Derrière cette expérience facile à réitérer, se cache l'une des questions philosophiques les plus anciennes et donc probablement les plus difficiles qu'il soit, la question d'autrui. Autrui pose question ; autrui pose même maintes questions, parmi lesquelles je retiendrai les deux suivantes, qui pourraient intéresser plus directement notre réflexion sur la vie dans l'espace et les entreprises humaines pour l'y découvrir :

• d'une part, dans les rencontres que je puis en faire : est-il possible de rencontrer l'autre, dans ou malgré sa différence, que ces rencontres soient ou non du troisième type ?
• d'autre part, dans la possibilité ou l'impossibilité qui est celle d'un Je de parler d'un Tu ou d'un Il : puis-" Je " parler de " Toi ", de " Lui " ?

Pour ce que j'en sais, ces deux questions traversent et fondent toutes les formes d'intérêt de nos prédécesseurs comme de nos contemporains pour le thème de la pluralité des mondes et de la vie (ou de l'intelligence) extraterrestre, dans leur expression philosophique, religieuse, culturelle, technique, politique, etc. De cette constance historique, si je puis m'exprimer ainsi, je voudrais tirer l'idée, l'hypothèse ou la question suivante : dans quelle mesure, la recherche d'autrui, sa rencontre ou le discours à son propos ne relèvent-ils pas d'une nécessité que je qualifierai d'originaire ? Autrement dit, pour être moi-même, n'aurais-je pas besoin de l'autre ?

Toute expérience comporte une dimension d'altérité : je n'expérimente que parce que je me distingue des choses du monde. Certes, je suis du monde, j'appartiens au monde, mais je ne suis pas le monde. Plus que cela : le monde est plutôt ce que je ne suis pas, ce qui me précède et dans lequel je suis plongé. Je puis dire que ma relation au monde, marquée par l'altérité, est une relation originaire, d'origine. Le mot d'origine doit être ici compris selon deux acceptions : celle d'originaire (ce qui est au fondement de mon être) et celle d'originalité (ce qui me singularise). Nous pouvons ainsi dire que nous, Terriens, avons la Terre pour origine ; nous sommes issus d'une évolution singulière cosmologique (le big bang, l'apparition du système solaire, la géophysique terrestre), biologique (l'apparition de la vie sur Terre, l'évolution des espèces, le développement de l'espèce humaine) et enfin historique (celle d'un pays, d'une culture, d'un terroir, d'une famille).

L'altérité présente plusieurs modalités, en particulier celle des choses et celle des consciences. Les choses me sont autres, en tant qu'elles me sont extérieures ; mais leur extériorité n'est pas aussi radicale que celle des autres consciences, celle d'autrui.. Si l'altérité des choses peut être considérée comme relative, celle d'autrui est absolue, irréductible ; est-il alors possible de " dire ", de " penser " autrui ? C'est là le nœud de la difficulté et du paradoxe auquel la pensée humaine se heurte : le sujet que je suis constate le caractère absolument égoïque de son expérience et, en même temps, il se découvre et se reconnaît comme toujours déjà confronté à l'existence d'autrui. La vie est en effet remplie des traces d'autrui : les outils, les œuvres d'art, les institutions, etc. ? " Comment le Je, demande Merleau-Ponty, peut se mettre au pluriel ? […] Ce qui est vrai initialement, […] c'est la tension de mon expérience vers un autre dont l'existence est incontestable à l'horizon de ma vie, même quand la connaissance que j'ai de lui est imparfaite. "

De plus, l'expérience d'autrui offre la possibilité d'appréhender différemment la réalité, la nôtre ou celle qui nous entoure, d'en appréhender la signification, la finalité. Autrui n'est pas construit par mon propre ego, il est rencontré. La relation entre des consciences ne peut être que de l'ordre de la rencontre. La rencontre n'est pas la réalisation d'un possible qui m'appartenait déjà, que je portais en moi, mais plutôt d'un possible que j'ignorais et dont le surgissement, la rencontre avec autrui révèle l'existence. L'altérité est imprévisible.

La rencontre a donc directement à voir avec l'origine : elle révèle la propre originalité de chacun (les philosophes parlent d'expérience égoïque), tout en lui interdisant de se poser comme origine absolue.

C'est la disproportion entre moi et autrui qui constitue la conscience morale : je n'en ai jamais fini avec lui, je ne suis jamais quitte de mon devoir envers lui, parce que je lui attribue le caractère d'ego. Même le conflit présuppose cette reconnaissance préalable. Mais aussi, bien entendu, la liberté.

