From the beginning of Space Astronomy, the Extreme Ultraviolet band of the spectrum (roughly defined as the decade in energy from 90-900 A...) was deemed to be the unobservable ultraviolet'. Pioneering results from an EUV telescope on the Apollo-Soyuz Mission in 1975 forcibly demonstrated that this view was incorrect; but it required the all-sky surveys of the English Wide-Field Camera and the Extreme Ultraviolet Explorer to demonstrate the broad potential of this field. Over 700 EUV sources have now been detected. Over 150 researchers from 16 countries gathered to share results in this new field at the International Astronomical Union Colloquium No. 152. Papers were presented on a wide variety of topics including cool star coronae, white dwarf atmospheres and evolution, neutron stars, the Io torus, cataclysmic variable stars, active galactic nuclei, the interstellar medium, winds and atmospheres of early type stars, and EUV plasma diagnostics. Selected manuscripts from this meeting are provided in these Conference Proceedings.

From the beginning of Space Astronomy, the Extreme Ultraviolet band of the spectrum (roughly defined as the decade in energy from 90-900 A) was deemed to be the unobservable ultraviolet'. Pioneering results from an EUV telescope on the Apollo-Soyuz Mission in 1975 forcibly demonstrated that this view was incorrect; but it required the all-sky surveys of the English Wide-Field Camera and the Extreme Ultraviolet Explorer to demonstrate the broad potential of this field. Over 700 EUV sources have now been detected. Over 150 researchers from 16 countries gathered to share results in this new field at the International Astronomical Union Colloquium No. 152. Papers were presented on a wide variety of topics including cool star coronae, white dwarf atmospheres and evolution, neutron stars, the Io torus, cataclysmic variable stars, active galactic nuclei, the interstellar medium, winds and atmospheres of early type stars, and EUV plasma diagnostics. Selected manuscripts from this meeting are provided in these Conference Proceedings."

An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects-many of which she was able to experience firsthand-and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.