1 00:00:05,400 --> 00:00:06,433 >> ANNOUNCER: "CHARLOTTESVILLE 2 00:00:06,433 --> 00:00:07,200 INSIDE-OUT" IS MADE POSSIBLE 3 00:00:07,200 --> 00:00:09,400 THANKS IN PART TO ITS PATRONS, 4 00:00:09,400 --> 00:00:10,233 COMMITTED TO SUPPORTING THE 5 00:00:10,233 --> 00:00:11,333 PEOPLE, PLACES AND QUALITY OF 6 00:00:11,333 --> 00:00:12,700 LIFE THAT UNIQUELY DEFINES 7 00:00:12,700 --> 00:00:14,866 CHARLOTTESVILLE AND ITS 8 00:00:14,866 --> 00:00:15,966 SURROUNDINGS, AND BY VIEWERS 9 00:00:15,966 --> 00:00:20,400 LIKE YOU. 10 00:00:16,333 --> 00:00:25,966 THANK YOU. 11 00:00:25,966 --> 00:00:27,266 >> SAMUEL BWISEZE: YOU'RE 12 00:00:27,266 --> 00:00:28,133 YOURSELF AND THAT'S THE BEST 13 00:00:28,133 --> 00:00:29,500 FEELING ABOUT THIS PLACE. 14 00:00:29,500 --> 00:00:31,633 >> EDWARD MURPHY: WHEN YOU LOOK 15 00:00:31,633 --> 00:00:32,766 AT THE SUN IN THE DAYTIME THE 16 00:00:32,766 --> 00:00:33,566 SUN IS 93 MILLION MILES AWAY AND 17 00:00:33,566 --> 00:00:36,533 THAT TRANSLATES INTO EIGHT 18 00:00:36,533 --> 00:00:38,766 MINUTES 20 SECONDS TRAVEL TIME 19 00:00:38,766 --> 00:00:39,733 >> TERRI: FOR WHTJ, I'M TERRI 20 00:00:39,733 --> 00:00:43,300 ALLARD, AND THIS IS 21 00:00:40,266 --> 00:00:56,433 "CHARLOTTESVILLE INSIDE-OUT." 22 00:00:45,733 --> 00:01:02,266 ♪♪♪ 23 00:01:02,266 --> 00:01:05,366 >> HOW FAR AWAY IS JUPITER? 24 00:01:05,366 --> 00:01:06,300 >> EDWARD MURPHY: SO JUPITER IS 25 00:01:06,300 --> 00:01:07,500 ABOUT FIVE TIMES FURTHER FROM 26 00:01:07,500 --> 00:01:08,300 THE SUN THAN WE ARE. 27 00:01:08,300 --> 00:01:09,433 SO TONIGHT IT'S ABOUT 46 LIGHT 28 00:01:09,433 --> 00:01:10,900 MINUTES AWAY. 29 00:01:10,900 --> 00:01:12,200 AND YEAR AFTER YEAR IT MOVES 30 00:01:12,200 --> 00:01:13,300 ABOUT ONE CONSTELLATION THROUGH 31 00:01:13,300 --> 00:01:14,300 THE SKY AS IT ORBITS AROUND THE 32 00:01:14,300 --> 00:01:16,066 SUN. 33 00:01:16,066 --> 00:01:18,333 SO ONCE YOU'RE FAMILIAR WITH THE 34 00:01:18,333 --> 00:01:19,466 SKY IT'S NOT AT ALL HARD TO FIND 35 00:01:19,466 --> 00:01:20,633 THE PLANETS BECAUSE YOU'LL 36 00:01:20,633 --> 00:01:26,100 REMEMBER WHERE THEY WERE LAST 37 00:01:26,100 --> 00:01:27,066 YEAR AND THE YEAR BEFORE. 38 00:01:27,066 --> 00:01:28,100 >> TERRI: TODAY WE'RE GOING TO 39 00:01:28,100 --> 00:01:28,933 VISIT A CHARLOTTESVILLE GEM FOR 40 00:01:28,933 --> 00:01:30,100 LOVERS OF ASTRONOMY. 41 00:01:30,100 --> 00:01:32,166 HOUSING WHAT WAS ONCE THE 42 00:01:32,166 --> 00:01:34,366 LARGEST TELESCOPE IN THE U.S. 43 00:01:34,366 --> 00:01:35,500 USED TO MEASURE DISTANCES TO 44 00:01:35,500 --> 00:01:36,233 NEARBY STARS, THIS UVA FACILITY 45 00:01:36,233 --> 00:01:39,366 IS OPEN TO THE PUBLIC FOR ANYONE 46 00:01:39,366 --> 00:01:42,800 WHO WANTS TO TAKE A PEEK. 47 00:01:42,800 --> 00:01:48,933 JOIN US AS WE VISIT THE 48 00:01:48,933 --> 00:01:52,966 McCONFORMIC OBSERVATORY. 49 00:01:52,966 --> 00:01:53,766 COME ON! 50 00:01:53,766 --> 00:01:54,766 >> EDWARD MURPHY: A LITTLE BIT 51 00:01:54,766 --> 00:01:55,500 ABOUT THE TELESCOPE THAT YOU'RE 52 00:01:55,500 --> 00:01:56,200 GOING TO LOOK THROUGH TONIGHT. 53 00:01:56,200 --> 00:01:56,900 THE TELESCOPE WAS THE GIFT OF 54 00:01:56,900 --> 00:01:57,600 LEANDER MCCORMICK WHO WAS THE 55 00:01:57,600 --> 00:01:58,266 BROTHER OF CYRUS MCCORMICK. 56 00:01:58,266 --> 00:01:59,000 IT WAS A VERY BIG DEAL WHEN THIS 57 00:01:59,000 --> 00:02:01,366 TELESCOPE CAME TO 58 00:02:01,366 --> 00:02:04,033 CHARLOTTESVILLE AND 59 00:02:04,033 --> 00:02:05,000 STONE BEGAN A RESEARCH PROGRAM 60 00:02:05,000 --> 00:02:05,600 HERE LOOKING AT COMETS, 61 00:02:05,600 --> 00:02:06,566 MEASURING THEIR ORBITS, 62 00:02:06,566 --> 00:02:07,866 MEASURING THE MOONS OF MARS, AND 63 00:02:07,866 --> 00:02:08,466 ALSO LOOKING AT NEBULA. 64 00:02:08,466 --> 00:02:09,333 THE PRIMARY THING THAT MCCORMICK 65 00:02:09,333 --> 00:02:10,366 OBSERVATORY IS FAMOUS FOR STARTS 66 00:02:10,366 --> 00:02:11,866 WITH OUR SECOND DIRECTOR, SAMUEL 67 00:02:11,866 --> 00:02:12,766 ALFRED MITCHELL IN 1914 BEGAN A 68 00:02:12,766 --> 00:02:13,433 PROGRAM HERE TO MEASURE THE 69 00:02:13,433 --> 00:02:15,300 DISTANCES TO NEARBY STARS. 70 00:02:15,300 --> 00:02:17,200 AT THE SPEEDS WE CAN TRAVEL 71 00:02:17,200 --> 00:02:18,433 RIGHT NOW GETTING TO THE NEAREST 72 00:02:18,433 --> 00:02:19,900 STAR IS A 75,000 YEAR JOURNEY. 73 00:02:19,900 --> 00:02:21,200 >> TERRI: ED, WHAT IS YOUR ROLE 74 00:02:21,200 --> 00:02:22,400 HERE AT THE OBSERVATORY? 75 00:02:22,400 --> 00:02:23,666 >> EDWARD: SO I'M THE DIRECTOR 76 00:02:23,666 --> 00:02:24,666 OF THE EDUCATION AND PUBLIC 77 00:02:24,666 --> 00:02:25,533 OUTREACH PROGRAM THAT WE HAVE IN 78 00:02:25,533 --> 00:02:28,833 THE ASTRONOMY DEPARTMENT. 