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Undergraduate Isabella Perrin named 2026 Cech Fellow

Rachel Sauer — Wed, 03 Jun 2026 23:12:39 +0000

Undergraduate Isabella Perrin named 2026 Cech Fellow Rachel Sauer Wed, 06/03/2026 - 17:12

The newly established fellowship, named in honor of 91��ý Professor Thomas Cech, gives students opportunities for research, professional mentorship and career exploration

Isabella Perrin, a University of Colorado Boulder undergraduate student studying molecular, cellular and developmental biology and public health, has been selected as one of 176 inaugural Cech Fellows by the Howard Hughes Medical Institute (HHMI).

The fellowship, awarded to an inaugural cohort of undergraduates from 109 institutions in 36 states and territories, is named in honor of Nobel laureate Thomas Cech, a 91��ý distinguished professor of biochemistry, former HHMI president and current HHMI investigator.

The Cech Fellows will spend nine weeks this summer conducting hands-on research with HHMI scientists at universities and research institutions across the country, as well as at HHMI’s Janelia Research Campus in Virginia. They will contribute to research while receiving professional mentorship and exploring potential careers in biological and biomedical research.

"I’ve always believed that getting students into real research environments early is one of the most powerful things we can do for them and for science,” said Cech. “I’m deeply honored that this program carries my name, and I look forward to seeing what this first cohort of Fellows will go on to achieve.”

Leslie Vosshall, HHMI vice president and chief scientific officer, noted that a single summer in the right lab can kickstart a scientific career: “By asking real questions alongside scientists at the top of their fields, this year’s Cech Fellows will have the opportunity to see what a life in science actually looks like.”

Perrin, who is working with researchers at the University of California Berkeley this summer on immunology research about the pathways and mechanisms that relate to autoimmune and inflammatory disorders, has previously conducted RNA research with Robin Dowell, a professor of molecular, cellular and developmental biology, and Mary Ann Allen, a research associate professor with the BioFrontiers Institute.

“As a Cech Fellow, I’m honored and excited to join a diverse community with engaging and curiosity-filled science research,” Perrin said. “I value this opportunity not only to learn from mentors and peers about how to conduct meaningful research but also to engage in research that, at its core, is based in bettering individuals’ quality of life.

“I hope to learn and use new skills to contribute to the field in a rigorous manner, and to use a creative mindset to approach challenging questions. I love learning about the capabilities and quirks of the immune system and am thrilled to be a part of a lab that focuses on applying this work to human health conditions.”

Summer research experiences are “often where undergraduates discover their passion for scientific inquiry,” said Joshua Hall, HHMI lead senior director and scientific program officer at HHMI. “The Cech Fellows Program gives talented students direct access to some of the most exciting science happening anywhere in the country, and we’re thrilled to welcome this inaugural cohort.”

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The newly established fellowship, named in honor of 91��ý Professor Thomas Cech, gives students opportunities for research, professional mentorship and career exploration.

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Live from the Octagon with Michel Jarjour

Rachel Sauer — Tue, 26 May 2026 18:48:54 +0000

Live from the Octagon with Michel Jarjour Rachel Sauer Tue, 05/26/2026 - 12:48

Kayleigh Wood

Undergraduate student balances passion for high-risk combat sports with neuroscience studies, aiming to make mixed martial arts safer for all fighters

Michel Jarjour knows what it’s like to love something that could hurt him. Even after years of avid mixed martial arts (MMA) fandom, the third-year undergraduate student at the University of Colorado Boulder still finds the UFC scary. “You look at these fights, and they’re getting kicked and punched to the head. It’s terrifying.”

Though an active participant himself in both Brazilian Jiu-Jitsu and Muay Thai at the 91��ý Rec Center, Jarjour insists that a career in professional fighting is off the table. “You’re putting your body through hell and back. You’re taking so much damage,” says Jarjour. “I’m not willing to give my life to that… My brain is a little important [to me].”

A junior on the pre-health track, Jarjour is pursuing a degree in neuroscience with minors in Spanish, sports media and biochemistry. He balances his studies and involvement in the Miramontes Arts and Sciences Program with his passion for high-risk combat sports, which he shares with listeners in a live monthly radio show on Radio 1190, Join the Octagon. “There is something so beautiful, something so adrenaline-based about the live commentary that I absolutely love,” he says.

Michel Jarjour is a rising senior on the pre-health track, pursuing a degree in neuroscience with minors in Spanish, sports media and biochemistry. (Photo: Michel Jarjour)

Beyond the octagon

Since Fall 2024, Jarjour’s radio show has covered main card, pay-per-view UFC events that occur roughly once a month. In January, the UFC removed traditional pay-per-view events and ended its partnership with ESPN, relocating its live broadcasts to the streaming service Paramount+. Jarjour shares that these changes have led to scheduling disruptions that have put Join the Octagon on a temporary pause. “It’s unfortunate,” he says, “and it’s also made me recognize that I want to do more with the Join the Octagon brand.”

Jarjour credits the leadership skills he has gained as director of CU GOLD with helping him guide Join the Octagon in new, expanded directions. CU GOLD, which stands for “Gaining Opportunities through Leadership Development,” is a free leadership development program that is open to all CU students. Beyond events and conferences, the program provides both introductory and advanced leadership courses.

After leading a group of over fifteen people at CU GOLD, Jarjour says he is confident that he can effectively manage a team and delegate tasks. With a recently assembled team of like-minded volunteers tackling everything from marketing to betting analysis to social media, an official Join the Octagon website is now under construction, and plans for a research-backed podcast are in the works.

With the new, extended platform, Jarjour strives explore UFC events through the lens of his others passions: “I would love to combine my love for neuroscience with my love for UFC and MMA, and the best way I’m going to that is either by have a conversation [and] putting it into the show, the podcast, the radio show, social media, whatever, and [then], by becoming a sports neurologist.”

'I want to become a sports neurologist'

The UFC, which was founded in 1993, is still a relatively new organization. For MMA fighters, medical practitioners and combat sports enthusiasts alike, growing fears parallel the growing awareness of the long-term effects of brain damage.

Jarjour, who has been tuned into the UFC for years, addresses the difficulty of watching a former MMA fighter’s health deteriorate in real time: “You can just tell [something is wrong by] the way they’re talking and acting, and it’s scary… UFC fans are seeing [the] news and are generally worried.”

As a sports neurologist, Jarjour says he hopes to help UFC fighters recover from persistent symptoms associated with traumatic brain injuries. While some medical doctors for the UFC serve ringside, making calls on whether a fighter is stable enough to compete and continue a fight, Jarjour stresses that his pursuits transcend octagon-side intervention.

“It’s not just a split-[second] decision that I want to make. It’s an ‘I want to be able to be in your life and help you out and make sure that you’re living a long and healthy life’ [kind of thing].”

Michel Jarjour rappels down the side of a skyscraper. (Photo: Michel Jarjour)

In addition to his interest in sports neurology, Jarjour is minoring in Spanish, with the hope of connecting with more of his patients on a deeper level: “I would love to be a Spanish-speaking doctor who can help not only English-speaking patients, but also immigrants from Hispanic countries and Latino countries, to be able to make them feel more comfortable throughout the entire medical process.”

While Jarjour says his interest in the medical field in general began in middle school, the choice to pursue higher education was solidified in the summer after his senior year of high school. In the middle of the night, he recounts waking up to a knock at the door and the sight of his distressed neighbor. “[I’d] never interacted with her in my life,” he says, “but she’s clearly in a state of panic, and she’s like, help. Please, help. My husband is on the ground, I have no idea what to do… so I go over to the house, call 911, make sure that he’s comforted, okay and breathing and all that.”

Around twelve hours after the paramedics arrived to take Jarjour’s neighbor to the hospital for treatment, Jarjour and his mom went to check in. He recounts that moment in the hospital: “I sit down with him and talk with him for a while, and I hear about his life story and the experience and all that. And then a few weeks later, I go to his house, and I find out that he's been consistently going to the hospital ever since that moment, and [he] told me that he trusted me more than the doctors that he's been going and talking to. And I told him, well, you still need to trust your doctors. I'm not a doctor. Don't listen to me entirely. Go listen to the medical professionals.

“But at the same time, there was something about that. He basically said that I'm taking the time to listen to him and connect with him and understand what he's going through, and the fact that he said that– [it] was the last, final pillar that I needed to reassure myself, especially before going into university, a big, pivotal moment of my life, it was the last pillar that reassured me that medicine was for me.”

A surge of adrenaline

In high school, Jarjour spent two years on the Arapaho Rescue Patrol, a team of volunteer high-school students that responds to emergency calls in the Front Range. While Jarjour says the patrol teaches very basic medical knowledge, on that night when his neighbor was in need, it was more than helpful.

