ON PARADE.

THE CHARACTERS HAVE TO TELL YOU WHO THEY ARE.

YOU CAN'T FORCE THEM TO YOUR WILL.

THEY HAVE TO LIVE.

STITCH BY STITCH, A FIBER ARTIST FASHIONS DOLLS FROM HEAD TO TOE.

I TRIED HARD FOR YOU TO SEE THE INDIVIDUAL.

IT'S THE GESTURE, THE STATURE THAT A PERSON HAS.

INSIDE A GLEMS OF MUSIC COMPOSITION.

WE'RE HEAR TO OPEN DOORS IN THE AREA OF THE MUSIC WORLD.

WE OPEN EYES, EARS AND MINDS TO WHAT THE INDUSTRY IS AND TO MUSIC MAKING ITSELF.

ASTRONOMICAL INFLUENCES IN THE STAINED GLASS WINDOWS OF A TEXAS CHURCH.

WE KNEW IN THE BEGINNING WE WANTED TO CONNECT -- SO MANY PARISHIONERS THAT COME HERE HAVE WORKED FOR NASA IN THE INDUSTRY.

ART NEXT ON "ART ROCKS."

"ART ROCKS" IS MADE POSSIBLE BY THE FOWPTION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING, AND BY VIEWERS LIKE YOU.

HELLO, WELCOME TO "ART ROCKS," CHASING CREATIVITY EVERYWHERE IT LEADS WITH ME, JAMES FOX-SMITH, PUBLISHER OF COUNTRY ROADS MAGAZINE.

FIRST UP WE'RE IN NEW ORLEANS TO VISIT THE HIGHLY REGARDED FIGURATIVE PAINTER ROBERT FREEMAN.

HE INVITES US INTO THE GLORIOUS COSTUMING TRADITIONS OF THE MARDI GRAS INDIANS.

AS HE'S DONE FOR DECADES, FREEMAN ALLOWS HIS BRUSH TO GUIDE HIM.

AS A KID I USED TO TAKE A PIECE OF PAIM AND I SCRIBBLED ON IT WITH A PENCIL TO A POINT WHERE YOU COULDN'T SEE ANYTHING ON THE PAPER.

IT'S HOW HE'S MADE HIS LIVING AND HOW HE SEES THE WORLD.

HE DEPICTS THE AFRICAN-AMERICAN EXPERIENCE, EXAMINES THE FACE OF RACE IN AMERICAN SOCIETY AND IN HIS MOST RECENT WORK HE ABSORBS THE PAGEANTRY AND EXPERT OF MARDI GRAS INDIANS IN NEW ORLEANS.

PEOPLE ARE COMING OUT OF THEIR DOORWAYS TO JOIN THE PARADE.

YOU CAN'T WALK.

YOU HAVE TO DANCE.

HE WAS JOINED BY HIS FRIEND PHOTOGRAPHER STERN.

HOW THEY SUB ASSUME NEIGHBORHOODS WITH DANCING, DRUMING AND MUSIC MAKING.

IT JUST STIRRED THE SOUL AND THE HEART.

I REMEMBER COMING BACK TO THE STUDIO AND TRYING TO DUPLICATE THAT EXPERIENCE.

FREEMAN'S PAINTINGS OF MARDI GRAS INDIANS ALONG WITH THE MAX STERN PHOTOGRAPHS THAT INSPIRED THEM, ARE NOW ON VIEW IN ROXBURY.

WE CELEBRATE THE VISUAL ARTS HERITAGE OF THE GLOBAL BLACK WORD.

EDMUND BARRY GAITHER IS THE CURATOR.

HE FINDS HIMSELF DRAWN INTO THE PARADE JUST AS FREEMAN WAS.

YOU'RE BROUGHT INTO THIS MOMENT AND YOU COME INTO THAT WITH ALL YOUR PERSONAL BAGGAGE.

HOPEFULLY YOU STEP OUT OF IT WITH SOME OF THAT RELEASED INTO THE FERVOR OF THE MOMENT.

