1 Stargazers’ Anonymous An examination of amateur astronomy in New Zealand A thesis submitted to Victoria University of Wellington to satisfy the requirements for a Masters (MA) in Anthropology, 2009 by Brian Howe 2 Contents Abstract iv Acknowledgements v List of Illustrations and Figures vi 1 Introduction 1 1.1 Astronomy as a research topic 1 1.2 Some considerations in undertaking research 2 2 Methodology and Research 3 2.1 Interviews 3 2.2 Participant Observation 5 2.3 Some reflections on the fieldwork process 6 2.4 Method and Theory 7 3 Astronomy, Amateurs and ‘Leisure’: three concepts 8 3.1 Astronomy as both definition and action 8 3.2 Amateurs: “on the margin between work and leisure” 12 3.3 Leisure as a social practice 16 4 Chapter Outlines 20 Chapter 1: Performativity and Praxis: Amateurs, Astronomical Communities and Contributive Participation Stargazing Aotearoa 22 Introduction 27 The Royal Society and the structure of New Zealand’s astronomical community 27 The view from the interior 30 Amateur-Professional Collaboration 35 Practicals and Armchairs: contribution and consumption 42 Performance and Moral Regulation 47 Intermission: Ritual Learning in the Meeting Space 53 Informal Observing Groups 59 3 Virtual Performance 68 McNaught Revisited 77 Conclusion 79 Chapter 2: Cosmological Communitas: Public Education and Social Reproduction The Bunker 82 Cosmic Tourists 87 Light Pollution 93 Theatre of Stars 97 Sacralising Sights 100 Conclusion 108 Chapter 3: Fake Stone, Real Wilderness Fake Stone, Real Wilderness 112 Stonehenge Aotearoa 113 Nature.Society.Control 122 Conclusion 131 Conclusion : Stargazers’ Anonymous 135 Epilogue : 2009: The International Year of Astronomy 140 Bibliography 144 4 Abstract In this examination of amateur astronomy in New Zealand, I suggest that astronomical science can be a medium through which adherents attempt to enact social transformation. Contemporary studies of leisure often emphasise the individualistic nature of leisure activity, with social interaction framed as a means to support the intrinsic and extrinsic motivations of participants. However, while amateur astronomers do engage in ‘serious leisure’ (Stebbins, 1979, 1992), I suggest their extended roles as educators and liaisons for professional counterparts push their endeavour beyond mere participation and into wider territories of public engagement and scientific discourse. Following analysis by Ruonavaara (1997), Rojek (1985, 2000), MacCannell (1976), Urry (1990) and Turner (1969), I argue that the New Zealand astronomical community’s’ proclivity for education operates as a forum for constructing recursive and normative action, in which ideologies congruent with scientific rationalism are disseminated through a form of moral regulation. Commencing with a discussion of the structure of New Zealand’s astronomical community, I examine how informants’ narratives and attitudes to contributive participation manifest in demonstrative actions that provide idealised templates for behaviour. Secondly, I discuss astronomy and public education, and how astronomical society volunteers utilise visitors’ expectations of authenticity and perceptions of nature to formulate strategies for social change. Finally, I investigate the role and purpose of other astronomy- related ventures, including Carterton’s Stonehenge Aotearoa, culminating in a discussion concerning issues of knowledge, science and postmodernist deconstructionism. iv 5 Acknowledgements First, I would like to thank the many informants who freely contributed their time, opinions and observations: without them, this thesis would not be possible. To those who journeyed to open their observatories in torrential rain, invited me into their homes, spent the early hours of the morning showing me the stars and planets, or provided documents with no thought of remuneration: I am truly grateful. Secondly, I would like to thank the many acquaintances, strangers and friends who provided accommodation, shelter or sustenance during my various research trips around New Zealand in 2007: Jean and Anthony of Nelson; Stewart Holder of Hawera, New Plymouth; Dale and Vernon Swift of Christchurch; Eddie at Bayly’s Beach, Dargaville; Jane and Ewen Fraser of Ongarue, Taumarunui. A special thank you to Ora Te Hau and the Te Hau wh ānau in Gisborne. I would like to thank my supervisor, Dr Hal Levine of Victoria University’s Anthropology Programme, for his valuable advice, assistance, understanding and patience. I would also like to convey my sincerest appreciation to the Victoria University scholarships office for the financial assistance provided via a Victoria University Masters (by thesis) scholarship in 2007. An additional thank you to the administrative team at the School of Social and Cultural