Tideline

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Tideline, a specialist consultant for the impact investing industry, today published a how-to guide for investors seeking to define their approach to sustainable investing. The full report, “Truth in Impact: A Tideline Guide to Using the Impact Investment Label,” is available at https://bit.ly/3yiy8Mu. 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

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.”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. 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. Fresh from the launch of Corpus Maris I, commissioned for this year’s Sydney Biennale, and adopting a reduced footprint approach to making that is being supported locally by Messums Creative, Julia Lohmann fabricated a series of seaweed sculptures for the gallery in Wiltshire in March. A long-time champion of kelp as a material for reimagining living with our resources, Lohmann’s luminous structures suggest new propositions for sustainable creative practice. ‘Every species has an equal right to life on this planet. We can use the same human ingenuity that has led to the climate crisis we are facing now… to protect and regenerate the ecosystem that sustains us.’ 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.

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 .’I have a wide range of interests and spend time looking into contemporary matters, both through the internet and through talking to people involved both in creating the problems and the solutions that are affecting our planet.

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.” When I was very young, I remember the hearing about acid rain, and the notion was profound and disturbing. I learned that the weather pattern of the world meant that air pollution from UK businesses destroyed vast areas of Scandinavian forests. Connecting the dots at the time has informed and shaped my views, and left me with a global perspective on matters that interest me. reefs and presented them in a series of vitrines, first shown as part of Hull’s City of Culture in 2017. With Island, I am taking unusual materials but ones that are linked to everyone’s experience, as they all are familiar with tyres in all their forms of use; and referring to the second use of this product, once worn out, by trawling fishing boats. In this way, I am relocating people’s thinking to the water and sea bed off our shores. Shaping this island (GB) with these materials reconnects us to the land mass under our feet, and its connection to the land under the sea surrounding us.Also outside the Barn is Ros Burgin’s Lifelines. Coral reefs are some of the richest and most diverse ecosystems on earth, representing an important source of food and income to more than 500 million people worldwide, and they perform a crucial role in coastal defence. They are formed of the calcium carbonate skeletons of corals, small, immobile organisms closely related to jellyfish. Under pressure from pollution, over-fishing, sea temperature rises and bleaching, reefs have declined by 50% since 1950. Burgin’s work maps out the world’s remaining tropical coral reefs across four handcrafted Lignum surfboards. 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. At the centre of a programme devoted to rethinking our relationship with the environment is Messums’ 13th century tithe barn. The largest in the country, the barn gallery becomes a turbine hall for the imagination this summer starting with Tideline, a group exhibition running from 14 May – 3 July 2022. 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.

Contribution – Playing a differentiated role to enhance the achievement of the targeted social or environmental outcomes; and

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. 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. My other ‘Anthropocene Fossil’ pieces are fossilised vessels of the Petro-chemical industry; an oil barrel and a jerry can. There is a circularity to these works as the Hamstone used is a Jurassic limestone, and most of the crude oil processed by the petro-chemical industry is found trapped within Jurassic or cretaceous limestone.