The Fifth International Conference on the

INSPIRATION OF ASTRONOMICAL PHENOMENA

Adler Planetarium, Chicago, Illinois
June 26 - July 1, 2005 

















INSAP V is dedicated to the memory of 
Raymond White, Jr.,
whose vision inspired this conference series










ACKNOWLEDGMENTS










INSAP V and related events are generously 
sponsored by the McCormick Tribune Foundation.



This project is partially sponsored by a CityArts4 grant from the City of Chicago Department of Cultural Affairs, and the Illinois Arts Council, a state agency.










CONTENTS

General Information - page 4

Ongoing Events - page 6

Timetable - page 8

Conference Schedule and Abstracts - page 9









General Information

Adler Planetarium & Astronomy Museum History

Max Adler, a senior officer and early stockholder in Sears, Roebuck, and Company, decided in the early 1920s to invest in a facility that would benefit future generations of Chicagoans.  He had heard about a dramatic new device called a "planetarium" that was being demonstrated in Germany.  He went to see it and was so impressed that he promptly decided to construct in Chicago the first modern planetarium in the western hemisphere. The Adler Planetarium opened to the public on May 12, 1930.  In Mr. Adler's dedicatory address, he explained some of the reasons for his decision to build it:
	
The popular conception of the Universe is too meager; the planets and the stars are too far removed from general knowledge.  In our reflections, we dwell too little upon the concept that the world and all human endeavor within it are governed by established order and too infrequently upon the truth that under the heavens everything is interrelated, even as each of us to the other.

The years since the founding of the Planetarium have seen remarkable growth in our understanding of the nature and the extent of the Universe, landings by Americans on the moon and the exploration by space probes of most of the planets in the Solar System.  The Adler Planetarium & Astronomy Museum has welcomed this growth of knowledge by keeping pace with the times, leading its millions of visitors to a better understanding of the Universe, and of our place in the cosmos.

The Adler's History of Astronomy Collection 

When Max Adler founded the museum that bears his name, he recognized the need to document the history of astronomy as well as showcase cutting edge astronomical technology. Along with the Zeiss planetarium projector, he purchased a collection of about 500 astronomical, navigational, and mathematical instruments from a Dutch dealer, A. W. M. Mensing. These instruments formed the foundation of the Adler's History of Astronomy Collection. The Adler Trust, a fund generated from the Adler's share of receipts from the Chicago World's Fair in 1933-34, allowed the purchase of several hundred additional instruments. It increased the breadth of the Adler's holdings to include a large number of artifacts from Islamic and East Asian societies. The collection was greatly expanded under the guidance of curators emeriti Roderick and Marjorie Webster, whose special interest in astrolabes and sundials have made these areas of the collection particularly strong.

Since its creation, the History of Astronomy Collection has grown to almost 2000 antique instruments dating from the 12th through the 20th centuries, making it the largest collection of such material in the Western Hemisphere and one of the largest and most important in the world. The collection contains examples of almost every type of astronomical instrument including astrolabes, armillary spheres, celestial globes, nocturnals, orreries, planetaria, sundials, and telescopes. It also includes mathematical, navigational, optical, and surveying instruments. In addition to housing the instrument collection, the History of Astronomy Department is home to a library of rare books, a collection of astronomically-themed works on paper, and a modern reference library and research center.

Adler Planetarium Trivia
* In 1930, the year's attendance was 731,108.  
* The million visitor mark was passed on the 479th day the Planetarium was open.
* In 1930, the only transportation options to get to the Adler were by bus, taxi, or on foot.  Cars were not allowed onto the peninsula.
* In 1930, admission was 25¢ on Monday, Tuesday, Thursday, and Friday; admission was free on Wednesday, Saturday, and Sunday.  
* When it opened, the Sky Theater could hold 600 people.  When the theater was renovated in 1999, it held 441 people.  Now, there is removable seating for 280.
General Information, cont.

Accomodations - University Center
Housing for conferees has been arranged at the University Center (525 South State Street), located in downtown Chicago at the intersection of State Street and Congress Parkway. 

Transportation
For those staying in the dorms, trolleys will leave for the Adler Planetarium at 7:30 AM and 7:45 AM. If you wish to arrive at a later time, public transportation (CTA bus #146) is available along State Street. The trolleys will return to the dorms at the end of each day's events.

Trolleys are also provided for travel between the Adler Planetarium and all other venues, as needed.

Sessions
All sessions take place in the Universe Theater on the Staff Level, unless otherwise noted in the program. Each paper/presentation has been allotted 25 minutes, which should include 5 minutes for discussion.  Session chairs will encourage participants to adhere to the schedule.  

Meals and Refreshments
Meals will be served in the Galileo's CafŽ on the Upper Level during the times indicated in the schedule. Coffee breaks with snacks will be served in the area outside the Universe Theater on the Staff Level.

Restrooms
Please use the restrooms at the top of stairs on the north (men's) and south (women's) sides of the Universe Theater.  

Computers  and Telephones
The small conference room on the Staff Level, around the corner from the Universe Theater, has computers with Internet access and telephones. A calling card will be required to make telephone calls.

Photography
Due to copyright and data protection legislaton, no photography of art works, or audio and/or video taping of oral or poster presentations for professional usage may be made without the written consent of the presenter. 

Infinity Shop
INSAP V participants will receive a 15% discount on any purchases made at the Infinity Shop, the Adler Planetarium's gift shop, which is located on the Upper Level near the main entrance.  Show your INSAP i.d. to receive the discount.
Ongoing Events

Paper Posters  
Location: Staff Level Hallway
Deborah Garwood, "Astronomy and Existentialism in Albert Camus' Short Story, "The Adulterous Woman" from his book, Exile and The Kingdom"
Laza Lazic, "The Heritage of the Sky"
Laza Lazic, Gordana Maletic, and Natasa Stanic, "Cosmic Inspiration in Classical Serbian Literature in the 19th and Early 20th Centuries"
Gordana Maletic, "The Secret of the Big Bear"
Peter McLeish,"An Art & Science Collaboration Base on Red Sprites"
Olivera Obradovic, "Modern Serbian Literature Doesn't Look at Stars - or Problem of Artist Identity in a Broken Country"
Aaron Plasek, "Using the Language and Culture of Astronomers to do Metaphoric Work"

INSAP Conferee Exhibition
Location: Executive Lobby, Staff Level 
Chuck Bueter, "Moved by Rapid Transit"
Elen A. Feinberg, "Vermeer: An Exploration of the Celestial and Terrestrial"
Natasa Stanic, "Starry Cities on the Event Horizon"

Exhibit: Art & Astronomy at the Adler Planetarium 
Location: Universe in Your Hands, Lower Level 
The Adler Planetarium & Astronomy Museum opened as the first planetarium in the Western Hemisphere on May 12, 1930.  Max Adler built the planetarium and acquired historical astronomical instruments because he believed that knowledge of the universe is essential to understanding humanity's place in it.  Over the past seventy-five years, the Adler Planetarium has inspired Chicago and the world to look up at the planets and stars. Scientists and artists alike have contributed to our understanding of the universe. This small exhibit - including art, manuscripts, and ephemera from the Adler's past - will lead all to contemplate the majesty of the heavens.

Exhibit: The Moon Project, 1994-2005
Location: Lower Level
Artist: Sallie Wolf
This artist's project was inspired by her na•ve observations, the questions these observations spark, and her realization that she knew very little about the moon. Using her training in the visual arts, she developed methods for charting and organizing her observations. She writes that the project "is not about the moon as much as about my relationship to the moon. I have learned quite a lot about the patterns of the moon and its movements, but more importantly, I have come to a different understanding about time and opportunity."

Digital Art:  Nebula
Location: Cyberspace, Lower Level
Artist: Russell Richards
In this digital artwork, simple parameters are applied in individual pixels. Over time, this results in amazing complexity, which might be described as gas clouds of remarkable depth and beauty, or nebulae. These digital renditions of nebulae relate to the actual cosmic phenomena not only at the level of appearance, but also as reflections on time and space.

Ongoing Events, contd.

Offsite Exhibit: The Inspiration of Astronomical Phenomena  
Location: International Currents Gallery, John David Mooney Foundation, 114 West Kinzie

In fulfillment of its mission to promote collaboration and exchange between the worlds of art and science, the John David Mooney Foundation is pleased to announce The Inspiration of Astronomical Phenomena, an innovative cross-disciplinary exhibition of international art, motivated and organized on the theme of astronomy and astrophysics.  Featured in this exhibition are artists from Belgium, The Netherlands, Malta, and Turkey.
 
Offsite Exhibit: They Saw Stars: Art and Astronomy
Location: The John Crerar Library, 5730 S. Ellis Avenue

For centuries humankind has gazed into the heavens with awe and wonder.  For some, the night sky has tugged at their imagination and piqued their curiosity, resulting in art inspired by the beauty of the stars and the study of astronomy.  This John Crerar Library exhibit highlights works of art and literature influenced by astronomy, either through scientific study, a fascination with the night sky, or as an inspiration for the literary imagination. Both contemporary and historical works are included.

