Transparency statement

Overview

Below, you will find some explanations to transparently illustrate the approach and decisions behind the Music C•A•R•E•S platform. Since the project has so far been dependent on irregular and unpredictable funding rounds, it is ongoing and continuously evolving — this transparency statement is likewise part of that process. The following provides background information on the structure and evaluation systems of the individual tools:

For the ecological dimension: "Eco Check"
For the social dimension
For the provider directory

Music C•A•R•E•S aims to enable the more sustainable implementation of music events — as quickly and easily as possible. In general, the tool is designed to make visible that the cost-benefit ratio of music events can be optimized and that more sustainable actions are feasible.

The Ecological Dimension of Sustainability — "Eco Check"

The Music C•A•R•E•S CO₂ calculator determines selected, relevant greenhouse gas emissions associated with your event and provides a clear overview of the CO₂ results across different areas. In collaboration with sustainability experts from myclimate, we developed the underlying formulas, which include publicly available but partly adapted emission factors.

With the CO₂ calculation, we are pursuing a pragmatic approach through which the use of the tool is intended to benefit the real everyday life of event organizers - an introduction to the complex processes of sustainability and reporting or documentation:

To show concrete options for action to reduce emissions, which are also realistic for small and medium-sized players
To make it easier to put existing knowledge into practice as quickly as possible - through the broadest possible accessibility and targeted knowledge transfer, for example through info buttons etc.
To create (more) attention and awareness for sustainability and to inspire new, creative solutions in the music industry.

Our focus is not on a highly detailed CO₂ calculator:

Because they already exist and have relatively high barriers, whether financial or in terms of content.
Because even comprehensive CO₂ calculators have differences in their calculations, as not all/the same areas are always recorded in the same way and calculated with the same emission factors
Because a focus on CO₂ should not push other environmental impacts and issues such as resource management, biodiversity and social justice into the background. We are committed to avoiding greenwashing or purely symbolic solutions.

When creating the calculator, the decisions on the individual topics are based on freely available knowledge, e.g. the Cradle to Cradle impact matrix (source as of 11.09.23) as well as our many years of experience and contacts from the Berlin music event business. In collaboration with the life cycle assessment expert from myclimate, we developed the model (formulas and appropriate emission factors) for the pilot version.

1. Areas & topics of the CO₂ calculator

Areas of the user query

Within the user query, criteria are asked which should be realistically changeable/implementable for organizers, so that a leverage effect for immediate savings in emissions is stimulated. Smaller, non-commercially run but socially valuable venues, for example, cannot be expected across the board to revise their entire infrastructure with sustainable but expensive innovations. In the pilot version, we initially focus on the most relevant areas (mobility, location, catering, merch); i.e. the areas that cause the most emissions with regard to music events (source: as of 30.01.2025)- this logic also continues for the sub-areas (e.g. for location: electricity & heat generation).

In addition, we have included some topics that are close to our hearts and that we would like to draw attention to, even if their CO₂ impact is not that serious (e.g. for location: waste, which should actually be a recyclable resource, or water). The tool is recommended for use before, during and after event planning. Ideally, it should be used repeatedly, for example for series of events, so that data and experience can be collected and individual goals can be set and evaluated.

Topic of accuracy of the calculations

The tool currently only takes into account a few selected emission sources, which theoretically limits the precision of the calculations. This limitation was initially due to the feasibility within the first funding round. However, due to the complexity and variability of factors such as supply chains or indirect emissions, it is not possible to fully capture all emissions from a product or service anyway. Instead, we use emission factors that reflect the average life cycle of typical activities and products at events (as of 2023). With the areas offered, the most relevant topics are currently satisfactorily covered for us as far as we can realize this within the framework of the funding provided to date. Should a more precise coverage of the areas or the inclusion of new areas be envisaged at another time, this could be possible, for example, through cooperation with relevant institutions (such as the Federal Environment Agency, ANKM cultural calculator, myclimate). The results displayed always depend on the assumptions made in advance, the available database and, last but not least, the individual decisions of the users. Depending on the type of event, it depends on where the priorities for selecting sustainable measures (should) lie. All calculations are therefore subject to uncertainties. This situation must be taken into account all the more for the example values: The example values provided are based on a limited data situation and are therefore only rough guide values without general application validity. Although the values have been calculated as systematically as possible, they do not represent exact average values for each specific number of guests, but provide a guide. They are not scientifically validated and may deviate significantly from the actual emissions.

