Gandolfi , G1, Catanzaro, G1,
Giovanardi, S1 Masi, G1,2, Vomero,V1,3
1 Planetario di Roma, Italy
2 II Università di Roma Tor Vergata. Italy
3 Comune di Roma, Sovrintendenza ai Beni Culturali – Musei Scientifici,
Italy
ABSTRACT
We discuss the
philosophy and strategy of a modern planetarium lecture within the larger frame
of the communication of astronomy. The planetarium is a peculiar medium that
requires a creative and rigorous approach in order to balance the three
motivating forces behind the ‘planetarium experience’: scientific knowledge
(method and contents), technological ‘sense of wonder’ and a pre-rational (not
necessarily anti-rational) sense of ‘enchantment’. While scientific and
technological resources are typically fully exploited in state-of-the-art
domes, the latter concept—introduced by Max Weber in order to categorize the
mystic/aesthetic impact of nature on the human mind—has not been sufficiently
explored. To use it effectively demands an understanding of the public
perception of astronomy, stressing the crucial role of professional
communication skills for the effective communication of science. Rather than
enforcing a narrow focus on pure science and/or a crusade against astrology, we
believe that the planetarium experience should be a stimulating reawakening of
curiosity and a holistic awareness of the sky and hence of the Universe.
Fine-tuning of the above three components makes the classical conflict between
the boring academic lectures under the stars versus disneyish,
supertechnological shows obsolete. We present some approaches for creating
“fine-tuned lectures”, with examples from our experience at the Rome
Planetarium.
INTRODUCTION
Organizing a
planetarium program using internally produced shows is a highly complex task.
One should have a very precise set of objectives in mind and a well de- fined
approach to science communication, while still trying to exploit the incredible
potential of a state-of-the-art dome. The main problems are the search for an
effective and clear narrative that both informs and entertains, the ability to
mix the different media involved (video, sky projection, music, reading, etc.)
while stimulating interest and fascination in scientific topics. The unique
features of the immersive environment and the theatre-like structure of the
dome point naturally to a possible solution: the audience is set under a stage
where many stories of the sky and about the sky are told and the lecturer (or
the recorded voice) is not an academic but a storyteller that “respects” the
methods and truths of science. Such a storyteller, being the science
communicator, puts astronomy and astrophysics in a broader cultural context,
where science, history, humanities and art can meet and the general public
rediscovers the sky as a common, familiar inheritance.
THE PLANETARIUM
EXPERIENCE: A “PHILOSOPHICAL” APPROACH
Starting from this
perspective we have developed a “philosophical” model of the planetarium
experience that allows all planetarium ingredients to be mixed correctly and
carefully balanced.
We identify three
motivating forces at work under the planetarium dome: Science, Technology and
“Enchantment” striking different chords in the mind and imagination of the
audience. Scientific drive and the technological sense of wonder have been
widely explored and exploited during the century-long adventure of the
planetarium as a natural consequence of the dominant view about science communication.
The traditional approach consisted in a top-down transfer of scientific
contents through a high-tech, spectacular device—the sky projector.
Essentially, a lesson was presented under the sky, with astronomical phenomena
and accelerated motions explained in an educational facility for the masses.
The technological sense of wonder, excited and continuously stimulated by
cinematic special effects and videogames, has been well cultivated with an
impressive escalation towards sophisticated all-sky digital animations, not
always related to science or to the sky. The recent interest in PUS (Public
Understanding of Science) has scarcely modified this scenario, still ignoring
the third component of the planetarium experience: what we have called ‘Enchantment’
(following the suggestion of German sociologist Max Weber). This motivating
force, while dealing with the emotions and the imagination of the public, is a
precious tool that can inspire curiosity and interest for the world we live in,
including the methods and results of science. The intimate pre-rational (but
not necessarily anti-rational) connection with the cosmos above us is usually
regarded with suspicion by scientists and assumed to be in opposition to the
“correct” scientific version, so it is no surprise to find this sense of
wonderment ignored in “academic” science popularization as well as in
planetaria. We will try to highlight its importance and to show how it can be
harnessed in the making of attractive and stimulating sky shows.