BECAUSE PART OF WHAT MASQUERADES DO IS THEY FREE YOU OF THE WEIGHT OF YOUR OWN IDENTITY.

THE CHARACTERS HAVE TO TELL YOU WHO THEY ARE.

YOU CAN'T FORCE THEM TO TO YOUR WILL.

THEY HAVE TO ARRIVE.

WE MET FREEMAN IN HIS STUDIO A MONTH BEFORE THE SHOW OPENED AS HE WAS FINISHING ONE LAST PIECE.

HE APPROACHES HIS CANVAS AS A NOVELIST MIGHT THE PAGE, FORMING CHARACTERS WITH FULL-BLOWN PERSONALITIES.

THE FIGURE COMMUNICATE TO ME WHO THEY ARE, THEN THEY BECOME MUCH MORE REAL.

I HAVE TO WORK AT MAKING THEM REAL SO THAT THEY ARE INTERESTING TO ME AS I'M DEVELOPING THEM AND INTERESTING TO ANYONE WHO IS GOING TO LOOK AT THEM.

IN COLLEGE HIS TEACHERS INCLUDED FAMED PAINTER PHILIP GUSTON AND JOHN WILSON, WHOSE BRONZE OF MARTIN LUTHER KING, JR., INSPIRED A MOMENT OF REFLEX FOR PRESIDENT BARACK OBAMA BEFORE HIS SECOND INAUGURATION.

IT WAS A PIECE WILSON CRAZIED AS MUCH FROM HIS IMPRESSIONS OF KING AS FROM ACTUAL IMAGES.

I REMEMBER WHEN WE WERE ALL DRAWING AND WE KIND OF HAD IT DOWN PRETTY GOOD, HE WOULD SAY, ALL RIGHT, NOW.

I HAVE GIVEN YOU THAT VOCABULARY.

NOW SAY SOMETHING WITH IT.

FREEMAN HAD A LOT TO SAY IN HIS BLACK TIE SERIES, A COMMENTARY ON AFRICAN-AMERICANS IN THE MIDDLE CLASS.

I THINK IN THE BEGINNING THE SATIRE WAS ABOUT THE REJECTION OR THE VOTING PROCESS, WHETHER YOU WERE GOOD ENOUGH FOR THAT GROUP AND WHAT THE CRITERIA WAS TO JOIN THAT GROUP.

AS I GET OLDER I REALIZED IT'S HARD TO BE A MEMBER OF THE MIDDLE CLASS AND BE A RESPONSIBLE CITIZEN.

I BEGAN TO ADMIRE MY GROUP AN AWFUL LOT MORE THAN IN THE BEGINNING.

TODAY FREEMAN'S WORK APPEARS IN EXHIBITIONS, GALLERY SNOWS AND MUSEUM COLLECTIONS.

BUT IN THE BEGIN AS AN UP AND COMING ARTIST, ESPECIALLY ONE OF COLOR, HE COULDN'T GET A FOOTHOLD IN BOSTON'S ART SCENE.

I WOULD TAKE THE PAINTINGS OUT OF THE UHAUL VAN AND TAKE THEM INTO THE GALLERIES AND ONE GALLERY AFTER THE NEXT WOULD SAY, WELL, YOU KNOW, WENT DO HAVE CLIENTELE THAT WOULD BE INTERESTED IN PAINTING THESE AFRICAN-AMERICANS.

THAT CHANGED WITH JUST ONE REVIEW IN THE BOSTON GLOBE AND THE SUPPORT OF EARLY CHAMPIONS LIKE GAITHER.

I HAVE FOLLOWED ROBERT FREE NEWSPAPER'S WORK FOR A LONG TIME AND HAVE BEEN VERY FASCINATED WITH THE TOPICS THAT HAVE BEEN EXCITING TO HIM.

BECAUSE THEY HAVE BEEN TOPICS WHICH DANCE AT THE EDGE OF SOCIAL IDEAS.

I'M NOT SURE WHERE I'M GOING WITH THIS NOW.

I JUST NEED TO DRAW BACK ON IT JUST A LITTLE BIT.