Studies: Carol Hogan, Monica Lichti, Alison Melling and Adam Meers. I would also like to acknowledge the many helpful discussions I’ve had with Dr. Peter Howland, Dr. Brigitte Boenisch-Brednich, Dr. Jeff Sissons and Dr. James Urry of the School of Social and Cultural Studies. Last, but certainly not least: to my wife Samantha Aldridge, for all her patience, constructive criticism and understanding during the many research trips and long hours spent away from home. 6 List of Figures and Illustrations All photos taken by the Brian Howe (author) unless otherwise stated. Computer-generated illustrations, figures and diagrams by Brian Howe (author). All website screen captures displayed are for educational/scholarly purposes only, in accordance with the New Zealand Copyright (New Technologies) Amendment Act (2008). Chapter 1 Page FIGURE 1. Comet McNaught (C/2006 P1) as photographed on the afternoon of the 20th January, 2007, South Auckland, New Zealand; Image Credit: Chris North 23 Copyright Information: released as ‘public domain’ by the photographer. FIGURE 2. Comet McNaught (C/2006 P1) photographed at dusk on the 20th January, 2007. Lawlers Gold Mine Western Australia; Image Credit : Unknown 24 Copyright Information: released as ‘public domain’ by the photographer. FIGURE 3. A series of frames from TVNZ’s Close Up programme with Mark Sainsbury (broadcast 5th February, 2007) focusing on Comet McNaught, with excerpts from a music video created by Christchurch film-maker Brian 25 High. FIGURE 4. Image detailing logos of the International Astronomical Union, Royal Society of New Zealand and Royal Astronomical Society of New Zealand; Copyright Information: Free Use/Public Domain; mosaic by author 28 FIGURE 5. Gordon Hudson at the Ruth Crisp telescope refurbishing the astrograph; Image Credit : Paul Moss 36 Copyright Information: ‘Photo by Paul Moss NOT copyright, free use.’: http://www.was.org.nz/events.htm ; http://www.astronomy.net.nz / FIGURE 6. Hawera Observatory, King Edward Park, Hawera 44 FIGURE 7. Active observing networks, which include informal groups and observatories (both society-operated or privately owned by individual members), liaise with professionals who act as gatekeepers for assembling, interpreting and presenting the summarised findings of amateur contributions back to both the academic and 46 amateur astronomical communities. FIGURE 8. Stebbins’ (1979) ‘P-A-P’ model of leisure-based, performative social relationships. (Computer generated image by author; based on original image by Robert Stebbins, 1979) 48 FIGURE 9. A ‘network of performances’. The social worlds inhabited by each category shown perform for each other using various mediums of communication and action that serve to demonstrate idealised templates of 49 behaviour. FIGURE 10. Detail showing a partial star chart for the southern hemisphere in March, reproduced in an astronomical society newsletter. Chart produced by Guide 8 software: www.projectpluto.com 64 FIGURE 11. Example of a .txt file with raw observation data and statistical graphs (right column) embedded in a web page 69 FIGURE 12. Screen Capture of personal website (1) http://www.astronomywithgarry.net/interest.htm 70 FIGURE 13. Screen Capture of personal website (2) http://astronomyguide.byethost4.com/aboutme.html 70 FIGURE 14. A New Zealand personal web page detailing an amateur astronomer’s latest telescopic acquisition. 71 FIGURE 15. Detail showing various modifications to a ‘stock’ Meade brand telescope. 72 FIGURE 16. Webpage showing the various stages of construction involved in fabricating a homemade telescope. 73 Chapter 2 FIGURE 17. Collection of reflector and refractor telescopes used on public nights, framed against an extensive collection of images on the rear wall. New Plymouth Observatory, Marsland Hill, New Plymouth. 89 FIGURE 18. Townsend Observatory entrance, Christchurch. The sign by the lock (right) reads: “ Public Sessions on fine Friday Evenings 8pm to 10pm ”. 91 7 FIGURE 19. Light pollution from unshielded lighting on a city street, Gisborne, New Zealand. 94 FIGURE 20. Rural landscape: Ongarue Valley, Taumarunui 101 FIGURE 21. Townsend Observatory, Christchurch 103 FIGURE 22. James Cook Observatory, Gisborne . The observatory was built from an existing concrete bunker located behind a WW II gun emplacement by the Gisborne Astronomical Society, and was officially opened in 104 1971. The observatory received a new 10” telescope in 1989 which is still in use on public nights. FIGURE 23. Interior of the New Plymouth Observatory showing posters and photographs; Marsland Hill, New Plymouth. 106 FIGURE 24. Mechanical Reproduction goes postal : the Southern Skies stamp series issued by New Zealand Post in June 2007. 107 FIGURE 25. Notice containing information