 

 
26-Jun-05
27-Jun-05
28-Jun-05
29-Jun-05
30-Jun-05
1-Jul-05
 
Sunday
Monday
Tuesday
Wed
Thursday
Friday
8:00
 
8:00-8:45 
Breakfast Buffet
8:00-8:45 
Breakfast Buffet
8:00-8:45 
Breakfast Buffet
8:00-8:45 
Breakfast Buffet
8:00-8:45 
Breakfast Buffet
8:15
 





8:30
 





8:45
 
8:45 -10:00 Quinlan-McGrath
8:45-10:00 
Carswell
8:45-10:00 
Shank
8:45-10:00 
Stafford
8:45-10:00 
Cox
9:00
 





9:15
 





9:30
 





9:45
 





10:00
 
10:00-11:15
10:00-10:50
10:00-10:50
10:00-10:50
10:00-10:50
10:15

Perkowitz
 
 
 
 
10:30
 
Sinclair
Cogswell
Impey
Snedegar
Tanz
10:45
 
Rosner
Wells
Schneider
Poss
Ulfsdotter
11:00
 
 
coffee break
coffee break
11:00-12:40
coffee break
11:15
 
coffee break
11:05-11:55
11:05-12:20
 
11:05-12:45
11:30
 
11:30-12:45
Wolf
Keck
Clayson
McLeish
11:45
 
Garwood
Bueter
Ricca
Tavola
Salgado
12:00
12:00-3:00
Jenkins
12:00-1:00
Stanic
Hatch
Hill
12:15
 
Meyer
Durand Group
 
Kirch
Olowin
12:30
Conference Check-in
 
(Poetry)
12:20-1:45
 
 
12:45
(Galileo's)
12:45-2:00
 
lunch
12:40-2:00
12:45-1:45
1:00
 
Lunch
1:00-2:00

Lunch
Lunch
1:15
Dorm Check-in
 
Lunch
 
 
 
1:30
(Univ Center)
 
 
 
 
 
1:45
 
 
 
1:45-2:35
 
1:45-2:30
2:00
 
2:00-2:50
2:00-2:55

2:00-3:00
Henry
2:15
 
Djukic/Jeremic
Ahmad
Hoving
Madasci
Kessler
2:30
 
Waite
Lazich
Papacosta
Schwartz
break
2:45
 
 
 
2:45-5:00
 
2:45-5:00
3:00
3:00-3:20
break
3:00-3:25
MCP
break
MCP
3:15
Knappenb (welcome)
3:10-5:30
Korey
 
3:15-5:30
 
3:30
3:30-4:30
Oriental Inst.
3:30-3:50
 
AIC-grp 1
 
3:45
Kaler (Keynote)
 
Amranys
 
 
 
4:00
 
 
4:00 Tour 1
Joan Flasch
 
Joan Flasch
4:15
 
John Crerar
4:20 Tour 2
 
 
 
4:30
 
 
4:40 Tour 3
 
AIC-grp 2
 
4:45

 
4-5  POSTERS
 
 
 
5:00
5:00-6:00
 
 
 
 
 
5:15
Sonne, Sterne, Mond
5:30-7:00
 
 
 
 
5:30
 
Sculpture
 
 
5:30-10:30
 
5:45
 
Preview
 
 
Exhibition
 
6:00
6:00-7:00
 
 
 
Reception
 
6:15
Buffet Dinner
Buffet Dinner
 
 
and 
 
6:30
 
 
 
 
Banquet
 
6:45
 
 
 
 
at
 
7:00
7:00-8:00
7:00-9:00 Epstein (Starball)
 
 
JDM Foundation
 
7:15
Galileo's Sons

 
 
 
 
7:30
 

 
7:30 
 
 
7:45
 

 
Kronos Quartet 
 
 
8:00
 

 

 
 


Sunday, June 26

12:00-3:00	University Center Check-in
Location: University Center, 525 South State Street, 312-924-8000

12:00-3:00	Conference Check-in & Registration
		Location: Galileo's CafŽ, Upper Level	


3:00-3:20	Welcome and Dedication to Raymond White, Jr.
Paul Knappenberger and Marvin Bolt, Adler Planetarium & Astronomy Museum
INSAP International Executive Committee
		Location: Universe Theater, Staff Level

3:30-4:30	Keynote Address: James B. Kaler, Department of Astronomy, University of Illinois
		Location: Universe Theater, Staff Level

Our Complex Universe: A Human Understanding Through Art
Nature, in all its aspects, provides us with a foundation for creating art in all its forms.  Among the most inspirational are those of the sky, from sunsets to stars to galaxies.  But it works both ways.  While we can strive to know the Universe through physics and mathematics, the unending complexity of the structures we examine overwhelms the senses and hinders our ability to appreciate the beauty and meaning of our surroundings.  The arts provide avenues for understanding and interpreting the complexity of nature in human terms.  In doing so they reveal more of nature's aesthetics, and thereby have the power to inspire scientists to look ever deeper into our Universe.
		

5:00-6:00	Sonne, Sterne, Mond & Co.
		Location: Sky Theater, Upper Level

This popular and successful cosmical voyage for children from 6 years onwards presents a combination of high-class music theater and astronomy.  Varied live music, image projections and a laser show take earthlings on a one-hour journey to the moon.  Once on the moon, JŸrgen F. Schmid, a.k.a the "Man on the Moon," employs illustrative texts and catchy songs to present his "neighbors," the planets, as well as the universe.  Entertaining songs acquaint the spectators with the members of our solar system and their characteristics.  The show provides children with their first comprehensive overview of the phenomena and variety occurring in the observable universe and will awaken their interest in the subject.  During this musical space-journey, earthlings not only receive astronomical knowledge through entertainment, they also become acquainted with various musical instruments.

6:00-7:00	Dinner Buffet 
		Location: Galileo's CafŽ, Upper Level

7:00-8:00	Film: Galileo's Sons 
Directed by Alison Rose and produced by Inigo Films, 2003
Location: Universe Theater, Staff Level
 
Nestled in the hills southeast of Rome lies the Pope's summer residence at Castel Gandolfo. One wing of this palace serves as the headquarters for the Vatican Observatory, where since 1891 Jesuit astronomers and astrophysicists have applied their scientific expertise to fundamental questions that engage all people of faith: how did this universe come to be, and what is our place in it? Galileo's Sons offers a rare behind-the-scenes look at this remarkable institution, an astronomical observatory in the Church which silenced Galileo. The scientists who work there 
are the spiritual descendants of 17th-century Italian astronomer Galileo, whose investigations confirmed the Copernican view of the sun as the center of the solar system, and who was forced to renounce his conclusions because they conflicted with Church teachings. Expertly crafted by writer-director Alison Rose, Galileo's Sons provides unique insight into the complex relationship between spirituality and scientific investigation, and explores some of the profound questions that astronomical science poses for religious faith.

******************************************************************************



Monday, June 27

8:00-8:45	Breakfast Buffet
		Location: Galileo's CafŽ, Upper Level

8:45-10:00   Invited Speaker: Mary Quinlan-McGrath, Northern Illinois University
	Introduction: Marvin Bolt, Adler Planetarium
	Location: Universe Theater, Staff Level

Natural Philosophy, Astrology, and the Production of Italian Renaissance Art
Astronomers, including Regiomontanus, Kepler, and Galileo, believed that astrology utilized information on the physical influences and mathematical principles that the Creator had set into the cosmos at Creation.  These students of the heavens supposed that astronomical knowledge could be applied through astrological principles to help people lead better lives on earth.  Artists and architects such as Brunelleschi, Bramante, Raphael and others incorporated astronomical and astrological concepts in the creation of important buildings, paintings, even dress and jewels. This paper will set forth a sample of important Renaissance artworks and use these to discuss the ways that different astronomical and astrological approaches became part of the creative process.		


10:00-11:15	Session: Astronomical Art 
			Chair: Ronald P. Olowin, St. Mary's College
			Location: Universe Theater, Staff Level

10:00-10:25 	Inspirational Realism: Chesley Bonestell and Astronomical Art
		Sidney Perkowitz, Emory University

Over fifty years ago, the American illustrator Chesley Bonestell (1888 - 1986) portrayed stars, planets, and spacecraft with stunning, near-photographic realism. Beginning after World War II, in collaboration with experts like the rocket pioneer Wernher von Braun, and the author and space visionary Arthur C. Clarke, he enormously influenced attitudes toward astronomy and space exploration through his illustrations for books and magazines, sets for films, and other works. The late Carl Sagan once credited Bonestell with showing him how other worlds look. 
Bonestell's renditions coupled the scientific knowledge of the time, and scientific exactitude, with artistic imagination, as in his views of Mars and the Moon and his use of dramatic lighting effects. His depictions of spacecraft followed the best available engineering designs. Today, our astronomical knowledge surpasses what Bonestell could know from ground-based astronomy alone; for instance, his images of Venus as a tropical paradise were consistent with the planetary science of his day (as also incorporated by Robert Heinlein in his science-fiction writings), whereas we now believe the surface of Venus to be a barren environment. Nevertheless, his images show winged rocketships, Lunar landers, and even an orbiting satellite and telescope similar to NASA spacecraft, and his studies of planetary surfaces and deep space objects still have the power to heighten the inspirational qualities of astronomical phenomena. 


10:00-11:15	Session: Astronomical Art, cont. 
			Chair: Ronald P. Olowin, St. Mary's College
		Location: Universe Theater, Staff Level

10:25-10:50	Astronomical and Cosmological Symbolism in Art Dedicated to Newton and Einstein
Rolf Sinclair, Centro de Estudios Cientif’cos

Isaac Newton (1642-1727) and Albert Einstein (1879-1955) had profound impacts on our understanding of the universe, separated by two and a half centuries. Both became the best-known scientists of their respective days. Newton established our understanding of the cosmos, which was recast beyond recognition by Einstein. I will describe the reaction of artists in portraying how Newton and Einstein showed us the working of the cosmos. For Newton, the reaction was one of reverence, almost an apotheosis, portraying him as the creator of the universe. For Einstein, in a different age, the reaction was largely comic, and only rarely do we find art that hints at the profound view of the cosmos he developed. I will show examples of both.

10:00-11:15	Session: Astronomical Art, cont. 
			Chair: Ronald P. Olowin, St. Mary's College
		Location: Universe Theater, Staff Level

10:50-11:15	Visualizations from Recent Science Research
Daniela K. Rosner, University of Chicago and Adler Planetarium

A compilation of visualizations of current astronomical research, much of which will be composed of highlights from a recent workshop on the Visualization of Astrophysical Data in May 2005. This Visualization workshop brings together astrophysicists, visualizers, and educators to discuss the current status and to debate the future direction of astronomical visualization as a tool for research, education, and public outreach.The compiled simulations range from 3D flythroughs of our Universe, such as those created using data from the Sloan telescope, to movies, images and other multimedia that may be of interest to a broad creative audience.


11:15-11:30		Coffee Break, Staff Level

11:30-12:45	Session:  Astronomy in Literature
			Chair: James B. Kaler, Department of Astronomy, University of Illinois
			Location: Universe Theater, Staff Level

11:30-11:55	Astronomy and Existentialism in Albert Camus's short story, "The Adulterous Woman" from his book, Exile and The Kingdom	    
		Deborah Garwood, Visual Artist & Writer

 	Camus's short story An Adulterous Woman (first published in 1957) is set within an Arabian culture, where the desert landscape and its weather are integral to daily life. At the climax of the story, the protagonist Janine experiences an ecstatic union with the nocturnal sky.
	The narrator characterizes the sky as an animate force whose virility is masked by sunlight during the day. Released after sundown and portrayed as a kind of liberator, it calls Janine out of her feverish dreams as she lies beside her husband in a dismal hotel bed. The night sky hypnotically draws her to an open terrace above the city, then overwhelms her with its immensity - even inseminating her with falling stars. Janine's senses are disoriented by a severe fever; as readers, we are as uncertain as she about what is real and what is imagined. The possibility that Janine merely sleepwalked to the terrace and fainted is as plausible as the metaphysical interpretation of the narrator. Later, explaining her absence to her husband, Janine says "it's nothing." Indeed it is nothing - the great nothing, the void, the physical forces of interstellar space. For Camus, this shaman-like nothingness can collaborate with the human senses, and project itself onto physical and mental states. This paper will explore themes of astronomy and existentialism that Camus opens up as he relates the story of Janine's "adultery" with a cosmological force.