79 00:02:28,833 --> 00:02:29,866 >> TERRI: AND SO UVA NO LONGER 80 00:02:29,866 --> 00:02:30,833 USES THIS FOR ITS RESEARCH, 81 00:02:30,833 --> 00:02:32,300 RIGHT? 82 00:02:32,300 --> 00:02:33,666 >> EDWARD: THAT'S RIGHT. 83 00:02:33,666 --> 00:02:34,766 SO WE NO LONGER USE MCCORMICK 84 00:02:34,766 --> 00:02:35,466 OBSERVATORY FOR RESEARCH FOR A 85 00:02:35,466 --> 00:02:35,933 COUPLE REASONS. 86 00:02:35,933 --> 00:02:36,833 IT'S A SMALL TELESCOPE BY MODERN 87 00:02:36,833 --> 00:02:39,066 STANDARDS. 88 00:02:39,066 --> 00:02:40,033 THERE'S A LOT OF LIGHT POLLUTION 89 00:02:40,033 --> 00:02:40,900 FROM CHARLOTTESVILLE CITY, 90 00:02:40,900 --> 00:02:41,733 ALBEMARLE COUNTY AND THE 91 00:02:41,733 --> 00:02:44,400 UNIVERSITY ITSELF. 92 00:02:44,400 --> 00:02:45,600 THE TELESCOPE WASN'T REALLY 93 00:02:45,600 --> 00:02:46,633 DESIGNED TO HOLD THE MODERN 94 00:02:46,633 --> 00:02:57,466 DIGITAL RESEARCH CAMERAS THAT 95 00:02:57,466 --> 00:02:58,400 ARE VERY BIG, AND VERY HEAVY. 96 00:02:58,400 --> 00:02:58,966 AND THE WEATHER HER IN 97 00:02:58,966 --> 00:02:59,700 CHARLOTTESVILLE JUST ISN'T VERY 98 00:02:59,700 --> 00:03:00,000 GOOD. 99 00:03:00,000 --> 00:03:00,700 WE DON'T GET AS MANY CLEAR 100 00:03:00,700 --> 00:03:01,366 NIGHTS AS WE DO AT THE MAJOR 101 00:03:01,366 --> 00:03:02,033 OBSERVATORIES IN THE DESERT 102 00:03:02,033 --> 00:03:02,400 SOUTHWEST. 103 00:03:02,400 --> 00:03:03,033 >> TERRI: YEAH, AND SO THE 104 00:03:03,033 --> 00:03:03,733 ASTRONOMY DEPARTMENT IS STILL 105 00:03:03,733 --> 00:03:07,833 RUNNING FULL SPEED AHEAD AND 106 00:03:07,833 --> 00:03:09,100 USING ALL HIGH-TECH GEAR AND 107 00:03:09,100 --> 00:03:10,300 EQUIPMENT AND NOW THIS SPACE IS 108 00:03:10,300 --> 00:03:10,833 OPEN TO THE PUBLIC. 109 00:03:10,833 --> 00:03:11,433 >> EDWARD: THAT'S RIGHT. 110 00:03:11,433 --> 00:03:12,533 WE HAVE ACCESS TO OBSERVATORIES 111 00:03:12,533 --> 00:03:13,933 IN ARIZONA AND NEW MEXICO AND 112 00:03:13,933 --> 00:03:14,933 EVEN ACCESS TO OBSERVATORIES 113 00:03:14,933 --> 00:03:16,333 DOWN IN CHILE FOR DOING OUR 114 00:03:16,333 --> 00:03:18,333 RESEARCH AND SO NOW WE MAKE 115 00:03:18,333 --> 00:03:20,500 MCCORMICK OBSERVATORY AVAILABLE 116 00:03:20,500 --> 00:03:21,533 FOR EDUCATION PURPOSES AND 117 00:03:21,533 --> 00:03:22,033 OUTREACH PURPOSES. 118 00:03:22,033 --> 00:03:23,133 >> TERRI: SO WHEN IS IT OPEN? 119 00:03:23,133 --> 00:03:24,066 >> EDWARD: MCCORMICK OBSERVATORY 120 00:03:24,066 --> 00:03:25,166 IS OPEN TO THE PUBLIC ON THE 121 00:03:25,166 --> 00:03:28,000 FIRST AND THIRD FRIDAYS OF EVERY 122 00:03:28,000 --> 00:03:29,200 MONTH YEAR ROUND. 123 00:03:29,200 --> 00:03:30,533 WE'RE ALSO OPEN TO EDUCATIONAL 124 00:03:30,533 --> 00:03:31,900 GROUPS ON THE SECOND AND FOURTH 125 00:03:31,900 --> 00:03:32,966 FRIDAYS OF EVERY MONTH AND THEY 126 00:03:32,966 --> 00:03:33,766 HAVE TO CALL THE ASTRONOMY 127 00:03:33,766 --> 00:03:34,400 DEPARTMENT TO MAKE ADVANCE 128 00:03:34,400 --> 00:03:40,800 RESERVATIONS. 129 00:03:40,800 --> 00:03:41,900 >> TERRI: BUT THE GENERAL PUBLIC 130 00:03:41,900 --> 00:03:42,633 FOR THE FRIDAYS, YOU JUST SHOW 131 00:03:42,633 --> 00:03:42,900 UP. 132 00:03:42,900 --> 00:03:43,566 >> EDWARD: THAT'S RIGHT, IF 133 00:03:43,566 --> 00:03:44,600 IT'S A CLEAR NIGHT, BETWEEN 9:00 134 00:03:44,600 --> 00:03:50,366 AND 11:00 PM YOU CAN JUST SHOW 135 00:03:50,366 --> 00:03:51,166 UP AT ANY TIME NO PRIOR 136 00:03:51,166 --> 00:03:52,366 RESERVATIONS, NO TICKETS 137 00:03:52,366 --> 00:03:53,066 REQUIRED AND THEN YOU CAN LOOK 138 00:03:53,066 --> 00:03:53,766 THROUGH THE TELESCOPES AND IF 139 00:03:53,766 --> 00:03:54,433 IT'S A CLOUDY NIGHT WE HAVE 140 00:03:54,433 --> 00:03:55,100 OTHER PROGRAMS THAT GO ON ON 141 00:03:55,100 --> 00:03:56,300 CLOUDY EVENINGS. 142 00:03:56,300 --> 00:03:57,400 >> GRAD STUDENT: SO TODAY I WILL 143 00:03:57,400 --> 00:03:58,100 BE TALKING ABOUT THE STRUCTURE 144 00:03:58,100 --> 00:03:58,566 OF THE UNIVERSE. 145 00:03:58,566 --> 00:03:59,466 THE UNIVERSE STARTED FROM A BIG 146 00:03:59,466 --> 00:04:01,533 BANG, A BIG EXPLOSION AND MADE 147 00:04:01,533 --> 00:04:02,433 MANY ELEMENTAL PARTICLES AND 148 00:04:02,433 --> 00:04:03,166 AFTER 100 MILLION YEARS THE 149 00:04:03,166 --> 00:04:06,100 FIRST STAR FORMED. 150 00:04:06,100 --> 00:04:07,500 >> TERRI: SO IT TAKES A LITTLE 151 00:04:07,500 --> 00:04:12,100 TIME TO PREPARE THE SPACE, THE 152 00:04:12,100 --> 00:04:13,100 TIME TO PREPARE THE SPACE, THE 153 00:04:13,100 --> 00:04:13,600 DOME, FOR GUESTS. 