Solitude

Experiment: What if Barth’s Evangelical Theology was not written only for theologians?

Karl Barth, Evangelical Theology
(Eerdmans, 1963), ch. 10, “Solitude.”

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Case 1.

Karl Barth, Evangelical Theology“As a rule, the Christian artist will have to put up with pursuing his subject in a certain isolation, not only in the so-called ‘world,’ but also in the Church.”

“We might think, above all, of the especially pathetic figure of the Christian artist in his solitude — his solitary pathway and the uncanny isolation, which, due to the priestly halo which he is still thought to wear, continue to characterize him. He remains a stranger among all the men of his urban or rural community… scarcely anyone can offer him a helping hand in the labor demanded of him…”

“Such isolation is hard to bear because fundamentally it seems not to correspond to the essence of Christian art. Indeed, to assume a vocational post in some remote place from which the public is all but excluded seems strikingly to contradict the character of Christian art… The object of Christian art is the most radical change in the situation of all humanity…”

“However, all that a Christian artist may here and now know and undertake is art produced by a human. As such, it can be neither paradisiac (for we are no longer there), nor perfected (for we are not yet there), nor by any means divine (for we will never be gods). Christian art can be only art not as from God but as from a human artist, that is, by a human artist who is a pilgrim. Christian art comes from a laborer who, although still blinded, is already enlightened with sight through the grace of God, but who nevertheless does not yet view the glory of the coming universal revelation… A Christian artist will stick to the fact that his problem and task can only be the art of a pilgrim, not the other.”

“Often enough the Christian artist will experience visible proofs or justifications for his feeling that he stands alone in his calling. He alone seems involved in the wonderment, concern and commitment that make an artist a Christian. Even in the community of artists and, worst of all, among all too many of his fellow Christians, a Christian artist seems to stand and persevere alone… Inside and outside the walls of the Church, he will, in fact, often enough cast about in vain for companions who are also filled with wonder, who are also concerned and committed. Instead of finding support, he will often receive the painful impression that innumerable Christians and non-Christians apparently find it quite easy to withdraw more or less unscathed from the shock that makes one a Christian artist.”

“How, then, can he ever be sure of his own faith? Are not his faith, his existence as a Christian artist, and art, as such, called into question by this solitude—however much they are guaranteed by the Word of God and the testimony of the Holy Spirit?”

“The real cause, however, for the loneliness of the Christian artist is the special seeing that is invariably demanded of him. What leads him again and again into solitude is precisely the special character of a faith seeking understanding… How should very many ever be willing to make the turn of 180 degrees that is required, not just once, but every day anew? How should very many be able to question and reply, not from their own viewpoint, but from the perspective of the Word of Christ revealed… If the results of the Christian artist’s work are not to be trivialities, he dare not feel sorry about the pain and cost of enduring a continuous solitude.”

“Although Christian art is no enemy to humanity, at its core it is a critical, in fact a revolutionary affair, because, as long as it has not been shackled, it recognizes the new man in the new cosmos.”

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Case 2.

Karl Barth, Evangelical Theology audio book“As a rule, the Christian historian of science will have to put up with pursuing his subject in a certain isolation, not only in the so-called ‘world,’ but also in the Church.”

“We might think, above all, of the especially pathetic figure of the Christian historian of science in his solitude — his solitary pathway and the uncanny isolation, which, due to the priestly halo which either the historian or the scientist is still thought to wear, continue to characterize him. He remains a stranger among all the men of his urban or rural community… scarcely anyone can offer him a helping hand in the labor demanded of him…”

“Such isolation is hard to bear because fundamentally it seems not to correspond to the essence of Christianity. Indeed, to assume a vocational post in some remote place from which the public is all but excluded seems strikingly to contradict the character of Christianity… The object of Christian history is the most radical change in the situation of all humanity…”

“However, all that a Christian historian of science may here and now know and undertake is history produced by a human. As such, it can be neither paradisiac (for we are no longer there), nor perfected (for we are not yet there), nor by any means divine (for we will never be gods). Christian history of science can be only a history as written not by God but by a human, that is, by a human historian of science who is a pilgrim. Christian history of science comes from a laborer who, although still blinded, is already enlightened with sight through the grace of God, but who nevertheless does not yet view the glory of the coming universal revelation… A Christian historian of science will stick to the fact that his problem and task can only be a history by a pilgrim, not the other.”

