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Datacentres are now consuming a staggering share of electricity, and the growing pile of unused digital files—often called “e‑clutter”—is adding a hidden layer of environmental damage.Rising Power Demand of Global DatacentresResearch cited by The Guardian shows that datacentres already account for 6% of electricity supply in both the UK and the US. The demand is accelerating as cloud services, AI workloads, and video streaming expand.Quantifying the Carbon Footprint and Resource StrainCarbon emissions from data storage now exceed those of the commercial airline industry.Significant land and water use for building and cooling facilities.Production of refrigerant gases that can leak into the atmosphere.Generation of e‑waste from hardware turnover.Why E‑Clutter Amplifies the Climate ChallengeEvery photo, video, or document left untouched on personal devices contributes to the demand for more storage capacity, which in turn fuels the energy‑intensive datacentre ecosystem.Deleting unnecessary files not only reduces the need for additional server space but also extends device lifespan, cutting the frequency of hardware replacement.Gill DavidsonUK coordinator, World Cleanup Day and Digital Cleanup DayPathways to Reduce Digital Waste and Harness Waste HeatPromote digital cleanup campaigns (e.g., World Cleanup Day, Digital Cleanup Day) to encourage users to delete old files.Implement policies that require new datacentres to be co‑located with district heating or agricultural greenhouse projects to reuse waste heat.Adopt stricter reporting standards for datacentre carbon emissions, as highlighted by recent critiques of Google’s estimates.Invest in more efficient cooling technologies and renewable energy sourcing.Robert HarrisonSheffieldLooking Ahead: A Greener Digital FutureIf individuals, corporations, and regulators align on reducing e‑clutter and repurposing waste heat, the sector could shave several percentage points off global electricity demand within the next decade, easing the path toward net‑zero targets.

New research from the International Data Center Association (IDCA) reveals that datacentres are now responsible for roughly 6% of electricity consumption in the United Kingdom and the United States, intensifying public and political scrutiny over the sector’s rapid energy growth.Datacentre Power Demand Hits 6% of UK and US GridsThe study notes a 15% worldwide increase in datacentre electricity use over the past two years, driven by the surge in AI workloads and internet traffic. Annual global investment in new facilities is approaching $1tn (£740bn), equivalent to nearly 1% of the global economy. In the UK, datacentre electricity share has risen to 5.9%, while the US sits at 6%, far above the global average of 2%. Smaller nations such as Singapore and Lithuania face even higher pressures, with datacentres consuming 19% and 11% of their national grids respectively.Financial and Energy Metrics Highlight Rapid GrowthGlobal investment: ~$1tn in 2025UK grid‑connection queue: grew 460% in H1 2025US “zombie” services: account for 13% of datacentre load, equating to over 3 GW of wasted powerProjected UK demand: could quadruple by 2030These figures align with the International Energy Agency’s estimate that global energy use by datacentres rose 17% in 2025, outpacing overall electricity demand growth of 3%.Community Pushback and Policy Implications Across NationsThe IDCA warns that once a country’s datacentre footprint reaches the 5%‑6% threshold, “significant community and political pushback” becomes inevitable. In the UK, activists and groups such as Greenpeace UK have warned of an “unchecked AI boom” leading to higher energy bills, water‑stress, and renewed reliance on fossil fuels. The report calls for:Greater transparency from tech firms on future datacentre plansMandatory environmental impact assessmentsA ban on new polluting power plants dedicated to AI workloadsAdditionally, the study highlights emerging security concerns, noting that recent attacks on datacentres in the Middle East have underscored the need for integrated cyber‑physical protection strategies.Outlook: Regulation, Transparency, and Security Challenges AheadLooking forward, the IDCA predicts that pressure will mount for:Stricter national grid connection policies to curb the 460% surge in pending requestsIndustry‑wide standards to eliminate “zombie” services and improve energy efficiencyCoordinated security frameworks that address both cyber threats and physical vulnerabilitiesIf policymakers act swiftly, the sector could mitigate its environmental footprint while sustaining the growth of AI and cloud services. Failure to do so may trigger broader societal resistance and accelerate regulatory clampdowns.