11:30-12:45	Session:  Astronomy in Literature, cont.
			Chair: James B. Kaler, Department of Astronomy, University of Illinois
			Location: Universe Theater, Staff Level

11:55-12:20	Thoreau's "Dead Reckoning" vs. Harvard's "Great Refractor"
		Andrew Jenkins, University of Florida

"There is more day to dawn. The sun is but a morning star." -Walden
The concluding sentences of Thoreau's signature text have been read primarily through the lens of Romanticism and Transcendentalism: they offer an enlightening vision of unbounded human potential made available through assiduous self-culture.  However, that the last image Thoreau leaves with his reader returns to the theme of "dead reckoning" and an unmediated visual experience of the universe is telling and compelling given Harvard's installation of the "Great Refractor" in 1846 midway through his stay at Walden.  I propose that Thoreau's conclusion is not happenstance and that the cosmology of the pond he creates--marching and measuring to the beat of a drummer who yearns for an older music of the spheres--finds itself heavily indebted to and engaged with astronomy.
My paper will identify the many instances in which Thoreau deploys stellar metaphors and will attempt to categorize the contexts in which they occur.  In addition to linking Thoreau's systematic use of stellar imagery to contemporaneous developments in US astronomy, particularly those taking place a few miles away in Boston, I will extend Thoreau's seemingly conservative response to lunar mountains, comets, the satellites of Uranus, and various nebulae to include his dissatisfaction and fascination with the allure of popular culture: the penny newspaper and penny post, the general persiflage of most communication, the insatiable desire for exotic spectacles (panoramas, dioramas, etc.).  Submerged in Thoreau's anxiety, I will argue, exists a larger cultural angst over the fidelity of visual perception, an apprehension that has a great deal to do with the unseen universe lurking just beyond the limits of sight.


11:30-12:45	Session:  Astronomy in Literature, cont.
			Chair: James B. Kaler, Department of Astronomy, University of Illinois
		Location: Universe Theater, Staff Level

12:20-12:45	The House of the Rising Sun: Solar Symbolism and the House of York in Shakespeare's History Plays
	Connie L. Meyer, Texas A&M University-Commerce
	
This presentation looks at the ongoing analogy between the House of York and the Sun in both Henry VI and Richard III. Sun symbolism will be examined, beginning with the famous scene of the rising "three suns," which inspired the future Edward IV to adopt the symbol for his house. The effect of the astronomical phenomenon, a sundog, on the characters will be featured. 
	As sun symbolism is synonymous with kingship, the reign of the House of York will be included. Because these plays depend on interpretation of astronomical events, an interpretation of the celestial line up that occurred on the mornings of the Battle of Mortimer's Cross, which brought the Yorkists the throne, and the Battle of Bosworth Field, in which the Yorkists lost it, will also be analyzed.


12:45-2:00	Lunch, Galileo's CafŽ, Upper Level

2:00-2:50	Session: Astronomy & Culture 
Chair: Michael Korey, Mathematisch-Physikalischer Salon, Dresden State Art Collections
		Location: Universe Theater, Staff Level

2:00-2:25	History of Science Fiction in Serbia - Literature, Movie and Comics from 1889 till Today 
		Srdjan Djukic and Nenad Jeremic, Astronomical Society "Rudjer Boskovic"

Since early days of Mankind man tried to combine words and images to make a clear view through black sky. Many different views came out from these combinations. Two most important are science and art, which have never been dissolved.
We could start with myths, epos and poems in general. Serbian people have mythological folk poetry. The especially group are calendar poems that are connected with rotation of the planet Earth around the Sun. After Sun, in mythological poems we meet the Moon, planet Venus ("star Danica") and love compared with sunlight.
The first SF novel translated in Serbia was Jules Verne's "Journey in the middle of Earth", 1873.
In Serbia, Dragutin Ilich appeared as SF writer with his drama "After Million Years" (1889.). Later, In "One extinguished Star" (1902) of Lazarus Komarchich, we meet travel trough the space and time. 
There were no many SF novels till late 50-ies. The characteristic of the novels of these period is idea that the best society is communism. "A bad guy" is "Evil capitalist". During the late 60-ties and 70-ies, the SF expands rapidly. The most important magazine is "Galaksija" and novel edition "Kentaur". The biggest part (82 novels) is translating of foreign writers, but it's also domestic production.
Very important is work of Zoran Zhivkovich and edition "Polaris where over 200 novels of the most famous foreign and domestic writers have been published.


2:00-2:50	Session: Astronomy & Culture, cont. 
Chair: Michael Korey, Mathematisch-Physikalischer Salon, Dresden State Art Collections
		Location: Universe Theater, Staff Level

2:25-2:50 	Moonwalk
		Clea T. Waite, HFF Academy of Film and Television "Konrad Wolf", Babelsberg

From August to December, 2004, I was an artist in residence at the Verkehrshaus der Schweiz Museum Planetarium in Lucerne,Switzerland where I was invited to make a little film on the moon. The result is a 7 minute hemispherical film, "Moonwalk". 
The moon represents many things, from the forefront of scientific exploration to the most ancient of archetypal myths. It was the peaceful battleground of the cold war and will be a junction point to Mars in the near future. It inspires love poems and lunacy, influences werewolves and the tides. It is a benevolent, beautiful goddess and a lifeless, silent lump of rock. Recipient of prayers, myths, poems, and dreams since the beginning of human consciousness, so recently reached by us for the first time, our moon is soon never to be the same; is already altered. Because there is no wind on the moon, the footprints of astronauts and tracks of vehicles still remain after 30 years. There is detritus: launch modules, flags, Hasselblad cameras, moon buggies and Russian probes. And there is our gaze, with all its inner projections. Heisenberg discovered that one cannot observe a system without altering it. Schroedinger took this discovery and showed us that different realities can coexist and both be true. Einstein taught us that "fact" depends on one's place of observation - one's point of view. There are as many views of the moon: poems, fantasies, myths, and scientific data, from all imaginable cultures and times, as there are craters on its surface. 


2:50-3:10 	Break

		
3:10-5:30	Field Trip to Oriental Institute & John Crerar Library
		Sign up at Conference check-in.
		Meet trolleys at Henry Moore's Sundial (outside Galileo's).

Stop 1: Oriental Institute.
For over a century, the University of Chicago has been an important center for the study of the ancient Near East. The Oriental Institute's famed collection has grown through private donations and the university's relations with field expeditions. Its renowned scholars continue to train new generations of students. Its museum introduces the public to the richness of ancient Near Eastern cultures. INSAP conferees will tour the museum and view some of its astronomical highlights.

Stop 2:  John Crerar Library.
View Crystara, by John David Mooney.  This 30' long sculpture in the three-story lobby of the Crerar Library, is made of aluminum and Waterford Crystal. Perhaps the most fascinating aspect of the piece is the way in which it manipulates and refracts the light pouring in through the skylight under which is is suspended.  The constantly changing prismatic effect achieved by the piece is due to the deep facets cut into the crystal crossbars in three different patterns.  The presence of the piece is never static, and changes according to the viewer's position in relation to the piece, and the position and intensity of the sun.  It becomes a sun dial as its shadows move across the ground plane.


5:30-7:00	Quest for Exploration Preview
Artists: Julie Rotblatt-Amrany & Omri Amrany\
Location: Rainbow Lobby, Upper Level

The Adler will host a preview reception for the unveiling of a sculpture of astronaut Captain James Lovell. This reception will feature a few brief remarks around 6:00 pm. The official public unveiling will take place Tuesday, around 11:15 am, dependent upon the schedule of Chicago Mayor Richard M. Daley. 

5:30-7:00	Dinner Buffet, Galileo's CafŽ, Upper Level




7:00-9:00	Performance & Discussion: 	
Starball - A Dreamy Musical Astronomy Show
The Etheral Mutt, Ltd.
Location: Sky Theater, Upper Level

Starball combines live theater, improvisation, original music, cosmological inquiry, Jungian psychology, and the exploration of human consciousness into an entertaining presentation that tosses our collective understanding of the universe high up into the air and waits anxiously to see where it all lands! Written and performed by veteran actors and planetarians John Kaufmann and Dan Dennis, Starball invites audience members of all ages and backgrounds to forge a visceral connection to the night sky using their own dreams as the vehicle for their journey.  


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Tuesday, June 28

8:00-8:45	Breakfast Buffet, Galileo's CafŽ, Upper Level

8:45-10:00	Invited Speaker: John Carswell, former Curator of Islamic Art, Oriental Institute
	Introduction: Erica Reiner, Oriental Institute, University of Chicago
	Location: Universe Theater, Staff Level

Two Views of the Heavenly Kingdom: The Zodaic in Safavid Persia and Imperial China
A blue and white Persian pottery dish in the Pergamon Museum in Berlin is signed and dated to the mid-17th century. Whilst imitating the general layout of a Chinese porcelain dish of the Wanli period, it has twelve curious depictions of the Zodaic. How the Persian/Islamic artists perceived the star clusters is unusual, to say the least.



10:00-10:50	Session: Astronomy & Dance
			Chair: Erica Reiner, Oriental Institute, University of Chicago
			Location: Universe Theater, Staff Level

10:00-10:25	"Seven Enigmas": Performance Celebrating the Universe Outside and Within
	Jim Cogswell, University of Michigan School of Art & Design

"Seven Enigmas" is a multi-media collaborative performance work celebrating the capacity of the human spirit to imaginatively explore the universe outside and within.  It was  co-created by dancer and choreographer Peter Sparling and Jim Cogswell, a visual artist.  Inspired by the spatial movement and gestural power of Sparling's dance miniatures, Cogswell mapped out a multimedia sculptural installation of objects, film and video projections, and surfaces in motion with human bodies, which was realized collaboratively with a team of artists, scientists, dancers, and musicians.

Woven throughout the work are breathtaking images from outer space, developed in collaboration with John Clarke, a planetary scientist studying the atmosphere of Jupiter using the Hubble Space Telescope.  For the project, images and graphic interpolations of electronic signals from the cameras on board the Hubble form intricate patterns that interact with stage elements and give the movements of dancers monumental implications. 