“I found myself realizing consistently that the medical component of the patrol was one of, if not my favorite, part of the patrol,” says Jarjour. “I love the rescuing; I love the searching. I love the hiking and camping and all that. But the medical component was always what drew me in.”

Beyond helping others through medical intervention, he admits that he loves the adrenaline rush. “I think I’m a bit of an adrenaline junkie… Any time that [search and rescue] alarm goes off, you are just pumped with adrenaline, and it’s something I’ve always appreciated.”

Michel Jarjour (front, black cap) with colleagues recording a program for Radio 1190. (Photo: Michel Jarjour)

That ability to respond to pressure at a moment’s notice has been essential for his duties as an RA. In his experience, Jarjour has found that “a lot of people don’t like the ‘responding to incidents’ component of the position because it’s stressful, it’s tiring. You know, it could be the middle of the night, and you don’t want to be doing that.” Yet Jarjour says he appreciates the call to action: “I love [getting] the phone call… there’s something going on, please respond. I do appreciate that adrenaline rush. And, obviously, I want to make sure everyone’s safe. I’m not wishing for anyone’s downfall… I do like helping people out. It’s a very fundamental value of mine, just helping people out. And so, that’s what I’ve loved about the RA position–I’ve been able to do that.

“I’ve responded to poop on the floor, I’ve responded to residents vomiting, I’ve responded to people dead in the mountains. Especially since I want to be a doctor, I’m probably going to see the worst of the worst issues.”

'My love, my life, my hobby'

A key to navigating his very full calendar and the high-intensity situations to which he is drawn has been an awareness of and care for his mental health. “One thing that I tell people when they ask me (how I do it) is, find your Thing.” For Jarjour, the one activity that makes it all work for him is Brazilian Jiu-Jitsu. “I’ve been doing it for 11 years of my life, and it is [the Thing]. It’s never going to end. I tell myself all the time,” says Jarjour, “Jiu-Jitsu is the one thing that I will do until the day I die. It’s my love, it’s my life, it’s my hobby.”

A hobby with risks…

At the age of 11, during a practice with the adult class, Jarjour learned how risky. “Someone rolled me, placed my hand on the mat, just [acting on] instincts, and crack, crack, crack.”

The aftermath was four broken fingers on his right hand, which he recalls were “floppy” and extremely painful. Yet, after about four months of healing, Jarjour was back in the gym with his parents’ full support: “I’ve just been a very athletic and energetic kid my entire life… [my parents] never really told me, like, hey, you’re not going back. They loved the community; they loved the gym.”

With support from his parents, Jarjour continued to immerse himself in Jiu-Jitsu: “The beauty of Jiu-Jitsu,” says Jarjour, “is that you think you learn it, you know a technique, and you know all there is behind one position and then boom, there’s about 700 million other techniques just for that one position alone. And then you find out there’s hundreds of positions that you can be in.” He likens the sport to a game of chess: “You have to be able to move your piece, know what each move could do, and at the same time, predict what your opponent’s going to do.”

These mental gymnastics happen every moment throughout a fight. Yet, within the confines of the controlled, regulated gym space, Jarjour finds the high-intensity sport relieving: “I’ve gone back through my middle school and high school years, [and] all that stress would have really put a toll on my mental health, as well as the fact that I’ve gone through traumatic events, tough moments with the patrols, for example, all of these super high-stress, impacting events. And the reason why I am able to sit in front of you right now, and [say], I’m more than okay and I’m happy in life is because I found my Thing.”

He adds that it may be the sport, it may be the community, it may be a blend between the two, “but I know for a fact that I will never leave that sport because of how much it’s impacted my life. I’ve walked into the gym, and I felt terrible. I’ve walked in saying I don’t want to go. I’ve walked in with tears in my eyes. I’ve walked in having experienced–I’ll get real with you for a second–a school shooting, and I’ve come out every time from those experiences feeling so much better.”

How does he do it?

In his own words, Michel Jarjour’s “system is systeming.” From hosting a radio show to directing CU GOLD to peer mentoring for both the Miramontes Arts and Sciences Program (MASP) and the math department, not to mention responding to incidents around the clock as an RA and much, much more, it is fair to wonder if Jarjour sleeps at all. Here are just a few of the things that work for him:

Giving yourself grace

Jarjour stresses that comparison is unproductive: “Don’t compare yourself to me, and the reason I say that is because we all have different limitations. We all have our limits. We all have our aspirations, goals, values, etc., and that is a huge determinant on what you should be doing and how much you should be doing.”

Google Calendar

“People look at my Google Calendar and have a heart attack,” says Jarjour, and, yes, his Google Calendar is an explosion of overlapping color at seemingly all available hours of every single day, but it’s a system, it’s reliable and it works for him.

“It’s even like, if I literally just need to shoot [someone] an email, I will put it in my Google Calendar. [If] I need to call someone, put it in my Google Calendar… I have every single thing that I can possibly need to know in that Google Calendar, so that way, I’m always on top of it.”

ANDing

“ANDing is something that 91��ý actually taught me,” says Jarjour. “The whole concept of ANDing is that you literally take two things, or a couple of things that you’re passionate about, and you bridge the gap between those two. So, for me, that’s neuroscience slash medicine and sports, and that’s why I ANDed them together.”

Jarjour says that many people are already ANDing subconsciously, but finds “when you make it a known thing, you can actually go and seek it a little bit more. . . . Now I know that I can go do these things on a more consistent basis, and it’s allowed me to combine so many of my fields of study, my interests [and] my hobbies.”

Finding your “Thing,” finding a community

For Jarjour, training in Brazilian Jiu-Jitsu is the key to managing his busy lifestyle. He urges others to find the “Thing” that makes it all worth it, one that is tailored to each individual’s personal interests. With so many ways to get involved, Jarjour says it would be impossible for him to champion a single program above the rest. Regardless, whether it’s all things media, music and entertainment at Radio 1190, or what he describes as “the most amazing, tight-knit community I’ve ever been a part of in CU GOLD,” Jarjour remains adamant that mental health flourishes when individuals actively engage with their own communities, pursue personal interests and, as he puts it, find their Thing.

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Undergraduate student balances passion for high-risk combat sports with neuroscience studies, aiming to make mixed martial arts safer for all fighters.

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Top photo: Michel Jarjour leads a CU GOLD activity. (Photo: Michel Jarjour)

Grad ponders the past and considers the future

Rachel Sauer — Thu, 30 Apr 2026 22:54:29 +0000

Grad ponders the past and considers the future Rachel Sauer Thu, 04/30/2026 - 16:54

Rachel Sauer

Abigail Verneuille, who is earning a BA in anthropology along with a GIS certificate, is honored as the Spring 2026 College of Arts and Sciences outstanding graduate

In the summer of 2024, following her sophomore year as a University of Colorado Boulder anthropology major, Abigail Verneuille signed up for archaeological field school in the Velarde Valley of northern New Mexico.

The area is stunning with its boundless sky and mosaic of mesas, but summers there are intense—arid and scorchingly hot, plus dusty and buggy.

“We were sleeping on the floor for a month, and despite that and the heat, all the dirt, the bugs, everything, I just had the best time of my life,” she says. “I loved everything about it.”

Abigail Verneuille (third from left), the Spring 2026 College of Arts and Sciences outstanding graduate, with (left to right) Dean of Arts and Humanities John-Michael Rivera, Dean of Social Sciences Sarah Jackson, Dean of the College of Arts and Sciences Daryl Maeda, Dean of Natural Sciences Irene Blair and Interim Associate Dean for Student Success Jennifer Fitzgerald.

Before that summer, she had indistinct ideas about her path following college, but after it she knew that she wanted a career in archaeology and directed the rest of her undergraduate education toward that goal—earning a certificate in geographic information systems (GIS) and computational science and writing a thesis aiming to predict past streamflow heights of the Rio Grande River to identify years of agricultural instability.

In recognition of her innovative research, academic excellence and dedicated work, Verneuille has been named the Spring 2026 College of Arts and Sciences outstanding graduate.

“Verneuille’s perfect academic record tells only part of the story, as she has taken courses ranging from humanities to women and gender studies to biological anthropology to math to astronomy to geographic information systems to computational science, and she has received straight A’s in all of them!” wrote Scott Ortman, professor of anthropology, in recommending her. “She has also conducted archaeological field research in North Macedonia and participated in the anthropology department’s archaeology field school in northern New Mexico. Her honors thesis project emerged from that experience.

“What stands out about Abby’s thesis is not just its organization, clarity and technical sophistication, but the fact that the work is of such significance in its field.”

Hiking into the backcountry

Because the kind of archaeology she wants to do is outdoors and sometimes miles down a dirt road, it helps that Verneuille has always loved to be outside. Growing up in Tennessee, she spent a lot of time hiking and exploring—activities she continued when she moved to Boulder for college.