Results view

In the results view, a donut chart first shows the proportional distribution of CO₂ emissions (in kg) for the mobility, location, merchandise and catering areas that can be selected in the user query (with or without using the example values). If an area has been skipped, i.e. nothing has been filled in, example values for the area or sub-area are automatically included. If you click on the individual areas in the 'Table' of the results view, you can see in more detail what the proportional distribution of CO₂ emissions in kg looks like within an area. Here in this mode/view, you can also see for which sub-areas the use of example values was selected (this is marked by an asterisk next to the number of kg).

2. Calculations: formulas and emission factors (EF)

It is firstly important to note that the term CO₂ used here is not entirely precise, as strictly speaking CO₂ equivalents (CO₂e) are included. The calculated values therefore include additional greenhouse gases, which are converted and summarized in CO₂ for better comprehensibility and readability with regard to their effect (source as of 11.09.23). The formulas are based on scientific methods and were developed in collaboration with a life cycle assessment expert from myclimate. The emission factors used for the calculations come from scientific sources and were provided to us by myclimate (as at 29.06.2023). The exact sources and calculation bases of the emission factors are publicly available and we can also provide our emission factor table on request.

Where necessary, we have adjusted the emission factors in collaboration with the life cycle assessment expert for the Music C•A•R•E•S tool. These emission factors are therefore based on sound scientific methods and are designed to provide a realistic estimate of CO₂ emissions for the respective activities. They are partly fuzzy and are also updated where possible. In the following, we will discuss the specifics of calculations, emission factors and the associated assumptions and decisions in order to make our approach transparent:

Mobility & Transportation - Guests:

Assumption for car as a means of transportation: It is assumed that guests do not usually travel to the event alone in a car. The person-kilometer value therefore includes an average value for persons per car, with which the topic of carpooling/carpooling is included or mapped
Assumption for calculating mobility by bike/walking: The distribution of kilometers covered is 50/50, i.e. it is an average of the two EFs
Assumption for the EF of the means of transportation flight is that the guests arrive from within Europe
At this point, the user query asks for a 'one-way' distance; in the calculation logic, this distance is automatically doubled in the background to include the return journey.

Mobility & Transportation - External Equipment & Infrastructure:

The EF of vans here is based on the assumption that the vans are diesel-powered and weigh 3.5 tons

Mobility & Transportation - Artists

For cars as a means of transport: Here the emissions are calculated with an EF that reflects the vehicle kilometers.
Assumption of the same number of kilometers for all artists
Assumption of a diesel bus double-decker for the calculation of the use of a tour bus/nightliner
At this point, the user query asks for a 'one-way' distance; in the calculation logic, this distance is automatically doubled in the background to include the return journey

Location - Electricity

Here, the consumption is calculated by dividing the total annual electricity consumption by the number of events per year in the respective location and multiplying by the EF. Of course, electricity is also consumed in locations outside of events, but this is not included here.

Location - Heat

Assumption: no heating in summer, heating in winter
Assumption of approximately the same number of events per month

Location - Waste

We have prioritized residual waste for the pilot version, as this is not recycled or is largely incinerated.
Acceptance: Disposal process is included in the residual waste

Location - Water

Water was included as a topic because, despite its relatively low emission value, it is one of our most basic resources.
Here, consumption is calculated by dividing the total annual water consumption in liters by the number of events per year at the location and multiplying by the EF.
Of course, water is also consumed between events in venues, for example for cleaning. This circumstance is not included here.

Catering - Guests & Crew Food:

The main aim here is to illustrate the difference between meat-based and non-meat-based dishes. Crew catering is calculated using real numbers of people or meals
Assumption for vegan dishes: with meat substitutes

Catering - Guests & Crew Drinks:

Soft drinks: EF applies to 0.33l soda
EF for beer/wine applies to 0.33l beer
EF for cocktails/long drinks is calculated from 0.2l soda + 0.2l rum
Assumption for long drink: 50% non-alcoholic drink + 50% alcohol

Merch - T-shirts:

The main aim here was to show the contrast in the calculation between a T-shirt made from conventional cotton and a T-shirt made from organic cotton. The emission factors used in each case offer a mere approximation, as the subject of textiles is very complex. For more information on different materials and labels, see: https://textileexchange.org/

Merch - Records:

Assumption: The EF of a vinyl record used here is based on the EF of a DVD and was scaled by weight to a 12” vinyl record á 180g. This is used as an approximation.