Another University colleague, the biostatistician Fred Bookstein, adapted his morphometric brain-mapping program to interpret the dance movements as morphing grid patterns that appear on giant projection screens behind the dancers and in direct juxtaposition with the astronomical images. The metaphoric overlay of spatial exploration and brain mapping suggests parallels between the complex turnings of the human mind and the intergalactic universe that is the object of our fascination.


10:00-10:50	Session: Astronomy & Dance, cont.
			Chair: Erica Reiner, Oriental Institute, University of Chicago
		Location: Universe Theater, Staff Level

10:25-10:50	The Dancer, The Sculptor and The Astronomer: Science and Aesthetics at the Fin de Si�cle
	Gary Wells, Ithaca College

          	The relationship of the famed astronomer Camille Flammarion with two other luminaries of the later nineteenth century, the sculptor Auguste Rodin and the dancer Loie Fuller, may seem to make an odd trio. In fact, all three were friends, and their friendship provides a glimpse into what today we might call the "interdisciplinary spirit" of the times. That astronomy provided inspiration to the flamboyant and popular dancer Loie Fuller is evidenced in her own membership in the French Astronomical Society. In turn, Fuller would be a muse for the sculptural work of Rodin, and Rodin would discuss issues of aesthetics and metaphysics with the great popularizer of astronomy, Flammarion. While it may be too much to say that astronomy was the focal point of this friendship, it was nevertheless a common thread of interest in the work of both Fuller and Rodin. Science and aesthetics, research and performance, were linked through the intellectual curiosity of artist and scientist alike. This paper will examine the unusual relationship of these three outstanding figures of the late nineteenth century, and the role that astronomy played in both their friendship and their work.
	

10:50-11:05		Coffee Break, Staff Level

11:05-11:55	Session: The Inspiration of the Sky
			Chair: Ronald P. Olowin, St. Mary's College
			Location: Universe Theater, Staff Level

11:05-11:30	The Moon Project: 1994-2005	
		Sallie Wolf, Independent Artist

The Moon Project is a compilation of charts, graphs, journals, and sketchbooks based on over ten years of investigating the moon. I record my observations daily in my journals. From the journals I compile calendar-like charts and drawings that explore my growing understanding of the moon and its patterns, based strictly on personal observation and on conversation. I do not research the moon. 

I began this project because I was surprised and puzzled to see a crescent moon in the east, in the morning. I thought the moon was always a nighttime visitor and I wondered what the moon was doing rising at the same time I was. A number of ideas converged to motivate me to watch for the moon and try to see what I could teach myself by observation alone. I had been thinking about preliterate peoples and how knowledge gets passed on-how they could have amassed the knowledge to create calendar-monuments such as Stonehenge. I was influenced by artists such as Alfred Jensen and Michael Banicki, who use information as the basis of their paintings.
The Moon Project is an ongoing exploration and each time it is exhibited I add new material. The accumulation of information gives a sense of length of time and commitment invested into looking for the moon. It is a visual journal-time made visible.

This project is partially supported by a grant from the Illinois Arts Council, a state agency.


11:05-11:55	Session: The Inspiration of the Sky, cont.
			Chair: Ronald P. Olowin, St. Mary's College
			Location: Universe Theater, Staff Level

11:30-11:55	Moved by a Rapid Transit
		Chuck Bueter

The transit of Venus has captured the imagination of a small cadre of artists, musicians, and writers since the apparition was first recorded in 1639.  The June 8, 2004, transit of Venus moved young and old alike to embrace the transit of Venus anew.  A Great Lakes art exhibit attracted artisans and observers who anticipated a fleeting glimpse of the sunrise event, with new works sharing a common bond with earlier creations.  Eighteenth century celestial charts were juxtaposed with satellite images; new children's drawings complemented stained glass monuments.  From a John Philip Sousa march to a sailor's ditty, music added another dimension to the sight that had not been witnessed by any human then alive.  As measured by a 21st century medium, the transit of Venus was deemed "The Most Popular Event of June 2004" by Google, hinting at the modern appeal of a seemingly obscure astronomical alignment.


12:00-1:00		Poetry Reading & Discussion: The Apparent Orbits
			Introduction: Marcella Durand
			Location: Universe Theater, Staff Level

Poets:  Will Alexander, Marcella Durand, Kimberly Lyons, Richard O'Russa, and Kristen Prevallet, Chuck Stebelton

This diverse group of poets will perform their work and discuss how poetry can be a way to explore the apparent incomprehensibility of current astronomical discoveries, acting as an essential bridge between human and cosmos. These poets create a human conduit to the immensity of astronomical phenomena. Through the mystery, energy, and unpredictability of poetic language, they are able to convey some glimpse into the mystery, energy, and unpredictability of the space around us. 
	

1:00-2:00	Lunch, Galileo's CafŽ, Upper Level

2:00-2:50	Session: Astronomy and Storytelling
		Chair: Richard L. Poss, University of Arizona
		Location: Universe Theater and Sky Theater

2:00-2:25	Hardy and Astronomy
		Suleiman M. Ahmad, University of Damascus & Irbid National University
		Location: Universe Theater, Staff Level

The speaker in Thomas Hardy's  poem "Afterwards" says in the  fourth stanza: "If, when hearing that I have been stilled at last, they stand at the door, / Watching the full-starred heavens that winter sees, / Will this thought rise on those who will meet my face no more, / 'He was one who had an eye for such mysteries'?"  These lines express Hardy's  life-long interest in astronomy. Celestial phenomena  inspired  many of his poems: "The Comet at Yell'ham," "At a Lunar Eclipse," "In Vision I Roamed," etc.  In his "astronomical" novel, Two on a Tower,  he sets "the emotional history of two infinitesimal lives against the stupendous background of the stellar universe" (Preface), using in the plot machinery the appearance of a comet and the Transit of Venus (1882; the Venus Transit on 8 June 2004, the first since then, would have been of great interest to him).  This "stellar universe" is  part of his scene-setting in the other pieces of  writings in which the astronomical theme appears.  The most memorable example, perhaps, occurs in Far from the Madding Crowd, in the description of Norcombe Hill at midnight on the eve of St. Thomas's, 21 December.  Moreover, Hardy's knowledge of astronomy is a main source of  imagery, whether in his poetry or in his novels and short stories.  This knowledge, I finally argue in this paper, was a major influence in developing his "idiosyncratic mode of regard" (the term is his) or his "hawk's vision" (to use Auden's words).


2:00-2:50	Session: Astronomy and Storytelling, cont.
		Chair: Richard L. Poss, University of Arizona
		Location: Universe Theater and Sky Theater

2:25-2:50	The Telling Takes Us Home
Gary Lazich, Russell C. Davis Planetarium, Jackson, Mississippi 
Location: Sky Theater, Upper Level

Carl Sagan reminded us in Cosmos that we have wondered about the stars for as long as we have been human. "Star tellers" like Von Del Chamberlain and Lynn Moroney remind us that, for just as long, we have been telling stories about the stars to explain what we observed. We filled the sky with mythical heroes and beasts, projecting our beliefs and doubts, our hopes and fears. The sky became our storybook.

As our wonder evolved into scientific curiosity, our stories evolved into astronomy. We discovered the laws that guide the planets, fuel the stars, shape the galaxies, and expand the cosmos. In the process, science has threatened to leave storytelling behind, Earthbound. Richard Feynmann decried poets who could sing of Jupiter if he were a god but not a spinning globe of gas and liquid. Although modern poets have mentioned astronomical phenomena, modern storytellers outside of science fiction writers have largely remained silent.

This presentation demonstrates two means of reuniting science and storytelling as complementary approaches to comprehending the cosmos. The first identifies parallels between an ancient story of creation and a contemporary explanation of our cosmic origins. The second recasts a contemporary event as an ancient story involving astronomy and space exploration. These examples illustrate how stories can serve as "springboards," inspire their listeners to new awareness, and involve astronomy educators as reporters, tellers, and mediators.



3:00-3:25 	Session: Astronomy and Art at the Adler Planetarium
Michael Korey, Mathematisch-Physikalischer Salon, Dresden State Art Collections
		Location: Universe Theater, Staff Level

"A gem-like collection in the jewel-box setting": The pre-history of the collection of historic scientific instruments at the Adler Planetarium

As the Adler Planetarium and Astronomy Museum celebrates its 75th anniversary, it is fitting to recall that the Adler possesses not just the first Zeiss planetarium in North America, but also a renowned collection of historic scientific instruments. The talk will bring to light some unknown aspects of how this European collection was brought to the attention of and then acquired by those founding this new Chicago institution in the late 1920s, with special emphasis on the links between Dresden and Chicago.



3:30-3:50	Dual Minds Interlocking
Artists: Julie Rotblatt-Amrany & Omri Amrany
Location: Universe Theater, Staff Level

Julie Rotblatt-Amrany and Omri Amrany have collaborated  on the Adler Planetarium's new installation of "Quest for Exploration", a 7-foot high bronze sculpture of Astronaut James A. Lovell incorporating glass, steel, and granite. They present the process of creating this piece from clay to bronze through slides. They will also discuss other large scale works and personal artwork they're done through the years. A short synopsis of their personal philosophies and inspirations will follow the slides.


4:00-5:00	Poster Session
		Location: Staff Level

Deborah Garwood, "Astronomy and Existentialism in Albert Camus' Short Story, "The Adulterous Woman" from his book, Exile and The Kingdom"
Laza Lazic, "The Heritage of the Sky"
Laza Lazic, Gordana Maletic, and Natasa Stanic, "Cosmic Inspiration in Classical Serbian Literature in the 19th and Early 20th Centuries"
Gordana Maletic, "The Secret of the Big Bear"
Peter McLeish,"An Art & Science Collaboration Base on Red Sprites"
Olivera Obradovic, "Modern Serbian Literature Doesn't Look at Stars - or Problem of Artist Identity in a Broken Country"
Aaron Plasek, "Using the Language and Culture of Astronomers to do Metaphoric Work"

4:00-5:00	Behind-the-Scenes Tours of the Adler's History of Astronomy Research Center
		Sign up at Conference check-in.