She majored in anthropology and minored in women and gender studies, which allowed her to study themes of religion and ritual that dovetailed with her archaeological research. She discovered her academic passion, though, near the tiny community of Estaca, New Mexico, where she and her research colleagues opened four two-meter-by-one-meter rectangles in which they found artifacts that helped describe the people who lived in that area before and after Spanish colonialism.

Another project on which she worked was documenting petroglyphs with the Mesa Prieta Petroglyph Project. “There would be days where we’d hike an hour and a half into the backcountry and spend eight hours recording petroglyphs, then hike an hour and a half back up this mesa, and that was just the most fun I’ve ever had in my life,” Verneuille says.

In talking with archaeologists from other universities, though, she realized at field school that she would need technical expertise to accompany her hands-in-the-dirt skills, so in Fall 2024 she began pursuing her GIS and computational science certificate. “For that, you’re required to take a semester of statistics in R Studio and then two semesters of coding in Python, and I’d never really thought of myself as a computer kind of person, but I got thrown straight into it,” she says.

“But once I got into the actual mapping classes, the spatial analytics, all the remote sensing, that’s when I thought, ‘Wow, this is amazing, I love this.’”

Abigail Verneuille working at an archaeological field site in northern New Mexico. (Photo: Abigail Verneuille)

Amazing work, amazing people

For her thesis, Verneuille sought to tackle a 100-year-old mystery in U.S. Southwest archaeology: When Pueblo ancestors migrated from the Four Corners region into the Rio Grande Valley in the 13th century, why did they initially settle away from the main courses of the Rio Grande and Rio Chama, where most of the water was, only to gravitate toward the rivers about 100 years later?

Verneuille combined river flow data from the Embudo gauge, the oldest river gauge in the United States, with weather-station data and tree-ring data reflecting precipitation and temperature from the headwaters of the Rio Grande to essentially “predict the past” and understand June flood risk from the present back to 1200 A.D.

Abigail Verneuille conducts land surveys in northern New Mexico for her archaeological research. (Photo: Abigail Verneuille)

Transitions visible in her model corresponded with the end of a phenomenon called the Medieval Climate Anomaly, an unusually warm and wet period worldwide.

“In a final stroke of brilliance, Verneuille not only showed that this reduction in June flood risk corresponds in time to the concentration of population along the main river channels, but she also considers how Pueblo ancestors would have interpreted this change in the environment by considering depictions of water serpent beings in rock art of the area,” Ortman wrote. “Her work shows that climate change can improve local environments for humans in counterintuitive ways, and that there is a connection between the practical and the spiritual with regard to human adaptation to the environment.”

She notes that while the physical work of archaeology was fascinating, she equally loved the community-building aspect of it, working with people who live in the area and whose ancestors were the Tewa-speaking people she was studying. In March, she and several colleagues gave a presentation to residents in the area on what their research had revealed about things like diet and socioeconomic differences of the people who lived in that area hundreds of years ago.

“They were gracious enough to welcome us into their home, so everyone sat around the dining room table and we had a little projector,” Verneuille says. “This is their livelihood, their community, so they had a lot of questions, and it was such a rewarding experience to see how the technical side of academic work has real-life impacts.”

It’s work that she hopes to continue doing after she graduates Saturday, and she has applied for a field technician position with cultural resource management firms. She also is aiming for graduate school in the next five years to continue her archaeology studies.

“It’s amazing work and the most amazing community of people,” she says, “and one that I’d love to continue being a part of.”

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Abigail Verneuille, who is earning a BA in anthropology along with a GIS certificate, is honored as the Spring 2026 College of Arts and Sciences outstanding graduate.

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A new (and not extinct) moth emerges from the Florida Scrub

Rachel Sauer — Fri, 24 Apr 2026 14:20:20 +0000

A new (and not extinct) moth emerges from the Florida Scrub Rachel Sauer Fri, 04/24/2026 - 08:20

Rachel Sauer

After publishing about a moth he’d only seen in collections, 91��ý researcher Ryan St Laurent travels to Florida and spots the elusive—and previously thought extinct—Cicinnus albarenicolus

On the second of two nights he spent deep in central Florida forests last week—dripping sweat, shrouded in swarms of flying ants and June beetles, well into the 20 kilometers he’d eventually walk monitoring his four traps—Ryan St Laurent saw the thing he’d come, but didn’t really expect, to see.

To anyone who hadn’t spent a dozen years studying it, the sandy brown wisp might have looked like a fragment of autumn leaf or a shred of bark, but St Laurent immediately recognized Cicinnus albarenicolus. He’d just never seen the moth alive before, let alone in the wild.

In fact, until November, St Laurent thought this new species of Mimallonidae, or sack-bearer moth, might be extinct (DNA barcoding of moth specimens in collections had identified it as a new species). Before November, it hadn’t been seen in its extremely limited Florida habitat since the 1960s.

Ryan St Laurent, a 91��ý assistant professor of ecology and evolutionary biology and CU Museum curator of entomology, traveled to Florida last week to try finding the elusive Cicinnus albarenicolus moth.

When news came that a collector had found one of the presumed-extinct moths in a sliver of white sand scrub in the Florida peninsula, St Laurent, a University of Colorado Boulder assistant professor of ecology and evolutionary biology and CU Museum curator of entomology, had just finished writing a recently published paper describing the new C. albarenicolus, comparing it with other Mimallonidae species.

“I had written that it might be extinct, so I had to revise the paper and bring in some additional co-authors,” St Laurent says. Then he learned about an upcoming scheduled burn in one of the very few areas where C. albarenicolus conceivably could be found, so he booked a flight to Florida.

“I don’t think this is the only population in existence, and I don’t think it’s going to get burned up and go extinct,” St Laurent said several days before flying to Florida. “But I want to go out there and at least try to get a couple of tissue samples in the event we can’t find it again.”

Needles and haystacks don’t adequately encompass his aim; he was trying to find a small brown moth in a 450,000-acre forest.

‘These look really cool’

But how does a scientist first steer his scholarship to a little-known and barely studied family of moths, a member of which may or may not have been extinct? For St Laurent, the path began during undergrad at Cornell, where he studied entomology and worked with museum insect collections. The collections manager encouraged him to find something that nobody else was working on, “but there was a lot of competition in butterflies and moths—it’s a popular group as far as insects go,” he explains.

“I remember going through the collection, asking, ‘What am I going to work on?’ when I came across this particular family (of moth). I was like, ‘Well, these look really cool,’ but when I went to try to curate them, I realized there were no resources, no books, no field guides, nothing.”

Perfect, he thought. If nobody was working on that family, he would. He wrote his undergraduate honors thesis then pursued his PhD in charting the phylogeny, or tree of life, of this small group of moths. “Once you have a tree of life, you can start talking about them and you can contextualize them as a member of bigger butterfly and moth groups,” he says.

It wasn’t until St Laurent got to the Smithsonian for his postdoc that he had a chance to order mitochondrial sequencing on one of the Mimallonidae specimens that he’d identified as different from its family members. That sequencing showed it was genetically different from anything else in its family, so when St Laurent came to 91��ý, he continued the project of sequencing specimens from various collections.

The female Cicinnus albarenicolus moth (left) that flew out of the darkness of Seminole State Forest in Florida last week, and Ryan St Laurent (right) holding the twig on which it perched.

Most of the specimens were many decades old, compounding the challenges of genetic sequencing. St Laurent worked with a Canadian lab that specializes in barcode sequencing—a technique that focuses on short sequences of genes—sending them prepared samples for testing. In one instance, St Laurent sampled the leg of one of the few recent specimens, which he put on a sequencing plate and sent to Canada in January, looking for further evidence that this was, in fact, a new species of moth.

The genes didn’t lie: It was.

A moth flies out of the darkness

As if discovering a new species isn’t a big enough deal, discovering that it’s not extinct after all is enough to drive any researcher from the lab and straight into the Florida thickets.

Among the things that make Mimallonidae interesting, St Laurent says, is they belong to a superfamily with ancient lineage—more than 100 million years old—99% of which live in Central and South America. Only a handful of species in the family occur in North America, but the ones that do are (mostly) quite common.

Ryan St Laurent set up four insect traps with moth-attractant LED lights.

Except, of course, for C. albarenicolus—endemic to small patches of Florida Scrub, made rarer still by habitat loss. “Only 10% of Florida Scrub is left,” St Laurent said before leaving for Florida, “and the scrub that does still exist is super isolated. We don’t know if those little pockets can support this moth at all.”

Through some scientific sleuthing and mapping the locations where collection specimens had been found, St Laurent narrowed possible C. albarenicolus habitat to six sites in the Florida peninsula: eastern Ocala National Forest, Weeki Wachee north of Tampa, Cassia and Cassadaga northeast of Orlando, the Archbold Biological Station on the Lake Wales Ridge in Central Florida and coastal southeast Florida in Port Sewall. Each location has or had the rare Florida Scrub habitat—specifically white sand, open canopy scrub, which C. albarenicolus seemed to favor.