154 00:04:13,600 --> 00:04:14,466 WALK US THROUGH, WHAT DO YOU DO? 155 00:04:14,466 --> 00:04:16,600 >> EDWARD: SO ON A TYPICAL NIGHT 156 00:04:16,600 --> 00:04:17,700 WHEN IT COMES TIME TO OPEN UP 157 00:04:17,700 --> 00:04:19,733 THE OBSERVATORY THE FIRST THING 158 00:04:19,733 --> 00:04:20,700 THAT I'LL DO WHEN I COME IN IS 159 00:04:20,700 --> 00:04:21,566 OPEN UP THE THREE DOORS THAT ARE 160 00:04:21,566 --> 00:04:22,433 IN THE DOME HERE. 161 00:04:22,433 --> 00:04:23,633 IT'S A BIT OF AN UNUSUAL DESIGN 162 00:04:23,633 --> 00:04:23,933 HERE. 163 00:04:23,933 --> 00:04:24,600 INSTEAD OF ONE LARGE DOOR WE 164 00:04:24,600 --> 00:04:25,766 HAVE THREE SMALLER ONES. 165 00:04:25,766 --> 00:04:26,800 WE OPEN UP ALL THREE DOORS TO 166 00:04:26,800 --> 00:04:27,833 EQUALIZE THE TEMPERATURE INSIDE 167 00:04:27,833 --> 00:04:28,500 AND OUTSIDE THE DOME. 168 00:04:28,500 --> 00:04:29,300 >> TERRI: WHY IS THAT SO 169 00:04:29,300 --> 00:04:33,000 IMPORTANT? 170 00:04:33,000 --> 00:04:34,166 >> EDWARD: IF YOU'VE EVER LOOKED 171 00:04:34,166 --> 00:04:35,166 OUT OVER A PARKING LOT ON A HOT 172 00:04:35,166 --> 00:04:36,500 SUMMER DAY AND YOU'VE SEEN THE 173 00:04:36,500 --> 00:04:37,800 HEAT RISING OFF THE PARKING LOT 174 00:04:37,800 --> 00:04:38,833 YOU'VE NOTICED THAT EVERYTHING 175 00:04:38,833 --> 00:04:39,766 BEHIND IT IS SHIMMERING AND 176 00:04:39,766 --> 00:04:42,166 MOVING AROUND AND WAVING. 177 00:04:42,166 --> 00:04:43,600 AND THAT'S BECAUSE THE HOT AIR 178 00:04:43,600 --> 00:04:44,800 IS LESS DENSE THAN THE COOLER 179 00:04:44,800 --> 00:04:46,266 AIR AND IT BENDS LIGHT LESS. 180 00:04:46,266 --> 00:04:47,333 THE SAME THING HAPPENS HERE AT 181 00:04:47,333 --> 00:04:50,166 THE OBSERVATORY. 182 00:04:50,166 --> 00:04:51,300 IF YOU WERE TO HEAT THE INSIDE 183 00:04:51,300 --> 00:04:52,800 OF THE DOME IN THE WINTERTIME 184 00:04:52,800 --> 00:04:53,866 WHEN WE OPENED THESE DOORS AS 185 00:04:53,866 --> 00:04:58,433 THE HEAT RUSHED OUT IN FRONT OF 186 00:04:58,433 --> 00:04:59,366 THE TELESCOPE, IT WOULD CAUSE 187 00:04:59,366 --> 00:05:00,166 ALL THE STARS TO LOOK BLURRY AND 188 00:05:00,166 --> 00:05:00,600 DISTORTED. 189 00:05:00,600 --> 00:05:01,666 SO WE HAVE TO KEEP THE INSIDE OF 190 00:05:01,666 --> 00:05:02,400 THE DOME THE SAME TEMPERATURE AS 191 00:05:02,400 --> 00:05:04,333 THE OUTSIDE OF THE DOME. 192 00:05:04,333 --> 00:05:05,566 >> TERRI: OK, SO YOU HAVE THE 193 00:05:05,566 --> 00:05:07,433 WINDOWS OPEN AND THEN WHAT ELSE 194 00:05:07,433 --> 00:05:08,733 HAS TO BE SET UP? 195 00:05:08,733 --> 00:05:09,600 >> EDWARD: THE PRIMARY THING 196 00:05:09,600 --> 00:05:10,533 AFTER THAT IS TO BRING THE 197 00:05:10,533 --> 00:05:11,666 TELESCOPE DOWN TO THE GROUND TO 198 00:05:11,666 --> 00:05:13,200 GET THAT READY. 199 00:05:13,200 --> 00:05:16,933 AND AS WE BRING THE TELESCOPE 200 00:05:16,933 --> 00:05:17,933 DOWN, WE'LL PUT AN EYEPIECE ON 201 00:05:17,933 --> 00:05:19,200 THE BOTTOM. 202 00:05:19,200 --> 00:05:20,066 AN EYEPIECE IS WHAT ALLOWS 203 00:05:20,066 --> 00:05:20,866 PEOPLE TO ACTUALLY LOOK THROUGH 204 00:05:20,866 --> 00:05:21,633 THE TELESCOPE AND SEE OBJECTS. 205 00:05:21,633 --> 00:05:22,766 >> TERRI: IS THAT WHAT YOU USE? 206 00:05:22,766 --> 00:05:23,666 WILL YOU SHOW ME HOW YOU WOULD 207 00:05:23,666 --> 00:05:25,366 BRING IT DOWN? 208 00:05:25,366 --> 00:05:27,633 >> EDWARD: THAT'S RIGHT. 209 00:05:27,633 --> 00:05:28,633 SURE, TO BRING THE TELESCOPE 210 00:05:28,633 --> 00:05:29,333 DOWN, TODAY, BACK IN 1885 THE 211 00:05:29,333 --> 00:05:30,033 TELESCOPE WAS OPERATED WITH 212 00:05:30,033 --> 00:05:34,633 ROPES AND PULLEYS. 213 00:05:34,633 --> 00:05:35,733 IN THE 1960S THEY ADDED ELECTRIC 214 00:05:35,733 --> 00:05:37,100 MOTORS TO IT. 215 00:05:37,100 --> 00:05:38,033 AND SO TODAY WE CAN JUST BRING 216 00:05:38,033 --> 00:05:39,233 THE TELESCOPE DOWN WITH A MOTOR. 217 00:05:39,233 --> 00:05:41,966 [MOTOR NOISE] 218 00:05:41,966 --> 00:05:44,633 >> TERRI: OH, THAT'S GREAT. 219 00:05:44,633 --> 00:05:45,733 >> EDWARD: AND EVEN THOUGH WE 220 00:05:45,733 --> 00:05:47,000 BRING THE TELESCOPE DOWN WITH 221 00:05:47,000 --> 00:05:51,966 MOTORS, WHEN WE'RE POINTING THE 222 00:05:51,966 --> 00:05:52,900 TELESCOPE WE STILL DOING IT BY 223 00:05:52,900 --> 00:05:53,566 HAND. 224 00:05:53,566 --> 00:05:54,666 EVEN THOUGH THE TELESCOPE WEIGHS 225 00:05:54,666 --> 00:05:55,666 A FEW THOUSAND POUNDS YOU CAN 226 00:05:55,666 --> 00:05:56,633 GRAB THE TELESCOPE AND YOU CAN 227 00:05:56,633 --> 00:05:57,900 STILL MOVE IT AND WE STILL POINT 228 00:05:57,900 --> 00:05:58,600 IT BY HAND JUST BY GRABBING IT 229 00:05:58,600 --> 00:06:03,633 AND MOVING IT. 230 00:06:03,633 --> 00:06:04,600 >> TERRI: AND SOMETIMES YOU HAVE 231 00:06:04,600 --> 00:06:05,300 IT POSITIONED SO THAT GUESTS 232 00:06:05,300 --> 00:06:06,433 ACTUALLY HAVE TO STAND ON 233 00:06:06,433 --> 00:06:07,133 LADDERS, THESE LADDERS TO PEEK 234 00:06:07,133 --> 00:06:07,466 THROUGH 235 00:06:07,466 --> 00:06:08,066 >> EDWARD: THAT'S RIGHT, 236 00:06:08,066 --> 00:06:08,733 DEPENDING ON THE OBJECT THAT 237 00:06:08,733 --> 00:06:09,533 WE'RE LOOKING AT, IF WE'RE 238 00:06:09,533 --> 00:06:10,600 LOOKING AT AN OBJECT THAT'S VERY 239 00:06:10,600 --> 00:06:12,433 LOW IN THE SKY THEN THE BACK END 240 00:06:12,433 --> 00:06:13,600 OF THE TELESCOPE IS VERY HIGH 241 00:06:13,600 --> 00:06:14,166 OFF THE GROUND. 