SCIENCE
Science is the key
ingredient in a planetarium, and our efforts are aimed at conveying the
excitement of the processes of reasoning, discovering and experimenting. All
the many different cultural and scientific visions of the sky should enter the
shows: the history of observation, cosmology, the astrophysics of celestial
objects, the human exploration of space, speculations about extraterrestrial
life and so on. Essentially we would like to transmit a way of looking at
things and a methodology while still instilling just that final twist of
uncertainty. Moreover, our objective is to create an awareness of the many
connections between different disciplines and between science, culture and art,
concentrating on the outline more than on details. The planetarium, being an
independent institution, is best suited for a general review of the discipline
without the pressure of the scientific propaganda typical of observatories and
research institutes and without the usual jargon and technicalities given by
professional astronomers occasionally involved in science communication.
TECHNOLOGY
It is impossible to
deny the fascination of high technology, both in planetarium attendees and in
science communicators. The wonders of an artificial sky and of celestial
simulations are of paramount importance in the work of communication, but it is
essential to exploit the best available resources without being dominated by
the spell of the latest gadget or all-sky digital device. Hence, the real
challenge is blending technology and artistic expression in a harmonic
composition rather than just looking for the perfect, expensive solution for
each effect.
THE WEBERIAN ENCHANTMENT
Max Weber (1864-1920)
introduced the concept of “disenchantment” (Entzauberung der Welt) in order to
describe the fall of the ancient cosmological traditions and at the same time
to focus on the romantic and pre-romantic interest for the “sublime”, widely
analysed philosophically by Edmund Burke and Immanuel Kant. For Weber the
disenchantment is the passage from the old “magical” way of looking at Nature
and at the sky to the mechanistic vision that has dominated science since
Galileo and Newton. “The unity of the primitive image of the world, in which
everything was concrete magic, has tended to split into rational cognition and
mastery of nature, on the one hand, and into “mystic” experiences, on the
other. The inexpressible contents of such experiences remain the only possible
“beyond”, added to the mechanism of a world robbed of gods”. (M. Weber, Essays
in sociology)
By gaining modern
science we have lost the sense of wonder and of transcendental mystery, leading
to an excess of rationalization and intellectualisation. In other words, the
origin of our technological success contains the roots of an unavoidable crisis
as nature and technology collide. There is still academic debate about the
meaning and relevance of such a loss, but we are convinced that a useful and
healthy side of the enchantment may be recovered, both in scientific and in
communication practice. In fact, the aesthetic astonishment and awe experienced
under a clear sky, imbuing the sense of an infinite Universe not amenable to
complete calculability, are essential in recovering a positive relationship
with nature. They make a holistic cosmological vision possible, in the sense of
a vision of the Universe characterized not only by matter and physical laws,
but also by mind, life and culture. So, rather than fighting against the
fossils of the enchantment (astrology, new age, etc.), we should use their
appeal to expand a controlled imagination and develop a knowledge filled with
emotions and feelings. This approach, obviously, doesn’t necessarily mean
justifying pseudo-science: it just consists of an attitude of “existential
wonder” and humility, which helps to prevent scientism and instrumentalism,
while recovering pluralism and sense of mystery. For us the enchantment is a
psychic dimension, a state of consciousness that professional astronomers
dismiss as irrelevant for science too often. However their own “vocation” often
came from “poetic fancy” and they tend to forget the emotive impact of a starry
night on the human quest for knowledge. How many scientists started their
careers with the enchantment of a dark starry night? It was certainly the case
for Fred Hoyle, as he recalls in his autobiography:
“(..) When on top of a
wall that perfect starlit night, I seemed to be in contact with the sky instead
of the earth, a sky powdered from horizon to horizon with thousands of points
of light, which, on that particularly dry, frosty night, were unusually bright.