“This particular family of moths, there’s a reason nobody studies them,” St Laurent said before leaving for Florida. “They’re really hard to find and really hard to raise in captivity. I’ve done field work all over the Americas, and I’m lucky if I see one or two a night in Central or South America. I’m very used to not being able to find these things, which is why I do a lot of work in collections.”

Still, he had to try. He flew to Orlando and then drove to the township of Cassia. He had previously seen a specimen in the American Museum of Natural History in New York City that had been found near Cassia in 1964. “I knew about that specimen, I knew the scrub in that area because I went hiking there years ago in grad school and found caterpillars, but I didn’t rear them,” St Laurent says, so that’s where he started.

The first night, he set up four traps resembling tall, narrow tents with a specialized moth-attractive LED inside—the aim being to lure insects to the light. Other insects arrived in the thousands, but no C. albarenicolus.

The second night, he set up at a spot in the nearby Seminole State Forest where the trees open to an expanse of sandy soil and scrubby plants. At 8:49 p.m., “I’m standing there and this kind of pinkish moth comes out of the darkness, and it was very recognizable. Nothing else really looks like that, moth-wise.”

After that first moth, two more came. St Laurent knew he was seeing females, which fly right after sunset, so he collected them and raced them to his colleagues at the University of Florida in Gainesville. Collecting live females means collecting eggs, with the attendant potential of rearing them in the lab. If his colleagues are able to rear them, he says, he will receive progenitors and offspring.

As for seeing a moth that he’d only previously seen as a collection specimen, “I was just like, ‘Wow, I was right! It is here!’ My suspicion is the moth is all over the place in Ocala, but it’s rare and diffuse there. It’s a much more concentrated site in Seminole, surrounded by hardwood hammocks and the St. Johns and Wekiva rivers, so you have a better chance of finding something there.”

The site in the Ocala National Forest is scheduled for a controlled burn associated with Florida scrub jay management, “which is probably good in the overall grand scheme of things,” St Laurent says, “but since we don’t know what the moth eats or when it’s active or its annual lifecycle or habitat requirements, I don’t know if the burning regime is appropriate.

“(The moth is) part of Florida’s multimillion-year history, and Florida is the only place in the world where it occurs. It may not be some top-down species that’s controlling the habitat, but it’s still a very important representative of the one-sixth of its family that’s found in North America, and this one is the only species endemic to the U.S. in this family. It’s a part of Florida heritage and U.S. heritage, and we need to protect it.”

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After publishing about a moth he’d only seen in collections, 91��ý researcher Ryan St Laurent travels to Florida and spots the elusive—and previously thought extinct—Cicinnus albarenicolus.

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Preserving the spaces that shaped O’Keeffe’s iconic art

Rachel Sauer — Tue, 21 Apr 2026 14:00:50 +0000

Preserving the spaces that shaped O’Keeffe’s iconic art Rachel Sauer Tue, 04/21/2026 - 08:00

Cody DeBos

91��ý MFA alumna Giustina Renzoni considers how to share space and preserve history as director of historic properties at the Georgia O’Keeffe Museum

In Abiquiú, New Mexico, vast mesas sprawl beneath an expansive blue sky. Among them sit the adobe walls of a home once inhabited by one of America’s most iconic artists. The interior is painted with light and characterized by quiet restraint reminiscent of the natural features outside.

It is here, in the home of Georgia O’Keeffe, that Giustina Renzoni helps visitors see both the artist’s work and the world that shaped it.

“When I first encountered Georgia O’Keeffe’s home in Abiquiú, what struck me immediately was that it wasn’t just her residence. It was also a remarkable example of vernacular adobe architecture with nearly 200 years of history before she purchased it,” Renzoni says.

Giustina Renzoni, 91��ý MFA alumna, is the director of historic properties at the Georgia O’Keeffe Museum in New Mexico.

Now, as the director of historic properties at the Georgia O’Keeffe Museum, Renzoni’s day-to-day work involves a careful balance of sharing the space with visitors while also preserving the structure and its layers of history.

A path shaped at 91��ý

Renzoni’s path to her current role began with a long-standing interest in the relationship between art and environment.

“I’ve always been drawn to the intersection of art, history and place,” she says. “Over time, I became especially interested in how artists’ environments shape their creative work.”

After studying art history and visual culture and gaining early experience working in museums, she pursued a Master of Fine Arts at the University of Colorado Boulder.

“I chose 91��ý because it offered a program that encouraged interdisciplinary thinking. I was interested in exploring art history alongside visual culture, often through sociohistorical frameworks,” Renzoni says.

She also calls out the collaboration required when working in a museum and recalls how her time at CU helped hone these skills.

“My time at CU helped me develop the ability to think across those disciplines and see how they all contribute to interpreting art and history for the public. That interdisciplinary mindset has been incredibly valuable in my role at the O’Keeffe Museum.”

How place helps us understand art

At the Georgia O’Keeffe Museum, Renzoni oversees the preservation and interpretation of the Museum’s historic properties—O’Keeffe’s home in the village of Abiquiú and another at Ghost Ranch. The Abiquiú home welcomes thousands of visitors a year, while the Ghost Ranch home is currently closed to the public, awaiting renovations and preservation work Renzoni will head. Her work bridges scholarship and public experience, ensuring the physical spaces connected to O’Keeffe’s life remain protected while also giving visitors a chance to experience them.

Much of her work is rooted in a simple, but powerful, idea: To understand an artist, one must understand where and how they lived.

“Seeing the places where artists lived, the landscapes they looked at every day, and the objects they surrounded themselves with can reveal dimensions of their work that aren’t always visible in a gallery setting. For me, those spaces create a kind of context that brings the artwork to life,” Renzoni says.

The Abiquiú patio, bedroom and zaguán of the Georgia O'Keeffe Museum. (Photos: Krysta Jabczenski/© Georgia O'Keeffe Museum)

Though the art may be stunning, viewers can’t see the full picture when it is hanging on a featureless white wall.

“Historic spaces show the relationship between creative work and daily life. You see what an artist chose to keep around them, how they organized their studio and how the landscape shaped their perspective,” she says.

For Renzoni, one of the most compelling ways to explore that connection is through her recent exhibition, Artful Living: O’Keeffe & Modern Design, which is currently on view at the museum’s welcome center in Abiquiú.

“The exhibition explores how O’Keeffe transformed her traditional adobe home in Abiquiú into a distinctly modern living environment through furniture, textiles, and design objects,” Renzoni says. “What I find fascinating is that the house itself becomes a kind of three-dimensional expression of her artistic vision.”

Balancing preservation with public access

Preserving this one-of-a-kind environment, however, comes with challenges.

“The biggest is balancing preservation with access,” Renzoni says.

Historic homes like O’Keeffe’s weren’t designed for a steady stream of visitors. Even small interactions can cause lasting damage.

“Things like light exposure, temperature changes and foot traffic can all affect fragile materials,” Renzoni notes.

In Abiquiú, where O’Keeffe’s home is built from earthen adobe, those concerns are even more pronounced. Still, ensuring public access is essential.

“The goal is to create thoughtful ways for people to experience [these spaces] without compromising their long-term preservation,” Renzoni says.

Doing so requires careful coordination across disciplines, from conservation and collections management to education and visitor engagement.

“In a gallery, the artwork is often isolated from that context. In a historic home or studio, you begin to see how art, environment and personal life were all intertwined.”

Reinterpreting O’Keeffe’s legacy 40 years later

Renzoni’s work feels especially timely in 2026, which marks the 40th anniversary of O’Keeffe’s death. Decades later, the artist’s work continues to resonate with audiences around the world.

“I think O’Keeffe resonates because her work feels both deeply personal and universal,” Renzoni says. “Her paintings of New Mexico, in particular, capture a sense of space, light and stillness that many people continue to find compelling today.”

Visiting the places where O’Keeffe lived can also reshape how people understand her work.

“Seeing those environments helps visitors understand that her work was deeply rooted in direct observation and in her relationship with the land,” Renzoni says.

Standing in Abiquiú, visitors witness how the scale of the sky, the geometry of adobe walls and the contours of the surrounding cliffs influenced an icon of American art, grounding her paintings in lived experience.

In the end, the spaces Renzoni preserves offer more than a glimpse into O’Keeffe’s life. They let visitors connect to O’Keeffe’s work on a deeper level, granting an understanding of how her work took shape that can be found nowhere else.

“In a gallery, the artwork is often isolated from that context,” Renzoni says. “In a historic home or studio, you begin to see how art, environment and personal life were all intertwined.”

