Peter Halley (1953~ ) has shown the ‘geometrical abstraction’ through his works since 1980. His works are divided by times depending on the changes in styles and media. The purpose of this paper is to take a look at paintings produced in the 1990s and installation works. Halley has applied various sociological theories of different types to his works while bringing in forms from minimalism, pop art and color field paintings. He expressed ‘a prison’ by drawing ‘bars’ in a ‘square’ in the early 1980s, and conveyed sentiments of loneliness and solitude felt while residing in the metropolitan city of New York. The icon of the ‘prison’ was expanded into the concept of a space of digital technologies, developing into social ‘constraints of space.’ The art circles in the U.S. were in turmoil due to the shock from the AIDS and the Gulf War in the 1990s. Halley thought that making new attempts in producing artworks was a way to overcome depressing social circumstances. In many of his paintings produced in the 1990s, interactions between the communications networks complicated due to technological advancement and independent spaces. He showcased mass-produced images gained from the computer and silk screen along with paintings as installation works in such public spaces as art museums, airports and universities. In particular, a cell connected to a text through a conduit in the printed flow chart represents an information system, controlling the targets for command. New changes occurred in his usage of icons while using new media. He has exponentially used the ‘explosive’ motive from the mid-1990s, modifying and changing the ‘explosive’ image in a series of installation works. While the images connecting a prison, a cell and a conduit produced in the 1980s represented a solid system, the image of ‘explosive’ stood for ‘the explosion of systems’ and ‘atomic bombing.’ Although Halley has used the same motifs since he showcased the geometrical abstraction, he has imposed social implications and messages to the geometrical abstraction endlessly by expressing the sensations of solitude and control, and social phenomena felt by the contemporaries in the modern world through such diverse artistic forms as paintings, lithograph and installation works.

The A-X (0-0) band of CS, which appears in high dispersion IUE spectra of comets Halley (1982i) and Wilson (19861), has been investigated in detail. We developed models, which include fluorescence and collisional processes We found that in order to account for the observed emission band precisely, IUE tracking errors should be included in line shape calculations it has been found that rotational excitation by electrons is a dominant process in determining populations of rotational ground states. We derived an electron density of 2.0×104/cm3 2.0×104/cm3 at several thousand kilometers from the comet Wilson's nucleus by examining collisional influence on the CS band structure. We presented a band model for the 0-0 band of C34S C34S and discussed the detectability of 34S 34S spectroscopically.

In this paper, we report the analysis of Korean historical records on the periodic Halley’s comet according to the period (i.e., the Three Kingdoms, Goryeo Dynasty, and Joseon Dynasty) using various sources such as the Samguksagi (The History of the Three Kingdoms), Goryeosa (The History of the Goryeo Dynasty), and Joseonwangjosillok (The Annals of the Joseon Dynasty). With regards to the apparition time of the comet for each return, we referred to the works of Kronk. For the Three Kingdoms period, we could not find any record relevant to Halley’s comet from the Samguksagi. Furthermore, we examined the suggestion that the phenomenon of “two Suns” which appeared on April 1, 760 (in a luni-solar calendar), as recorded in the Samgukyusa (The Legends and History of the Three Kingdoms), indicates an instance of the the daytime appearance of Halley’s comet. In contrast with the Three Kingdoms period, we found that all returns of Halley’s comet are recorded during the Goryeo Dynasty, although others have questioned some accounts. We also found that the appearance of Halley’s comet in 1145 is mentioned in a spirit-path stele made in 1178. For the Joseon Dynasty period, we found that all apparitions of the comet are recorded, as with the Goryeo Dynasty, except for the return of 1910, at which time the former dynasty had fallen. In conclusion, we think that this study will be helpful for understanding Korean historical accounts on Halley’s comet.