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This paper speaks on certain environmental problems in Nigeria and the interest here is on eco-aesthetics and the communication of environmental issues. Although eco-problems have become globally endemic, the inclination of many Nigerians has predisposed them to negative environmental conditions. It is this understanding that prompted my thinking of the problem of the environment from a visual standpoint. The increasing scientific concourse around the ecological problem has left non-scientific studies emerging from behind. Yet artistic actions are burgeoning. Visual and creative methods could be properly leveraged for adaptive and mitigatory directions, considering the rise of the image culture of this time. In this paper, I have engaged with my artistic practice as a way to provide understanding and discourse around selected ecological issues. Using my motivated artworks as visual data, this study explores three major themes: the generic concept of climate change, emissions, and waste mismanagement informed largely by Nigeria's throwaway culture. This practice-led process of artistic exploration follows a qualitative paradigm of study. The visual data and their themes stand as visual metaphors and are so analysed using conceptual metaphor theory expounded by Lakoff and Johnson, Andrew Ortony, and Charles Forceville. The study provides understanding, redirects the sensibilities of the audience, and adduces positive responses to eco-publicising. [ABSTRACT FROM AUTHOR]

What are Cy Twombly's sculptures made of? This article presents an overview of a non-destructive examination conducted on three sculptures by American artist Cy Twombly (1928–2011) as part of an art-technological research project at the Doerner Institut in Munich. The artworks are part of the collection of the Brandhorst Museum and belong to Twombly's series of so-called 'Original Sculptures': assemblages of individual found objects, which the artist covered and modified with layers of plaster and white paint. To develop a long-term preservation strategy, the research focused on understanding the materials and construction methods used in Twombly's sculptures. In collaboration with the Chair of Non-Destructive Testing at the Technical University of Munich, the artworks were inspected using X-ray radiography and computed tomography. The results showed that Cy Twombly used various everyday objects made from wood, plastics, metal, and paper/cardboard to build the assemblages. Unexpectedly, the examinations revealed that the individual parts are solely held together by the coating of plaster and paint, lacking additional mechanical connections. The overall structure thus proved to be very fragile and highly sensitive to physical stresses, whether due to handling, transport, or strains in the microstructure caused by climatic fluctuations. Since little was known about Cy Twombly´s choice of materials and manufacturing details, the results offer valuable insights into the overall artistic process and decision-making of one of the most influential artists of the 20th/twenty-first centuries. Conservators can use the art-technological findings to monitor the sculptures 'condition and develop or adapt long-term preservation strategies, including aspects such as ambient climatic conditions and handling storage and transport specifications. In addition, the knowledge generated can be used for further research on the specific materials and transferred to other artworks by Cy Twombly. [ABSTRACT FROM AUTHOR]

This paper is a report on the year-long MOVING GROUND project (MG), initiated by the Isadora and Raymond Duncan Dance Research Center (DDRC). The Duncan Dance Research Center sets out to address climate change issues interweaving the social, physical, and artistic spheres by introducing the concept of a garden both literally and metaphorically to inspire the artistic community and shift mindsets of the local community. By a gradual transformation of its grounds, infrastructure, and social fabric, the long-term goal of the DDRC is to function as a tangible model that can be experienced and replicated as a whole or in parts in the city or elsewhere. The paper discusses the goals, methodologies and strategies introduced during the project aiming towards the regenerative transformation of the institution that drew inspiration from permaculture principles, nature-based solutions and a net-positive design perspective. The paper also discusses the novel experimentation of applying permaculture principles to artistic creation and practices. The paper concludes with a reflection of the outcomes and an assessment of the goals it set out to achieve. [ABSTRACT FROM AUTHOR]

The process of creation with its attendant questions of understanding the world has been the bane of the quest for knowledge to understand natural hazards. The recent climatic hazards confronting mankind are blamed on climate change. One literary genre that seeks to explain the causes of natural hazards, including climate change, is the creation myth. All cultures of humankind have specific myths they harness as basic answers to mind-boggling questions on natural occurrences. This paper sets out to examine how the Akan creation myth is employed to address issues of climate change as well as the direction given to ensure the sustainability of development. In achieving this, five Akan creation myths are analysed through the lens of the formalistic approach to literary appreciation. The study reveals that Akan creation myths provide meaning to basic issues in natural occurrences and also provide means to protect the climate against unhealthy practices, failure of which spells doom in offsetting developmental agenda. The research has implications for the scholarship of both oral literature and climate change. [ABSTRACT FROM AUTHOR]