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91��ý MFA alumna Giustina Renzoni considers how to share space and preserve history as director of historic properties at the Georgia O’Keeffe Museum.

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Top image: Abiquiú sitting room, Georgia O'Keeffe Museum (Photo: Krysta Jabczenski/© Georgia O'Keeffe Museum)

Sometimes you just feel like a mango

Rachel Sauer — Wed, 15 Apr 2026 14:48:12 +0000

Sometimes you just feel like a mango Rachel Sauer Wed, 04/15/2026 - 08:48

Rachel Sauer

In new mid-grade novel Confessions of a Mango, writing team Katheryn Lumsden and Nathan Pieplow explore the challenges of navigating middle school with a dyslexia diagnosis

Have you ever felt like the mango in a line of lovebirds? Sure, you look like you fit in—same general shape, same red, yellow and green coloring—but, well, you’re a mango and everyone else is a bird.

That’s how Ruby Emmerson feels at Benton Academy, where she’s starting sixth grade with her twin brother, Bryce. But while Bryce is an academic high achiever who likely will excel at the competitive charter school, Ruby’s diagnoses of dyslexia, dysgraphia and dyscalculia mean that reading, writing and math are tough for her.

And when she fails her first test at Benton, wow, does she feel like a mango. She even writes a brief blog post about it: “I dont belong at Benton Acadamy. I’m an imposter. I walk beside you in the halls every day. But I’m not smart enuff to stay much longer. Theres so much work. Im failing.”

Nathan Pieplow (left) and Katheryn Lumsden (right) are the authors of Confessions of a Mango, a new mid-grade novel that explores questions of belonging.

Except . . . so many of her classmates relate. Just as readers likely will.

Ruby’s are the confessions in Confessions of a Mango, a mid-grade novel published this week and written by Katheryn Lumsden, a University of Colorado Boulder molecular, cellular and developmental biology alumna, and Nathan Pieplow, an associate teaching professor in the Program for Writing and Rhetoric.

But for the purposes of this book, they are Kate and Nate, a writing team with way too many ideas and way too little time, and a shared passion for telling honest stories with humor and empathy.

“This is the first creative partnership I’ve been in that works,” Pipelow says. “We bicker like siblings, but the beautiful thing about writing with Katheryn is she’s an idea factory. She can write 2,000 words in an afternoon, then she sends them to me, and I don’t have to start with a blank page.”

“I’m the sloppy copy,” she says.

“I contribute ideas,” he says.

“He’s the atmosphere and the voice. Ironically, Mango didn’t have my voice until he added it.”

It just works, they conclude.

A writing partnership is born

Pieplow and Lumsden met, unsurprisingly, in a Boulder writing group six years ago. Lumsden, a pharmacist by profession, was a longtime group member who wanted a community of support to help her wrangle her boundless ideas. Pieplow, who had authored two field guides to bird sounds, wanted to delve into fiction writing.

“Everyone was like, ‘Why is he here? He doesn’t have plots,’” Lumsden recalls. “But I didn’t have pretty writing and he does, so I decided, ‘I’m gonna ask Nathan if he wants to meet'—for me it was so that he could teach me how to write better, and for him it was so I could teach him how to plot.”

Author event

Katheryn Lumsden and Nathan Pieplow will talk about Confessions of a Mango Thursday evening at Boulder Bookstore.

What: Book discussion of Confessions of a Mango

Who: Authors Katheryn Lumsden and Nathan Pieplow

Where: Boulder Bookstore, 1107 Pearl St.

When: 6:30 p.m. Thursday, April 16

Reserve a spot

And so, a writing partnership was born. Their first book was a young adult historical fantasy that was good enough to get them their agent, Sarah Fisk, but it wasn’t bought by a publisher. The next novel wasn’t, either.

“If you want to be a fiction writer, you write several (books) and if one doesn’t get published, you move on to the next,” Lumsden says.

“(Confessions of a Mango) is definitely our debut,” Pieplow adds. “The first two were not quite at this level; with our first ones we were playing with form and voice.”

In fact, Fisk told them that the most important thing to get right when writing mid-grade or young adult fiction is the voice, Lumsden says, “and fortunately, voice has always been one of the things I do well.”

The idea for Confessions of a Mango germinated from many seeds. Lumsden grew up in Boulder with a twin brother who, like Bryce, was considered the “smart” one. Lumsden struggled with reading, and their mom, not wanting to make Lumsden feel bad, took both of them for dyslexia testing, explaining it away with “people are interested in twins.”

She did learn to navigate dyslexia, however, so when she was 12, her mom brought home a cake as a sort of “Congratulations for outgrowing dyslexia!” celebration. “Except it wasn’t until much later that I found out you don’t actually outgrow dyslexia,” Lumsden says.

She also read Overcoming Dyslexia by Sally Shaywitz and ideas began percolating. So, when Pieplow went on a birding trip for a month, Lumsden grew impatient waiting for his return and started writing a book.

Making it realistic and relatable

“Part of it was that I was so angry,” she explains. “So often, these kids (diagnosed with dyslexia) don’t know how smart they truly are, and that’s so unfair. Plus, they never see themselves in books because dyslexia just isn’t something that gets written about in mid-grade fiction.

Confessions of a Mango tells the story of Ruby Emmerson, a sixth grader at Benton Academy whose diagnoses of dyslexia, dysgraphia and dyscalculia make her feel like she doesn't fit in at the competitive charter school.

“So, when Nathan got back, I sent him what I’d started and he was like, ‘This is actually very good.’”

Lumsden had an advantage because when the two began writing Confessions of a Mango three years ago, her son was 10 and her daughter was 12—she had a front-row seat to the joys and concerns of children entering and navigating middle school.

Pieplow says it was important to them to write a book that was realistic and relatable: The parents may be occasionally clueless, but they want what’s best for their kids. The teachers and administrators at the school are supportive, and the other kids may be squirrelly sometimes, but they’re otherwise normal, decent kids.

“I grew up in Boulder and my husband and I are raising our kids in Boulder, and the parents here are fantastic, but sometimes there can be this feeling of life or death if you don’t do well (in school),” Lumsden says. “There isn’t a lot of room to fail, and people sometimes won’t even say the word ‘fail’ to kids. But it’s important that kids know sometimes they’ll fail and it’s not the end of the world.”

When Fisk began pitching their draft to publishers—after suggesting they excise this chapter and add that chapter, and put in more about Ruby’s quirky best friend, Thea—Little, Brown was the first to make an offer and was the publisher they ultimately chose.

Part of that decision, they say, was the kindness that Little, Brown staff showed them throughout the publishing process—how included they felt in every step and how Little, Brown representatives embraced the dyslexia angle of their story. In fact, Confessions of a Mango is printed in the Lexend font, which improves reading performance and reduces visual stress for people with dyslexia.

They even had a significant say in the vibrant book cover, which shows a girl seated in the shadow of a huge mango with a lovebird perched on its leaf. When they and artist Andy Smith settled on two cover finalists, they asked Lumsden’s son and his friends to vote for their favorite one.

Now, in publication week, a three-year process is finally tangible with the book in readers’ hands. It’s a book close to their hearts, Lumsden says, and they’re proud of the story it tells and the children to whom it gives a literary voice.

But, well, on to the next. They already have several books in progress, and “one of the things I love about working with Katheryn is that eventually we’re going to write something in every genre, because of the exploration of (writing) and how it’s like travel,” Pieplow says. “I love seeing new places, and that’s what I’m doing through the books we’re writing.”

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In new mid-grade novel Confessions of a Mango, writing team Katheryn Lumsden and Nathan Pieplow explore the challenges of navigating middle school with a dyslexia diagnosis.

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Historical novel marks latest chapter for 91��ý alumna

Rachel Sauer — Mon, 13 Apr 2026 20:21:46 +0000

Historical novel marks latest chapter for 91��ý alumna Rachel Sauer Mon, 04/13/2026 - 14:21

Megan Clancy

Author Rebecca Rosenberg’s latest book continues her literary work highlighting the often-overlooked stories of remarkable women

With the release of her newest historical novel, University of Colorado Boulder alumna Rebecca Rosenberg (Engl; Psych'76) is adding another chapter to a writing career focused on uncovering the lives of extraordinary women that history has often overlooked.

The award-winning novelist’s latest work, Silver Echoes, tells the story of Silver Dollar Tabor, the daughter of Elizabeth McCourt Tabor, better known at Baby Doe Tabor. This newest historical novel builds on Rosenberg’s first book, Gold Digger, the rags-to-riches-to-rags story of Baby Doe, who navigated the worlds of wealth, power, politics and scandal in the wild days of western mining.

