I wanted the sculpture to be a playful yet beautiful reminder of climate change and the purpose of these forms, and what our future will be like if we don’t take action now to prevent it. The same observations can be made about environmental pollution. By way of example, look at what we do in this country to all our rivers, where untreated sewage is dumped every day, despite laws and regulations. A long time ago, John Muir (1838 -1914), the Scottish-born American naturalist, and founder of the modern conservation movement observed “When one tugs at a single living thing in nature, one finds it attached to the rest of the world.” In 2018, Richard Long produced a series of screen prints, based on drawings he made from mud taken from the banks of the tidal River Avon in Bristol, where he first played as a child. ‘Even as a kid I was fascinated by the enormous tide, and the mud banks, and the wash of the boats as they swept past… I guess it’s right to say that I have used that experience in my art: like water, the tides, the mud. All that cosmic energy is there in my work.’

Impact verification came to the forefront in April 2019 with the introduction of the Operating Principles for Impact Management (“OPIM” or the “Impact Principles”), led by the International Finance Corporation (“IFC”) and now featuring a growing group of more than 100 signatories dedicated to “establishing a common discipline around the management of investments for impact.” One of these Principles—Principle 9—specifically requires signatories to publicly disclose and independently verify their alignment with the Principles on a regular basis. In 2018, the United Nations Development Program (UNDP) recognized the need to mobilize private capital for the achievement of the UN Sustainable Development Goals (SDGs) and reached out to Tideline to help identify catalytic ways to accelerate investment flows. Tideline led UNDP through an iterative design process that involved interviews with a broad range of investors and active engagement with UNDP bureaus and country offices around the world to better understand the key barriers that investors face when trying to allocate capital to the SDGs.The things I focus on in my art practice are issues that society acting as a whole can change, and it is the emphasis on values and sustainability that runs through all my work. I make many pieces that advocate for an accelerated pace of change. I find it incredible that that these issues persist, even after all the campaigning work has been done and it is law. An example is the Equal Pay Act, law since 1970 and more than 50 years later, there is still a gender pay gap. Art and particularly sculpture can be wasteful, and all artists need to consider ways in which they can make their practices more sustainable. Through exploration of the possibilities of recycled and eco-friendly materials, artists can bring about education. The more people are made to be aware and care, the bigger the demand for change. The bigger the demand for change, the more big companies or governments listen and want to be seen to be doing something. In a small sand-island in the North Sea, a tiny figure filmed from a drone walks in ever decreasing circles around the tightening perimeter of the shore. As the tide comes in and eats away at the sliver of land, so it and the figure’s room for manoeuvre reduces and ultimately disappears, vanishing under the inevitable waves. Like other works in the show, Simon Faithfull’s Going Nowhere 1.5 brings humour and absurdity to bear on a situation which can seem hopeless and beyond our understanding. The guide also introduces the Tideline Framework for Impact Labeling, which compares and contrasts different approaches to sustainable investing according to the degree to which those investment approaches integrate three core pillars of impact investing: We had an amazing time in Copenhagen last week at #GIINForum23, where we were able to connect and reconnect with clients, partners, and luminaries in impact investing. In particular, it was a pleasure to celebrate the launch of the new Child-Lens Investing Framework we worked on with UNICEF USA and UNICEF.