La question d'autrui occupe largement non seulement la pensée humaine mais plus largement son histoire : comment gérer la rencontre d'un alter ? Convient-il d'en faire un ego ? Aujourd'hui, si la controverse de Valladolid relève du passé, nous n'avons pas pour autant terminé de nous interroger sur l'appartenance de certains êtres vivants à l'espèce humaine ; pensons aux débats sur l'avortement et l'euthanasie. Et demain ? Faudra-t-il se tourner vers l'espace pour trouver de nouveaux autruis ? Ne serait-il pas terrible pour nous ou nos successeurs de nous retrouver sans autre à rencontrer… pour expérimenter, pour chercher notre propre origine ? Je comprends alors la crainte de certains à l'idée de découvrir que E.T. risque de demeurer à jamais absent, même sous des formes de vie extrêmement primitives. Les tentatives de trouver la vie ailleurs que sur notre planète Terre relèvent d'un enjeu majeur, celui de notre propre survie, de la survie de notre propre originalité. Sans oublier que, dans un futur plus ou moins proche, l'installation de colonies humaines sur d'autres planètes que la Terre entraînera la divergence biologique de notre espèce et la naissance d'ego humains qui deviendront de plus en plus alter. La question d'autrui n'a pas fini de hanter le chemin des philosophes.

From Washington to New York, with Men in Black. Between fiction and reality, to illustrate the claim that the Aliens are already among us. Behind this experiment easy to reiterate, thus hides one of the oldest and probably most difficult philosophical question, the question of the Other. The other raises question; the other raises even many questions, among which I will retain the two following ones, which could more directly interest our reflexion on the life in space and the human attempts for discovering it.

* on the one hand, in the encounters which I can make: is it possible to meet the other, in or in spite of its difference, that these encounters are or not of the third kind?

* in addition, in the possibility or the impossibility which is that of "I" to speak "You" or "it" could "I" speak about "You", about "Him"?

For what I know, these two questions cross and melt all shapes of interest of our predecessors like our contemporaries for the topic of the plurality of the worlds and the extraterrestrial life (or intelligence), in their philosophical, religious, cultural, technical, political, etc, expression. Of this historical constancy, if I can express myself this way, I would like to draw the idea, the assumption or the following question: up to what point, the search for the other, its encounter or the speech about this connection raise of a need that I will qualify the self defining one? In other words, to be myself, surely I need the other?

Any experiment comprises a dimension of otherness: I experiment only because I differ from the things of the world. Admittedly, I am from the world, I belong to the world, but I am not the world. More than that: the world is what I am not, which precedes me and in which I am plunged. I can say that my relation with the world, marked by the otherness, is an originating relation, a relation of origin. The word origin must be understood here according to two meanings: that of originating (what is with the base of my being) and that of originality (what makes me different). We can say that we, Terrians, have the Earth for origin; we come from a singular evolution: cosmological (the big-bang, apparition of the solar system, terrestrial geophysics), biological (the apparition of the life on Earth, evolution of the species, the development of the humankind) and finally historical (that of a country, a culture, a soil, a family).

The otherness presents several aspects, in particular that of the things and that of the consciousness. The things are different from me, as they are external for me; but their exteriority is not as radical as that of the other consciousness, that of others. If the otherness of the things can be regarded as relative, that of the other is absolute, irreducible; is it then possible to think the other, to say something about him? It is there the node of the difficulty and the paradox against which the human thought runs up: the subject that I am note the components, absolutely egoistic, of its experiment and, at the same time, it is discovered and is recognized like always already confronted with the existence of the other. The life is indeed filled of the traces of the other: tools, works of art, institutions, etc. "How can the I, Merleau-Ponty asks, become a plural? [... ] What is true initially, [... ] is the tension of my experience towards another whose existence is undeniably on the horizon of my life, even when the knowledge which I have of him is imperfect."

Moreover, the experiment of the other makes it possible to apprehend reality in a different way, there ours or that which surrounds us, of it to apprehend the significance, the finality. The other is not built by my own ego, it is encountered. The relation between consciousnesses can only be the encounter. The encounter is not the realization of a potential which belonged to me already, that I carried in me, but rather of possibilities that I was unaware of and of which sudden appearance, the encounter with the other reveals the existence. The otherness is unforeseable.