91��ý alumna Rebecca Rosenberg with her historical novel Silver Echoes, which is based on the story of Colorado's own Silver Dollar Tabor. (Photo: Rebecca Rosenberg)

91��ý laid foundation for writing career

Rosenberg credits growing up in Colorado and her time spent at 91��ý with nourishing her interest in the American West, particularly stories about pioneers in the Centennial State.

“I grew up in Colorado,” says Rosenberg, “and being in Boulder and in Hallett Hall, looking out at the mountains all the time, it was just really inspiring in terms of just living in Colorado and the pioneers and the people that came before us there and their incredible stories.”

Rosenberg was a theater and psychology major while on campus but was drawn to classes in multiple departments.

“I loved my humanities courses. I got a bigger perspective,” she says. “I think that got me excited about the whole world and the stories of the world. And pretty soon I realized that people don't tell stories about women. They tell stories about men. So that's where I got my inkling that I would like to tell those stories.”

After graduation, Rosenberg continued to feel the pull toward story. She eventually found her way to a two-year novel-writing course at Stanford University, where she learned how to combine her interest in storytelling and her background in psychology.

“A novel is always about conflict,” she says. “Every scene is what is the conflict and what does each character want? What do they desire? So yeah, psychology is instrumental in that.”

From her time at Stanford, and the work of 10 years after, came her first book, Gold Digger, which brought to life the story Baby Doe Tabor, a beautiful young woman who married the son of a wealthy miner in 1878 to save her family from poverty. The book won plaudits for its mix of historical detail and fiction, with the Historical Novel Society calling it “a gripping story of female grit and resilience.”

Since then, Rosenberg has gone on to win accolades for her novels The Secret Life of Mrs. London, Champagne Widows and Madame Pommery. Rosenberg and her husband, Gary, are lavender farmers in Sonoma Valley, California, and they are co-authors of the nonfiction pictorial book Lavender Fields of America: A New Crop of Farmers.

In Silver Echoes, 91��ý alumna Rebecca Rosenberg (Engl; Psych'76) continues the Tabor story she began in her novel Gold Digger, based on the rags-to-riches-to-rags story of Baby Doe Tabor.

Telling the overlooked story of Silver Dollar Tabor

In Silver Echoes, her most recent novel and Gold Digger’s sequel, Rosenberg uses her psychology background even more extensively, finding the story she wanted to tell through a discovery about one of history’s most misunderstood women, Silver Dollar Tabor. Silver Echoes is told through a dual timeline, following Silver Dollar, Baby Doe’s daughter, in 1920s Chicago and Baby Doe in 1930s Colorado searching for answers to her daughter’s disappearance.

“It's really an intense novel because I feel like Silver had DID, or dissociative identity disorder, what used to be called split personality,” Rosenberg says. “I found that in my research of the letters between mother and daughter, how dissociated Silver was from several realities. Every time she'd write a letter, she'd write about a whole different reality in her life.”

For her first novel, Rosenberg studied Baby Doe's diaries and the letters between her and Silver Dollar, who was in Chicago in the speakeasies and an actress in movies. She noticed the mother’s worry over Silver and knew there was a story to tell there.

“I was reading these letters and I saw that Silver Dollar was asking her mother to write her a letter under a different name to a different address in Chicago every other week. And so I thought, ‘What is going on there?’” says Rosenberg. “Nobody had really explored that. Everyone was saying that she just fell into being a prostitute. But I didn't see that. I saw that she was telling her mother that she was going to open a flower shop with this girlfriend and that she was working for Marshall Fields. And then she was a hat check girl at a speakeasy and all these different things. And then she would be engaged to one guy and she was going to get married and then you never heard about him again.”

Rosenberg started studying what Freud and Jung wrote about multiple personalities. She noticed that all of Silver’s inconsistencies—paired with a childhood filled with multiple traumas—pointed to DID. With that diagnosis, Rosenberg proceeded to tell the story of Silver Dollar Tabor with new insight and creativity.

“I always do really extensive author's notes, telling exactly what's true and not true and where I'm making a leap,” she says. “No one ever diagnosed Silver Dollar as having DID because they hadn't even identified it then. But throughout the book, I have segments of what Sigmund Freud says during that time and what Jung says about women that sound exactly like her. I made the leap that she had that. And that's definitely a leap. No one has ever said it before.”

It's these deep dives and creative exploration of story that Rosenberg enjoys most about writing historical fiction. Finding the unknown stories and uncovering what’s remained untold until now.

“I will always write about extraordinary women,” she says. “They fascinate me. The research takes me a long time. I have to read a lot of books about their background before I can even start on a project. It's a very fun and very satisfying kind of work if you love to research and telling stories.”

Rosenberg’s newest book, License to Thrill, is set for release this month. Another dual timeline novel, the book tells the story of Lily Bollinger, the “Dame of Champagne,” who refused to surrender to the Nazis during WWII and to other enemies for decades more.

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Author Rebecca Rosenberg’s latest book continues her literary work highlighting the often-overlooked stories of remarkable women.

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Under the dome: Why two longtime Boulder residents keep coming back to Fiske Planetarium

Rachel Sauer — Mon, 30 Mar 2026 23:49:30 +0000

Under the dome: Why two longtime Boulder residents keep coming back to Fiske Planetarium Rachel Sauer Mon, 03/30/2026 - 17:49

Bradley Worrell

Although Drew Simon and Ron Marks did not attend 91��ý, they have a deep appreciation for the university—and for Fiske in particular

When Drew Simon and Ron Marks walk out of Fiske Planetarium after a show, they intuitively know what’s coming next. It’s not applause or conversation or even a specific memory of a particular song or image.

It’s a feeling.

As the two longtime friends step back into the Boulder night, eyes adjusting, ears recalibrating, both of them are grinning from ear to ear. That part never changes.

“Every time we went,” Simon says, “we knew we’d walk out smiling.”

Longtime friends and Boulder residents Ron Marks (left) and Drew Simon are avid fans of the Fiske Planetarium, having attended dozens of shows over the past five years. They’ve seen some shows multiple times.

That quiet certainty—more than any single performance—is what has kept Simon and Marks returning to Fiske for years. Not because they planned to. Not because either of them studied astronomy or worked in the arts or even attended the University of Colorado Boulder.

And not because they expected to find something transformative inside the planetarium they had driven past many times. Instead, it began with curiosity and a misunderstanding.

Deep roots in the community

Marks, 80, and Simon, 71, have been friends for more than two decades, both with deep roots in the Boulder community stretching back at least four decades. Introduced to each other through a mutual friend—Marks’ housemate—they bonded over shared interests, which include hiking, live music, art and cultural events.

“There was a time when we were probably hippies, or hippie‑adjacent,” Simon says with a laugh. Over that time, 91��ý has been a constant presence in their life—even though neither man attended the university.

Marks has been retired for several years from a career as an electric engineer for Lefthand Design in Niwot. Simon recently retired from his job as a principal at BSW Wealth Partners in Boulder. Like many longtime Boulder residents, Simon’s relationship with the university grew organically, through connections to the Leeds School of Business and the Conference on World Affairs. Also, his oldest son attended 91��ý, further weaving the university into his family’s life.

Yet none of that connected either man directly to the Fiske Planetarium. Neither of them had a lifelong fascination with celestial mechanics or immersive films projected on a dome ceiling. Their first visit came the way meaningful discoveries do: by accident.

“As for Fiske specifically, we didn’t have some grand plan. It was probably curiosity,” Simon says, reflecting back. “We may have seen a flyer for the planetarium or something in Boulder Weekly back when that still existed. Or we may have simply asked, ‘What’s going on at the planetarium?’”

Whatever the case, Simon and Marks decided to check it out.

All the pretty lights

Their first show at Fiske remains memorable largely because of how unprepared they were for it. The show listing read “Pretty Lights”—and Simon assumed that meant exactly what it sounded like: a show featuring visually pleasing lights. He had never heard of the musical act called Pretty Lights and didn’t realize it was the stage name of the performer.

“That probably shows how naïve we were at the beginning,” Simon says with a laugh. That misunderstanding says something about where Simon and Marks were at the time. Not insiders. Not trend hunters. Just two curious locals trying something unknown to them.

They saw that first show more than five years ago—and since that time the two men have made up for lost time by seeing as many shows as possible. Still, an exact count is difficult to quantify, Simon says, because the experience resists counting. Some nights, they attend two shows, back to back. At dome film festivals hosted by Fiske, the two men might watch eight or more short films in a day. So, does that count as one event—or eight?

Simon says he’s never kept track “because it never occurred to me that one day someone would ask.” He estimates today that it could range anywhere between 30 and 60 shows.

What he remembers clearly is that—especially in the early years—he and Marks went a lot. They were enthralled.

So many shows to choose from

Marks says the variety of the programming offered by Fiske is a big part of the draw.