Inside, Tania Kovats’ Bleached anticipates what future museum presentations of these vital and fast-disappearing habitats might look like. Taking specially-fabricated coral from a decommissioned exhibit from The Deep aquarium in Hull, Kovats sliced through the Q. What is the inspiration behind your work in Tideline and how does it sit within the context of your work? Tideline, UNICEF, and UNICEF USA worked with diverse stakeholders across the field in the development of the CLIF, working particularly closely with six investor participants via an inaugural Child-Lens Investor Cohort: BlueOrchard Finance Ltd, Calvert Impact , Elevar Equity, Finnfund, Rethink Education, and Save the Children Global Ventures. The CLIF’s launch formally incepts child-lens investing (CLI), defined as an approach to sustainable investing in which investors intentionally consider child-related factors to advance positive child outcomes while minimizing child harm.Tideline’s ‘Framework for Impact Labeling’ helps investors communicate their approach to sustainable investing based on the degree to which they integrate Intentionality, Contribution, and Measurement into their investment process Geoffrey Wansell wrote in the Mail ‘ Penny’s ability to evoke place and fill it with a sense of dread, not to mention her cool ear for the nuances of dialogue underline the du Maurier comparison .’ When Ellie hears about a hit and run incident on the dark country road she’s just driven down, she becomes convinced she’s the culprit. Driven to seek out the victim, she unleashes a nightmare. BlueMark provides independent impact verification services for investors and companies. The services are designed to strengthen confidence in the achievement of stated impact goals through the verification of impact mandates, impact management practices, and impact reporting against established industry standards. Learn more at www.BlueMarkTideline.com. As of this announcement, BlueMark’s verification clients include, among others: BlueOrchard Finance, Calvert Impact Capital, CDC Group, Closed Loop Partners, Community Investment Management (CIM), European Bank for Reconstruction Development (EBRD), KKR, LeapFrog Investments, LGT Venture Philanthropy, Nuveen, PG Impact Investments, PG LIFE, the Osiris Group, and UBS.

Independent verification is essential for scaling the impact investing industry with integrity,” said Christina Leijonhufvud, a Managing Partner at Tideline who has transitioned to become CEO of BlueMark. “By introducing a reliable mechanism for establishing trust and accountability in the impact investment market, stakeholders can have greater confidence in impact claims and performance. Asset owners and institutional allocators especially benefit from the introduction of impact verification, which has the potential to dramatically simplify the impact screening and monitoring process and thereby mobilize greater capital flows toward positive societal impact.” October 1, 2020 — Tideline, a specialist consultant for the impact investing industry, today announced the launch of BlueMark, an independent business providing impact verification services for investors and companies. BlueMark’s mission is “to strengthen trust in impact investing” through rigorous and independent assessments of an investor’s or company’s impact practices and performance, thereby building confidence and credibility in the impact label. The new business draws on Tideline’s deep expertise helping clients develop sophisticated impact investment strategies and practices, with third-party verification now emerging as the next critical piece of a best-in-class approach. Dorothy Cross’s Jellyfish Lake was inspired by the artist’s research into pioneering marine biologist Maud Delap, who in 1902 became the first person to rear jellyfish (in an aquarium at her home in Valentia Island, County Kerry) and to observe their full lifecycle. Filmed in the lakes of Palau Micronesia (itself at the sharp end of sea level rise), the video shows hundreds of tiny, delicate jellyfish swimming around the head and shoulders of a woman, whose hair floats with them in the swilling water. Lulling and dreamlike, the film captures a moment of coexistence that brings to mind Rachel Carson’s observation, ‘It is a curious situation that the sea, from which life first arose, should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’ The challenge now is to channel the curiosity of scientists and creative thinkers towards devising new activities and modes of existence. I started looking at sea defences within my work in 2017, as I was interested in their varying geometric shapes. These huge man-made shapes protect the land we walk on from the ever-encroaching expanses of sea. They seem so alien and out of place in their natural setting. Going Nowhere 1.5’ is the latest instalment in an accidental trilogy of ‘Going Nowhere’ films that now spans 25 years. The idea for ‘Going Nowhere 1.5’ came from being fascinated by ‘Doggerland’– a drowned world in the North Sea that used to link Europe and the British Isles and whose remains now form the entirely submerged ‘Dogger Bank’. Shot in the North Sea off the coast of Norfolk, the film depicts a figure walking around the perimeter of an intertidal island as it is slowly eaten away by the rising tide. As with all the Going Nowhere films the figure seems to be caught in an absurd and Sisyphean task – always striding forwards, but to what aim remains unclear. In ‘Going Nowhere 1.5’ the figure could perhaps be seen as the last ‘Doggerlander’.It also introduces the theme of mapping and representation, as well as an aspect of fishing off shore, which connects us to thinking of boundaries both physical and political, and the way these lines are drawn. I have wondered ever since, why businesses don’t have people in their boardrooms and in the decision-making process who speak up for the cost to the environment that they exclude from their balance sheets. It is really a conversation about values: one group of people trading and seeking to make money should not be plundering our shared ground and seas, just because the cost to the planet does not appear on their profit and loss sheet. Child-lens Investing (CLI) is an approach to sustainable investing in which investors intentionally consider child-related factors to advance positive child outcomes while minimizing child harm. CLI weaves together best practices from the ESG and impact investing ecosystems to form a holistic approach to sustainable investing that honors the diverse conditions needed to facilitate a good childhood. Because childhood is a powerful engine of equity, prosperity, and possibility, CLI approaches benefit both children and everyone around them. The aim of Lifelines is for the public to become as easily familiar with the location and shape of coral reefs as they are with the shape of continents. I am seeking to create a sea-change in people’s thinking, where out of sight is no longer out of mind, and to pull focus to life below the water and our connection to and dependence on healthy oceans. This Compass Series discussion is dedicated to the late Suzanne Biegel, a pioneer of gender-lens investing. We owe the success of not just gender-lens investing, but also of all of the impact lenses represented in this Compass Series panel, to her tireless efforts to make finance more inclusive, impactful, and effective.