“Often enough the Christian historian of science will experience visible proofs or justifications for his feeling that he stands alone in his calling. He alone seems involved in the wonderment, concern and commitment that make a historian of science a Christian. Even in the community of historians, and in the community of scientists, and, worst of all, among all too many of his fellow Christians, the Christian historian of science seems to stand and persevere alone… Inside and outside the walls of the Church, he will, in fact, often enough cast about in vain for companions who are also filled with wonder, who are also concerned and committed. Instead of finding support, he will often receive the painful impression that innumerable Christians and non-Christians apparently find it quite easy to withdraw more or less unscathed from the shock that makes one a Christian historian of science.”

“How, then, can he ever be sure of his own faith? Are not his faith, his existence as a Christian historian of science, and history and science, as such, called into question by this solitude—however much they are guaranteed by the Word of God and the testimony of the Holy Spirit?”

“The real cause, however, for the loneliness of the Christian historian of science is the special seeing that is invariably demanded of him. What leads him again and again into solitude is precisely the special character of a faith seeking understanding… How should very many ever be willing to make the turn of 180 degrees that is required, not just once, but every day anew? How should very many be able to question and reply, not from their own viewpoint, but from the perspective of the Word of Christ revealed… If the results of the Christian historian of science’s work are not to be trivialities, he dare not feel sorry about the pain and cost of enduring a continuous solitude.”

“Although Christian history of science is no enemy to humanity, at its core it is a critical, in fact a revolutionary affair, because, as long as it has not been shackled, it recognizes the new man in the new cosmos.”

—–

Case 3.

Karl Barth, The Making of Evangelical TheologyInsert vocation as indicated above, substituting for “theologian” (original text).

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Crazy ones

Adorable:

The story: Arden, 5 years old.
The background: Apple’s core passion.

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Coloring party, with sneak peak at the new Sky at Night gallery

Saturday morning, Aug 20, 9 a.m. to 1 p.m.

Details at the Galileo’s World meetup group.

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Digital changes

Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections, and then revised and temporarily posted at a “transpositions” blog. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


Where is your images terms of use statement?
What has happened to your online galleries?
And the online exhibits you once had?
Where is the blog of the History of Science Collections?
What will happen to the resources that were posted there?

Thanks for asking these questions! We are in transition, and devoting our effort toward the future rather than trying to maintain the past. To explain why, instead of responding to numerous email inquiries one at a time, I’ll just link to this post whenever I’m asked the questions above.

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Terms of use for images: Despite earlier guidelines with more restrictive terms of use, all images at our old online galleries (hos.ou.edu/galleries/) are now placed in the public domain by OU Libraries. We would appreciate the inclusion of an attribution statement such as this: “Image(s) courtesy History of Science Collections, University of Oklahoma Libraries.” And we would appreciate receiving a complimentary copy of any published work in which our images appear. Please send to: History of Science Collections, University of Oklahoma, 401 W. Brooks, Rm. 521, Norman, OK 73019-0528.

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More than 10 years ago, Eric Bruning, then an OU student in meteorology (now professor of atmospheric sciences at Texas Tech), voluntarily created an online image gallery for us, hos.ou.edu. He was seeking a charitable project to help him master python, and boy did he find one! I’m forever grateful to Eric, and thankful that he chose to support us, as this online gallery quickly took on a critical role in every initiative I have undertaken since that time. These online galleries were innovative for their time. They provided images of a wide variety of rare, primary sources from the History of Science Collections, including many of the most common images used in teaching. Images were provided in a range of resolutions (web-quality, presentation-quality and print-quality), at no charge, without delay, unmediated by email correspondence and exempt from registration or tracking. It was designed to accommodate our limited resources and staffing. Whenever we prepared an image for one student or scholar, it became easily available to anyone through this site. Uploading new images was automatic, as soon as processing was finished, through an Aperture extension. And there was no independent database that had to be maintained; rather, metadata was embedded in the image files, so that once an image was dropped onto the server’s hard drive, the software would read any directory’s contents automatically and display a caption extracted from the metadata for each image. It was an ideal system for a special collections with overburdened staff, no official commitment to digitization, and no official means of online distribution.