242 00:06:14,166 --> 00:06:16,100 SO WE HAVE A SMALL LADDER AND A 243 00:06:16,100 --> 00:06:17,000 MUCH LARGER LADDER THAT GUESTS 244 00:06:17,000 --> 00:06:18,366 MIGHT HAVE TO CLIMB ALL THE WAY 245 00:06:18,366 --> 00:06:19,066 UP TO GET A GOOD VIEW THROUGH 246 00:06:19,066 --> 00:07:08,833 THE TELESCOPE. 247 00:07:08,833 --> 00:07:09,933 >> TERRI: HOW DID THEY USE THE 248 00:07:09,933 --> 00:07:10,666 TELESCOPE BACK THEN AND HOW DID 249 00:07:10,666 --> 00:07:11,366 THEY MEASURE THE DISTANCES TO 250 00:07:11,366 --> 00:07:11,800 NEARBY STARS? 251 00:07:11,800 --> 00:07:12,500 >> EDWARD: ASTRONOMERS MEASURE 252 00:07:12,500 --> 00:07:13,233 THE DISTANCES TO NEARBY STARS IN 253 00:07:13,233 --> 00:07:13,900 THE SAME WAY THAT YOU AND I 254 00:07:13,900 --> 00:07:14,566 MEASURE DISTANCES TO THINGS. 255 00:07:14,566 --> 00:07:15,266 WE HAVE BINOCULAR VISION, TWO 256 00:07:15,266 --> 00:07:15,966 EYES ON THE FRONT OF OUR HEADS 257 00:07:15,966 --> 00:07:16,700 BECAUSE WHEN I LOOK AT MY FINGER 258 00:07:16,700 --> 00:07:17,333 WITH MY RIGHT EYE I SEE IT 259 00:07:17,333 --> 00:07:18,066 AGAINST ONE BACKGROUND AND WITH 260 00:07:18,066 --> 00:07:18,733 MY LEFT EYE I SEE IT AGAINST 261 00:07:18,733 --> 00:07:19,266 ANOTHER BACKGROUND. 262 00:07:19,266 --> 00:07:20,000 AND IF I BLINK MY EYES MY FINGER 263 00:07:20,000 --> 00:07:20,700 APPEARS TO JUMP BACK AND FORTH 264 00:07:20,700 --> 00:07:21,433 NOT BECAUSE MY FINGER IS MOVING 265 00:07:21,433 --> 00:07:22,133 BUT BECAUSE I'M SEEING IT WITH 266 00:07:22,133 --> 00:07:22,800 TWO DIFFERENT PERSPECTIVES. 267 00:07:22,800 --> 00:07:23,266 >> TERRI: RIGHT 268 00:07:23,266 --> 00:07:23,966 >> EDWARD: AND THAT'S HOW YOU 269 00:07:23,966 --> 00:07:24,700 AND I JUDGE DISTANCES TO THINGS. 270 00:07:24,700 --> 00:07:25,433 IN ASTRONOMY WE DO IT BY TAKING 271 00:07:25,433 --> 00:07:26,133 ADVANTAGE OF THE FACT THAT THE 272 00:07:26,133 --> 00:07:26,800 EARTH IS ORBITING AROUND THE 273 00:07:26,800 --> 00:07:27,066 SUN. 274 00:07:27,066 --> 00:07:27,800 WHEN THE EARTH IS ON ONE SIDE OF 275 00:07:27,800 --> 00:07:28,533 THE SUN AND WE LOOK AT A NEARBY 276 00:07:28,533 --> 00:07:29,100 STAR IT'S AGAINST THAT 277 00:07:29,100 --> 00:07:29,500 BACKGROUND. 278 00:07:29,500 --> 00:07:30,200 BUT SIX MONTHS LATER WHEN THE 279 00:07:30,200 --> 00:07:30,900 EARTH IS OVER HERE AND WE LOOK 280 00:07:30,900 --> 00:07:31,566 AT THE SAME STAR IT SEEMS TO 281 00:07:31,566 --> 00:07:32,566 HAVE SHIFTED IN THE SKY. 282 00:07:32,566 --> 00:07:33,500 NOT BECAUSE THE STAR HAS SHIFTED 283 00:07:33,500 --> 00:07:34,433 BUT BECAUSE THE EARTH HAS 284 00:07:34,433 --> 00:07:37,133 SHIFTED OVER. 285 00:07:37,133 --> 00:07:38,233 AND THE SIZE OF THAT SHIFT 286 00:07:38,233 --> 00:07:38,833 ALLOWS US TO MEASURE THE 287 00:07:38,833 --> 00:07:40,133 DISTANCE TO THE STAR BUT IT'S 288 00:07:40,133 --> 00:07:41,833 ALSO MOVING THROUGH THE SKY 289 00:07:41,833 --> 00:07:42,866 BECAUSE ALL OF THE STARS ARE 290 00:07:42,866 --> 00:07:43,566 ORBITING AROUND THE MILKY WAY 291 00:07:43,566 --> 00:07:45,833 GALAXY. 292 00:07:45,833 --> 00:07:52,733 SO TYPICALLY WHAT YOU DO IS TAKE 293 00:07:52,733 --> 00:07:53,966 FIVE TO 10 PHOTOGRAPHS OF IT NOW 294 00:07:53,966 --> 00:08:01,666 AND THEN SIX MONTHS LATER YOU 295 00:08:01,666 --> 00:08:03,066 WOULD DO FIVE TO 10 MORE AND 296 00:08:03,066 --> 00:08:03,800 THEN SIX MONTHS AFTER THAT DO IT 297 00:08:03,800 --> 00:08:04,100 AGAIN. 298 00:08:04,100 --> 00:08:04,733 AND SIX MONTHS AFTER THAT. 299 00:08:04,733 --> 00:08:05,433 AND FOR MANY, MANY YEARS EVERY 300 00:08:05,433 --> 00:08:06,433 SIX YEARS YOU'D BE PHOTOGRAPHING 301 00:08:06,433 --> 00:08:07,400 A STAR MULTIPLE TIMES. 302 00:08:07,400 --> 00:08:08,100 YOU WOULD END UP WITH HUNDREDS 303 00:08:08,100 --> 00:08:09,333 OF PHOTOGRAPHS OF THE STAR THAT 304 00:08:09,333 --> 00:08:09,933 NOW HAVE TO BE CAREFULLY 305 00:08:09,933 --> 00:08:10,300 MEASURED. 306 00:08:10,300 --> 00:08:11,000 >> TERRI: AND THE PHOTOGRAPHS 307 00:08:11,000 --> 00:08:11,633 ARE ACTUALLY GLASS PLATES. 308 00:08:11,633 --> 00:08:12,233 >> EDWARD: THAT'S RIGHT. 309 00:08:12,233 --> 00:08:13,433 SO THE PHOTOGRAPHS THAT WE TOOK 310 00:08:13,433 --> 00:08:16,800 HERE AT MCCORMICK OBSERVATORY 311 00:08:16,800 --> 00:08:17,766 ARE FIVE BY SEVEN-INCH GLASS 312 00:08:17,766 --> 00:08:18,700 PLATES. 