The encounter is thus directly connected with the origin: it reveals the proper originality of each one (the philosophers speak about egoïc experiment), while prohibiting to him to be posed like absolute origin.

It is the disproportion between me and the other which constitutes the moral conscience: I am never finished with him, I am never free from my duty to him, because I allot the character of ego to him. Even the conflict presupposes this preliminary recognition. But also, of course, freedom.

The question of the other occupies largely not only the human thought but more largely its history: how to manage the encounter with an alter?

Is it advisable to make an ego of it? Today, if the controversy of Valladolid concerns the past, we therefore did not finish to question us on the membership of certain alive beings to the mankind; let us think of the debates on the abortion and the euthanasia. And tomorrow? Will it be necessary to turn to space to find new others? Wouldn't it be terrible for us or our successors to find us without any other to meet... to test, to search our own origin? I can understand the fear of some with the idea to discover that E.T. could remain forever absent, even in extremely primitive forms of life. The attempts to find the life elsewhere than on our planet Earth concern perhaps a major stake, our own survival, survival of our own originality. Without forgetting that, in a more or less close future, the installation of human colonies on other planets than the Earth will involve the biological divergence of our species and the birth of human ego which will become more and more alter. The question of the other has not finished haunting the path of the philosophers.

Michael Benson

Floating Through (and Filming) Zero Gravity Theater

Abstract: On December 15, 1999, the first zero gravity theatrical performance conducted in front of an audience took place in the Russian Space Program aircraft usually used to train cosmonauts. Thirteen parabolic arcs created zero gravity conditions within the aircraft; just before and after each 25-to-30 second zero gravity episode, 2-G conditions reigned in the plane; in between each 2-G/zero-G/2-G phase of the flight, relatively 'normal' (1-G) gravity was experienced by the performers and audience. The eight actors and nine audience members of the Noordung Zero-G Biomechanical Theater therefore participated in a work of art conducted not just in weightlessness or free-fall, but within radically varied gravity conditions (the performance continued throughout these three phases). The work was directed by Dragan Zivadinov and produced by Marko Peljhan and his Project Atol; a medical experiment involving cancer cell division was conducted by Peljhan simultaneously with the performance. Along with cinematographer Andrej Lupinc of TV Slovenia, I filmed this performance using two super 16mm film cameras and two DV cameras. The cameras were either fixed, on a tripod, or hand-held. I will present a rough preliminary VHS trailer of some of the material (11 minutes) and talk about the experience of participating in the Noordung Zero-G Biomechanical Theater, the methods and results of film production in variable gravity conditions, and of course the performance itself. http://www.ljudmila.org/kinetikon/

Richard Clar

ALMA da AGUA : A Space Awareness Initiative

Abstract: Water resources and management are issues of great importance to the Community of Portuguese-speaking Countries (CPLP).  These issues--key to the economic development and well-being of the CPLP--are better served through a collaborative effort of the CPLP. ALMA da AGUA or “Soul of the Water”, an interdisciplinary space art project, addresses metaphorically the unification of Portuguese-speaking countries and celebrates their common bond of language.
ALMA da AGUA begins with the gathering of water samples from the Portuguese- speaking countries: Portugal, Brazil, Angola, Mozambique, Cape Verde, Guinea, and East Timor. The individual water samples are to be carried into space aboard a Brazilian sounding rocket.  During space-flight, in a highly symbolic gesture, the waters will be combined by the action of a scientific apparatus--A.L.M.A. (Acceleration-induced Liquid Mixing Apparatus).  Live coverage of the waters being mixed in space by A.L.M.A. will be provided by a video camera and downlink integrated into the payload.
After an ocean splashdown, the mixed-waters payload of ALMA da AGUA will be recovered to be divided and presented at cultural ceremonies to representatives of the Portuguese-speaking countries.  ALMA da AGUA is being planned for launch in October 2000 during the 51st IAF Congress in Rio de Janeiro.  It is hoped that the live video of ALMA da AGUA can be presented during the Congress in addition to a World-wide Internet webcast.  ALMA da AGUA is a collaboration between Richard Clar of Art Technologies and Dinis Ribeiro of Companhia Espacial Portuguesa, Lda.