If nothing is done, half of the world’s sandy beaches could disappear by 2100 due to climate change-induced coastal erosion and rising seas. As global temperatures continue to rise, driven by heat trapping greenhouse gases, melting ice will raise sea levels, and extreme weather events are expected to become more frequent and intensify, battering vulnerable coastlines around the world. A tideline refers to where two currents in the ocean converge. Driftwood, floating seaweed, foam, and other floating debris may accumulate, forming sinuous lines called tidelines (although they generally have nothing to do with the tide). People become immune or overwhelmed by the daily bombardment of news and the situation we are in can seem futile. Artists and creative thinkers can reach people in different ways and help them understand that it is possible for each of us to make an impact. The more artists make work about aspects of climate change and its effect on the planet, the wider the audience that is reached about such issues. Artists working with scientists can help see things from a different perspective, as well as making research more relatable. Charles Smith-Jones' muntjac book. Muntjac: Managing an Alien Species is a great, in-depth, look at the history, ecology, management and stalking of muntjac deer. Then we have our new edition of the classic The English Whippetby Colonel Ted Walsh and Mary Lowe. Congratulations to the UNICEF and UNICEF USA teams on their release of the Child-Lens Investing Framework! Tideline is proud to have worked alongside UNICEF and UNICEF USA in the development of this framework, introducing the concept of child-lens investing to the market.

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Global warming and rising sea levels will soon have a devastating impact on our daily lives. Cornwall is one of the UK counties which will be most affected by climate change; cliffs are eroding and flood risks are increasing. The coastal cliffs of North Cornwall are likely to experience 40 metres of erosion in the next century. Climate change is happening now, and we can already see the effects that this is having around the world. Measurement – Monitoring and reporting impact performance based on measurable inputs, outputs and outcomes. The BlueMark team has designed proprietary methodologies for evaluating how each of the three key components of an investor’s impact management process—impact mandates, impact management practices, and impact reporting—are aligned with industry standards like OPIM, Global Reporting Initiative (GRI), Impact Management Project (IMP), the Global Impact Investing Network’s (GIIN) IRIS+, UN’s Sustainable Development Goals (SDGs), and others. I think engaging the public on issues of climate change should be done with a light touch, always maintaining a sense of hope. The climate movement can suffer from fatigue and burnout so the arts should strive to counteract that is some way.