313 00:08:18,700 --> 00:08:19,733 THE REASON WE USE GLASS IS FIRST 314 00:08:19,733 --> 00:08:20,466 OF ALL THE PROGRAM BEGAN IN 1914 315 00:08:20,466 --> 00:08:21,633 WHEN THERE WAS ONLY GLASS 316 00:08:21,633 --> 00:08:21,966 PLATES. 317 00:08:21,966 --> 00:08:22,600 BUT IN ADDITION, GLASS IS 318 00:08:22,600 --> 00:08:24,166 DIMENSIONALLY STABLE. 319 00:08:24,166 --> 00:08:25,066 THAT IS, IF WE TAKE AN IMAGE OF 320 00:08:25,066 --> 00:08:26,266 THE STARS AND WE MEASURE IT NOW 321 00:08:26,266 --> 00:08:29,266 AND WE MEASURE IT 20 YEARS FROM 322 00:08:29,266 --> 00:08:30,133 NOW, YOU SHOULD GET THE SAME 323 00:08:30,133 --> 00:08:30,900 RESULTS. 324 00:08:30,900 --> 00:08:34,133 WHEN PLASTIC FILM CAME OUT, 325 00:08:34,133 --> 00:08:35,666 ASTRONOMERS DID NOT ADAPT 326 00:08:35,666 --> 00:08:36,400 PLASTIC FILM VERY OFTEN BECAUSE 327 00:08:36,400 --> 00:08:37,800 PLASTIC FILM CAN BEND AND TWIST. 328 00:08:37,800 --> 00:08:39,100 20 YEARS FROM NOW IF YOU TOOK A 329 00:08:39,100 --> 00:08:40,166 PHOTOGRAPH OF THE STARS AND THE 330 00:08:40,166 --> 00:08:41,900 STARS APPEAR TO MOVE YOU WOULD 331 00:08:41,900 --> 00:08:43,100 WONDER ARE THE STARS MOVING OR 332 00:08:43,100 --> 00:08:44,400 IS IT THE PHOTOGRAPH THAT'S 333 00:08:44,400 --> 00:08:46,933 BENDING AND TWISTING? 334 00:08:46,933 --> 00:08:47,900 >> TERRI: HOW MANY PLATES DO YOU 335 00:08:47,900 --> 00:08:51,200 HAVE IN STORAGE HERE? 336 00:08:51,200 --> 00:08:52,166 >> EDWARD: SO OVER THE YEARS 337 00:08:52,166 --> 00:08:53,066 FROM 1914 UNTIL THE PARALLAX 338 00:08:53,066 --> 00:08:53,833 PROGRAM ENDED WE GATHERED ABOUT 339 00:08:53,833 --> 00:08:55,566 A TOTAL OF 144,000 PLATES HERE 340 00:08:55,566 --> 00:08:58,600 AT MCCORMICK OBSERVATORY. 341 00:08:58,600 --> 00:09:00,500 >> TERRI: AND SO WHAT DO YOU DO 342 00:09:00,500 --> 00:09:01,300 WITH THE PLATES NOW? 343 00:09:01,300 --> 00:09:02,033 >> EDWARD: SO THE PLATES ARE IN 344 00:09:02,033 --> 00:09:03,000 STORAGE IN CASE ANYONE NEEDS TO 345 00:09:03,000 --> 00:09:04,566 USE THEM. 346 00:09:04,566 --> 00:09:05,466 THEY'RE STORED HERE AT MCCORMICK 347 00:09:05,466 --> 00:09:06,666 OBSERVATORY AND WE'RE WORKING 348 00:09:06,666 --> 00:09:07,733 VERY HARD TO PRESERVE THEM FOR 349 00:09:07,733 --> 00:09:14,233 FUTURE GENERATIONS. 350 00:09:14,233 --> 00:09:15,733 I THINK A REALLY INTERESTING 351 00:09:15,733 --> 00:09:17,233 THING ABOUT THESE PLATES IS THIS 352 00:09:17,233 --> 00:09:18,800 FOR EXAMPLE IS A PICTURE OF A 353 00:09:18,800 --> 00:09:19,800 NEARBY STAR TAKEN IN 1969, WE'LL 354 00:09:19,800 --> 00:09:20,700 NEVER BE ABLE TO GO BACK AND 355 00:09:20,700 --> 00:09:21,433 PHOTOGRAPH THAT PART OF THE SKY 356 00:09:21,433 --> 00:09:23,700 IN 1969 AGAIN. 357 00:09:23,700 --> 00:09:24,766 WE CAN PHOTOGRAPH IT TODAY BUT 358 00:09:24,766 --> 00:09:26,100 THAT MIGHT BE THE ONLY RECORD WE 359 00:09:26,100 --> 00:09:26,833 HAVE OF THAT PART OF THE SKY IN 360 00:09:26,833 --> 00:09:32,000 THAT YEAR. 361 00:09:32,000 --> 00:09:33,066 TO GIVE YOU AN IDEA OF HOW MUCH 362 00:09:33,066 --> 00:09:34,233 OF THE UNIVERSE WE'VE EXPLORED, 363 00:09:34,233 --> 00:09:35,366 THE CLOSEST STAR OTHER THAN OUR 364 00:09:35,366 --> 00:09:37,833 SUN IS CALLED ALPHA CENTAURI AND 365 00:09:37,833 --> 00:09:47,533 ALPHA CENTAURI IN LIGHT TRAVEL 366 00:09:47,533 --> 00:09:48,433 TIME IS 4.4 LIGHTYEARS AWAY, 367 00:09:48,433 --> 00:09:49,333 THAT'S 4.4 YEARS TRAVEL TIME. 368 00:09:49,333 --> 00:09:50,000 >> TERRI: DON'T YOU HAVE THE 369 00:09:50,000 --> 00:09:50,700 LARGEST COLLECTION OF MACHINES 370 00:09:50,700 --> 00:09:51,300 THAT MEASURE, MEASURING 371 00:09:51,300 --> 00:09:51,666 MACHINES? 372 00:09:51,666 --> 00:09:52,400 >> EDWARD: WE THINK WE HAVE ONE 373 00:09:52,400 --> 00:09:53,100 OF THE LARGEST COLLECTIONS OF 374 00:09:53,100 --> 00:09:53,833 MEASURING ENGINES IN THE COUNTRY 375 00:09:53,833 --> 00:09:54,766 STARTING WITH THE EARLIEST ONES 376 00:09:54,766 --> 00:09:55,566 THAT WE GOT HERE IN THE EARLY 377 00:09:55,566 --> 00:09:58,366 PART OF THE 20TH CENTURY AND 378 00:09:58,366 --> 00:09:59,333 THEN EVERY DECADE OR SO THE 379 00:09:59,333 --> 00:10:00,266 ASTRONOMERS WOULD UPGRADE TO A 380 00:10:00,266 --> 00:10:01,000 BETTER MACHINE AS THE TECHNOLOGY 381 00:10:01,000 --> 00:10:01,900 GOT BETTER. 382 00:10:01,900 --> 00:10:02,733 AND FORTUNATELY HERE AT 383 00:10:02,733 --> 00:10:03,600 MCCORMICK OBSERVATORY THEY 384 00:10:03,600 --> 00:10:04,766 DIDN'T THROW ANYTHING AWAY. 385 00:10:04,766 --> 00:10:05,600 SO WE HAVE ALL OF THE OLD 386 00:10:05,600 --> 00:10:06,666 MACHINES IN ADDITION TO THE 387 00:10:06,666 --> 00:10:08,100 MODERN ONE. 388 00:10:08,100 --> 00:10:10,500 >> TERRI: AND YOU EVEN HAVE A 389 00:10:10,500 --> 00:10:11,233 DESK AREA THAT REMAINS 390 00:10:11,233 --> 00:10:14,066 COMPLETELY UNTOUCHED. 