		4:00 - Tour #1
		4:20 - Tour #2
		4:40 - Tour #3


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Wednesday, June 29

8:00-8:45	Breakfast Buffet, Galileo's CafŽ, Upper Level

8:45-10:00	Invited Speaker: Michael Shank, University of Wisconsin-Madison
		Introduction: Marvin Bolt, Adler Planetarium
		Location: Universe Theater, Staff Level

The Faces of Saturn: Images and Texts to 1650
This talk explores images of, and textual allusions to, Saturn and its changing associations from antiquity to the generation of Galileo and Milton, with special attention to the fifteenth and sixteenth centuries (including, among others, Ficino, DŸrer, and Vasari).


10:00-10:50	Session: Representation and Inspiration
			Chair: Rolf Sinclair, Centro de Estudios Cientif’cos
			Location: Universe Theater, Staff Level

10:00-10:25	The End of the World: Astronomy Meets Eschatology
		Chris Impey, University of Arizona

Eschatology holds a powerful place in popular culture, driven by Biblical prophecy, science fiction, and environmental concerns. Scientific insights on the end of the world can come from astronomy, which places Earth in a context of star birth and death and cosmic expansion. Eschatology in our culture is anthropocentric; biological evolution shows that extinction is the eventual fate of every species. Astronomical threats to life on Earth come from debris in the solar system, encounters of the Sun with passing stars, the violent death of nearby stars, and the passage of the solar system through different environments in the Milky Way. Some of these events have left imprints in the historical record. Life on Earth will face an eventual challenge as the Sun exhausts its nuclear fuel. The statistics of extra-solar planets and the prevalence of biogenic material suggest that there may be many sites for life among the hundred trillion trillion or so stars in the universe. However, within every galaxy, the cycle of star birth and death will gradually wind down as more material is trapped in collapsed stellar corpses. On the largest scales, space-time may be ripped apart by the action of vacuum energy, although some 
solace comes from the fact that this is a very distant prospect. The wildest ideas of movies and fiction might not be that far off the mark.


10:00-10:50	Session: Representation and Inspiration, cont.
			Chair: Rolf Sinclair, Centro de Estudios Cientif’cos
		Location: Universe Theater, Staff Level

10:25-10:50	Walking through London at night - Poetry and infinity in Giordano Bruno's "The Ash Wednesday Supper"
	Steffen Schneider, University of Tuebingen 

The work of Giordano Bruno - especially the Italian dialogues - is characterised by a fascinating mingling of poetic, philosophical and scientific procedures and modes of representation. The interpretation of this work thus requires an approach which does not isolate and separate the 'serious' arguments from what could be considered mere poetic 'ornament'. The poetic elements in Bruno's language are more than a superfluous addition to the essence of his thought: The two poles of Bruno's philosophy - the unity of the whole and the infinity of the universe - can be represented and symbolised only in poetic language.
	In his earliest Italian dialogue, the "Ash Wednesday Supper", Bruno explains for the first time his new vision of the infinite universe. He narrates the story of a dinner given by Fulk Greville, who invited Bruno to defend the Copernican astronomy against two reactionary and ignorant professors. In a beautiful and extraordinarily complex passage of this text, Bruno describes how he tries to find Greville's house, walking with his friends through the dark and labyrinthine city of London. Even though there seems to be no evidence of astronomical thinking in this passage that prepares the scientific debates of the following chapters, I want to show in my paper how this walk through London can be read as an allegory of Bruno's astronomy and how this text transforms Bruno's science into a poetics of infinity.


10:50-11:05		Coffee Break, Staff Level

11:05-11:55	Session: Poetic Inspiration
			Location: Universe Theater, Staff Level

11:05-12:20	Shaped by the Stars, Reshaped by the Poet:  Caroline Herschel in Adrienne Rich's "Planetarium"
	Karen Rae Keck, Texas Tech University
	
A learned woman, M. Paul Emmanuel says in Villette, is a lusus natur¾.  The speaker of Adrienne Rich's "Planetarium" receives the same message from the skies as she sees "[a] woman in the shape of a monster/a monster in the shape of a woman;" the sky, she observes, is "full of them."  In contrast to these images is the life of Caroline Herschel, who lived among "the Clocks and instruments" and who "in her 98 years" discovered "8 comets."  She seems to be a part of the gallery of women in the sky, who are freaks of nature because of the sin of Eve.  Herschel's life is both similar to and different from that of Tycho Brahe.  He too lived among instruments and made observations of the sky.  His eye is not freakish but "'virile, precise and absolutely certain.'"  He fears that he might have lived in vain, but he is remembered.  Herschel has been, until women began to look for role models, forgotten by the general culture.  The poet receives these data from the sky and from the lives of astronomers as if she were a radio telescope "bombarded" and "standing all [her] life in the/direct path of a battery of signals."  Unlike a radio telescope, the speaker does not simply absorb and record information; she, a dense complicated galactic cloud, is "an instrument in the shape/of a woman" who reshapes the information "for. . .the reconstruction of the mind."  In so doing, she gives women a positive image of a learned female:  Caroline Herschel.


11:05-11:55	Session: Poetic Inspiration, cont.
		Location: Universe Theater, Staff Level

11:30-11:55 	"Orion, I Don't Love You": Carl Sandburg's Astronomical Legacy
	Brad Ricca, Case Western Reserve University
	
At INSAP IV, I made a presentation analyzing the way amateurs and astronomers alike used poetic metaphor to make sense of the 1833 Leonid Meteor Storm in America.  I concluded that poetry actually provides a highly articulate (and surprisingly accurate) means of representating the heavens for both the scientific mind and the subjective, artistic self.  For INSAP V, I would like to re-visit this idea in a more modern, specific context: the astronomical poetry of Carl Sandburg.  After a brief biography of the Chicago poet, I will analyze a few of his sky poems and note similar tensions within them.  Then, I am going to present and examine some student poetry from a project done at the Sandburg Planetarium in Virginia and look at not only the content of these very interesting (and sometimes amazing) poems, but also at how the entire endeavor was conceived, assigned, and graded.  Comparing this "class project" with Sandburg's, I hope to again raise larger issues of whether or not artistic text can be used as a representation of the sky, which has become, in an educational sense at least, largely a domain of numbers.  Is poetry a valid means of representing (and learning) astronomical phenomena or is it merely a pile of sentimental, construction-paper art for schoolchildren?  Is it art or is it science?  Like Walt Whitman before him, Sandburg finds poetry to be the more accurate measurement.


11:05-11:55	Session: Poetic Inspiration, cont.
			Location: Universe Theater, Staff Level

11:55-12:20	Starry Cities on the Event Horizon
		Natasa Stanic, Belgrade Planetarium

The story of inspiration by astronomical phenomena in my poetry begins in 1984, when "I was just rumbling through the starry sky" and "let its poetry falling to my eye". 
I study astronomy, inspired by poetry and unrevealed mysteries. Many poems are inspired by both universes - deep inside and far beyond. Some of poems describe the total eclipse of the Sun, Sun's death compared with death of human beings, "active galactic love" and multiverse. Other ones deal with human emotions and possible affect that black holes could have on them.
Starry cities are the first book of extragalactic world on Serbian language, written on popular way, introduces galaxies as cities, where stars act as human beings having their own life cycles and significance. Common asked questions during planetarium courses are also answered - about Big Bang and cosmic history, what will happen to the Sun, our galaxy and our Universe in the future, etc. 
The book includes many artworks, illustrations and heavy graphics.
Readers are put in interactive role - reading the book, they are actually starry detectives who investigate the case of known and unknown physical laws even the dark energy. What will happen to inspiration with extragalactic world far in the future when starry cities reach observable horizon, is still unanswered question. 
At this point astronomy and poetry become one.


12:20-1:45	Lunch, Galileo's CafŽ, Upper Level

1:45-2:35	Session: Twentieth Century Art & Astronomy
		Chair: Gary Wells, Ithaca College
		Location: Universe Theater, Staff Level

1:45-2:10	Joseph Cornell and Tycho's Nova: Stargazing on Utopia Parkway
		Kirsten A. Hoving, Middlebury College

American artist Joseph Cornell (1903-72) spent his career constructing collage boxes containing everyday objects combined in surprising and poetic ways.  He dedicated boxes to famous movie stars, ballerinas, and figures from Renaissance paintings. Above all, Cornell was fascinated by the scientific facts and spiritual significance of astronomy.  He produced over a hundred works that refer to astronomical phenomena. 

Cornell was inspired by the history of astronomy, and, although his work was shown in the rarefied atmosphere of galleries devoted to Surrealism, he quietly alluded to the discoveries that shaped our knowledge of the cosmos.  His first important work, Soap Bubble Set (1936) paid homage to Galileo.  But even earlier, Cornell had turned to the work of the Danish astronomer, Tycho Brahe, and his discovery in 1572 of a supernova in the Milky Way Galaxy.
Although Cornell's references to Tycho's Nova have eluded art historians, my research has shown that the artist was well aware of Tycho's significance.  Tycho was an important inspiration for Cornell, who combined modern astronomy with nostalgic notions about the constellations, history, and time. This paper will examine references to Tycho in works spanning Cornell's career.  I will discuss the impact of the Hayden Planetarium (especially its display at the 1939 World's Fair) on Cornell's creative process, as well as nineteenth and twentieth-century astronomy books Cornell owned.  Finally, I will place Cornell's adulation of Tycho into the context of his own practice as an amateur observational astronomer, who regularly charted the night skies from his backyard on Utopia Parkway.


1:45-2:35	Session: Twentieth Century Art & Astronomy, cont.
		Chair: Gary Wells, Ithaca College
		Location: Universe Theater, Staff Level

2:10-2:35	Cosmic  Art
		Pangratios Papacosta, Columbia College Chicago

This paper will present images of selected artwork done by my students who took classes that include elements of cosmology. (e.g. Origins of the Universe, Space Exploration, Einstein etc.)  In these courses, like numerous others at Columbia College Chicago, students are required to express any aspect of their learning experience using an art form of their choice. The images of artwork for this paper represent paintings, poetry, sculptures and computer graphics. The two main reasons for assigning an art project to students in my science classes are: To make the most of their artistic experiences and talents, since all students at Columbia College major in the arts and media.  The second is an effort to break down the cultural barriers that keep science separate from art in the minds of most people. The art project intends to remind students of the rich and dynamic spirit of exploration that drives both these two disciplines that share a common aspiration, to study, analyze and describe the world in their own "language." Furthermore, through selected case studies from the history of science, students discover that when the world around us is examined through both the lens of science and the lens of art, we gain a much more complete picture of it. In so doing we are better inspired by its workings and marvel at its awesome mysteries.  This presentation will elaborate on the details of these art assignments, their impact, benefits and pedagogical value. 