FREEMAN SAYS HE HAS TROUBLE STEPPING AWAY FROM HIS PAINTINGS.

HE ALWAYS HAS THE URGE TO ADD ANOTHER BRUSH STROKE HERE OR THERE REGARDLESS OF WHETHER HIS WORKS ARE IN HIS STUDIO OR SEEMINGLY FINISHED ON GALLERY WALLS, SO THE BEST SENSE OF AN ENDING, HE SAYS, THE AUDIENCE.

IF I CAN GET PEOPLE TO STAND IN FRONT OF THE SPAINING AND ABSORB THAT COMPOSITION AT POWER, NOT KNOWING WHAT THEY ARE LOOKING AT OR WHY THEY CAN'T MOVE AWAY FROM THAT PARTICULAR PIECE, THAT'S SUCCESS FOR ME.

IF YOU EVER THOUGHT THE -- THING FOR A SECOND OWE MUCH IT WOULD BE WITHOUT MUSIC, FILM AND LITERATURE AND VISUAL ART TO KEEP US COMPANY.

KEEP THE INSPIRATION COMING BY EXPLORING THESE NOTABLE EXHIBITS ACCESSIBLE IN PERSON OR ONLINE FROM MUSEUMS AND GALLERIES IN OUR PART OF THE WORLD FOR MORE ABOUT THESE AND MANY MORE EVENTS IN THE ARTS, VISIT LPB.ORG/ARTROCKS THERE YOU'LL FIND LINKS TO EVERY EPISODE OF THIS PROGRAM.

SO TO SEE OR SHARE ANY SEGMENT AGAIN, VISIT LPB.ORG/ARTROCKS.

AFRICAN TEXTILES AND NATURAL FIBERS FORM TWIN INSPIRATIONS FOR DAYTON, OHIO, FIBER ARTIST FRANCES M. TURNER.

AS A CHILD SHE LEARNED TO SEW WHILE MAKING DOLL CLOTHES FOR HER SISTER THEN LATER APPRENTICED AS A TAILOR.

NOW AS AN ADULT TURNER BUILDS HER DOLLS ENTIRELY FROM SCRATCH, STITCHING EVERYTHING FROM THE HATS ON THEIR HEADS TO THE SHOES ON THEIR FEET.

WATCH AS EACH DOLL TAKES ON A LIFE OF ITS OWN.

WELL, TO START WITH, THE DOLLS THAT I MAKE ARE CLOTH, AND IT IS A BLACK SILHOUETTE THAT YOU SEE.

I TRY VERY HARD FOR YOU TO BE ABLE TO SEE AN INDIVIDUAL.

IT IS THE GESTURE, THE STATURE THAT A PERSON HAS.

WHEN I'M DECIDING WHAT I WANT MY PIECES TO LOOK LIKE, IT'S THE PEOPLE THAT I ENCOUNTER.

SOMETIMES IT'S THE WAY A GENTLEMAN STANDS, STANDS BACK IN HIS LEGS.

THE LILT OF HIS HEAD.

THE WAY A LADY LOOKS WHEN SHE'S WEARING A HAT BECAUSE SHE KNOWS SHE LOOKS GOOD IN IT.

I FIND A LOT OF THINGS THAT I DO ARE BASED ON WHAT MY PARENTS DID AND WHAT THEY TOLD ME THAT THEIR PARENTS DID, AND SO IT IS A HERITAGE THAT I EXPRESS IN THE WAY MY PIECES PRESENT THEMSELVES AND THE WAY THEY WEAR THEIR CLOTHES.

YOU WILL NOT FIND ONE DOLL IN THIS HOUSE THAT DOESN'T HAVE ON A HAT.

MY DAD WORE HATS.

MY MOTHER WORE HATS.

SHE WORE GLOVES, HEELS.

I WANT MY LADIES TO LOOK LIKE LADIES, WHICH MEANS THAT THEY HAVE MANNERS.

I WANT MY MEN TO LOOK LIKE GENTLEMEN BECAUSE THEY ARE MANNERRABLE.