391 00:10:14,066 --> 00:10:16,633 IT LOOKS EXACTLY AS IT DID IN 392 00:10:16,633 --> 00:10:18,700 '94 WHEN THE PROGRAM ENDED. 393 00:10:18,700 --> 00:10:21,966 AND NOTHING HAS MOVED. 394 00:10:21,966 --> 00:10:23,066 >> EDWARD: THAT'S RIGHT. 395 00:10:23,066 --> 00:10:24,533 AND SO WHEN THE PARALLAX PROGRAM 396 00:10:24,533 --> 00:10:25,600 WAS GOING ON HERE WE WOULD HAVE 397 00:10:25,600 --> 00:10:26,466 ASTRONOMERS OR TYPICALLY 398 00:10:26,466 --> 00:10:28,300 GRADUATE STUDENTS IN THE LATER 399 00:10:28,300 --> 00:10:29,366 YEARS COMING UP AND TAKING MANY 400 00:10:29,366 --> 00:10:33,866 PHOTOGRAPHIC PLATES EVERY NIGHT, 401 00:10:33,866 --> 00:10:35,233 NIGHT AFTER NIGHT, EVERY TIME 402 00:10:35,233 --> 00:10:36,033 THE SKY WAS CLEAR. 403 00:10:36,033 --> 00:10:37,033 AND THEN WE HAD AN ASTRONOMER 404 00:10:37,033 --> 00:10:38,066 DOWN IN THE ASTRONOMY DEPARTMENT 405 00:10:38,066 --> 00:10:40,566 WHO MANAGED THAT PROGRAM, 406 00:10:40,566 --> 00:10:41,833 DETERMINED WHICH STARS THE 407 00:10:41,833 --> 00:10:42,500 STUDENTS WOULD OBSERVE THAT 408 00:10:42,500 --> 00:10:43,600 NIGHT. 409 00:10:43,600 --> 00:10:46,833 THEN WHEN THE PLATES WOULD COME 410 00:10:46,833 --> 00:10:48,033 IN, THE PLATES HAD TO BE 411 00:10:48,033 --> 00:10:49,066 DEVELOPED THEY THEN HAD TO BE 412 00:10:49,066 --> 00:10:50,300 GRADED AS TO WHETHER THEY WERE 413 00:10:50,300 --> 00:10:51,966 GOOD OR BAD; WHETHER THEY COULD 414 00:10:51,966 --> 00:10:52,900 BE USED FOR SCIENCE OR NOT AND 415 00:10:52,900 --> 00:10:54,233 THAT WHOLE DESK WHERE THEY DID 416 00:10:54,233 --> 00:10:55,166 ALL OF THAT SORTING AND GRADING 417 00:10:55,166 --> 00:10:58,066 STILL SITS AS IT WAS IN 1994. 418 00:10:58,066 --> 00:11:01,900 >> TERRI: YOU ALSO HAVE ANOTHER 419 00:11:01,900 --> 00:11:03,900 BUILDING, ANOTHER SMALL BUILDING 420 00:11:03,900 --> 00:11:04,833 RIGHT BESIDE THE OBSERVATORY AND 421 00:11:04,833 --> 00:11:05,666 YOU HAVE TWO ADDITIONAL 422 00:11:05,666 --> 00:11:06,066 TELESCOPES. 423 00:11:06,066 --> 00:11:06,833 TELL ME ABOUT THAT. 424 00:11:06,833 --> 00:11:08,200 >> EDWARD: SO WE CALL IT THE 425 00:11:08,200 --> 00:11:09,033 STUDENT OBSERVATORY OR THE 426 00:11:09,033 --> 00:11:10,100 DOGHOUSE BECAUSE IT LOOKS LIKE 427 00:11:10,100 --> 00:11:11,333 SNOOPY'S DOGHOUSE WITH THE ROOF 428 00:11:11,333 --> 00:11:12,566 THAT ROLLS OFF. 429 00:11:12,566 --> 00:11:13,600 AND THAT'S BOTH USED IN TRAINING 430 00:11:13,600 --> 00:11:14,633 OUR STUDENTS AND IT'S OPEN ON 431 00:11:14,633 --> 00:11:19,966 PUBLIC NIGHTS. 432 00:11:19,966 --> 00:11:23,533 IN THERE WE HAVE A 14-INCH 433 00:11:23,533 --> 00:11:24,733 MODERN COMPUTER CONTROLLED 434 00:11:24,733 --> 00:11:25,466 TELESCOPE AND WE ALSO HAVE AN 435 00:11:25,466 --> 00:11:26,800 ANTIQUE SIX-INCH TELESCOPE THAT 436 00:11:26,800 --> 00:11:27,533 WAS GIFTED TO THE UNIVERSITY IN 437 00:11:27,533 --> 00:11:31,566 THE EARLY 20TH CENTURY. 438 00:11:31,566 --> 00:11:32,966 SO ON A CLEAR NIGHT YOU HAVE THE 439 00:11:32,966 --> 00:11:33,700 OPPORTUNITY TO LOOK THROUGH THE 440 00:11:33,700 --> 00:11:34,133 BIG TELESCOPE. 441 00:11:34,133 --> 00:11:35,100 YOU ALSO HAVE THE OPPORTUNITY TO 442 00:11:35,100 --> 00:11:35,766 LOOK THROUGH THE TWO SMALLER 443 00:11:35,766 --> 00:11:36,300 TELESCOPES AND SEE A 444 00:11:36,300 --> 00:11:36,933 PRESENTATION USUALLY BY A 445 00:11:36,933 --> 00:11:37,400 FACULTY MEMBER. 446 00:11:37,400 --> 00:11:38,066 >> TERRI: AND THEN YOU HAVE 447 00:11:38,066 --> 00:11:38,500 MUSEUM SPACES. 448 00:11:38,500 --> 00:11:39,166 YOU HAVE TWO MUSEUM SPACES. 449 00:11:39,166 --> 00:11:40,433 TALK ABOUT THOSE. 450 00:11:40,433 --> 00:11:41,433 >> EDWARD: SO WE HAVE A MUSEUM 451 00:11:41,433 --> 00:11:44,166 SPACE THAT TALKS A LITTLE BIT 452 00:11:44,166 --> 00:11:45,000 ABOUT THIS HISTORY OF THE 453 00:11:45,000 --> 00:11:46,033 OBSERVATORY, IT HAS SOME 454 00:11:46,033 --> 00:11:47,000 ARTIFACTS FROM THE EARLY YEARS 455 00:11:47,000 --> 00:11:49,200 AND IT HAS SOME ARTIFACTS FROM 456 00:11:49,200 --> 00:11:50,200 THE MCCORMICK FAMILY WHO DONATED 457 00:11:50,200 --> 00:11:53,166 THE TELESCOPE TO THE UNIVERSITY. 458 00:11:53,166 --> 00:11:54,200 AND THEN WE ALSO HAVE TWO OTHER 459 00:11:54,200 --> 00:11:56,100 AREAS WITH LIGHT BOXES THAT 460 00:11:56,100 --> 00:11:57,000 HIGHLIGHT THE RESEARCH THAT'S 461 00:11:57,000 --> 00:11:57,833 GOING ON IN THE DEPARTMENT 462 00:11:57,833 --> 00:12:02,333 TODAY. 463 00:12:02,333 --> 00:12:03,366 SO RIGHT NOW, FOR EXAMPLE, WE 464 00:12:03,366 --> 00:12:04,300 HAVE A SATURN EXHIBIT THAT'S UP 465 00:12:04,300 --> 00:12:05,833 BECAUSE ONE OF OUR SCIENTISTS 466 00:12:05,833 --> 00:12:07,200 FRAN VERBISCER IS WORKING ON THE 467 00:12:07,200 --> 00:12:07,833 CASSINI MISSION TO SATURN. 