Jürgen Claus

New Aesthetics in Solar Energy

Abstract: Survey of the BIMODE - Project of the European Commission which lasted 2 years and included partners from industry like BP Solar and Bayer AG, from Academia like Universidad Politecnica de Madrid and Academy of Media Arts Cologne. If with Solar Art and Architecture "Form follows Energy", then we have to discuss the integration of photovoltaic modules in a different way, not from technical points of view alone but also from aestetic ones. This can help to shape the necessary culture of a solar age. My communication shows some new approaches from our BIMODE work (BIMODE = "Development of Bi-functional Photovoltaic Modules for Building Integration", Contract JOR3-CT97-0175, JOULE III).

Kitsou Dubois

New Programme of Zero G. Flights

Abstract: Kitsou Dubois will talk about her new project.

Rob La Frenais

How not to go on a parabolic filght !

Abstract: Rob La Fresnais will present his experience in the Russian Zero G. training plane.

Susan McKenna-Lawlor

Small Steps

Abstract: On March 1, 2000 a piece of music  to accompany images from space will be performed for the first time  by the Maynooth University orchestra in theAula Maxima of the National University of Ireland at Maynooth Co. Kildare.
S. McKenna-Lawlor will tell the story of how she introduced the composer Rachel Holstead to the space pictures and started a train of events that resulted in the commissioning of this  music which is entitled Small Steps. It is hoped to be able to play this piece during the meeting.

Jean-Marc Philippe

Keo, Update on the project

Richard DeSeabra

The ISADORA Module

Abstract: The ISADORA Module is a proposal for a module that fits in the Space Shuttle payload to be permanently attached to the International Space Station. It will serve as a multi-purpose studio for the arts where artists will be able to experiment and create in earth’s orbit. This  research hopes to reveal a set of recommendations to the space community about what an art module for the International Space Station should contain.

In interviews, I stimulate artists to contribute with what they do best; imagining and envisioning what they might create aboard ISADORA. Since it is almost impossible to predict what artists may produce in space, I thought this to be the most effective means of data collection. The results from interviews with 17 artists suggest a pattern of common needs and desires on the part of artists in relation to producing art in space. The artists' needs and desires for ISADORA not only point to a great opportunity to unite art and science in a way that has never been done before but to the opportunity to enhance astronaut well-being through a different approach to module interior design.

Vladimir Strelnitski

Public Opinion and SETI: a Romantic Pedant's Approach

Abstract: History abounds with examples of extreme fluctuations in attitude of the public towards the idea of extraterrestrial life.  The understanding of the public's opinion is more important presently than ever, because the Search for Extraterrestrial Intelligence (SETI) is dependent on the public's support, both morally and financially.  Recent results of computer simulation of possible dynamics of public opinion regarding SETI, obtained by E. Lu and myself, will be demonstrated . The crucial role of the readiness of the average individual to adhere to the current opinion of the majority ("conformism") is pointed out. The reaction of a conformist society on the evolution of reality is less predictable. It may even become chaotic, if the evolution of reality undergoes a "shock" (such as the discovery of an ET signal). It is argued that a reasonable policy can decrease the degree of conformism in society and maintain optimal evolution of public opinion. The presentation will be very audience-friendly - no mathematical background is anticipated from the participants.

Doug Vakoch

Interstellar Messages as Art Projects

Abstract: Messages designed for communication with extraterrestrial intelligence (ETI) have typically focused on scientific and mathematical information.  There have been a few attempts to encode human art into a form that might be reconstructed by ETI, such as the music and images contained in recordings onboard two Voyager spacecraft.  However, such an approach does not adequately consider that these forms of art were created for a specifically human audience, and thus may not be directly applicable for communication with ETI, who would differ significantly from humans in biology, culture, and history.  Instead, I suggest the creation of new forms of art, specifically aimed at an extraterrestrial audience, drawing inspiration from existing art forms such as sculpture, dance, and music, but with transformations specific to the medium of transmission.  Semiotic perspectives are especially helpful in overcoming a fundamental challenge of interstellar message-making: the physical medium (electromagnetic radiation) that bears the message cannot be perceived directly by the message composer.  Two methods of establishing a framework for communicating about art are described: 1) identifying possibly universal aesthetic principles (e.g., the Golden Section, a mathematical concept), and 2) teaching one civilization’s sense of aesthetics to another species with radically different conceptualizations of art.  In the process of composing interstellar art projects, we may gain a better understanding of the interrelationships between art, science, and technology.