AND THESE ARE THE THINGS THAT WAS TAUGHT TO ME BY MY PARENTS.

MY MOM AND DAD BOTH WERE FROM LOUISIANA.

MY GRANDMOTHER AND GRANDFATHER, THEY HAD 15 CHILDREN.

THEY WERE HARD WORKING, GOOD, DOWN TO EARTH PEOPLE.

MY MOTHER USED TO TELL STORIES, SO DID MY DAD, ABOUT PEOPLE AND THEIR LIFE GROWING UP IN THE COUNTRY, AND THEY JUST SEEMED LIKE, JUST AN ADVENTURE.

THE NAMES ARE THE THINGS THAT STUCK WITH ME.

FIRST AND MIDDLE NAME, JOHN EARL, OR RUTH ANN, AND AUDREY ROSE WAS ANOTHER NAME THAT I ENJOYED HEARING, AND I LIKE THE LILT AND THE RING TO THE NAME.

AND I CHOSE THOSE NAMES SOMETIMES FOR MY PEOPLE THAT MAKE THEM FAMILIAR TO ME.

THEY APPEAR TO BE MORE THAN JUST A DOLL, THEY ARE FIGURES AND THEY ARE REAL.

THEY ARE VIBRANT, THEY WHERE ALIVE, THEY SPEAK TO YOU, AND THEY SPEAK TO YOU IN A LOT OF DIFFERENT WAYS.

I WORK AT PRICE STORES, AND I WORK ON TUXEDOES.

I HAVE DONE THAT FOR THE LAST 25 YEARS, AND IT DOES NOT GET OLD.

THERE ARE A LOT OF WEDDINGS, FUNERALS, SPECIAL OCCASIONS, BUT ONCE ALL THAT IS OVER THAT GARMENT EVENTUALLY FINDS ITS WAY AND IT'S RETIRED.

AND ONCE IT'S RETIRED, THEN IT FINDS NEW LIFE WITH ME TO BECOME WHATEVER IT IS THAT I WANT IT TO BECOME AND STILL LOOK ALIVE, YOUTHFUL, ADVENTUROUS, EXCITING.

THE VERY FIRST QUILT THAT I MADE PROFESSIONALLY I DID FOR SARAH COGSWELL, WHO WAS HEAD OF CITYFOLK.

BECAUSE I HAD NEVER MADE A QUILT BEFORE, EVERYTHING THAT I EVER THOUGHT COULD BE A PART WAS A PART.

I MADE A SMALL DOLL AND A DOLL DRESS.

I USED THE STONE BEADS AROUND HER NECK.

I USED SUEDE CLOTH AND TRACED MY HAND.

THERE'S THE EYE OF AFRICA, THE ALL-SEEING EYE.

THEN THERE ARE 10 EYES, AND THEN OFF TO THE SIDE IS THE ONE HIDDEN EYE THAT'S ALWAYS WATCHING.

AND IT WAS LIKE IT WAS A MAP RATHER THAN A QUILT BECAUSE I WAS GOING FROM REGION TO REGION, PERSON TO PERSON, THING TO THING, AND USING ALL THESE COLORS.

AND IN BETWEEN, I DID A VERY BOLD SAT INSTITCH, SO THAT AS YOU LOOKED AT THE QUILT, YOU COULD GO FROM ONE PIECE AND ONE PLACE TO ANOTHER AND STILL BE ABLE TO SEE EACH PIECE AND NOT BE CONFUSED.

AND I BELIEVE THAT THAT IS THE GESTURE AND THE MAINSTAY FOR THE KINDS OF QUILTS THAT I DO.

I'VE GOT A LOT TO SAY, AND I WANT YOU TO BE ABLE TO GO FROM ONE PART OF THAT CONVERSATION TO THE NEXT AND NOT LOSE ANYTHING IN BETWEEN.

I AM AN ARTIST, AND I LIKE THE IDEA OF SAYING THAT I'M AN ARTIST.