3. Topic example values and tacho

The example values serve two purposes:

Firstly, they simply make it easier to use the CO₂ calculator if a user does not have all the data and information to hand when filling it in. For a more accurate result, it is of course always better to enter concrete/real or at least realistic data for the event in question. However, you can also decide not to edit sub-areas or entire areas - in this case, an example value for a similar size of music events in Germany is automatically used for each query.
Secondly, the sample values play a central role for the tachometer in the results view: The tacho is used to roughly classify the overall CO₂ result for the respective event within the German event landscape. This serves as an approximate orientation and gives users a feeling of where they stand with their own event.

The individual sample values in this pilot version are based on a mixture of data acquisition in the music event network and open source data from venues and events. The data situation (from Berlin sources) for the sample values was expanded and improved in spring 2025 with touring data collected from Kim Laber's master's thesis, in which the sample values were substantiated with Germany-wide figures from several events.

Users also have the option of an overall estimate of the event if they enter the number of guests and select the function of an example value for each area.

The respective example values were always created or (re)calculated for three event sizes. This prevents a higher number of visitors from automatically being rated more negatively.

Small: 1-500 people (average value calculated on the basis of 300 people)
Medium: 501-1000 people (average value calculated on the basis of 600 people)
Large: 1001-2000 people (average value calculated on the basis of 1500 people)

Other assumptions and background information worth knowing on our part for various areas are used to calculate the example values as follows:

GUEST MOBILITY: The example values given here do not include air travel. Assumption for Berlin values: 10km journey within the city, 169km journey from all over Germany
MOBILITY OF ARTISTS: Even if the number of artists does not necessarily increase exponentially with the number of guests, it was assumed here that larger events often involve more artists. Values from master thesis only include information for sprinters/transporters. Berlin values were also calculated here for public transport, even if this is not (yet) an option in the user query at this point
MOBILITY & TRANSPORT: external technology & infrastructure: Assumption (also based on low real Berlin value) that event venues usually have all relevant equipment on site and/or artists may bring the 'rest' with them and only the very large arenas/stadiums are supplied with full infrastructure
LOCATION ELECTRICITY: Overall, conservative calculations were made here, i.e. real consumption values were converted into example values using the EF for conventionally produced electricity. Berlin value e.g. 111,000 kWh/year at 220 events/year (for approx. 750 guests location); everything roughly extrapolated via venue size, i.e. number of guests
LOCATION HEAT: Assumption gas energy source (EF); e.g: Heat consumption of 108,000 kWh/year and 220 events/year (for approx. 750 guests location)
LOCATION WATER: Due to lack of information from Berlin assumption of 17l water per person (source as of 16.01.25)
LOCATION WASTE: Berlin value is 0.1kg residual waste per person, master's thesis study also has no primary information; assumes 1kg/person (as Klimaschutzstiftung BW specifies a value of 2kg waste/person, which is much too high based on real experience), assumption of fully filled waste garbage cans
CATERING: The German wide values from the master's thesis only include real information from crew catering (food and drinks), but not from guest catering (these values are therefore estimated)
CATERING Beverages: In the calculation of the example values for Berlin, the same assumption is made for guest drinks and crew drinks: distribution of 60% beer & wine, 25% water/soda, 15% long drinks with 2.7 drinks per person
MERCH T-SHIRTS: Decision to use the EF for organically produced cotton despite minor ambiguity in the data for the German values from the master's thesis. The Berlin figures, however, are calculated conservatively, i.e. also real sales figures for T-shirts, but with the EF for conventionally produced cotton.

In the current pilot version, the sample values and the classification in the speedometer of the results view initially referred explicitly to the music event scene in Berlin, but we are now in the process of expanding these parts of Music C•A•R•E•S and making them applicable beyond Berlin. As mentioned above, the example value theme has already been extended to Germany (as of 14.04.25). We will be working on the extent to which the whole thing can be used throughout Europe in the course of 2025. However, the tool is of course already available for stakeholders outside Berlin and Germany to test.

Classification in the tacho

In the dark green area, you consume less than half the average consumption of an event of comparable size
At the border between the light green and yellow area is the average consumption of an event of comparable size
In the red zone, you consume more than twice the average consumption of an event of comparable size

Tacho Bild.jpg

The Social Dimension of Sustainability "Social Compass"

At this point, in the interest of transparency, we will explain how our understanding of social sustainability is composed: What perspective do we adopt, which references do we utilize, why is this explicitly relevant in the context of music events, how (and) did we develop the existing individual areas and criteria, and what is relevant concerning the assessment system used.