2:45-5:00	Field Trip to Museum of Contemporary Photography and the Joan Flasch Artists' Book Collection (limited to 25 people)

Sign up at Conference check-in.
Meet trolleys at Henry Moore's Sundial (outside Galileo's)

Stop 1: Museum of Contemporary Photography
A docent-guided tour of exhibits at the Museum of Contemporary Photography and a private viewing of astronomically-inspired photography. 

Stop 2: Joan Flasch Artists' Book Collection
Location:  John M. Flaxman Library, School of the Art Institute of Chicago
The Joan Flasch Artists' Book Collection at the John M. Flaxman Library allows for a selective yet broad overview of the field. International in scope, the collection is strongest in works by American and European artists with work dating from the early 1960s to the very present. In addition to over 4000 artists' books, periodicals and multiples, the collection also houses various archives related to the field, and an extensive array of artists' book exhibition catalogs, pamphlets, and other ephemera. This area of art production encompasses a seemingly unlimited variety of disciplines, production formats, materials and subjects and many of them are covered within our holdings.  This field trip will feature a  show-and-tell of 20th and 21st century artists books inspired by astronomy


7:30		Performance: Sun Rings
Kronos Quartet
Location: Harris Theater, Millennium Park

For more than 30 years, the Kronos Quartet-David Harrington and John Sherba (violins), Hank Dutt (viola) and Jennifer Culp (cello)-has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to expanding the range and context of the string quartet. In the process, Kronos has become one of the most celebrated and influential ensembles of our time, performing thousands of concerts worldwide, releasing more than 40 recordings of extraordinary breadth and creativity, collaborating with many of the world's most eclectic composers and performers, and commissioning hundreds of works and arrangements for string quartet. Sun Rings, Terry Riley's most recent piece for Kronos, is an evening-length work in 10 movements.  With visual design by Willie Williams, lighting design by Larry Neff and sound design by Mark Grey, Sun Rings is a multimedia production featuring a choir and both sounds and images from space.

NOTE: All INSAP V participants registered for the full week will receive a ticket for the performance. Additional tickets are available at the registration desk.


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Thursday, June 30

8:00-8:45	Breakfast Buffet, Galileo's CafŽ, Upper Level

8:45-10:00	Invited Speaker: Barbara Stafford, University of Chicago
	Location: Universe Theater, Staff Level

Artificial Intensity: The Optical Technologies of Personal Reality Enhancement.
This talk will explore the visual history of instrumentalized perception and its links with magic and illusion, transformation and alternative realms.  By examining optical devices from the pre-modern to the contemporary period, this talk traces the continuities and slippages between earlier and emergent media.




10:00-10:50	Session: Life in the Universe 
			Chair: Elizabeth A. Kessler, University of Chicago
			Location: Universe Theater, Staff Level

10:00-10:25	The Universe of Faith: Cosmology in the Animated Films of Faith Hubley
		Keith Snedegar, Utah Valley State College

An Academy Award winning filmmaker, Faith Hubley produced dozens of animated movies from the 1950s to the time of her death in 2001. Beginning with "Of Stars and Men" in 1961, many of her most ambitious projects focused on cosmological themes. A collaboration with her husband, John, and Harlow Shapley, this film was based on Shapley's popular book of the same title. Faith's role has generally been downplayed, since John Hubley had been, among other things, a master animator at Disney and the creator of Mr. Magoo; but the introduction of child characters (voices supplied by the Hubley children), the organic use of music, and the visual design of the film were among Faith's contributions. After John's death in 1977, Faith continued to make cosmological films, including "Sky Dance," "Star Lore," "Cosmic Eye," "Cloudland," and "The Big Bang and Other Creation Myths." These are audio-visual celebrations of the physical universe, as well morality tales regarding humankind's destructive vanity in the midst of awesomely beautiful creation. A lifelong optimism characterizes Faith Hubley's work, expressed as it was via a synergistic collaboration with numerous artists, musicians, and scientists, and a determined independence from commercial interests.


10:00-10:50	Session: Life in the Universe, cont.
			Chair: Elizabeth A. Kessler, University of Chicago
		Location: Universe Theater, Staff Level

10:25-10:50	Astrobiology and its Partners in the Fine Arts
Richard Poss, Steward Observatory, University of Arizona

Astrobiology is the scientific study of life in the universe, its origins, structure, and development.  Yet astrobiology is a new science, a tapestry made up of strands from chemistry, geology, evolutionary biology, astronomy, and planetary sciences.  One complex area is the communication across the border that separates astrobiology from those poetic responses to it which arise in literature and the arts.  The findings of astrobiology are sure to be revolutionary, perhaps even on the level of the Copernican revolution, and yet the social discourse concerning what these discoveries will mean to human civilization has only just begun.  

The sense of anticipation which currently pervades this new science is related to the rapid advances in instrumentation which may soon make it possible to answer some age-old questions, such as "Are we alone in the Universe?"  While the search for extrasolar planets quickens its pace, our knowledge of how complex organic molecules in interstellar space can manufacture the precursors of life grows just as rapidly.  Adaptive optics, the geological history of the earth, and recent results from Mars and Titan are also part of this rapidly developing story.  

The Astronomy Department at the University of Arizona is engaged in a multi-year series of lectures and seminars on the religious implications of Astrobiology, funded by a grant from the Templeton Foundation and the Metanexus Institute.  One of our priorities has been the meeting ground between science and the performing arts, and as Co-Pi of "Astrobiology and the Sacred: Implications of Life Beyond Earth" I have working with faculty in the Fine Arts, bringing them to an awareness of the issues at work in Astrobiology, and commissioning works of contemporary Dance and Music on these themes.  This paper will outline the current state of astrobiology and sketch out some initial responses which have occurred in the arts here on the campus of the University of Arizona.  These include works of Dance/Mime, choral works setting to music the poetry of poets like Diane Ackerman ("Ode to the Alien") and Paul Pines.  Works of electronic music, works for the 12-harp group HarpFusion, works for electronic percussion, for  organ and voice, and for symphony orchestra are in the process of creation, and I would like to present a "progress report" on these and other creative projects at the Insap V meeting.  

For more information on "Astrobiology and the Sacred", see - http://scienceandreligion.arizona.edu/



10:50-11:00		Coffee Break, Staff Level

11:00-12:40	Session: Portraying Astronomy
			Chair: Gary Wells, Ithaca College
			Location: Universe Theater, Staff Level

11:00-11:25	Moonrise in Paris? John Singer Sargent in the Luxembourg Gardens at twilight in the summer of 1879
	Hollis Clayson, Northwestern University

In 1879, about half way through his 10-year stay in Paris, the expatriate American artist John Singer Sargent painted two versions of a crepuscular view of the Luxembourg Gardens featuring a stylish adult couple strolling and children boating. Both entitled In the Luxembourg Gardens, the paintings are today in public collections in Minneapolis and Philadelphia. Little studied in the otherwise voluminous scholarship on Sargent, they will repay closer scrutiny because the two pictures are among the only "subject pictures" the artist ever undertook "in town," and they both exemplify a singularly American preoccupation with the French capital seen benignly at night or dusk. 

What requires further discussion in both canvases, both of which look east towards the Boulevard St. Michel and on towards the PanthŽon, is the definition of the time of day and the identity of the silvery orb in the evening sky in the Philadelphia version. Scholars have misnamed it the sun when it must be the moon. This paper will argue that the picture was probably set on a late summer date when moonrise and sunset were almost simultaneous. These two canvases mark a rare similarity between Sargent's thematic interests and those of other Americans in Paris. Their nighttime Paris pictures mark a singular preoccupation with Night Light - encompassing a repeated focus on sunset, gas street lights (twinkling along the boulevard in Sargent's pictures), the avoidance of the institutions of commerce and organized leisure, and a disinterest in (or disavowal of) anything lurid._____


11:00-12:40	Session: Portraying Astronomy, cont.
			Chair: Gary Wells, Ithaca College
			Location: Universe Theater, Staff Level

11:25-11:50	Art and Astronomy: the influence of the astronomical discoveries in the 
paintings of the Scientific Revolution Period
Michele Tavola, University of Turin 

The aim of this talk is to illustrate the great influence that the revolutionary scientific discoveries of Copernicus, Galilei and Newton had on the XVI, XVII and XVIII Century Paintings. The analysis of several paintings of this period shows that these discoveries had significative consequences on the cultural panorama, playing also a key role in the artistic representations of the time. I will illustrate in details the works of Hans Holbein ("The Ambassadors"), Antoine Caron ("The Eclipse", where it is possible to recognize famous men of the epoch, such as Giordano Bruno and Nostradamus), the extraordinary "Sala del Mappamondo" of the Farnese Palace in Caprarola (Viterbo, Italy), where all the walls are painted with a beautiful anthropomorphic-graphic representation of the celestial sphere, "The Flight into Egypt" (Adam Elsheimer, 1609), with a representation of the sky strongly influenced by Galileo's discoveries, the "Assunta" of Bartolomeo Cigoli (1612), where the Moon is painted in accordance to Galileo's drawing in the Sidereus Nuncius, Ruben's "Saturn", Vermeer's "Astronomer", the "Sale dei Pianeti" of Pietro da Cortona and Guercino's "Endimione", both representing a tribute to Galileo Galilei. Then I will talk about the "Astronomical Observations" of Donato Creti, which propose a unique iconography in the whole field of the Art History, the "Homage to Newton" (Giovan Battista Pittoni), the "Lesson of Astronomy" (Joseph Wright of Derby), concluding with the famous "Starry Night" of Vincent Van Gogh. Some new peculiarities of these paintings will be discussed and it will be constantly underlined and evaluated the effective interest of the painters in the astronomical research, during the Scientific Revolution Period.


11:00-12:40	Session: Portraying Astronomy, cont.
			Chair: Gary Wells, Ithaca College
			Location: Universe Theater, Staff Level

11:50-12:15	Our Faltering Cosmos: Anselm Kiefer's Search for Meaning in the Stars
		John G. Hatch, University of Western Ontario

In 2002 the German painter and sculptor Anselm Kiefer exhibited a series of works whose themes involved a curious combination of alchemy, mythology, Jewish mysticism, and holocaust guilt, all presented under the guise of stellar imagery and allegory.  In these, Kiefer tries to regain something of the moral order that was read into the stars in the past, but is unable to find it despite his best attempts.  This revival of a mythological interpretation of the stars is an interesting attempt at understanding our place in history; however, at every turn, Kiefer discovers just how adrift morally humanity is, and how far we have moved away from the beauty, charm, and hopes embodied in our past beliefs.  The lesson for Kiefer is that no matter how hard we try we can no longer find meaning in the universe, both literally and figuratively.  This paper examines Kiefer's journey, which involves some of the most intriguing and challenging works by any living artist, culminating in such notable pieces as Star Books (2002) and The Sky Palace (2002).