“We’ve done all of them,” Simon agrees. “We’ve attended traditional planetarium shows focused on astronomy—black holes, galaxies and large-scale maps of the universe. We’ve done laser shows and we’ve attended a lot of Liquid Sky performances.

“Early laser shows were sometimes underwhelming,” he confesses, “but the technology and the people running it have improved dramatically. Today, I wouldn’t dismiss a laser-only show the way I might have several years ago.”

“We’ve done all of them. We’ve attended traditional planetarium shows focused on astronomy—black holes, galaxies and large-scale maps of the universe. We’ve done laser shows and we’ve attended a lot of Liquid Sky performances," says Drew Simon. (Photo: Fiske Planetarium)

For Simon and Marks, Liquid Sky performances—the hybrid music-and-visual experiences—have remained their favorite over the years. Simon says that’s because these shows are not canned visuals synced to a soundtrack but instead are created in real time by artists operating sophisticated software during the performance.

Watching the artists (who refer to themselves as “navigators) felt like watching someone paint while the painting formed—”except the brush was digital and the canvas was the dome itself,” Simon says.

Over time, Marks and Simon became familiar faces at Fiske events. After shows, they stayed behind to talk with the navigators, who would ask what they liked about the performance and what might make the event even better. Did a sequence move too fast? Did a visual linger too long? Was there enough variety?

In an informal way, Marks and Simon became in-house critics, always with a focus on helping the experience become better. That sense of exchange and mutual engagement with the navigators deepened their connection to Fiske.

Music was the thread that tied many of these performances together. Simon and Marks say they’ve seen many Fiske shows more than once.

“We’ve seen a lot of Grateful Dead shows—probably more than any other artist. Pink Floyd would be second,” Simon says. “Some of that has to do with our musical preferences, and some of it has to do with relationships with navigators, who would tell us, ‘I’m navigating this show tonight—you should come.’”

“Each performance—even with the same music—felt different,” Marks adds. “The visuals changed. The pacing changed. The interpretation changed, so it was never the same twice.”

A place of musical discovery

Fiske also became a place of musical discovery. Simon says he and Marks had never heard of Tame Impala before attending a Liquid Sky show featuring the band’s music. Since then, they’ve seen that program at least three times.

The planetarium didn’t just reinforce existing preferences—it expanded them, Simon says.

At one point, Simon’s involvement with Fiske crossed a small but meaningful threshold. During conversations with one of the navigators years back, he mentioned that the program could benefit from different music. One idea that emerged from that discussion was a Jimi Hendrix show—and the navigator asked Simon if he’d curate the music. He agreed.

Simon says selecting the tracks, shaping the flow and keeping the program within the typical Liquid Sky timeframe gave him a new appreciation for the craft behind the scenes. The Hendrix show doesn’t run often, but Simon says he considers it a personal footnote in Liquid Sky history.

Film under the dome

If Liquid Sky showed Simon what live‑generated visuals could be, a single dome film revealed what else was possible. That moment came for Simon when Fiske hosted Samskara, a fully produced film by the visual artist Android Jones. Unlike the performances Simon had seen before, Samskara was created specifically for dome presentation. Although the film was only about 35 minutes long, the experience was, in Simon’s words, like going from black‑and‑white TV to color. It completely reframed his understanding of the medium.

“At its heart, Fiske isn’t just about astronomy or music—it’s an immersive experience. It’s an art form that’s still finding its full expression.”

The two men have seen Samskara at least three times. While it was more expensive compared to standard Fiske programming, Simon says he never questioned whether it was worth it.

The film demonstrated that the dome wasn’t just a venue for live experimentation; it was also a legitimate canvas for fully realized cinematic works. That realization carried forward into other film experiences, including Mesmerica and Beautifica by James Hood and collaborators, both of which Simon and Marks saw multiple times.

Then there was Dome Fest West, a judged film festival dedicated entirely to dome films. Fiske hosted it for multiple years, and Simon and Marks attended at least two full festivals, spending entire weekends immersed in the medium. Some films were short and abstract, others narrative or technically focused. There were panel discussions, awards and artists present. For Simon, it was one of the best experiences money could buy.

Fiske audience also evolves over time

Meanwhile, the audience has changed over time.

“When we first started going, there might be 10 people in the entire theater. And sometimes, we were the only ones there,” Simon says. “Now, shows sell out.”

Also, audiences now often applaud between songs—something Simon says would have felt out of place in a traditional planetarium setting.

The environment remains distinctive: everyone seated, the room dark and quiet, eyes turned upward. Simon says he always appreciated when navigators asked people not to use their phones, knowing how disruptive even a small phone screen can be in that darkness. While that messaging has become less consistent, Simon says he finds that audiences are generally respectful and engaged.

So why keep coming back?

Part of the answer is simple: Simon and Marks say they love the planetarium as a resource. Living in a university town is often talked about in abstract terms, but Simon says Fiske represents a tangible way to engage with 91��ý. Simon and Marks also regularly attend performances through the CU School of Music, and Simon says Fiske feels like a natural extension of that cultural life.

Another part is commitment. Marks and Simon became Fiske members because they wanted to support the planetarium. Membership made them feel connected, not just as consumers of entertainment but as participants in a community invested in what Fiske could become.

And finally, there is fascination.

“At its heart, Fiske isn’t just about astronomy or music—it’s an immersive experience,” Simon says. “It’s an art form that’s still finding its full expression.”

Each visit to Fiske carries the quiet promise that something new will unfold overhead.

“The people at Fiske are wonderful and the programming is thoughtful. And every time we go, we leave smiling,” Simon says. “It’s not hard to say, ‘Let’s go to a planetarium show tonight,’ because we know it will be a meaningful experience.”

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Although Drew Simon and Ron Marks did not attend 91��ý, they have a deep appreciation for the university—and for Fiske in particular.

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When the mountain becomes a mirror

Rachel Sauer — Thu, 19 Mar 2026 17:42:33 +0000

When the mountain becomes a mirror Rachel Sauer Thu, 03/19/2026 - 11:42

Cody DeBos

91��ý alum Jason Kolaczkowski’s new memoir reveals lessons found in the mountains and in life

Jason Kolaczkowski (PolSci ’99) didn’t know if the Himalayas would bring him clarity, but he knew he needed to attempt the first ascent of an unclimbed peak. Diagnosed with leukemia just a year earlier, he boarded a flight to Asia in 2019 with a plan.

The goal wasn’t to make history as a mountaineer. For Kolaczkowski, the trip was about defying the notion that his time was already running out.

“There was a moment when I thought to myself, ‘I’m going to die a lot younger than I thought I was, and so I want to go and do this thing.’ There was no going back from there,” he recalls.

Jason Kolaczkowski (PolSci ’99), shown here at basecamp, attempted the first ascent of a previously unclimbed Himalayan peak after being diagnosed with leukemia. (All photos courtesy Jason Kolaczkowski)

In his forthcoming memoir, Notions of Grace: A Memoir of Climbing, Cancer and Family, Kolaczkowski chronicles the lessons learned leading up to and following that expedition.

“It started as internal processing for me. The process of writing the book was really then an act of compulsion,” he explains. “I wanted to archive a snapshot of my life for my kids, who were too young to understand at the time. Maybe when they’re 14 and maybe again when they’re 24—maybe they’ll care.”

The mountain becomes a mirror

Wrestling with risk, fatherhood, identity and a cancer diagnosis layered with unknowns, Kolaczkowski thought of climbing as a reprieve.

The type of slow-progressing leukemia he had been diagnosed with can remain asymptomatic for years. Treatment wasn’t recommended yet, so he entered a “watch-and-wait” phase that included taking precautions to protect his compromised immune system.

But Kolaczkowski’s internal clock was ticking.

A climber since the late Aughts, he had long dreamed of attempting a previously unclimbed route. He started planning the Himalayan expedition before his diagnosis, but after it came, the trip felt more urgent.

“The first big question was: Well, should I even still go?” he says. “I ultimately reached the conclusion that I still felt healthy enough to do it.”

After finding the right group, the pieces fell into place, but the climb itself would soon be a wakeup call. In Notions of Grace, Kolaczkowski describes the peril of fixing lines in a gully littered with rockfall. The terrain, though not inherently difficult to climb, was deadly in its indifference. The mountain didn't care if Kolaczkowski died.

“What I came away with was a new sense of self-awareness. Just being in that amount of danger for that amount of time shifted my mindset into a much more forward-looking place again,” he says.

The expedition didn’t end in a triumphant summit photo, but Kolaczkowski flew home counting it as a success.

“I was really looking forward to going home and doing things with my kids.”

Writing for who matters most

Kolaczkowski describes his emotional state before the trip as grief for a life transformed by factors beyond his control.

“I guess you could say that telling a private story in public is another form of accepting risk,” says Jason Kolaczkowski of writing his memoir.