What is Social Sustainability?

Social sustainability is one of the three dimensions of sustainability (Ecological, Economic, Social) and relates to individuals and society. However, in our understanding, it is inseparable from the other dimensions, as sustainability can only exist and be maintained through their interconnectedness: Only in the combination of all three dimensions can sustainability be achieved and maintained. Broadly speaking, social sustainability concerns ensuring that the needs of all people are considered and met without endangering the well-being of future generations – through stable, peaceful coexistence (Source or Source as of 01/09/2025).

At the political level, social sustainability is relevant because it influences laws and regulations that, among other things, ensure the protection of human rights. We believe that this is only possible within democratic systems — or that democratic processes (such as participation) are even necessary to establish and sustain social sustainability (Source as of 01/09/2025). Socially sustainable actions must be inherent to all sustainability measures, so that citizens are not merely choosing between predefined concepts but are truly part of societal development (Source as of 01/09/2025).
The goals of social sustainability therefore include, in a broad sense, equal opportunities, access to education and information, healthcare, secure employment, strong communities, and the ability to participate actively in societal life (Source or Source as of 01/09/2025).

For many people, these goals are often more difficult or even impossible to achieve due to factors like gender, origin, social status, or other forms of discrimination. Recognizing, respecting, and including cultural diversity in its various forms is therefore essential to establishing justice. Only in this way can social potential and social resources such as tolerance, solidarity, community orientation, and sense of justice unfold (Source page 7, as of 10/06/2025).
If we extend this thinking to capitalism, true societal and systemic development can only occur through changes in social relationships at the micro level, making our economic activity more sustainable. It is therefore not just about producing products and services that are more environmentally and socially compatible ('do less harm'), but about developing (new) products, services, and processes that inherently contribute to sustainable development or address ecological or social problems ('do more good') (Source as of 24/06/2025).

The Legacy of Colonialism

How severely the climate crisis impacts depends not only on people's geographic location but also on the factors mentioned above (Source page 12, as of 24/06/2025). "The consequences of the climate crisis are especially felt where poverty, conflicts, and wars already destabilize societies — and thus affect the people who have contributed the least to the climate crisis" (Source p.9, as of 17/07/2025).
Historically, centuries of colonialism through oppression, exploitation, and cultural devaluation have shaped global social inequalities to this day. This has not only influenced the development of many countries in the Global South but also fostered a widespread Eurocentric worldview that presents European norms and values as universal. This worldview also currently restricts social sustainability, as it overlooks diverse perspectives and ways of living. It becomes clear that it stems from unequal power relations and that the dominant culture defines what deviation from the norm means.
This often manifests concretely in examples such as 'world improvers' from privileged Western cultures who have long been involved in conservation projects outside Europe and sometimes boast in an ignorant manner, without engaging in equal dialogue or cooperation with local populations — or even forcibly displacing them. These efforts often refer to so-called innovative concepts and new, sometimes complex and costly technical measures, which ignore existing ecosystems, functioning practices, and mechanisms necessary to protect and promote them. Such misguided developments overlook that there are already deeply rooted sustainable ways of living and measures within local societies (Source as of 01/09/2025).
In terms of intersectionality analysis, this has been summarized as follows: It “arises from the central contradiction of the Western modernity, namely to claim equality for all people while simultaneously negating it (...)” (Rommelspacher 2009: p.84). Therefore, sustainable social development always requires an acknowledgment and critical examination of colonial pasts to confront the institutionalized global power imbalance and foster a fundamental openness towards non-Western cultural values. Inequality is the central societal conflict and thus explicitly stands “in the way” of social sustainability.

Social Sustainability and Music Events

In the music event industry, there is much that can be done to implement social sustainability and set a good example. A venue or an event agency, as an employer, has the opportunity not only to pursue economic interests but also to consider the social impact of their activities and to create fair working conditions and a positive working environment.
Individual organizers can develop progressive concepts internally through the format and content of their events and send out signals externally while engaging in targeted audience communication. In the context of such events, it is also highly feasible to convey high-quality cultural educational content in an accessible manner, making it available even for disadvantaged groups. Music events are also suitable for strengthening (local) communities and identities through shared experiences.
There have been many music clubs and festivals for years that have been dealing with these issues and trying to harness the positive potential of social sustainability. Through music as a medium and the venue as a social space, sustainable actions—both social and ecological—can be tested, exemplified, and inspired (Source as of 01/09/2025).
Ultimately, the development of the four overarching areas, where the criteria are grouped into clusters, is also shaped by this understanding—even though the classification of individual criteria has changed several times throughout the process.