Arthur Woods

Innovative Technologies From Science Fiction For Space Applications

Abstract: Ideas play an important role in science and technology, even when they do not have an immediately testable aspect, and writers have predicted satellites, spaceflight, moon landings, well before they were actually possible. Science fiction literature, artwork and films are full of descriptions of space technologies and systems - often just pure imagination, sometimes based on some semblance of fact. Early science fiction authors, artists, and illustrators described space concepts and spacecraft based on the limited scientific knowledge available at the time, whereas more modern writers generally portray the same basic systems as used in real life space flight in their literature and art, even though artistic license is often employed. These basic systems and technologies relate to propulsion, attitude and orbit control, navigation and guidance, life support, thermal protection, communications, instruments and payloads, robotics, materials and components, cabin quarters, and weaponry. Although early writings were often wildly inaccurate in many areas, some of the predictions made did come to pass and some of the systems and technologies described were subsequently successfully developed.

It is against this background that the European Space Agency (ESA) has launched a specific initiative, the main objectives of which are: - To review the past and present science fiction literature, artwork and films in order to identify and assess innovative technologies and concepts described therein which could be possibly developed further for space applications. -To obtain imaginative ideas, potentially viable for long-term development by the European space sector, which could predict the course of future space technologies and their impact.

The study is being conducted on behalf of ESA by the Maison d'Ailleurs and the OURS Foundation. The Maison d'Ailleurs (The House of Elsewhere), founded in 1976, is a non-profit foundation and is the only public museum dedicated to science fiction, utopia and extraordinary journeys. Its collection of over 40.000 books in 40 languages as well as thousands of other objects related to science fiction (paintings, posters, films, toys etc.) serves as a research and documentation centre for the science fiction community at large. The OURS Foundation is a non-profit organization established in 1990 whose primary purpose is to impart a cultural dimension to humanity's astronautical endeavours.

The study is being conducted and coordinated via the Internet at the following address : http://itsf.spaceart.net

Arthur Woods

Paris Space Art Workshop - March 26, 2000 - Report

English Report:
On Sunday March 26, 2000, the fourth annual Paris Space Art Workshop, generally referred to as "Rencontres du 13 avril", met in the house of Majorie Malina in Boulougne-Billancourt - a suburb of Paris. Marjorie is the wife of space pioneer and kinetic artist Frank Malina - the founder of Leonardo - the Journal of the International Society for the Arts, Sciences and Technology.

As in previous years, this one day workshop was organized and co-sponsored by Leonardo, the OURS Foundation, a Swiss based cultural and astronautical organization and the Sub-committee for the Arts and Literature of the International Academy of Astronautics (I.A.A.) The timing of the workshop is always coordinated with the week-long planning meetings associated with the annual International Astronautical Congress (IAF Congress) which attracts a large number of people from the international space community to Paris each year at this time. Approximately thirty artists and scientists working in the field of space or in a space related field were in attendance. The participants are invited to make short 10-15 minute presentations of their recent work. Discussion and interaction are encouraged and is usually lively.

The theme of this year's workshop was "Life in Space" with the intent to examine various aspects of terrestrial and extraterrestrial life in the space context from the point of view of the artist and the scientist in their respective fields.

Before the workshop got underway, "Life on Earth" was also a topic that was on everyone's mind concerning the lawsuit over the name "Leonardo" that has been an issue for the past months. Roger Malina, the present editor, described the complex situation and gave everyone an update on the legal maneuverings, which are huge burden to this respected art journal that has been in existence for more than 30 years. Leonardo - the journal - is now being sued to relinquish its name by a French financial company which trademarked the name Leonardo in France. A legal defense fund has been set up and "My Name is Leonardo - Sue me" t-shirts are available to help the cause.

The Workshop

The first workshop presentation was made by John Allen, a co-founder of the Bioshphere2 project which, briefly described, is a controlled artificial replica of Earth's environment housed in a huge greenhouse research facility in southwestern United States. Allen showed videos of the complex and some of the activities of the researchers that spend months in this environment learning how to keep its artificial ecosystems running efficiently. The data from this project will be invaluable for future colonies that will be established off Earth.

Jacques Arnould, who conducts philosophical research for the French Space Agency, CNES, followed with a philosophical discussion of understanding our being or rather our "being-ness" in relation to or opposite of "the other". An understanding of this philosophical issue could have much importance when considering interaction with other life forms that are different from us.