“Getting a cancer diagnosis really is a grieving process. You’re giving up a life that you had—an understanding of your goals and your family dynamics that you had—and you have to let it go and shift into the acceptance eventually of what is reality now,” he says.

Writing became his way of documenting this shift. His sons remained the intended audience for a while, but after sharing early drafts with friends over time, Kolaczkowski’s outlook on the project changed.

“People started telling me, ‘I think there are some universal themes here that other people would be interested in.’ So, I started thinking of ways to maybe get this published,” he says.

He kept writing, bringing the meticulous habits learned in planning expeditions and climbing rugged peaks to the page.

“Rather than focusing on getting the book done, my goal was to put in effort consistently. Some efforts will be great; others won’t be,” Kolaczkowski says.

“If you think about not making summits, and when to turn around and all that sort of stuff, having enough self-forgiveness to accept that, it translates well. Maybe today was hard to write and it just isn’t coming out; that’s OK as long as I’ve made the attempt,” he adds.

The calculus of risk

The title of Kolaczkowski’s memoir mirrors its tone. Grace isn’t something he claims to possess in abundance. Rather, he jokes that it’s often a goal he stumbles toward, describing several moments in the book as a “series of misadventures rather than adventures.”

The throughline connecting mountains, medical challenges and fatherhood is a series of lessons on living life with just the right amount of risk.

Just a few months after Kolaczkowski returned from Nepal, there were new obstacles to overcome as the COVID-19 pandemic hit. Strict precautions for protecting his health became necessary, leading the Kolaczkowskis to the decision to homeschool their sons.

“We were shrinking down the world in order to keep me safe, but 5-year olds need their world to expand. What are we willing to do from a mitigation perspective when it comes at a cost?” he asks.

At first, the choice felt aligned with his family’s needs. But after watching one of his sons be afraid to touch playground equipment, Kolaczkowski knew it was time to rethink his approach to risk.

“And that’s what the book is about. How little risk is too little risk? How much is too much? Because we had taken too little risk and it was visibly stunting the character development of my kids,” he says.

Fortunately, in his years of climbing, Kolaczkowski had already developed a mental framework for managing uncertainty.

Jason Kolaczkowski approaches a couloir entrance on his Himalayan climb.

“You’re constantly building in these points where you are having the meta-conversation about the thing that you're doing,” he says. “You're talking about how to talk about the climb.”

That same approach became essential to not only navigating the pandemic but rebuilding his family’s relationship with adventure. Because his wife, Kristina, had often accompanied him on climbing trips, she shared some of the same language.

“The ability to sort of coalesce around that sort of meta-conversation—how are we going to talk about how we're going to deal with these new risks—was a big part of our family life,” he says.

Return to adventure

Eventually, Kolaczkowski and his family began venturing out again. Hiking, climbing and reconnecting in the relative safety of the outdoors during the pandemic ultimately led to a 100-mile family hike around Mont Blanc.

“I’ve never seen them quite so happy,” he says, recalling his sons’ experience on the trip.

Today, Kolaczkowski is planning many more adventures, some with his sons and some on his own. He recently joined an expedition in Kyrgyzstan and is looking ahead to more climbs, including a return to Nepal in 2027.

Telling his story publicly, he says, was another kind of healing.

“I guess you could say that telling a private story in public is another form of accepting risk,” he admits.

But as Kolaczkowski sets his eyes on what the future will bring, public opinions aren’t what he worries about.

“That’s one of the nice things about having cancer. It puts other stuff in perspective,” he says with a smile.

Notions of Grace: A Memoir of Climbing, Cancer and Family is available for pre-order now through DAP Books and will be released March 31.

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91��ý alum Jason Kolaczkowski’s new memoir reveals lessons found in the mountains and in life.

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Top photo: Jason Kolaczkowski at an 18,000-foot camp

Don’t just explain the science, dance it

Rachel Sauer — Thu, 12 Mar 2026 16:14:04 +0000

Don’t just explain the science, dance it Rachel Sauer Thu, 03/12/2026 - 10:14

Rachel Sauer

Asia Kaiser, a bee researcher and ecology and evolutionary biology PhD candidate, is named social sciences category winner in the international Dance Your PhD contest sponsored by the journal Science

There’s a lot going on with bees right now. Because it was an unseasonably warm winter, queens may be emerging from hibernation and beginning to lay the eggs of their first broods. And since queens can choose the sex of their offspring, they are now or soon will be producing daughters.

It’s fascinating information about one of the planet’s most complex and charismatic insects, but how to convey it in dance?

PhD candidate Asia Kaiser (in a scene from her Dance Your PhD entry), studies how human land use affects different insect groups and, consequently, the ecosystem services they provide in coupled human-natural systems.

Start with a shimmy—reminiscent, perhaps, of the movement of bees’ wings or the vibration of their flight muscles. Then weave undulating patterns with fellow dancers, gliding and twirling in a choreography of bees in motion. And bring it home with a question about what happens when we remove native flowers from urban environments or destroy bee habitat to build roads or houses (answer: nothing good).

In short, dance your PhD. So, that’s what Asia Kaiser did.

Kaiser, a PhD candidate in the University of Colorado Boulder Department of Ecology and Evolutionary Biology (EBIO) and researcher in the Resasco Lab, this week was announced the social sciences category winner in the international Dance Your PhD contest sponsored by the journal Science and the American Association for the Advancement of Science.

Now in its 18th year, Dance Your PhD seeks, through a spirit of fun and of marrying art and science, to address a scenario that scientists commonly experience: “The party is just getting started when the dreaded question comes: ‘So, what’s your PhD research about?’ You launch into the explanation, trying to judge the level of interest as you go deeper. It takes about a minute before someone changes the subject,” contest organizers explain.

“At times like this, don’t you wish you lived in a world where you could just ask people to pull out their phones to watch an online video explaining your PhD research through interpretive dance?”

“I was a dancer all through college, so I have a background in belly dance and Latin dance,” Kaiser explains. “And I like to make music, so I thought this could be a really fun way to explain my research.”

Learning to dance

And what is that research? Bees. Specifically, how human land use affects different insect groups and, consequently, the ecosystem services they provide in coupled human-natural systems. Her research aims to improve the resilience of urban agroecosystems, increase equitable access to fresh produce and promote environmental justice in cities.

As for the dancing, Kaiser had wanted to take dance lessons while growing up in Philadelphia, but there wasn’t room in the budget for them. So, after graduating high school she took a gap year in Brazil to do service work and finally began learning dance. She started with belly dance, then branched into samba and other Latin styles.

When she began her ecology and evolutionary biology undergraduate studies at Princeton University, “I thought, ‘I’m going to invest in my secondary dream,’” Kaiser recalls, which meant stepping away from the books sometimes to immerse herself in the vibrant dance scene in Princeton and the broader New York City and Philadelphia area.

She also is a cellist, so when she came to 91��ý to pursue her PhD she began making music with other people in her department.

When she heard about Dance Your PhD, it dovetailed with so many of the things she loves: dance and music and science. However, the deadline to submit entry videos was Feb. 20, and she decided to enter the contest a mere two weeks before then.

She started with the music, composing a piece to score the story in her mind: “I wanted to tell a story of bees emerging in early spring in your backyard and what they’re up to. People know a lot about honeybees, but not other bee species, so I wanted to highlight how important they are to urban ecosystems.”

Kaiser put out a call for dancers and fortunately, the response from her fellow PhD students and candidates was abundant and eager. Then she and Ella Henry, a violinist and EBIO PhD student, recorded the music.

Science as art

Because of the quick turnaround, the troupe had time for just two rehearsals before their afternoon of filming in front of the EBIO greenhouses on 30th Street in Boulder. It was an EBIO community collaboration. PhD students Manuela Mejía, Lincoln Taylor, Gladiana Spitz, Kaylee Rosenberger and Ella Henry danced Kaiser’s choreography alongside her. PhD student Luis de Pablo helped with sound engineering and Scott Taylor, EBIO associate professor and director of the Mountain Research Station, was cinematographer. Kaiser’s husband, John Russell, provided voiceover narration for the final video.

And despite the extremely short timeframe, it all came together, Kaiser says. For example, she happened to have a pair of gold Isis wings, a traditional belly dance prop, that Lincoln Taylor wore “to depict the fact that male bees spend their lives flying around,” she says.

The dance, music and costumes united in a science-as-art visualization of her PhD, which she uploaded to YouTube and clicked submit on her Dance Your PhD entry. She was up against scientists from around the world, so learning that she won her category was especially significant.

“Obviously, I love bees,” she says, “and I love to dance and make music, so it was a really cool experience to create this piece with my friends and find a different way to talk about my research.”

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Asia Kaiser, a bee researcher and ecology and evolutionary biology PhD candidate, is named social sciences category winner in the international Dance Your PhD contest sponsored by the journal Science.

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