We were out for perhaps an hour and a half, and, as time went on, I became more
and more aware—awed, I suppose, of the heavens. By the time I arrived back at
the sandstone block, I made a resolve. I remember standing on the block and
looking upwards and deciding that I would find out what those things up there
were.”[1]
TOWARDS A FINE TUNING
The planetarium is one
of the best places to blend the rational scientific with the mystic sense of
enchantment, as everyone who has experienced the strong “wow effect” under a
dark starry sky knows. Things that seem contradictory (science, technology,
enchantment) may coexist in harmony, stimulating questions and thoughts. As we
have already pointed out, the main difficulty here is a careful balance of the
ingredients: a narrative that captures the attention of the audience and raises
emotions with images; video and sky simulations presented at the right times in
the right proportion while telling about science; its impact on history and
human perception of the Universe. Usually, the best solution is a voyage in
space and time, with a point of view oscillating between the earth’s surface
and the depths of space. Terrestrial interludes allow us to insert poetry
readings, historical anecdotes, artistic inspirations and philosophical
thoughts in the show and to provide the necessary connection to the
observability of celestial phenomena. A possible alternative solution is a
narrative based on contrasts: human culture presented in a celestial context
and the influence of the sky as found in our daily environment (music,
architecture, paintings).
THE PLANETARIUM OF
ROME
AND THE ITALIAN
SCENARIO
Outside Milan and Rome
there are only small or medium sized planetaria (less than 100 seats) in Italy.
The Live Lecture (so defined here in contrast with the mainstream automatic
show) has been the main format from the outset: few planetaria present
automatic shows or multimedia productions. The planetarium is conceived almost
exclusively as an educational facility, where a lecture is considered equal to
a lesson, with a bonus of demonstrative simulations and/or still images.
LIVE LECTURES AT THE
ROME PLANETARIUM
The old Planetarium of
Rome, one of the first in Europe, was closed twenty years ago, but had a
longstanding tradition of such educational lectures. When it reopened in May 2004,
we decided to start an intensive production of Live Lectures along with a few
automatic shows, in order to retain the good values and the tradition of the
Italian planetarium style, but also to update it. Our goal is to draw attention
to science and the natural wonders in a city like Rome, which is dominated by
an artistic and historical heritage, while trying to convey the message that
the planetarium is a “house of the sky” where people can return and discover
new things each time, a fascinating location where science meets culture and
culture meets science. Lecturers are scientists with a background in science communication or
facilitators with a good scientific background. Our effort is aimed at delving
into the public perception of astronomy, always keeping in mind the crucial
role of professional communication skills for an effective communication of
science. This is an objective that requires constant feedback from the public,
stimulating debate, interaction and participation. During the first year of
work we have implemented a very large “Catalogue of Live Lectures” (about 50),
with a variety of astronomical and para-astronomical topics. In keeping with
our principles we design our lectures to focus on “Public Awareness of Science”
rather than on PUS or on plain education. Our purpose is to inspire curiosity
and to entertain, to leave the public with many questions, and with a desire to
explore in more depth, rediscovering the Sky for themselves. We do not pretend
to answer all questions or to be exhaustive in any sense. We consider the
planetarium show
to be an experience that raises interest in astronomy, an interest that other
media (books, lessons, magazines) may fulfil more extensively later. In order
to make our choice clear, we always call our Live Lectures “shows”. And they
are actually shows in an astronomical theatre: the lecturers’ storytelling and
the flow of images, simulations and videos are neither lesson nor
“documentary”. The audience perceives the lecture as a multimedia theatrical
performance rather than an explanatory sequence of information about the
cosmos. As we usually say: “It’s a show, a stairway to the stars, not a
lesson”.
The Live
Lectures are organized in thematic groups: Skyscapes, Open Universes and
Impacts. Skyscapes describe the sky and its phenomena in general for a public
of beginners and children, while Open Universes are single subject shows about
astrophysical, cosmological or planetary themes. “Impacts” explores the
connection between celestial objects and the humanities taking an
interdisciplinary approach. We have adopted the classic storyboard technique
for the production of Live Lectures, maintaining a large degree of freedom as
regards feedback and improvisation. Particular attention is given to technical and
conceptual balance in the script.