IT HAS BEEN A JOURNEY THAT I HAVE ENJOYED IMMENSELY AND LOOK FORWARD TO EVERY MOMENT THAT I GET A CHANCE TO DO IT.

IN CARLSBAD, CALIFORNIA, THE MUSEUM OF MAKING MUSIC TAKES ITS MISSION LITERALLY.

VISITORS GET A RARE OPPORTUNITY TO SEE THE TOOLS AND THE TECHNIQUES THAT CRAFTS PEOPLE USE TO BUILD GUITARS, VIOLINS, TRUMPETS, BAGPIPES AND OTHER TYPES OF MUSICAL INSTRUMENTS TOO.

STEP INSIDE TO LEARN HOW THE MUSIC PRODUCTS INDUSTRY SUPPLIES THE WORLD'S MUSICIANS WITH THE TOOLS OF THEIR TRADES WE'RE HERE TO OPEN DOORS TO A NUMBER OF AREAS IN THE MUSIC WORLD.

ONE THAT WE OPEN IEDZ, EARS AND MINDS TO WHAT THE INDUSTRY IS THEN WE ALSO OPEN THE DOOR TO MUSIC MAKING ITSELF.

WE OFFER LOTS OF OPPORTUNITIES FOR PEOPLE TO LEARN ABOUT HISTORY, LEARN ABOUT THE PLACE OF MUSIC IN PEOPLES' LIVES OVER THE LAST CENTURY, AND THEN WHAT THE PLACE THAT MUSIC CAN BE IN THEIR OWN LIFE.

OUR HOPE IS THAT BY OPENING PEOPLE'S EYES AND EARS TO A WIDE ARRAY OF MUSICAL INSTRUMENTS AVAILABLE TO US, SOMEBODY WILL HONE IN ON ONE AND SAY, THAT'S THE ONE THAT FASCINATES ME THE MOST.

THAT'S THE ONE I WANT TO LEARN MORE ABOUT AND THAT'S THE ONE I WANT TO PLAY.

PLAY.

IT'S ALMOST AN INSTAN TAPOUS CONNECTION THE WESTERN CAN HAVE WITH A MUSICAL INSTRUMENT GIVEN THAT OPPORTUNITY.

WE ALSO OFFER LOTS OF DIFFERENT TYPES OF INSTRUMENTS TO PLAY BECAUSE WE BELIEVE IF GIVEN THE OPPORTUNITY TO EXPERIENCE A MULTITUDE OF INSTRUMENTS THERE IS PROBABLY ONE INSTRUMENT OUT THERE THAT YOU WILL RESONATE WITH MORE THAN ANOTHER.

EITHER YOU ARE MORE PHYSICALLY COMFORTABLE PLAYING IN THAT POSITION WITH THAT PARTICULAR INSTRUMENT OR YOUR EAR IS MORE -- RESONATES MORE TO THE SOUND OF THAT PARTICULAR INSTRUMENT.

WE WANT TO OFFER PEOPLE AN OPPORTUNITY TO EXPLORE THEIR OWN PERSONAL CONNECTION WITH MUSIC AND MUSICAL ESTIMATES.

I'VE ALWAYS BEEN REALLY INTERESTED IN IMMERSIVE ART, ART THAT IS REACTIVE AND TAKES OUR ACTIONS AND RESPONDS TO THEM.

AND THIS MUSEUM HAS BEEN KIND ENOUGH TO LET ME IMAGINE THINGS AND MAKE THEM HAPPEN HERE.

BUT THE BODY THEREMIN WE WANTED TO SEE IF WE COULD REIMAGINE THIS FOR THE 21st CENTURY SO THE FIRST STEP WE TOOK WAS TO MAKE IT ABOUT LARGER MOVEMENTS.

SO WITH A THEREMIN YOU HAVE ABOUT HALF A FOOT TO CONTROL SEVERAL OCTAVES WORTH OF SOUND SO WHEN YOU'RE TRYING TO MAKE TINY, TINY MOVEMENTS FOR THE SLIGHTEST BIT OF PITCH IT'S REALLY DIFFICULT TO MAKE A MELODY ACTUALLY BE IN TUNE.