The area Working Conditions and Rights focuses on what the factual framework of working conditions looks like: it concerns fair compensation, the temporal circumstances for all involved in the employment relationship, and the progressiveness of organizational forms. Shorter working hours, flat and broken hierarchies hold significant transformative potential for future-oriented economic activity (Source as of 01/09/2025). There are also many existing legal regulations that can be referenced, such as § 13 of the General Equal Treatment Act (AGG), which obligates all employers to establish internal complaint systems to enable targeted reporting of sexual harassment.

Participation and Inclusion refers to who can attend the event or how to enable participation for as many people as possible. Conscious communication and structuring of the event can make a big difference: for example, deciding to book fewer or no major international headliners so that free ticket contingents can be provided—while simultaneously supporting the development of the local music industry and fostering identification with and through music events.

Awareness and Responsibility relates to how people interact and relate to each other: within the internal team, externally with the potential audience, and among guests. Through awareness concepts and responsible actions by organizers, topics such as racism and sexism should be addressed at all levels, fostering a respectful and friendly atmosphere.

The Community and Engagement area concerns how music events can contribute to community building and must always be situated within their local environment or neighborhood. Music events can inspire, host, and multiply engagement as well as facilitate accessible cultural educational formats.
"Cultural Education encompasses a variety of activities that enable people to engage with art and culture. It promotes personal development, democratic coexistence, and opens new perspectives on the world. Additionally, it creates spaces for creative expression and voluntary engagement" (Source as of 01/09/2025.

Development of the User Survey – Sources and References for the Criteria

Since a user survey in the form we envisioned has not yet existed, a large part of the development consisted of intensive textual research. We then compared the concept with experts. Ultimately, the final criteria and the scope of the entire survey resulted from what is realistically achievable to ask from users (e.g., organizers, venue owners).
Initially, the key reference point was alignment with the SDGs (SDG portal), especially regarding social sustainability: SDG 4) Quality Education (inclusive, equitable, high-quality, and lifelong), SDG 5) Gender Equality (gender justice and self-determination), SDG 8) Decent Work (economic growth and dignified work), SDG 10) Reduced Inequalities (reducing inequality within and among countries/ensuring equal opportunities for all), and SDG 12) Responsible Consumption and Production (reducing social risks, increasing awareness).
The collection and concretization of criteria for social sustainability then further drew on the following references:

Our experience in the events industry, with the "Compass" from the German Institute for Human Rights (Souce as of 01/09/2025),
"Social Indicators in Sustainability Reports" from the Working Group on Employment, Industry, and Politics of the Friedrich Ebert Foundation (Source as of 01/09/2025),
Methods of sustainability assessment, with free publications from institutions such as the Center for Intercultural Competence Development and Anti-Discrimination (Source p.5, as of 01/09/2025),
In reference to the Common Good Matrix (Source as of 01/09/2025),
And various guidelines and codes of conduct from the music event scene (Source / Quelle / Source all as of 01/09/2025).

Additionally, we engaged in exchanges with the project 'leaving handprints' (https://leaving-handprints.de), whose members are both experienced in event organization and certified "Sustainability Managers for Culture, Media & Education" (certified by the Institute for Future Culture). We also collaborated with Dr. Manuel Rivera, who has extensively engaged with sustainability in the cultural sector from a sociological perspective, including sustainability communication, transformation, innovation, and the intersection of art and science. He assured us, among other things, that the terminology used does not need to follow a specific (scientific) schema but should primarily be understandable for the target audience (=users).
Throughout, we repeatedly tried to formulate the criteria in a non-academic manner and explained all important terms, tips, and other clarifications via info buttons.

Evaluation System for Social Sustainability

Since no comparable concept for a user survey could be found, we had to clarify the response options and the associated evaluation structure for such qualitative criteria. Some of the criteria could likely be answered with Yes/No, but many contained so much information that gradations in response options became important. After some discussion and external feedback, we decided to mainly use a 5-point response scale, commonly used in many classic questionnaires (especially opinion polls); it is easy to understand and simple to quantify.
In selecting response options, emotional factors could influence respondents; however, this is a general challenge in qualitative surveys. In two instances, we chose a simple Yes/No response option, as no gradation was necessary there. In these cases, it is solely about clearly determining whether the criterion is met or not, eliminating any room for interpretation.