The Lead: Virtual Renovations Fill a Real‑World VoidYoung people facing sky‑high property prices are turning to a growing subgenre of "cosy" games that simulate home‑ownership, cleaning, painting and decorating virtual houses. Titles like Hozy and MakeRoom provide a calming, controllable environment that mirrors the desire for stability many cannot achieve offline.The Rise of Cosy Gaming as a Substitute for Home‑OwnershipRooted in early social simulators such as Harvest Moon (1996) and The Sims (2000), cosy gaming emphasizes gentle, low‑stakes tasks—think farming in Stardew Valley or interior design in Renovation Plan. The latest twist adds abandoned‑house makeovers, letting players experience the satisfaction of turning a derelict property into a tidy, aesthetic space.The Numbers Behind the TrendIn 2020, Steam recorded only 19 cosy‑gaming releases.By 2025, that figure exploded to 616 titles, a more than thirty‑fold increase.In the UK, 29% of adults aged 20‑34 still live with their parents, underscoring the housing affordability crunch.Societal Implications of Virtual Home‑RenovationThe appeal lies not just in escapism but in a sense of agency. With unemployment high and mortgage thresholds soaring, players find a predictable sanctuary where they can control paint colours, furniture placement and even virtual plumbing without tax bills or structural decay. Critics argue this may mask deeper anxieties, yet many gamers report reduced stress and a boost in mood after completing a virtual room makeover.Outlook: Will Cosy Gaming Remain a Niche or Shape Future Game Design?As the housing market stays unaffordable for many, developers are likely to double down on home‑ownership mechanics, integrating more realistic budgeting tools and community‑building features. If the trend continues, cosy games could evolve from simple time‑wasters into platforms for financial literacy and social connection, blurring the line between virtual comfort and real‑world empowerment.

The Incident A lorry has become stuck in a sinkhole on a rural road in Somerset after being sent to fix it. Contractors from a company called Stabilised Pavements were sent to fix holes on Butleigh Drove, near Walton, when the ground gave way. The Lorry's Condition The lorry was left stuck at a near 45-degree angle, forcing the workers to abandon it. A council spokesperson said the lorry was due to be recovered. The Road Network Concerns Lucy Trimmell, an opposition councillor in Somerset, told the Times the council’s approach to road repairs was like “trying to darn a pair of fishnet tights” and the road network was “rapidly deteriorating”. Richard Wilkins, the portfolio holder for transport and waste services, said council contractors had been working to fix the damage caused by Storm Chandra in January, as well as other weather events. The Council's Response A spokesperson for Somerset council said: “Planned highway works are taking place on Butleigh Moor Drove (also known as Butleigh Drove) near Walton, and these works are being delivered by contractors. The road is constructed on peat and has experienced significant movement and rutting. Issues of this nature can occasionally arise when carrying out works in these conditions. A lorry involved in the works is due to be recovered. The site will then be assessed to determine the most appropriate approach to complete the repairs.”

The Art Revolution That Started in a Car Park It's hard to imagine now, but there was a time when rooftop bars weren't really a thing. A time before pop-ups and contemporary outdoor sculpture parks. A time even, if you can bear to think of it, before immersive art. Way back in 2007, there was none of that – the UK was an experiential art wasteland. And then Bold Tendencies showed up, chucked a whole load of sculptures in a multi-storey Peckham car park, painted a staircase bright pink, built a cocktail bar on the roof, and changed everything. Two Decades of Transformative Art Now going into its 20th summer season, Bold Tendencies is celebrating two decades of sometimes sun-drenched, often windswept and drizzly arts programming. In that time, it has welcomed more than 3 million visitors into its concrete edifice behind Peckhamplex cinema, commissioned dozens of new artworks, hosted countless recitals and performances, built an auditorium and a concert hall, and drawn the roadmap for countless art experiences that have come in its wake. The Artistic Legacy And the art's not been too bad, either. Anthea Hamilton built a doorway to heaven through a man's splayed legs in 2010. Jess Flood-Paddock parked Del Boy's three-wheeled van on the roof in 2011. James Bridle flew a black balloon filled with wifi routers from the roof in 2014. Adam Farah-Saad installed a decorative retro water fountain in 2024. There have been piles of raw pigment, fluttering flags, wobbly walkways, heads on spikes. Almost all newly commissioned, and all free to see. Transforming the Cultural Landscape You can't overstate just how different, not only Peckham was in 2007, but the whole cultural landscape of the country. This was years before the likes of The Vinyl Factory or Frameless, and long before the Hayward and Tate were racing to the bottom to find the most TikTok-ready, Instagram-friendly exhibitions possible. The only large-scale sculptural commissions around back then were the fourth plinth and the Tate's annual Turbine Hall and Duveen projects. There wasn't really anywhere else to see new sculptural work by young artists. The Peckham Effect There also wasn't a lot going on in Peckham at the time. But what the area did have was a handful of project spaces, a single dive bar called Bar Story, seriously cheap rents and – thanks to being squeezed between Camberwell College of Arts and Goldsmiths – a lot of artists. Combined with a relative sense of isolation in the days before the London Overground, it boasted a fairly unique set of circumstances. "I found it to be a place of great possibility," says Barry. "And it still feels like that." The Visionary Behind the Movement Barry had been putting on exhibitions in a semi-derelict house on nearby Lyndhurst Way, and struck up a relationship with the people responsible for property in Southwark council. The council realised that artists could act as caretakers of empty, derelict buildings awaiting redevelopment, and Barry figured that those buildings could be used for art exhibitions. It's a model still followed today by other cultural charities, one that some consider the forward battalion in a wave of gentrification that has engulfed the city ever since. The Future of Public Art "Part of our responsibility in doing a project like this is to offer up the joy of feeling welcome to as many people as possible," says Hannah Barry, the driving force behind Bold Tendencies and owner of Peckham's longstanding Hannah Barry Gallery. "People come here for all sorts of different reasons and they may stay for a short time or stay for a long time. What matters is that they're curious enough to come." As Bold Tendencies enters its third decade, it continues to push boundaries and redefine what public art can be, proving that sometimes the most revolutionary ideas come from the most unexpected places.