In addition, Eric devised an online exhibit site using php that was integrated with the online image galleries. Through a web-based editing interface, images were selected from the online galleries. To save space on the old Mac that was acting as our server, selected images did not need to be separately imported into the exhibits software, but were embedded from the online galleries (just as anyone else might embed images from the online galleries into their own blogs and websites without having to upload their own copies). Eric designed the exhibits software with features intended to support use of the exhibits in undergraduate instruction, including multiple pages in sequence (to allow appropriate-sized chunking of content); the ability to group different exhibits together into a larger whole; links to jump quickly between the text and image thumbnails; direct links from the image thumbnails to the same assortment of sizes supported in the online galleries; a byline for attribution; a block quotation style; and a footnote style for those times when documentation is absolutely necessary. From just two examples, the Galileo exhibit group or the Stars and Constellation exhibit (each of which was recognized with an award from the Griffith Planetarium), it’s obvious that this old online exhibits site is affected by the same image loss issues that have afflicted the online galleries (indeed, because the two systems are integrated, and the images are the same for each).

Yet Eric’s generous and Herculean effort was, even from the start, intended as a seed project that would eventually grow into a larger effort supported by the Libraries. These online galleries and exhibits were put together on a shoestring — Eric’s volunteer coding, digital photography by students and other volunteers, and an old surplussed Mac provided by the College of Arts and Sciences, located in a little office/storage closet in the Physical Sciences building. Eventually the online galleries contained more than 60,000 images. As the years went by, various migrations from one computer to another, from one campus location to another, and from one operating system to another, left its mark, as links became broken and files became corrupted. A few years ago we decided not to invest any more energy into maintaining or improving it, and it has been slipping into a slow and patient death — still appreciated, and never to be forgotten. But perhaps half of all the images in the galleries and exhibits are no longer intact.

Rather, we decided to do something better — I’m happy to say that, for the first time, the library has come into play to support the special collections by building a state of the art Islandora digital library and a new Drupal exhibits website. The new exhibit website at galileo.ou.edu launched with Galileo’s World and lays a foundation for future design iteration and outreach initiatives. The Islandora digital library will open this fall (hopefully), at repository.ou.edu. It is already accessible there now in beta form — many books are present, but searching and downloading are not yet enabled. Not only will the images from the old hos.ou.edu galleries be resurrected in this space, but more than 350 books digitized in high resolution by our new DigiLab are being loaded into it as well. For now, at least, the most convenient way to access it is through the Galileo’s World exhibit website (galileo.ou.edu). Each exhibit page there links directly to the corresponding repository page, so we tell our students and researchers to begin by searching the exhibit website rather than the digital library itself. With each new exhibit that we launch in the future, every book displayed will automatically be designated for cover-to-cover digitization to be added to this digital library. This policy reflects the potential of exhibits in a university library to connect exhibit-based exploration with advanced research using special collections materials. For us, the new digital library is one of the chief expressions of our belief that exhibitions amplify our traditional support for research, rather than diverting us from it. The new repository will offer permanent urls, automatic data harvesting, and many other modern features. Images in very high resolution will be placed in the public domain for maximum ease in downloading and use. And, of course, search capability and a better user interface will come by and by. Update your links to the old galleries and exhibits to these new sites now, because the old hos.ou.edu sites will be going offline after repository.ou.edu comes out of beta.

As an aside, maybe we need a new abbreviation, VHR, to refer to the value of providing Very High Resolution images (200 MB and above) at no charge for visual exploration in diverse and unanticipated user scenarios? Not too many institutions are committed to doing this, and it is more difficult than one might expect. Once the repository gets past its toddler phase, it is going to be a significant advance over anything we have had before.