11:00-12:40	Session: Portraying Astronomy, cont.
			Chair: Gary Wells, Ithaca College
		Location: Universe Theater, Staff Level

12:15-12:40	Portraits of the Herschel Family against the Background of Changes in Astronomy in the 18th/19th Centuries
	Lisa Kirch , Southwestern University, Andreas Kuehne , University of Munich
	
Portraits of the Herschel family--Frederick William (1738-1822), Lucretia Caroline (1750-1848), and John (1792-1871)--uniquely but symptomatically exemplify the mutual influence upon one another of portraiture and astronomy, which underwent great changes in the eighteenth and nineteenth centuries.  Particularly the portraits of Sir John Herschel are interesting.  Physiognomic theory played a role in paintings and busts commissioned as gifts for his children so that they might benefit from reminders of their father's genius, but Herschel's portraits aimed at a broader audience were similarly didactic.  An unusually wide public was aware of Herschel's scientific activities, especially his astronomical discoveries in the Southern Hemisphere, and portraits of the astronomer often illustrated popular publications.  The new technique of photography was the ideal medium for the mass reproduction of a scientist's image.  Almost one hundred years before Einstein, the staged portrait photographs of Sir John Herschel helped mint the popular modern image of the scientist-and, with it, of modern science.  This paper will examine several paradigmatic Herschel portraits, comparing them with contemporary transformations in astronomy.  It will pay special attention to stylistic changes in the modes of representation across a one hundred-year period and will demonstrate the ways in which these parallel changes in the reception and influence of the represented figures.  Its focus will be portraits made during the lifetime of the Herschels, not their many posthumous likenesses.  This paper fits a new trend in which historians of science are increasingly interested in the representation of scientific themes.


12:40-2:00	Lunch, Galileo's CafŽ, Upper Level

2:00-3:00 	Session: Aesthetic Responses to the Heavens 
		Location: Universe Theater and Sky Theater

2:00-2:25	Aesthetic Response and Cosmic Aesthetic Distance
		David Madacsi, University of Connecticut
		Location: Universe Theater, Staff Level

For homo sapiens, the experience of a primal aesthetic response to nature was perhaps a necessary precursor to the arousal of an artistic impulse. Among the likely visual candidates for primal initiators of aesthetic response, arguments can be made in favor of the flower, the human face and form, and the sky and light itself as primordial aesthetic stimulants.  With regard to the latter two, nineteenth-century art critic John Ruskin declared, "(the sky) is the part of creation in which nature has done more for the sake of pleasing man ... than in any other of her works."[1]  Although visual perception of the sensory world of flowers and human faces and forms is mediated by light, it was most certainly in the sky that humans first could respond to the beauty of light per se.  

It is clear that as a species we do not yet identify and comprehend as nature, or part of nature, the entire universe beyond our terrestrial environs, the universe from which we remain inexorably separated by space and time.  However, we now enjoy a technologically-enabled opportunity to probe the ultimate limits of visual aesthetic distance and the origins of human aesthetic response as we remotely explore deep space via the Hubble Space Telescope.  If indeed it was first in the sky that humans responded to the beauty of light per se, as a primal initiator of aesthetic response, then our contemporary response to the light of early cosmic space-time may be no less primal-with no less-primal significance.


2:00-3:00 	Session: Aesthetic Responses to the Heavens, cont. 
		Location: Universe Theater and Sky Theater

2:30-3:00	consTELLations
Gerald Schwartz, Word Consortium, Damian Catera, Rutgers University
Location: Sky Theater, Upper Level

This planetarium show manipulates and combines poetry about the cosmos from a variety of different periods and cultures and, through this bricolage, creates a dialogue between the different poems. The resulting new work-one which allows the subject matter to tell its own story-offers an opportunity to contemplate and interrogate the starry sky.


3:00-3:15	Break

3:15-5:30	Field Trip to the Art Institute of Chicago (limited to 80 people)
		Sign up at Conference check-in.
		Meet trolleys at Henry Moore's Sundial (outside Galileo's)


5:30-10:30		Banquet & Exhibition Reception		
Exhibit: The Inspiration of Astronomical Phenomena 
Location: International Currents Gallery, John David Mooney Foundation Studio, 
114 West Kinzie

In fulfillment of our mission to promote collaboration and exchange between the worlds of art and science, The John David Mooney Foundation and the co-curators for the exhibition, The Inspiration of Astronomical Phenomena, at the International Currents Gallery are pleased to announce an evening of performances and programs. 

Program Details:

5:30-6pm:  Drinks, Ground Floor

6:00pm:  Chinese Folk Dancers, Ancient Dances based on the Moon and Stars

6:15pm: World Premiere of Maltese composer Ruben Zahra's Piano Concerto, CONSTELLATIONS, performed by Paul Schrage on a Fazioli piano
 
6:45:  Video, ±1.618034, by Maltese artist, Norbert Francis Attard

Please note:  No one will be seated from 6:15 to 6:45pm

7pm:  Refreshments and Drinks, First Floor, Opening of Belgian Artists Pierre Radisic and Giovanna Liradelfo-Fortunati Exhibitions
 
7:15pm:  Opening remarks by Mr. Bernard Geenen,Belgian Trade Commissioner and Mr. Paul M. Van Halteren,Honorary Consul of Belgium; Gallery Walk by artists, Pierre Radisic and Giovanna Liradelfo-Fortunati
 
7:45pm:  Dessert and Drinks, Second Floor, Opening of Turkish artist, Serhat Kiraz'exhibition
 
8:00pm:  Opening remarks by Mr. Naci Koru, Consul General of Turkey; Gallery Walk by artist Serhat Kiraz
 
8:15pm:  Coffee, Drinks and Cordials, Ground Floor
 
8:30pm:  Video, Heavenly Bodies, by Pierre Radisic, Music by Walter Hus, American Premiere

9:30pm:  Jazz by Trio, Fourth Stream
 
10:30pm:  Evening Concludes
******************************************************************************


Friday, July 1

8:00-8:45	Breakfast Buffet, Galileo's CafŽ, Upper Level

8:45-10:00	Invited Speaker: Donna Cox, School of Art and Design, University of Illinois
	Introduction: Rolf Sinclair, Centro de Estudios Cientif’cos
	Location: Universe Theater, Staff Level

Visualizing the Cosmos
The author is a recognized pioneer in computer art and scientific visualization.  Since 1985, she has worked as a research artist in groups that she coined "Renaissance Teams" at the National Center for Supercomputing Applications (NCSA).  These collaborative efforts to visualize supercomputer astrophysical data have been shown in PBS Nova Shows, Discovery Channel TV shows, IMAX movies, Planetarium and Museum shows.  Millions of people have seen Cox and her team's visualizations on large-display, general audience environments.  Cox will provide an exciting sample of astrophysical phenomenon rendered in computer graphics 3-dimensional technology for a variety of resolutions and display technologies.  She will describe the 'grid' virtual technology, high-speed networks and the navigation of synthetic stereo worlds used to create these visualizations.  She will describe the convergence of art and science through the development of these advanced technologies.  This presentation promises to be a captivating multi-media experience in the 'high art' of visualization and virtual reality.  She will close with a discussion of the relevance of these works to popular culture.


10:00-10:50	Session: Astronomical Art in Public Spaces
			Chair: Gary Wells, Ithaca College
			Location: Universe Theater, Staff Level

10:00-10:25	Sun Circle - An archeoastronomical monument in a public park in Tucson Arizona
	Chris Tanz, Independent Artist

The Sun Circle is a public art project in Tucson, Arizona whose inspiration comes from the discovery that some of the ancient ruins found in the Southwest served as calendar devices - tracking the movements of the sun across the sky over the course of the year. For modern urban people, knowledge about the sun's apparent movements tends to be limited to the banal generalization that it rises in the East and sets in the West. But naked-eye astronomy pervaded the lives of the Anasazi who lived in the southwest a thousand years ago, and their knowledge of it was surprisingly sophisticated.

The Sun Circle does not duplicate any ancient structure but borrows most strongly from Casa Rinconada at Chaco Canyon. It consists of eight interrupted curving walls which together imply a circle. Six of the wall segments have small ports oriented toward sunrise and sunset at the solstices and the equinoxes.
At sunrise on the critical days, light pierces through the window on the sunrise wall and projects its form on the facing wall which has a matching window.  The inverse choreography occurs at sunset. 

Hopefully, the Sun Circle connects people with the sky in a new way, and with the ancient people who developed these methods of tracking it, as well as with the archeologists and astronomers (including some at the University of Arizona) who have discovered these features of the ancient sites.


10:00-10:50	Session: Astronomical Art in Public Spaces, cont.
			Chair: Gary Wells, Ithaca College
			Location: Universe Theater, Staff Level

10:25-10:50	VŠllingby - A Modern Satelite
		Boel Ulfsdotter, Independent Researcher, Art historian

The focus of my presentation is the public art in VŠllingby, Stockholm's first modern "satellite" (i.e. suburb), situated some 10 kilometres to the north-west of the city, and under construction between 1952-56. VŠllinby's architecture was visualized by Sven Markelius, head of city planning in Stockholm 1944-1954, and later a member of the international group of architects engaged to project the UN-building in New York. VŠllingby attracted world wide attention for its commitment in linking social and architectural structures. 

The main issue of my presentation is the link between the chosen architectural style (funcionalism) and the implications for Mr Markelius' decision to engage some of the members of the Swedish Art Concret movement (mainly Olle BonniŽr and Pierre Olofsson) for the creation of the public art decorating the buildings and living areas. The art performed by this Swedish group of painters is based on the programme presented by the French Art Concret movement in 1930; and involves a style very close to abstract art, based on line, colour and geometric forms. 

The final aim of the presentation is to show how this particular art form can be translated into a vision of space, and how this impression was further enhanced when linked to a certain architectural style in Sweden. The presentation will include additional exemples of this particular public art form, some of them are connected to the work of Sven Markelius, but also to other artists.