What Prompted the £500 Fixed‑Penalty Notice?A resident of Haringey was issued a £500 fixed‑penalty notice (FPN) after putting a cigarette butt into a refuse sack awaiting collection on a London street. The council classified the act as littering because the sack was not a public bin, despite it being full of other waste.Council’s Interpretation of Littering RulesHaringey Council argues that litter “defaces a public place” when it is deposited outside a designated public bin. Their statement reads:“As a public litter bin was not used, placing the cigarette end in the bags is otherwise depositing the litter.”The council’s stance contrasts with common public understanding of littering and has sparked debate over the clarity of local guidelines.Financial Stakes: Fine Amounts Across London Boroughs£80 – typical fine for a cigarette butt dropped on a street in some boroughs.£500 – maximum on‑the‑spot fine that councils like Haringey can issue, non‑appealable like parking PCNs.Unpaid fines double after 28 days, often collected by private enforcement firms.These disparities illustrate a lack of uniformity in how litter offences are priced across the capital.Broader Implications for Local Enforcement and CitizensThe case underscores several systemic concerns:Proportionality – Government guidance requires fines to be proportionate, yet interpretations vary wildly.Transparency – Council websites rarely explain the legal basis for such high penalties.Appeal Rights – Fixed‑penalty notices cannot be appealed directly; challengers must go to court, bearing legal costs.Revenue Incentives – Private firms benefit from the collection of unpaid fines, potentially influencing enforcement vigor.Public confidence in local authorities may erode if perceived as “extortionate” rather than protective.Possible Shifts in Litter‑Penalty PoliciesFollowing the resident’s challenge, Haringey Council reviewed the evidence and chose to cancel the FPN, suggesting that pressure and scrutiny can prompt policy reassessment. Future developments may include:Standardised fine scales across London boroughs.Clearer public guidance on what constitutes littering.Introduction of a formal appeal mechanism for on‑the‑spot fines.Greater oversight of private enforcement agencies.Stakeholders—including residents, consumer‑rights groups, and local MPs—are likely to push for reforms that balance environmental protection with fair, transparent enforcement.

Giulia Brachi and her team at the University of Colorado Boulder discovered that a mildly acidic environment (pH 4) can coax Pyrocystis lunula into a prolonged glow, allowing the algae to be embedded in a hydrogel and printed into luminous shapes.Acid‑Triggered Glow Enables 3D‑Printed Living LightBy adding a slightly acidic solution to a flask of the single‑celled algae, the researchers lowered the internal pH of the light‑producing organelles, activating the luciferase‑luciferin reaction. The algae were then suspended in a water‑rich hydrogel, which served as a printable medium. Using a standard 3D‑printer, the team produced blobby forms—including a crescent moon—that radiated a vivid cyan hue.Quantifying the Light: Duration, pH, and Print ResolutionGlow duration: up to 25 minutes per acid activation.Acidic trigger: solution adjusted to pH 4, comparable to a tomato.Print medium: hydrogel encapsulation preserving cell viability during extrusion.Potential Applications from Rave Bracelets to Eco‑SensorsWil Srubar envisions “living light” replacing disposable batteries in glow‑sticks, festival bracelets, and low‑power indicators. Embedding the algae in biosensors could provide visual alerts when toxins are detected, leveraging the natural luminescence as a read‑out. The approach also promises a reduction in electronic waste, as the bioluminescent reaction requires only seawater and a mild acid.Future Outlook: Scaling Living Light for Sustainable DevicesWhile the laboratory results are promising, Chris Howe of the University of Cambridge cautions that translating the system to real‑world conditions will require robust containment and longevity strategies. Ongoing research will focus on optimizing hydrogel formulations, extending the active lifespan of the algae, and integrating control mechanisms for on‑demand illumination. If successful, bioluminescent 3D‑printing could usher in a new class of biodegradable, low‑energy lighting solutions.