SO THE FIRST THING WE DID WAS TO MAKE IT MUCH LARGER MOTIONS SO YOU HAVE ALL THIS MOVEMENT TO DO FROM ONE OCTAVE, FROM A LOW C HERE TO A HIGH C UP THERE.

ECHO THIEF IS A WAY TO CAPTURE THE ACOUSTIC RESPONSE OF THE SPACE.

HOW A SPACE ACCOUSTICALLY RESPONDS TO THE SOUNDS CREATED INSIDE IT.

SO USING THIS TECHNOLOGY WE CAN MAP SPACE AND THINK ABOUT IT LATER.

THINK OF IT AS AUGMENTED REALITY FOR SOUND.

ALL THE GEAR I NEED TO CREATE THIS IMPULSE RESPONSE IS BASICALLY A RECORDER AND A SPEAKER AND A LITTLE AMP SO I CAN SET THIS UP IN A SPACE AND I CAN SEND WHAT SOUNDS LIKE WHITE NOISE TV STATIC INTO THE SPACE AND AT THE END I'LL HAVE THIS PERFECT IMPULSE RESPONSE THAT ALLOWS ME TO RECREATE THE SPACE HERE IN THE ROOM.

WE CAN GO TO SPACE LIKE ECHO BRIDGE AND CAPTURE THE IMPULSE WE CAN HEAR -- THE 13 ECHOS OF ECHO BRIDGE OR ALL OF A SUDDEN WE'RE IN A RACQUET BALL COURT WITH THIS BIG LONG LUSH REVERB.

MOMENTS LATER HERE WE ARE IN A COASTAL ARTILLERY BATTERY IN FORT WORE DEN, WASHINGTON.

WE HAVE A MUCH DARKER, CLOSER REVERB WITH ALL THE CONCRETE.

HERE WE CAN REIMAGINE THE SPACES TO BE ANY SIZE YOU LIKE AND THE ONLY LIMIT IS OUR OWN IMAGINATION.

AT A TEXAS CHURCH NEAR NASA'S JOHNSON SPACE CENTER, SCIENCE AND RELIGION FIND COMMON GROUND IN GLASS.

THE STAINED GLASS WINDOWS HERE RECREATE IMAGES CAPTURED BY THE HUBBLE SPACE TELESCOPE, CELESTIAL INSPIRATION IN EVERY SENSE OF THE WORD.

TAKE A LOOK.

WE ARE AT THE ST. PAUL'S CATHOLIC CHURCH IN NASSAU BAY, ALSO REFERRED TO AS SAINT PAUL THE APOSTLE.

WE ARE ABOUT TWO BLOCKS FROM NASA.

SOME OF THE ASTRONAUTS ACTUALLY WENT TO CHURCH HERE AND WHICH WE ARE VERY PROUD.

IN 2005 WE DEVELOPED A BUILDING COMMITTEE TO START BUILDING OUR NEW CHURCH.

WE KNEW IN THE BEGINNING THAT WE WANTED TO CONNECT OUR PARISH WITH SOMETHING FROM NASA BECAUSE SO MANY PARISHIONERS HAVE WORKED FOR NASA.

WE SPOKE WITH OURLY TUNNEL I CAL DESIGNER AND ASKED HOW WE CAN INCORPORATE SOMETHING FROM THE HEAVENS AND OUR LITURGICAL DESIGNER CAME UP WITH THESE CELESTIAL WINDOWS, AND THAT WE WOULD CHOOSE AN IMAGE FROM THE HUBBLE TELESCOPE.

I WAS THE LEAD FLIGHT DIRECTOR ON THE STS 31 SHUTTLE COMMISSION THAT DEPLOYED THE HUBBLE SPACE TELESCOPE.

THE OBJECTIVE WAS TO GET IT AS HIGH AS WE COULD GET IT WITH THE SHUTTLE WHICH WAS ABOUT 300 NAUTICAL MILES ABOVE THE EARTH SO THAT YOU COULD GET THE TELESCOPE ABOVE MOST OF THE EARTH'S ATMOSPHERE SO THAT THE IMAGERY WOULDN'T BE DISTORTED BY ANY OF THE ATMOSPHERE.