So what about the ouhos.org blog and the resources that it made available? The History of Science Collections no longer has a blog. That ouhos.org blog truly has gone away, as all official public content has now come under the umbrella of libraries.ou.edu. Many of the old blog posts remain accessible, for a while at least, here: https://ouhos.wordpress.com. We have no plans to maintain or revive the ouhos moniker. I’ve moved some of my old ouhos.org posts over to this professional blog, hos.kvmagruder.net. This blog is unofficial and I will be irregular in posting to it. As for the other resources from the old blog, they will have to find their home either in the new Islandora repository, the new exhibits website, or perhaps the ShareOK repository, which was established as a partnership with other institutions of higher education in Oklahoma. We are working through these other resources on a case-by-case basis; let us know if you questions about specific resources.

So although the present transitional time may appear rather dismal to those who are trying to access our failing digital resources of the past, the future seems to me to be very bright, as we have never before had such resources from outside the History of Science Collections devoted to making our materials available in a sustainable way. My sincere thanks to JoAnn Palmeri, in the History of Science Collections, who now manages image requests for us; to Barbara Laufersweiler, Director of the new DigiLab; to David Corbly, Director of Repository Services; to Twila Camp, Library Web Services Manager; to Carl Grant, the Libraries’ Chief Technology Officer, and above all, to Rick Luce, Dean of OU Libraries. Together, they are reinventing the Libraries’ technical capabilities. Contact us using the Employee page on the Libraries website.

Together, we are inspired and committed to special collections outreach merging physical and virtual modalities.

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Galileo’s World report

Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


Galileo's World logoDavid Davis and I recently wrote three short, one-page reports about Galileo’s World. The separate reports, each reproduced below, focus on Exhibit design, technology, and educational outreach. Perhaps these brief reports are of general interest, either independently or all together. They just scratch the surface, but maybe offer a starting point to explore an otherwise overwhelming project. So much more could be said!
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Exhibit design

The theme of Galileo’s World is “connections.” Open August 2015 through August 2016, Galileo’s World illustrates connections between science, art, literature, music, religion, philosophy, politics, and culture in celebration of OU’s 125th anniversary. Galileo’s World is an “exhibition without walls,” comprised of more than 20 galleries at 7 different locations, as a participatory exhibit designed to bring the diverse worlds of OU together.

The exhibition featured 350 original rare books representing Galileo and his world, all of which belong to OU (none are facsimiles). For example, all 12 first editions of Galileo’s printed books were displayed, including 4 copies containing his own handwriting. These and other valuable works were distributed to the various locations, selected in order to tell stories appropriate to the mission of each exhibition partner. Many partner locations featured joint exhibitions juxtaposing, alongside the books, their own artifacts and holdings to reinforce the stories told by the books themselves.

The sub themes and stories of the exhibit are suggested by the names of the various galleries by location:

  • Bizzell Memorial Library: Music of the Spheres; Galileo, Engineer; Galileo and China; Controversy over the Comets; The New Physics; The Galileo Affair.
    Galileo Today: The OU Leaning Tower of Pisa; The Quest for Other Worlds.
  • National Weather Center: Copernicus and Meteorology; Galileo and Kepler; Galileo and Experimentation; Space Science after Galileo; Oklahomans and Space; Science on a Sphere.
  • Sam Noble Museum of Natural History, “Through the Eyes of the Lynx”: Galileo, Natural History, and the Americas; Galileo and Microscopy.
  • Fred Jones Jr. Museum of Art: Galileo and the Telescope; Galileo and Perspective Drawing; The Moon and the Telescope; The Sky at Night.
  • Headington Hall: Galileo and Sports.
  • Bird Library, Oklahoma City: Galileo and Anatomy; Galileo and Health Care.
  • Schusterman Library, Tulsa: The Scientific Revolution.

The Galileo’s World overview contains book lists for each gallery at each location.