Since the degree of agreement or disagreement with a statement can be measured, there is naturally a more differentiated way to evaluate or present results for each individual criterion. The negotiation of how exactly the point distribution or final result looks was ultimately carried out with UX/UI design. We decided that the response scale should range from 0 points (for "does not apply") to 4 points (for "fully applies"), and that the point distribution should be visible within the results view.

Literature:

Rommelspacher, Birgit (2009): Intersektionalität-über die Wechselwirkung von Machtverhältnissen. In: Kurz-Scherf, Ingrid/Lepperhoff, Julia/Scheele, Alexandra (Hg.): Feminismus: Kritik und Intervention. Münster: Westfälisches Dampfboot. S.81-96
Chorus, Silke (2007): Who cares? Kapitalismus, Geschlechterverhältnisse und Frauenarbeiten. Regulationstheoretische Sehkorrekturen. In: Feministische Studien 2/07. S. 202-216
Golova, Tatiana (2011): Räume kollektiver Identität. Raumproduktion in der 'linken Szene' in Berlin. Bielefeld: transcript Verlag
Osgerby, Bill (2014): Subcultures, Popular Music and Social Change: 64 Theories, Issues and Debates. In: The Subcultures Network (Hg.), Subcultures, Popular Music and Social Change . Newcastle upon Tyne: Cambridge Scholars Publishing, S. 1-35
Volke, Kristina (Hrsg.) (2010): Intervention Kultur. Von der Kraft kulturellen Handelns. Wiesbaden: VS Verlag für Sozialwissenschaften.

Directory of Providers

Background of the Provider Directory

For the initial pilot version of Music C•A•R•E•S, we decided to include only a small, sample collection of handpicked providers from the Berlin area. This was primarily to demonstrate how such a provider directory could function, without yet establishing specific criteria. Once we received a second funding grant, we collaborated again with sustainability experts from myclimate to develop criteria for including providers in the directory.

From the outset, it was clear that there were practical limitations: the criteria needed to be feasible for us to verify both within our team—considering time and content—(including an annual check), and easy for potential providers to answer without significant effort. Theoretically, this could involve verification through certifications; however, we decided against making certifications the primary criterion. Our approach was based on the understanding that certifications often pose challenges for small and medium-sized businesses, either because they cannot afford them or because they offer valuable, sustainable products or services nonetheless. Strengthening these actors within the music event scene and adjacent industries, and establishing them via the Music C•A•R•E•S platform as a network, remains one of our main goals.

Development of the criteria becomes concrete

We therefore took on the task of formulating specific criteria for each area (Mobility, Venue, Merchandise, Catering). These are collected via checklists, which providers receive by email, and inclusion in our directory is then decided accordingly. Providers complete a short form, including a signature, confirming whether they meet the relevant sustainability criteria and to what extent measures have been implemented. In this process, we asked ourselves which are the most critical criteria for each area or whether there are any exclusion criteria. Since the areas address very different aspects, and providers within each area can vary significantly, the criteria needed to be as concrete as possible but as flexible as necessary. This resulted in a model where 'hard' criteria—mandatory for inclusion—are combined with 'soft' criteria. After intensive consultations with our partner myclimate, a form was developed for each area, each querying multiple criteria.

Our approach was as follows: for the Mobility area, the first criterion, "Do you as a provider offer solutions to enable better mobility options away from individual car traffic?" must be fulfilled, along with at least one other from the list. For the Location area, one of the first four criteria must be met—either: "Is the event venue accessible by public transportation (roughly a maximum of 20-minute walk)? (for locations in large cities)," or: "Does the venue promote sustainable arrival options (e.g., train & ride, shuttles)? (for remote venues, festivals, etc.)," or: "Does the venue source 100% green electricity/from renewable sources?" or: "Does the venue generate its own renewable energy?" Additionally, at least one more criterion from the list must be fulfilled. For Merchandise, the criterion "Do you, as a provider, use sustainable materials for merchandise products (e.g., recycled, organic cotton, bamboo, etc.)?" must be fulfilled; others are optional. For Catering, for food providers, the first criterion, "Are only vegan and/or vegetarian dishes offered?" must be met, along with at least one other. For beverage providers, the first criterion, "Do the offered drinks include options with regional and/or organic ingredients?" must be fulfilled.

Existing providers listed in the directory were also reviewed and assessed for inclusion. Providers that cannot be clearly categorized fall into the 'Others' category, which, like the 'Social' category, currently has no specific criteria.