468 00:12:07,833 --> 00:12:08,633 SHE'S ONE OF THE PRINCIPLE 469 00:12:08,633 --> 00:12:09,400 SCIENTISTS WORKING ON THAT 470 00:12:09,400 --> 00:12:10,233 MISSION AND SHE GOT US A NUMBER 471 00:12:10,233 --> 00:12:11,200 OF IMAGES THAT WERE TAKEN BY 472 00:12:11,200 --> 00:12:13,266 CASSINI IN ORBIT AROUND SATURN. 473 00:12:13,266 --> 00:12:14,300 >> TERRI: AND THERE IS ONE MORE 474 00:12:14,300 --> 00:12:19,166 THING THAT GOES ON HERE. 475 00:12:19,166 --> 00:12:20,233 YOU HAVE A WEATHER STATION AND 476 00:12:20,233 --> 00:12:28,166 IT'S ONE OF THE ONLY WEATHER 477 00:12:28,166 --> 00:12:29,633 STATIONS IN VIRGINIA, I THINK, 478 00:12:29,633 --> 00:12:30,300 WHERE THE WEATHER IS CHECKED 479 00:12:30,300 --> 00:12:30,966 EVERY DAY? 480 00:12:30,966 --> 00:12:32,000 >> EDWARD: THAT'S RIGHT. 481 00:12:32,000 --> 00:12:32,700 SO WE HAVE A NATIONAL WEATHER 482 00:12:32,700 --> 00:12:33,400 SERVICE WEATHER STATION HERE. 483 00:12:33,400 --> 00:12:34,233 AND I BELIEVE IT'S THE OLDEST 484 00:12:34,233 --> 00:12:35,233 CONTINUALLY OPERATED WEATHER 485 00:12:35,233 --> 00:12:35,766 STATION IN VIRGINIA. 486 00:12:35,766 --> 00:12:41,566 WE HAVE WEATHER RECORDS GOING 487 00:12:41,566 --> 00:12:42,733 BACK TO THE 1880S AND THEY'VE 488 00:12:42,733 --> 00:12:43,433 BEEN MEASURED HERE EVERY DAY. 489 00:12:43,433 --> 00:12:44,133 WE HAVE SOMEONE WHO LIVES IN A 490 00:12:44,133 --> 00:12:44,900 HOUSE UP HERE NEXT TO THE 491 00:12:44,900 --> 00:12:45,833 OBSERVATORY AND EVERY MORNING AT 492 00:12:45,833 --> 00:12:46,466 8:00 HE COMES OVER TO THE 493 00:12:46,466 --> 00:12:47,500 WEATHER STATION AND MANUALLY 494 00:12:47,500 --> 00:12:48,500 READS THE TWO MEASUREMENTS IN 495 00:12:48,500 --> 00:12:49,466 THERE, THE HIGH AND THE LOW FOR 496 00:12:49,466 --> 00:13:00,166 THE DAY BEFORE. 497 00:13:00,166 --> 00:13:01,833 AND ALSO CHECKS THE RAIN GAUGE 498 00:13:01,833 --> 00:13:02,533 AND YOU WILL OFTEN HEAR ON THE 499 00:13:02,533 --> 00:13:03,266 LOCAL NEWS THAT A NEW RECORD WAS 500 00:13:03,266 --> 00:13:04,000 SET IN CHARLOTTESVILLE AND THAT 501 00:13:04,000 --> 00:13:04,733 RECORD IS USUALLY TAKEN HERE AT 502 00:13:04,733 --> 00:13:05,300 MCCORMICK OBSERVATORY. 503 00:13:05,300 --> 00:13:06,033 >> TERRI: OH, THAT'S FANTASTIC. 504 00:13:06,033 --> 00:13:06,400 WELL, ED. 505 00:13:06,400 --> 00:13:07,000 THANK YOU SO MUCH. 506 00:13:07,000 --> 00:13:08,500 >> EDWARD: OKAY. 507 00:13:08,500 --> 00:13:09,233 IF I CAN HAVE EVERYONE'S 508 00:13:09,233 --> 00:13:10,133 ATTENTION FOR A SECOND, JUPITER 509 00:13:10,133 --> 00:13:10,833 IS GETTING LOWER AND LOWER ON 510 00:13:10,833 --> 00:13:11,566 US, SO THE BAD NEWS IS WE'RE NOT 511 00:13:11,566 --> 00:13:12,200 GOING TO LOOK AT JUPITER. 512 00:13:12,200 --> 00:13:13,600 THE GOOD NEWS IS SATURN IS 513 00:13:13,600 --> 00:13:14,933 GETTING HIGHER AND HIGHER SO I'M 514 00:13:14,933 --> 00:13:16,533 GONNA SWITCH OVER TO SATURN. 515 00:13:16,533 --> 00:13:17,933 WHAT THAT MEANS IS I'M GOING TO 516 00:13:17,933 --> 00:13:19,466 BRING THE TELESCOPE DOWN AND UP 517 00:13:19,466 --> 00:13:20,133 AND I HAVE TO BRING THAT BIG 518 00:13:20,133 --> 00:13:20,566 CHAIR OVER. 519 00:13:20,566 --> 00:13:22,166 SO EVERYBODY IN THE DOME STAND 520 00:13:22,166 --> 00:13:23,800 OVER THERE IN THE EMPTY SPACE 521 00:13:23,800 --> 00:13:25,166 FOR A FEW MINUTES AND THEN I'M 522 00:13:25,166 --> 00:13:27,666 GOING TO MOVE THE TELESCOPE AS 523 00:13:25,866 --> 00:13:36,633 WELL. 524 00:13:30,066 --> 00:13:39,433 ♪♪♪ 525 00:13:39,433 --> 00:13:47,333 [RAPPING] 526 00:13:47,333 --> 00:13:48,366 >> TERRI: TODAY WE'RE GOING TO 527 00:13:48,366 --> 00:13:49,200 LEARN ABOUT A HIGH SCHOOL 528 00:13:49,200 --> 00:13:52,133 PROGRAM THAT FUNCTIONS AS A 529 00:13:52,133 --> 00:13:53,133 RECORDING STUDIO AND CREATIVE 530 00:13:53,133 --> 00:13:53,900 HUB WHERE STUDENTS OF ALL 531 00:13:53,900 --> 00:13:54,733 INTERESTS AND BACKGROUNDS WORK 532 00:13:54,733 --> 00:13:55,466 TOGETHER TO CREATE MUSIC AND 533 00:13:55,466 --> 00:13:59,166 ART. 534 00:13:59,166 --> 00:14:00,566 JOIN US AS WE VISIT ALBEMARLE 535 00:14:00,566 --> 00:14:01,166 HIGH SCHOOL'S A3 HOUSE. 536 00:14:01,166 --> 00:14:07,466 COME ON! 537 00:14:07,466 --> 00:14:07,933 [SINGING] 538 00:14:07,933 --> 00:14:19,000 >> CHECK, CHECK. 539 00:14:19,000 --> 00:14:19,333 ♪♪♪ 540 00:14:19,333 --> 00:14:21,166 >> CHANCE DICKERSON: THE MISSION 541 00:14:21,166 --> 00:14:22,466 HERE AT A3 HOUSE IS TO HELP 542 00:14:22,466 --> 00:14:23,166 STUDENTS IDENTIFY WHO THEY ARE 543 00:14:23,166 --> 00:14:23,833 AND PURSUE THEIR PASSION BY 544 00:14:23,833 --> 00:14:24,500 CREATING A VISION TO SERVE A 545 00:14:24,500 --> 00:14:27,466 PURPOSE. 