Galileo’s World was designed for a wide range of visitors. The primary target audience consisted first of undergraduate students at OU, such as those who participated in the Fine Arts College production of an opera influenced by Galileo’s father (whose book is on display) or the 20-plus undergraduate students in the College of Engineering who examined the Tower of Pisa during a study abroad visit to Pisa, Italy, and then created a 1/10 scale replica of the tower for display in Bizzell Library. The opera and tower projects exemplify the success of the exhibition in facilitating conversation and participation. Inspired by Nina Simon, we defined participation as the “co-creation of meaning.”

Secondary audiences are as disparate as all of those who visit OU, including parents, area middle and secondary school groups, distinguished visiting scholars and scientists, and university partners around the world. Educational activities for 3rd grade through adult are available in the main Exhibit Hall and online at the Library’s repository; some of these were taken to more than 600 students in 3rd, 4th and 5th grade public school classrooms in the Norman area during the spring 2016 semester. Faculty and distinguished visiting scholars and scientists drew students and a diverse public audience to Galileo’s World events. Events included a monthly lecture series at the National Weather Center featuring NASA scientists from the Jet Propulsion Laboratory, and an all-day Galileo’s World Symposium at the Sam Noble Museum of Natural History featuring internationally recognized speakers (youTube).

Captions were written at different levels appropriate to each location. For example, in Bizzell Library, captions and signage were worded for a freshman target audience. For those who wish to dive a little deeper, additional content is available from the exhibit website and from an iPad Exhibit Guide, available for download or pre-installed on iPads available for checkout at the welcome desk. The Sam Noble and Fred Jones captions were written according to their usual style. At the OU Health Sciences campus, medical vocabulary was introduced appropriate to a target audience of first year medical students. At the National Weather Center, scientific vocabulary was greatly increased, appropriate for graduate students in the natural sciences. For several locations, the Museo Galileo in Florence provided high quality instrument replicas (for example, of Galileo’s telescope) and high resolution videos featuring animated instrument tutorials.

Education and outreach

With the launch of the Galileo’s World exhibit, the OU History of Science Collections initiated an educational outreach organization, the “OU Academy of the Lynx,” to work collaboratively with educators in exhibit-based learning. Through the “OU Lynx,” the History of Science curator and his graduate assistants have begun to work with educators in the Norman area, and across the state and in Texas, attending educator conferences and workshops and hosting class visits. Approximately 30 K12 classes and 50 undergraduate classes have received docent-led tours of Galileo’s World at the OU Libraries, not counting classes which have toured the Sam Noble and Fred Jones museums and other Galileo’s World locations.

Free Open Educational Resources (OER’s) being produced for Galileo’s World are available in the main Exhibit Hall and are posted online at the university repository, ShareOK.org (search for “OU Lynx”). They are being created in various topical series, and linked to the Galileo’s World exhibit by gallery and subject. Series titles include: Iconic Images; Instruments and Experiments; Starting Points for discussion; Primary Source excerpts; 2-minute stories; Stand-up activities; Constellations; and Women in Science. Many of these are based on content available to educators through the iPad Exhibit Guide, a 1,000 page ebook with more than 6,000 images, available as a free download from the iBook Store, which supplements the content available from the Exhibit Website (galileo.ou.edu).

OER formats include “Card sets” and “Learning Leaflets.” An example of the card format is a set of constellation cards called “Urania’s Mirror.” Each of the more than 20 Learning Leaflets created so far consists of a two-page pdf to print front-and-back on a single sheet of paper. Resembling the popular “Lithograph” format used by NASA in their educational outreach, Galileo’s World Learning Leaflets contain abbreviated text juxtaposed with intriguing images to provoke reflection and discussion. For example, in the case of the most influential star atlas of the 17th century, the person responsible for much of the content and solely for its publication was a woman, Elisabeth Hevelius. Other Learning Leaflets include: Anatomy of a Book; Boldly explore; a Duochord activity (astronomy and music); a Relativity of Motion cartoon; Maria Cunitz; and Johann Shreck, Galileo’s friend in China. Two other formats are English translations of primary sources, such as the Apiarium, one of the rarest documents in the history of science, and a book discussion guide.