10:55-11:05		Coffee Break, Staff Level

11:05-12:45	Session: Scientific Art
			Chair: Richard L. Poss, University of Arizona
			Location: Universe Theater, Staff Level

11:05-11:30	An Art & Science Collaboration Based on Red Sprites
		Peter McLeish, Sky-Fire Productions

What are Red Sprites? Red sprites are upper atmospheric optical phenomenon associated with thunderstorms that have recently been only documented using low level television. The first images of a sprite were taken in 1989 and from 1990 to 1994 the space shuttle obtained twenty more images. Despite nearly a century of anecdotal reports from airline pilots, most scientists didn't really believe in sprites until the first images were captured on high-speed video. The blink of an eye last 250 milliseconds: sprites often last only ten. Cameras and computer models freeze sprites in time.  I intend to exhibit my DVD/video titled Lightning's Angels. Lightning's Angels is a six minute video that combines digitally enhanced oil paintings of a Sprite, in various states of transformation, with the song MISERERE from the CD STATE OF GRACE by Paul Schwartz featuring the Joyful Company of Singers.  My project is in collaboration with American scientist Walter A. Lyons: FMA Research Inc. - Sky-Fire Productions (Colorado, United States) featuring his NSF funded DVD titled "The Hundred Year Hunt for the Red Sprite".  My project is also with the collaboration of scientist Dr. Colin Price, from the Department of Geophysics and Planetary Science, Tel Aviv University (Tel Aviv, Israel). Dr. Price was working from a ground research station on the last Space Shuttle Columbia mission named Meidex (which included research on sprites).

Peter McLeish's participation in INSAP V is undertaken with the support of the Canada Council for the Arts & Consulate General of Canada, Chicago


11:05-12:45	Session: Scientific Art, cont.
			Chair: Richard L. Poss, University of Arizona
			Location: Universe Theater, Staff Level

11:30-11:55	Vectors, Pixels, and the Heavens
		JosŽ Francisco Salgado, Adler Planetarium & Astronomy Museum

JosŽ Francisco Salgado, an astronomer at the Adler Planetarium, creates astronomically inspired artwork using photography and digital editing techniques. An avid photographer, Dr. Salgado has been digitally editing photographs for 10 years. As a graduate student, he began designing his own astronomical illustrations as teaching tools for courses and lectures. This led him to incorporate astronomical data and elements from scientific figures into his photographic work. In this presentation, Dr. Salgado will speak about the creative and technical process involved in creating his artwork. This process relies heavily on the juxtaposition of images and illustrations of astronomical objects with terrestrial landscapes. Through his work, Dr. Salgado seeks to create visually appealing images that provoke curiosity and a sense of wonder about the Earth and the Universe.


11:05-12:45	Session: Scientific Art, cont.
			Chair: Richard L. Poss, University of Arizona
			Location: Universe Theater, Staff Level

11:55-12:20	The Sun as Art
		Dr. Steele W. Hill, NASA

This show of 22 images with captions was designed as an exhibit, but for this Powerpoint presentation I would add a number of engagingly related solar video clips along the same lines.  This multimedia show, then,  presents a new way of looking at the Sun. It can entertain while generating a renewed and instrinsically artistic interest in the Sun, a star that we generally take for granted as a plain round ball of fiery gas that changes very little.  This  will show otherwise.  The images and video are based on the images and video captured by the SOHO (Solar and Heliospheric Observatory) and TRACE (Transition Region and Coronal Explorer) since 1996.  
I hope that viewers are surprised with the range of colors, shapes and beauty that our observations of the Sun have captured while learning something of the science and techniques involved in its study.  Many images are presented with no manipulation  at all;  in some, only color tables are altered; in the most inventive, pieces were cut and moved around.  (Only in one image is anything drawn by hand.) May this set of images provide a sense of the variety and wonder of the Sun and a keen sense that art and science are not always so far apart as we believe.


11:05-12:45	Session: Scientific Art, cont.
			Chair: Richard L. Poss, University of Arizona
		Location: Universe Theater, Staff Level

12:20-12:45	Cosmic Connections: Case Studies of the Meeting of the Minds between Scientists and Artists
	Ronald P. Olowin, Saint Mary's College

Encounters between artists and scientists are hardly rare.  Examples are of  meetings or friendships between  Milton and Galileo, Donne and Hariot or Kepler, Michaelangelo and Copernicus, Shakespeare and Digges, and, more recently, Hubble and Jeffers._This paper presents the details of these personal encounters and their subsequent expression and interpretation.  Science and the art forms come together in a broad selection of artisic voices revealing the beauty, the precision, and the power inherent in science and technology. Here poets and artists comtemplate the revolutions in cosmology, astronomy, physics and  mathematics and celebrate human curiosity and inventiveness,
capturing the nature and spirit of scientific inquiry while rediscovering that rare human trait: wonder.


12:45-1:45	Lunch, Galileo's CafŽ, Upper Level

1:45-2:30	Session: Consciousness & Aesthetics
		Chair: Rolf Sinclair, Centro de Estudios Cientif’cos
		Location: Universe Theater, Staff Level

1:45-2:05	Aldous Huxley's 'planetary consciousness': Modernist Travel and Astronomy"
		Holly Henry, California State University, San Bernardino

Aldous Huxley, a close friend to American astronomer Edwin Hubble, was very much aware of new advances in astronomy, and at times used his astronomical knowledge as a context for social and political commentary in his popular travel publications.  For instance, in a commentary on the bizarre convergence of modern means of travel and communications technology he writes in Jesting Pilate: "Such a moment came to me as I was crossing the Pacific...Coming out of my cabin, I was handed the day's bulletin of wireless news.  I unfolded the typewritten sheet and read:  'Mrs. X, of Los Angeles, girl wife of Dr. X, aged 79, has been arrested for driving her automobile along the railroad track, whistling like a locomotive'" (284). 
Huxley noted the enormous technological ingenuity required to bring this bit of news to him, on a cruise ship, somewhere in the Pacific Ocean. What he finds amazing is not only the speed with which the news could be transmitted, but also the nonchalance with which modern technologies of communication had become normalized.  "To what end?" he queries, regarding the miracle of wireless transmission: "That the exploits of young Mrs. X, of Los Angeles, might be instantaneously known to every traveller on all the oceans of the globe. The wave that bore [the news] broke against the moon and the planets, and rippled on towards the stars and the ultimate void" (284-5).  His immediate point was to critique the insignificant uses to which one of humanity's technological achievements had been put.  
When a later wireless report indicated the young woman, who desired to leave the marriage, had reconciled with her husband, Huxley concludes: "The name of Mrs. X no longer rippled out towards Aldeboran [sic] and the spiral nebulae" (286-7).  The news report becomes partly humorous when one considers that the wireless transmission regarding the incident would carry on indefinitely into space.  However, Huxley's point is quite serious.  Beyond the critique of a patriarchal manipulation of the "girl bride" that clearly underlies his commentary, Huxley demonstrates that despite extreme cultural diversity humans have become, as a result of modern travel and communication technologies, inextricably part of a global community. Huxley calls for technologically advanced nations to accept a politically and socially accountable position within this new global context.  


1:45-2:30	Session: Consciousness & Aesthetics, cont.
		Chair: Rolf Sinclair, Centro de Estudios Cientif’cos
		Location: Universe Theater, Staff Level

2:05-2:30	Observing Aesthetics
Elizabeth A. Kessler, University of Chicago

Although derived from scientific data, images of planets, galaxies, nebulae, and stars reflect not only scientific information, but also aesthetic choices of astronomers. Especially when creating images for a wider public, scientists strive to create compelling views of the cosmos. In recent years, digital images from the Hubble Space Telescope have become the best known examples, but Palomar and Mount Wilson, Lick Observatory, and other large ground-based telescopes also produced aesthetically developed photographs for the public. These pictures of astronomical objects are the most obvious images associated with observing; however, a network of images surrounds the practice. Photographs of the telescopes circulate alongside those of the objects, and images of the observatories with their gleaming white domes perched atop mountains are common. The aesthetic choices in these images emphasize the wonders of glimpsing the cosmos through a telescope. The landscape surrounding the ground-based observatories also gives rise to impressive paintings and photographs, many of which follow the traditions of Romantic landscape depictions. My paper will explore the aesthetic qualities of these three sets of images and consider the influences each has on the others. I will propose that even today, when many astronomers use data from orbiting telescopes, the aesthetics of ground-based observing informs their images of the universe.


2:30-2:45	Coffee Break, Staff Level

2:45-5:00	Field Trip to Museum of Contemporary Photography and the Joan Flasch Artists' Book Collection (limited to 25 people)

Sign up at Conference check-in.
Meet trolleys at Henry Moore's Sundial (outside Galileo's)

Stop 1: Museum of Contemporary Photography
A docent-guided tour of exhibits at the Museum of Contemporary Photography and a private viewing of astronomically-inspired photography. 

Stop 2: Joan Flasch Artists' Book Collection
Location:  John M. Flaxman Library, School of the Art Institute of Chicago
The Joan Flasch Artists' Book Collection at the John M. Flaxman Library allows for a selective yet broad overview of the field. International in scope, the collection is strongest in works by American and European artists with work dating from the early 1960s to the very present. In addition to over 4000 artists' books, periodicals and multiples, the collection also houses various archives related to the field, and an extensive array of artists' book exhibition catalogs, pamphlets, and other ephemera. This area of art production encompasses a seemingly unlimited variety of disciplines, production formats, materials and subjects and many of them are covered within our holdings.  This field trip will feature a  show-and-tell of 20th and 21st century artists books inspired by astronomy.









INSAP V Conference Program 







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INSAP V Conference Program
Sunday, June 26, 2005 
Dates and times are subject to change




INSAP V Conference Program
Timetable
Dates and times are subject to change


INSAP V Conference Program
Sunday, June 26
Dates and times are subject to change


INSAP V Conference Program
Monday, June 27, 2005 
Dates and times are subject to change




INSAP V Conference Program
Monday, June 27, 2005 
Dates and times are subject to change




INSAP V Conference Program
Tuesday, June 28, 2005 
Dates and times are subject to change




INSAP V Conference Program
Wednesday, June 29, 2005
Dates and times are subject to change




INSAP V Conference Program
Wednesday, June 29, 2005 
Dates and times are subject to change




INSAP V Conference Schedule
Thursday, June 30, 2005
Dates and times are subject to change




INSAP V Conference Program
Thursday, June 30, 2005
Dates and times are subject to change




INSAP V Conference Program
Thursday, June 30, 2005 
Dates and times are subject to change




INSAP V Conference Program
Friday, July 1, 2005 
Dates and times are subject to change




INSAP V Conference Program
Wednesday, June 29, 2005 
Dates and times are subject to change




INSAP V Conference Program
Friday, July 1, 2005 
Dates and times are subject to change