THE GOLDEN RULES
Three golden rules
summarize our productions (Live Lectures as well as automatic shows and
events). The first rule is: “Rhythm, rhythm and rhythm again!” That not only
implies the constant presence of music (and of silences considered as music),
but also the right interplay between different media: images, sky projection,
animations and all-skies. One can never have too many still images, or
motionless Skyscapes, or open-ended videos. Furthermore, the theatrical
“presence” of the lecturer is fundamental, although his/her silhouette may fade
frequently into the darkness. Strong criteria in the selection of the staff are
storytelling qualities, diction and voice control. Paraphrasing Duke Ellington
we might say: “It don’t mean a thing if it ain’t got that swing”. Actually jazz
is a very effective metaphor for Live Lectures: they have a strong
improvisational side, the lecturer has many flexible solos on a fixed canvas
(as in Ellington compositions), “mood” and “arrangements” may vary in different
executions, depending on feedback from the public, and finally, as in a Jazz
Orchestra, we have a conductor (the show director at the console) and a soloist
(the lecturer). The second rule is: “Give the public an emotional context, not
just information!” Keeping that in mind means exploiting suspense, and the
senses of wonder and humour at the right times. Narrative structures are also
naturally charged with emotions and we vary them in different lectures,
exploring the atmosphere with fiction, dialogues, time travels, musical
journeys and explicit theatrical performances.
The last rule is
perhaps the most trivial, but also the most constraining: “The Sky is always on
the Stage”. It implies that the “slide show effect” of a standard seminar must
be avoided, while remembering that the planetarium is not cinema, but a show
characterized by astronomical objects and phenomena ‘up there’. Conferences and
movies may be programmed in a planetarium hall, but they are definitely another
kind of performance, which doesn’t exploit the magic of a starry dome at its
best.
SOME EXAMPLES
Live Lectures at Rome
Planetarium are multimedia journeys, synthetic adventures that capture the
imagination and try to paint several pictures of the cosmos with a touch of
originality. It is difficult to convey the variety of experiences offered: they
span from a trip around the Lord of the Rings of the Solar System (“Between the
Rings of Saturn”, a show with a fictional narrative and many 3D panoramas); to
the romantic and multi-ethnic skylore of “The Sky of Lovers”, full of mythology
and poetry; to a flight in search of exoplanets starting with Giordano Bruno at
the stake in Campo dei Fiori (“Towards Distant Worlds”); to the medieval saga
of “Celestial Code of the Templars”, a title referring to the atmosphere of
pre-Copernican astronomy and at the same time debunking many inconsistent myths
concerning the famous knights; to the ethnic music, sound effects and panoramas
of “A Tour of the World in 30 Minutes”, where celestial cartography is
discovered along with terrestrial landscapes, observing the sky at different
latitudes on the path of Jules Verne. Some of our shows explore a two voice
option: that is the case in such successful lectures as “The Black-Holes,
Monsters in Space”, with several quotes from music, fantastic speculations and
cinema (one lecturer takes care of scientific aspects, the other evokes emotions
and fantasies), or “Travel in Time between Earth and Sky”, where cosmology
faces geology in a journey through time, the far reaches of space and our
planet’s history (one voice presents the appearance of Universe, the other the
contemporary evolution of the terrestrial surface). We also look for a strong
connection with the historical background of Rome in “The Sky of the Romans”, a
lecture characterized by original ancient music, text readings, recreations of
the sky and a virtual archeo-astronomical walk through the ruins.
CONCLUSIONS
After one year of
experiments our production of Live Lectures is still improving and expanding.
We have noticed that initially many attendees expected a single standard show,
but more recently people have become aware of the richness of our catalogue and
are returning for other shows or events. The feedback from the public seems
really positive: an active part of the audience asks for new specific topics
and our mailing list (about 2000 subscribers) is growing constantly, with many
messages of encouragement and appreciation. Criticism mainly addresses technicalities,
not conceptual points. Presently we monitor impressions, comments and
suggestions in a logbook, but we plan to conduct a more quantitative survey
with focus groups and survey forms.
A version of this
article was presented to the conference: Communicating Astronomy with the
Public 2005: Proceedings from the ESO/ESA/IAU Conference 14-17 June 2005,
eds. I. Robson & L. L. Christensen ESA/Hubble.