Each of these OERs are “small pieces loosely joined,” designed to be useful in a variety of teaching situations and adaptable to support lessons in multiple subject areas and age levels. They are not lesson plans in themselves, but the raw materials we use in working with educators which may be customized for any particular setting. They are distributed without copyright, so that educators and others may adapt them to their own purposes (under a Creative Commons license, cc-by-nc).

In a new collaboration with the Fred Jones Jr. Museum of Art during the spring 2016 semester, the Museum educator and the Libraries’ Galileo’s World educator teamed up to take several activities involving art and astronomy to more than 600 students in 3rd, 4th and 5th grade public school classrooms in the Norman and south-Oklahoma City area. Schools were selected with a preference toward those least likely to be able to arrange field trips to visit the physical exhibit.

Educators and others may follow the oulynx.org blog to stay up-to-date with OER development and educator outreach.

Technology and media

Galileo’s World involved various technology and media initiatives, both on site and online. These initiatives were designed to help visitors grasp the multifaceted character of the exhibition and to connect the world of Galileo with the world of OU and with their own experience.

On site:

Visitors begin their tour of Galileo’s World at the OU Libraries by watching balls fall from an 18-foot tall replica of the Leaning Tower of Pisa, when they press a large red button. Two monitors provide explanatory information in this exhibit created by students and faculty in the College of Engineering.

Elsewhere on the main floor, visitors pass by a “Reading Nook” and a “Technology Square.” In the latter, they may explore connections from Galileo’s world to their own world via a large monitor, attached to an iPad kiosk, running an app featuring semantic analysis, created for the Galileo’s World exhibition by the Moomat tech company in Tulsa.

Other exhibits, on the 1st and 5th floors, include 8 monitors with iPad kiosks, featuring a variety of video and audio resources. The six galleries on the 5th floor include imaginative, one-minute introductions to each gallery produced as letters written to Galileo from his eldest daughter, Sister Maria Celeste (filmed with an OU freshman dramaturgy student). Other resources include video instrument tutorials, provided at high resolution in a partnership with the Museo Galileo in Florence.

An 80-inch monitor in the exhibition theater provides a 2-minute overview of the entire Galileo’s World exhibition. Another 80-inch monitor in the main Exhibit Hall projects beautiful, high resolution, artfully-photographed images of books on display, enhancing the emotional appeal of the rare books as aesthetic objects in their own right. All of these technological initiatives help visitors connect in a more meaningful way to the original rare books and other objects on display.

Online:

Although Galileo’s World is a temporary exhibit (one year in multiple locations, followed by a two-year reprise), it will endure through a permanent online presence. Central to this enduring presence are three initiatives, each designed with different but overlapping purposes: an Exhibit Website (galileo.ou.edu) for general exploration and discovery, a digital library for scholarly research (repository.ou.edu), and an iPad Exhibit Guide for educators and individual study. The first two of these work with all digital devices. The Exhibit Website includes directions and information about each Galileo’s World location, as well as an events calendar. From the Exhibit Website, one may jump to digitized versions of the books in the digital library, read their descriptions in the Libraries’ online catalog, and explore further links. The captions on the Exhibit Website are abbreviated for the casual visitor walking through the exhibit for the first time. Each of the 350 original rare books on display is being digitized cover to cover for inclusion in the digital library (most are already uploaded).

The iPad Exhibit Guide offers more comprehensive information about each gallery and each object on display. Its captions are roughly twice as long as those on the Exhibit Website. At over 1,000 pages and with over 6,000 images, it is a free download obtained by searching the iBook Store for “Galileo’s World Exhibit Guide” (requires the free iBooks app for Mac or iOS).

Free Open Educational Resources (OER’s) produced for Galileo’s World are posted online at the university repository, ShareOK.org (search for “OU Lynx”). Educators and others may follow the oulynx.org blog to stay up-to-date with OER development and educator outreach.

Finally, Galileo’s World information has been prominently featured in the Facebook, twitter and blogs of the History of Science Collections. The Curator’s unofficial blog (hos.kvmagruder.net) contains easy-to-scan lists of the books displayed in every gallery. The twitter account (@OUHOSCollection) has more than 500 followers.

