnes of CO2.

The sector also has a significant environmental impact through media distribution including tens of thousands of advertising billboards across the country and a million tonnes of leaflets, brochures and flyers.

Efforts taken by the advertising sector to reach net zero include the Advertising Association’s Ad Net Zero initiative, with several well-known brands, advertising agencies, media titles and industry bodies signing up to achieve net zero carbon emissions by 2030. It also launched a report with guidance for measuring and reducing emissions through advertising, including how to enable consumer behaviour change.

The Institute of Practitioners in Advertising has launched its Ad Net Zero course.

Architecture

Like other creative sectors, architecture has relatively low direct environmental impacts due to mostly being computer-based work undertaken in offices.

However, its role within the wider built environment is crucial to the climate agenda. Estimates suggest that the construction sector as a whole contributes as much as 40% of all global carbon emissions, with the production and use of concrete alone responsible for 8% of all emissions.

The Royal Institute of British Architects (RIBA) launched the 2030 Climate Challenge to support architects to “design within a climate conscious trajectory”. It provides performance outcomes targets for architects in how they design for energy use, water use, embodied carbon etc.

With Architects Declare, RIBA also produced the Built for the Environment report which makes the case that the built environment must drastically reduce its carbon emissions to work towards net zero.

The Architects Climate Action Network (ACAN) was established in 2020 as a “network of individuals within architecture and related built environment professions taking action to address the twin crises of climate and ecological breakdown”.

Crafts

Small scale crafts businesses, such as designer making and jewellery, have a relatively small carbon footprint. It is the creative sub-sector with the smallest economic size according to government figures.

The Crafts Council produced a report in 2010 promoting environmental sustainability in crafts, which remains an active part of the organisation’s programme. The Crafts Council is also part of ‘Ecological Citizens’, a project with the Royal College of Arts and commercial partners such as IKEA, which explores the digital preparedness of the sub-sector for net zero including manufacturing of surplus materials and helping people digitally exchange knowledge and resources.

Research by the Crafts Council in 2020 found that almost 50% of consumers said that buying from sustainable businesses using sustainable materials and local supply chains is important.

Design

Design is not a single creative sub-sector with a distinct value chain, but a set of creative practices and skills applied across industries and contexts. Environmental impacts depend on the type of work being undertaken. For example, graphic design and visual communications is linked to advertising, while product design is associated with engineering and manufacturing.

In 2021, the Design Council launched Design for Planet which “aims to turn policy into practice and allow us to design our way to net zero”.

The Design Council also runs the Design Value Framework, which helps designers and commissioners to identify and assess the wider social, environmental and democratic impacts of their work.

Designer fashion

The report said that designer fashion “has almost certainly the largest environmental footprint of all the creative industries”. It added:

In 2020, the British Fashion Council helped to establish the Institute of Positive Fashion, with an ambition for the fashion industry to be “more resilient and circular through global collaboration and local action”.

There are various organisations and commitments encouraging voluntary sign-ups such as Textiles 2030. Signatories collaborate on carbon, water and circular textile targets, and contribute to discussions around policy development for textiles in the UK.

Film and television

The BFI collaborated with BAFTA albert and Arup in 2020 to measure carbon emissions from film and television. There are significant impacts, particularly for big budget productions which are estimated at 2,840 tonnes of CO2 for an average film production with a budget of over US$70m. Around half of emissions are linked to transport, 30% of which is air travel. There is also considerable onset energy consumption, with electricity and gas use accounting for 34% of emissions, while diesel generators contribute 15%.

In 2011, BAFTA launched albert, an online tool that calculates the amount of greenhouse gases as a direct result of a production. The tool has been used by more than 1,300 television production companies, with 7,500 production footprints calculated.

Music

“The environmental impacts of the music industry are probably better understood than the impact of any of the UK’s other creative industries,” the study said.

A study by Julie’s Bicycle into the UK music industry found that the annual greenhouse gas emissions from artists touring in the UK and British acts touring overseas was approximately 85,000 tonnes of CO2e in 2010. Research by campaign group Powerful Thinking in 2018 found that the UK festival industry generated 25,000 tonnes of CO2e (excluding audience travel), created 26,000 tonnes of waste and used million litres of diesel.

Spotify estimated in 2021 that it had a carbon footprint of 353,054 tonnes CO2, and that 42% of its GHG emissions come from listeners streaming.

In 2019, Music Declares Emergency was launched as a call to action backed by more than 3,000 UK music artists. It is now also a campaigning entity that issues guidance, co-produced with Julie’s Bicycle, on how artists and businesses can create change, such as pressing lighter weight 140 gramme vinyl instead of 180 gramme.

LIVE (Live music Industry Venues & Entertainment) was established in October 2020 to bring the UK trade associations under one umbrella group as a single, united voice. It launched the LIVE Green programme.

All 14 association members of LIVE have ratified its declaration to deliver measurable and targeted action on climate change, with the ultimate aim of reaching net zero emissions by 2030.

Vision: 2025 is a network of over 500 outdoor events and businesses taking climate action.

Smaller independent companies in the recorded music industry can measure their carbon footprint using a custom carbon calculator developed by IMPALA and Julie’s Bicycle.

The Music Climate Pact is a global platform, initiated by the UK’s Association of Independent Music (AIM) and record labels association the BPI, that was launched as a response to COP26 and the urgent call for collective action to combat the climate crisis.

Performing Arts

A study by the GLA and the Theatres Trust found that London’s theatre industry generates 50,000 tonnes of CO2e emissions a year, with audience travel estimated at an additional 35,000.

The Act Green report examines audience attitudes towards the role of cultural organisations in tackling the climate emergency.

The Creative Green Tools, developed by Julie’s Bicycle, underpin the Arts Council England’s environmental reporting programme for more than 800 annually funded organisations.

The Theatre Green Book outlines a new standard for environmental action in the performing arts.

Publishing

The sector’s environmental impact is linked to printing and paper production. The UK produces more than 180,000 new book titles each year (more per capita than any other country), and is home to more than 10 national newspapers, hundreds of local papers and several thousand consumer and trade magazines.

Video games

The video games design sector is almost entirely digital so the environmental concerns are mainly related to the large amounts of energy required for playing games. London software designer Space Ape calculated that 50% (or approximately 375 tonnes) of their carbon emissions are produced by the cloud servers used to operate their games.

The Playing for The Planet Alliance is a campaign group launched by the United Nations that seeks to create change within the global video games industry.

UK Interactive Entertainment (Ukie) partnered with Playing for The Planet to create the Green Games Guide.

Visual arts

The Gallery Climate Coalition has grown from the London arts community to over 900 country-wide members, and an international membership of 20 countries. Its aim is to facilitate a reduction of the sector’s carbon emissions by a minimum of 50% by 2030, as well as promoting zero waste.

If you’re a Bristol Creative Industries member, let us know what you’re doing to tackle climate change by emailing Dan.