The Bleakest Office Party: A New Critique of Financial PowerBullyache's new piece, A Good Man Is Hard to Find, opens with a scene that feels like the aftermath of the bleakest office party imaginable. The stage is dominated by a giant boardroom table, featuring a naked man on the floor, another with trousers around his ankles, and someone urinating into a whisky glass. This visceral imagery sets the tone for a production that uses dance theatre to deconstruct the toxic masculinity and arrogance of the financial elite.The show is not merely a performance; it is a commentary on the 2008 global economic crisis. The set design, featuring a wall of broken glass, symbolizes the shattered economy and the people who drove the truck through it. The narrative follows these 'wasted cretins' as they face a surreal, less glossy version of the TV show Industry, turning their fate into a menacing game of power and domination.From Bohemian Club Rituals to Gameshow DominationWhile the opening is chaotic, the piece takes a sharp narrative turn halfway through, transforming into a gameshow that explicitly identifies the characters as the bankers responsible for the financial meltdown. The creative duo, Courtney Deyn and Jacob Samuel, draw inspiration from the secretive Bohemian Club, a gathering of rich and powerful men known for rituals like the 'cremation of care,' which the show interprets as an absolution of guilt.Setting: Sadler's Wells East, London (until 9 May)Music: Original scores by Bullyache, featuring Shostakovich's chamber symphony in C minorThemes: Power, domination, and the 'cremation of care'The Atmosphere of Guilt and LonelinessThe atmosphere-making in the production is described as masterful, if depressing. The soundscapes are cranium-shaking, blending classical leaps with Latin American swivel and punchy folk dance. The inclusion of quasi-religious imagery and a cleaner singing Ave Maria amidst the body fluids adds a layer of dark irony and spiritual desolation.However, the review notes that the piece is reaching for something bigger. While the critique of the 'banking bro' archetype is clear, the show lacks specific personal stories. The political message is somewhat generic ('big bankers bad') and would benefit from more concrete details about the characters' lives and the long-term ramifications of their actions.Future of Political Dance TheatreBullyache has demonstrated brilliant ambition with this production, successfully creating a world that is unpredictable and intense. However, the lack of specific narrative depth suggests that for this genre of political dance theatre to truly resonate, creators must move beyond archetypes and provide the 'sting' necessary to make the audience feel the consequences of the financial crisis on a human level.

The Alleged Environmental Genocide A group of 298 petitioners from remote villages of Marsabit County in northern Kenya is suing BP and the Kenyan government over oil exploration waste from the 1980s that it says is causing a cancer cluster that has killed hundreds. The Cancer Cluster in Kargi Residents and local health workers say cancer cases and deaths have risen steadily, with more than 500 people reported dead from cancers affecting the digestive system, particularly the oesophagus and stomach. Many were from villages where access to medical care remains limited. The Impact of Oil Exploration Waste They believe rising cancer cases are linked to toxic waste left behind during oil exploration in the 1980s. Between 1986 and 1989, the US oil company Amoco, later acquired by BP, drilled exploration wells around the Chalbi Desert in search of oil. Foreign crews worked the area, found no viable deposits, and left. Residents say the company left more behind than empty wells. Mounting Evidence of Contamination Independent tests carried out since have pointed to possible contamination of local water sources, including the presence of heavy metals. Scientists have not yet established a definitive causal link between the contamination and the cancers, in part because long-term research has been thin. Legal Recourse for the Affected Communities The petitioners have sued BP and the Kenyan government, accusing both of failing to prevent or address environmental harm. They are seeking a full environmental assessment, access to safe water, and compensation for affected families and livestock losses. 'This is environmental genocide,' says Kelvin Kubai, the lawyer representing them.