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Visit Logistics

Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


Emergency | Weather

  • Emergency: dial 911 on or off campus (police, fire, ambulance)
  • Security/emergency red phone booths and blue kiosks are available all over campus.
  • OU Police: 325-1717
  • OUPD Tornado Information Sheet: http://www.ou.edu/oupd/tornado.htm
  • Weather forecasts for Norman from the National Weather Service
  • In Sooner Suites, take cover in a bathroom.
  • Television/online weather alerts: channel 5 koco.com; channel 9 news9.com; channel 4 kfor.com.
  • Oklahoma Mesonet (weather data)
  • Goddard Health Center: 405/325-4611. On campus: 5-4611
  • Norman Regional Hospital: www.normanregional.com | Map
  • How to dress: Apart from common sense and common decency, no academic dress code is required for research in the History of Science Collections. Dress for the weather: Thunderstorms can occur at any time of year, and nights are cooler than daytime temperatures.

    Telephone info

    • History of Science Department, 6th floor, PHSC (Physical Sciences) building.
      Sam Fellows (office admin): 405/325-2213
    • History of Science Collections: 405/325-2760
      5th floor, BL (Bizzell Library); guides.ou.edu/historyofsciencecollections

      • Kerry Magruder, Curator (cell): _____________
      • Kristina Southwell, Head of Operations
      • JoAnn Palmeri, Research Coordinator (cell): ______________
      • Melissa Rickman, Registrar (cell): ______________

    When calling a campus phone number from another on-campus phone (e.g., from your Sooner Suites apartment), dial “5-” instead of “325-”. For example, to dial the Collections use the following numbers:

    • 405/325-2760 (from out of state)
    • 325-2760 (from off campus)
    • 5-2760 (from on campus)
    • To place an off-campus call from a campus phone, first dial 8 and wait for a dial tone.

    University of Oklahoma

    • OU Information: www.ou.edu
    • Visiting scholars will obtain an OU Network account and Sooner Card upon arrival.
      • Sooner Card: www.ou.edu/content/soonercard.html
      • OU Network account management: http://account.ou.edu
        OU offers two different wi-fi networks:
        • “OU WiFi” – requires an OU Network account; available over nearly all of campus, the only wi fi available at Sooner Suites. Required for OU web mail.
        • “OU Guest” – OU Network account not needed; available in the heart of the campus only. Not compatible with OU mail.

    Airport

    Accommodations

    • Sooner Suites (on campus):
      • Mike or Denise Upchurch (Email: dupchurch@ou.edu)
        405/325-2270 or toll free: 888/777-0477
        1775 Maple Ave., Suite 402, Norman, OK 73072
        http://www.ou.edu/content/housingandfood/sooner_suites/contact.html
        Visiting scholars stay in special furnished units in the Kraettli Apartment complex. Each unit has two queen bedrooms (use one for an office), bath, living/dining area, and kitchen. The apartment is fully furnished including linens, and basic cooking and eating utensils, refrigerator and stove. Guests are responsible for their own personal use supplies. Apartments are cleaned once weekly including changing out the linens. A laundry mat is located at the Kraettli Apartment Complex. Amenities include cable television, local phone, and wireless internet. The campus swimming pool is nearby. Available with a month-to-month lease, housekeeping once a week, $860/mo.
    • OU Housing and Food Services – Kraettli Apartments
    • Hotel options:
      • Embassy Suites: www.embassysuitesnorman.com
      • Marriott Conference Center, over 900 rooms with multiple dining options, meeting space, airport shuttle, free parking, internet access, a 24-Hour Fitness Center, 2 Outdoor Walking Tracks and an Indoor Track (above the gym), Oklahoma’s Largest Saline Outdoor Swimming Pool, Whirlpool & Sauna, Softball Field, Billiards, Tennis, Volleyball, Racquetball Court, Indoor and Outdoor Basketball Court, Golf (Driving Range), Massage and a Ropes Course: http://cc.nced.com
    • Camping ($30/night):
        Lake Thunderbird State Park, located just 5 miles east of the heart of downtown, offers economical camping for RVs and tents, along with opportunities for boating, swimming, fishing, hiking, and using the archery range and equestrian trails. There is a small restaurant, a nature center and a naturalist who gives programs on site. http://www.travelok.com/listings/view.profile/id.4386
    • Bed and Breakfast options:

    Getting around with CART

    CART: Cleveland County Area Rapid Transit, www.cart.ou.edu

    —–

    Cost of living calculator
    Your money may stretch a bit further in Oklahoma than you expect.