Michael Benson, President and CEO of Kinetikon Pictures took everyone into weightlessness with a video of the first theater production conducted in the weightlessness achieved in parabolic flight. The event took place on December 15, 1999 when a group of eight actors and nine audience participants had access to the aircraft used to train Russian cosmonauts. Of extreme interest to everyone was the transition from 2G to zeroG in such a situation and context. Later in the day Rob Lafresnais, curator of the London-based Arts Catalyst organization also spoke about his rather "unpleasant" experience with parabolic weightlessness. The first artist to actually experiment with parabolic weightlessness, Parisian choreographer and dancer Kitsou Dubois, was also in the audience and gave everyone an update on her current project with ESA.

Jürgen Claus, artist, writer and Professor of Media Arts in Cologne made a presentation of his BIMODE solar art project that integrates photovoltaic elements into his artworks.

Californian space artist Richard Clar introduced his new space art project called "ALMA da AQUA - a Apace Awareness Initiative". Working together with Dinis Riberiro in Portugal, he is planning on using a sounding rocket to send an artwork containing water from various Portuguesespeaking countries, mixing them in weightlessness and then having the artwork "splash down" in the ocean. The whole process will be filmed during the flight and afterwards, the space-mixed waters will be presented to representatives of the various Portuguese speaking countries.

Richard Sebra who is currently pursuing a Master's Degree in Design Research in The Netherlands, gave an update on his "ISADORA" project that he presented last year. The design project concerns a module habitat for artists to be attached to the International Space Station. The project now has a website at: http://www.isadoramodule.org/ and was recently featured in an article on space dot com - http://www.space.com/news/spacestation/iss_isadora_000423.html

Doug Vakoch of the SETI Institute and Vladimir Strelnitski, an astrophysicist from Moscow, addressed the issue of communications with extraterrestrial life. Vakoch gave a slide presentation that used visual images to describe a methodology for the development of possible messages which could be transmitted from Earth with the goal that they would be received and understood by an intelligent extraterrestrial life form. Vladimir Strelnitski addressed the other side of the issue, public opinion on Earth. His lively and entertaining presentation demonstrated how much influence "conformity" has on public opinion. Society's reaction to the initial discovery of an extraterrestrial message could become chaotic if the society has conformed to a widely shared opinion on the existence of extraterrestrial life. A more "open-minded" society would probably adapt more easily to such news.

Phil Saunders, former head of ESA television and now running his own multimedia production studio "Space Channel", gave a presentation of his personal relationship with the topic of life in space, based on his experiences and his insights with this topic throughout his artistic career. Phil's work was recently featured on the cover of Scientific American.

Irish space scientist, Susan McKenna-Lawlor gave a follow-up report on the project she initiated (and presented to the 1999 Workshop) over a year ago at the National University of Ireland. After introducing a young composer Rachel Holstead to images of space she commissioned her to develop a musical composition. A video was shown of the piece called "Small Steps" which took place at the University and was performed on stage in front a large projection of space images supplied by the European Space Agency.

French space artist and originator of the KEO project, Jean-Marc Philippe gave an update on his time capsule space art project that is planned to be launched in 2001. His website: www.keo.org recently won a major prize at the "ars electronica" awards and thousands of messages are currently being collected from participants in more than 60 countries.

Arthur Woods gave a brief presentation of a project that his OURS Foundation is developing in cooperation with the Maison d'Ailleurs (The House of Elsewhere) - a museum of Science Fiction located in Switzerland. Called: "ITSF - Innovative Technologies From Science Fiction for Space Applications" the research project, initiated and funded by ESA, has been under development for several months. Its goal is to document and discover promising technologies that have appeared in Science Fiction literature and in the space arts which may have potential space applications. Woods has designed a website for the project located at: http://itsf.spaceart.net

The project was recently discovered by the European news media and on Friday May 19, it made the front page of the International Herald Tribune. The story can be found on the Internet at: http://www.iht.com/IHT/TODAY/FRI/FPAGE/space.2.html

The workshop ended with more media attention. A report on Space Art made by CNN's Art Club for their special Millennium coverage was shown. The twenty minute TV feature was advertised heavily during the "millennium weekend and included coverage of the NASA art collection which is now touring the US on a train, the paintings of German space artist Mchael Boehme, who attended the first Paris space art workshop, and the space art projects of Arthur Woods' Cosmic Dancer sculpture, Jean-Marc Philippe's KEO project and Kitsou Dubois flying in weightlessness. As the reporter exclaimed: "Far out!".