THOSE OF US THAT WORKED THE DEPLOY MISSION, PUT THE TELESCOPE UP THERE, WERE REALLY ON A HIGH AFTER WE COMPLETED THE MISSION SUCCESSFULLY, DEPLOYING THE TELESCOPE.

AND THEN WHEN THE FIRST IMAGES CAME BACK THEY WERE SPECTACULAR.

I GOT ON THE HEADSET AND I TOLD THE FLIGHT CONTROL TEAM AT THAT TIME, YOU ALL HAVE NO IDEA WHAT WE HAVE JUST DONE.

THIS TELESCOPE WILL REWRITE THE ASTRONOMY BOOKS.

I'M NOT AN ASTRONOMER, AND I'M NOT IN THE SCIENCE END OF IT.

I'M JUST A DUMB OLD ENGINEER RESPONSIBLE FOR OPERATIONS.

THE IMAGERY, THOUGH, WAS JUST SPECTACULAR.

WHEN YOU'RE HERE ON EARTH YOU LOOK AT THE SKY AT NIGHT AND IT'S JUST DARK AND YOU JUST SEE THE STARS THAT YOU CAN SEE.

YOU JUST DON'T REALIZE THINGS LIKE WHAT YOU SEE ON THESE WINDOWS IS REALLY THERE.

THE OTHER BEAUTY OF THE TELESCOPE IS YOU'RE LOOKING AT SPACE WITH THE TELESCOPE, YOU'RE LOOKING BACK IN TIME.

THE LIGHT FROM THE STARS WE SEE ON EARTH LEFT THE STAR HUNDREDS OF THOUSANDS OF YEARS AGO.

I THINK WHEN WE LOOK AT THE PERFECTION OF SPACE ITSELF AND THE UNIVERSE, IT ALMOST BRINGS US TO THE ENTIRE IDEAL OF A GOD.

OF AN ORDERLY GOD, A GOD WHO IS GREAT.

AND SO THAT SPIRITUAL UPLIFTING COMES FROM THE SPACE CENTER AND THE WORK THAT THEY ARE DOING AND HOW CLOSE THEY COME IN CONTACT WITH GOD AS THEY VENTURE OUT INTO SPACE.

AND THEY REALIZE THE MAGNITUDE OF THE UNIVERSE.

AND THE MAGNITUDE OF GOD.

AND I THINK THAT'S BROUGHT BACK INTO SAINT PAUL@POSITIVELY CHURCH, WITH THE PERSPECTIVE THAT OUR GOD IS SO MAGNIFICENT, SO GREAT IT LIFTS US SQUIRTUALLY.

AS WE LOOK TOWARD THE HEFNTS IN THAT WE CAN ALMOST FEEL THE PRESENCE OF GOD.

I WAS VERY HAPPY FOR ALL OF THE MEN AND WOMEN WHO WORKED AT NASA AND FOR THEIR FAMILIES THAT SACRIFICED QUITE A BIT IN THE LAST 50 YEARS TO ACHIEVE WHAT WE HAVE IN OUR SPACE PROGRAM.

I WAS VERY HAPPY THAT IN SOME WAY WE COULD HONOR THEM IN THAT WAY WITHIN OUR WORSHIP SPACE.

SO THAT IS THAT FOR THIS EDITION OF ART REMARKS.

AS ALWAYS YOU CAN SEE AND SHARE SHOW EPISODES AT LPB.ORG/ARTROCKS IF YOU'RE WONDERING WHAT ELSE YOU MIGHT BE MISSING, COUNTRY ROADS MAGAZINE MAKES A GREAT RESOURCE FOR FINDING OUT WHAT'S GOING ON IN ARTS AND CULTURE, ALL OUT THERE IN THE PELICAN STATE.

UNTIL THEN NEXT WEEK I'M JAMES FOXZ SMITH.

THANKS FOR WATCHING.