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    Area attractions

    Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


    For visiting scholars and others who are new to the area: Explore opportunities outside the OU History of Science Collections by clicking links for the following sites. ( * = top 10)

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    Galleries at a Glance

    Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


    The Galileo’s World book lists and “Galleries at a Glance” have been moved to the new oulynx.org site! We have converted oulynx.org from a simple WordPress blog to a drupal site hosted by Reclaim Hosting.

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    Galileo’s World Bio / CV

    Magruder vitae

    Galileo’s World Bio:

    Kerry V. Magruder is the curator for the Galileo’s World exhibition at the University of Oklahoma. He earned undergraduate and graduate degrees from Truman State University in Missouri, and a masters in library science and a doctorate in history of science from OU. His background includes teaching high school chemistry and biology, directing a university planetarium, and teaching university astronomy, geology, science education, and history of science.

    Since 2000, Dr. Magruder has served in the History of Science Collections, University of Oklahoma Libraries. In 2009 he became Curator and in 2011 received the John H. and Drusa B. Cable Chair.

    Magruder has presented scholarly talks in many academic conferences, universities and research labs in both America and Europe. An online Galileo exhibit by Magruder was recognized with a best of the web award from the Griffith Planetarium in 2006. Magruder has presented talks on Galileo at the Fermi Lab accelerator in the Chicago area and NASA headquarters in Langley, VA, as well as to astronomy/physics programs at Michigan State, New Mexico State, and Florida State, among others.

    Magruder also served as content consultant for the “Beautiful Science” exhibition of the Huntington Library, which won the American Association of Museum’s “Excellence in Education” award for best new exhibit of 2009.

    Magruder’s published articles deal with geology, cosmology, Galileo, and science and religion in the early modern period. A publication on Jesuit cosmology in the generation after Galileo is “Jesuit Science after Galileo: The Cosmology of Gabriele Beati,” Centaurus 2009, 51: 189-212.

    More:

    • Brief bio at oulynx.org, written by Robin Roads, program coordinator for the OKC Astronomy Club
    • Faculty page, OU Department of the History of Science, Medicine and Technology

    Kerry V. Magruder

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    Galileo’s World update

    Originally posted at ouhos.org, the now-discontinued blog of the OU History of Science Collections. Neither this post nor any of its content should be taken as an official communication of the University of Oklahoma.


    Book lists index

    March signals the arrival of some significant milestones for the Galileo’s World exhibition.

    The OU Speakers series at the Sam Noble continues, as does the JPL speaker series at the NWC, along with many other special events, programs and activities. Yet with the arrival of March, it seems as if we are passing into a new phase. Exhibitions begin to close in April. When September arrives, all locations other than the Library itself will have closed. For the 2016-2017 academic year, the Exhibit Hall in the Libraries’ 5th floor will host a reprise of Galileo’s World, containing select rotating content from all 7 locations. So there is still much to do and to see. Follow the events section of galileo.ou.edu to keep track of what is to come.

    But now it’s time to begin looking backward, to reflect on what has already transpired. In a series of posts here over the next couple of weeks, we will take a look back over our shoulder to chronicle aspects of Galileo’s World to this point. The first few posts will simply list all 350 books that have been displayed, in each gallery, for every location. Both the items on display, and the galleries themselves, flow in a specific sequence as indicated in the iBook Exhibit Guide. For many purposes, a simple list may be helpful or interesting, particularly as the books start appearing in the new Galileo’s World Digital library, where every book will be available in its entirety in high resolution with metadata (opening later this spring). So watch this blog over the next few weeks to look back at what has come before in this amazing year of using the Galileo’s World exhibition to celebrate the 125th anniversary of the University of Oklahoma.

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