546 00:14:27,466 --> 00:14:29,200 IN A BROADER SENSE, I THINK THE 547 00:14:29,200 --> 00:14:30,266 VISION IS TO TAKE THIS MODEL AND 548 00:14:30,266 --> 00:14:33,266 SOLIDIFY IT AND MAKE IT A 549 00:14:33,266 --> 00:14:34,666 PERMANENT FIXTURE IN THE SCHOOL 550 00:14:34,666 --> 00:14:35,700 AND ALSO TO PLANT IT IN OTHER 551 00:14:35,700 --> 00:14:36,733 SCHOOLS IN THE COUNTY THE STATE 552 00:14:36,733 --> 00:14:38,500 AND ACROSS THE NATION. 553 00:14:38,500 --> 00:14:40,300 AND THAT'S NOT TONGUE IN CHEEK. 554 00:14:40,300 --> 00:14:43,800 I REALLY HONESTLY BELIEVE THAT 555 00:14:43,800 --> 00:14:44,966 WE CAN MAKE THIS A PART OF EVERY 556 00:14:44,966 --> 00:14:46,600 SCHOOL BECAUSE IT'S THAT 557 00:14:46,600 --> 00:14:48,200 EFFECTIVE IN HELPING STUDENTS 558 00:14:48,200 --> 00:14:49,266 REACH THEIR PURPOSE AND 559 00:14:49,266 --> 00:14:51,733 IDENTITY. 560 00:14:51,733 --> 00:14:55,300 >> TERRI: AND THEN YOU'VE SPOKEN 561 00:14:55,300 --> 00:14:56,333 IN THE PAST ABOUT THE IMPORTANCE 562 00:14:56,333 --> 00:14:57,066 OF AUTHENTIC EXPERIENCE AS PART 563 00:14:57,066 --> 00:14:57,966 OF WHY YOU TEACH THE WAY YOU 564 00:14:57,966 --> 00:14:58,300 TEACH. 565 00:14:58,300 --> 00:15:00,766 TALK ABOUT THAT. 566 00:15:00,766 --> 00:15:02,200 >> CHANCE DICKERSON: WELL, WHEN 567 00:15:02,200 --> 00:15:03,166 I WAS IN SCHOOL I OFTEN FELT 568 00:15:03,166 --> 00:15:06,433 LIKE THERE WAS NO AUTHENTICITY. 569 00:15:06,433 --> 00:15:10,200 I FELT LIKE EVERY TIME I WAS 570 00:15:10,200 --> 00:15:11,100 GIVEN AN ASSIGNMENT OR A TEST IT 571 00:15:11,100 --> 00:15:12,033 WAS ALWAYS LIKE TRYING TO ALMOST 572 00:15:12,033 --> 00:15:12,600 TRICK ME INTO LEARNING 573 00:15:12,600 --> 00:15:18,500 SOMETHING. 574 00:15:18,500 --> 00:15:20,333 ALMOST LIKE A GIMMICK, LIKE HEY 575 00:15:20,333 --> 00:15:21,566 LET'S THROW SOME HIP HOP ON TOP 576 00:15:21,566 --> 00:15:22,200 OF THIS CHEMISTRY PROJECT. 577 00:15:22,200 --> 00:15:23,133 IT TAKES THE AUTHENTICITY AWAY 578 00:15:23,133 --> 00:15:24,900 BECAUSE IT NEEDS TO BE CENTERED 579 00:15:24,900 --> 00:15:28,800 ON WHAT THAT INDIVIDUAL STUDENT 580 00:15:28,800 --> 00:15:30,466 IS INTERESTED IN IN ACTUAL 581 00:15:30,466 --> 00:15:31,866 REALITY FOR THEM PERSONALLY AND 582 00:15:31,866 --> 00:15:33,366 NOT TRYING TO USE IT TO GET THEM 583 00:15:33,366 --> 00:15:34,033 TO BUY INTO SOMETHING ELSE; 584 00:15:34,033 --> 00:15:34,766 USING IT TO GET THEM TO BUY INTO 585 00:15:34,766 --> 00:15:37,766 THEMSELVES. 586 00:15:37,766 --> 00:15:39,000 >> TERRI: SO BERNARD, GIVE ME 587 00:15:39,000 --> 00:15:39,666 EXAMPLES ON HOW YOU'RE DOING 588 00:15:39,666 --> 00:15:40,666 THAT IN THE CLASSROOM. 589 00:15:40,666 --> 00:15:43,200 >> BERNARD HANKINS: SO, FOR 590 00:15:43,200 --> 00:15:44,966 INSTANCE, WE CREATED A RECORD 591 00:15:44,966 --> 00:15:46,566 LABEL MODEL WHICH BASICALLY GAVE 592 00:15:46,566 --> 00:15:54,366 EVERY STUDENT A ROLE AND A GOAL 593 00:15:54,366 --> 00:15:55,266 SO ME AND MR. DICKERSON SAT DOWN 594 00:15:55,266 --> 00:15:56,233 AND WE WENT THROUGH ALL OF THE 595 00:15:56,233 --> 00:15:57,600 STUDENTS AND SAID, OKAY, WHAT 596 00:15:57,600 --> 00:15:59,766 HAVE WE OBSERVED ABOUT SAY FOR 597 00:15:59,766 --> 00:16:01,500 INSTANCE, ANIJA, WHAT IS SHE 598 00:16:01,500 --> 00:16:02,833 INTERESTED IN, WHAT IS SHE 599 00:16:02,833 --> 00:16:04,166 REALLY GOOD AT? AND SO WE SET -- 600 00:16:04,166 --> 00:16:04,866 I LIKE TO SAY THAT WE SET THEM 601 00:16:04,866 --> 00:16:07,333 UP FOR SUCCESS, YOU KNOW, WE SAY 602 00:16:07,333 --> 00:16:08,366 OKAY, YOU'RE GOOD AT THIS, YOU 603 00:16:08,366 --> 00:16:09,200 DO THIS A LOT SO WHY DON'T WE 604 00:16:09,200 --> 00:16:11,033 JUST CREATE A PROJECT AROUND 605 00:16:11,033 --> 00:16:12,700 THAT SO WHEN YOU ENGAGE THE 606 00:16:12,700 --> 00:16:20,733 PROJECT YOU FEEL A SENSE OF 607 00:16:20,733 --> 00:16:25,900 CONFIDENCE, SELF-WORTH AND IT 608 00:16:25,900 --> 00:16:27,166 THEY PRETTY MUCH TAILOR-MADE IT 609 00:16:27,166 --> 00:16:27,866 FOR ME AND I FEEL PRETTY GOOD 610 00:16:27,866 --> 00:16:28,266 ABOUT THAT. 611 00:16:28,266 --> 00:16:30,266 SO PART OF IT IS KIND OF FOR OUR 612 00:16:30,266 --> 00:16:31,833 OWN BENEFIT IT'S LIKE HEY IF I 613 00:16:31,833 --> 00:16:32,566 CAN GET THE BALL ROLLING AND YOU 614 00:16:32,566 --> 00:16:33,233 JUST GO I DON'T HAVE TO KEEP 615 00:16:33,233 --> 00:16:33,766 AFTER YOU. 616 00:16:33,766 --> 00:16:35,000 SO CREATE AUTONOMY WITH THESE 617 00:16:35,000 --> 00:16:35,866 STUDENTS BY ALLOWING THEM TO 618 00:16:35,866 --> 00:16:38,300 SELF-ENGAGE. 619 00:16:38,300 --> 00:16:41,800 [SINGING] 620 00:16:41,800 --> 00:16:43,333 >> ANIJA JOHNSON: IT'S JUST ROAM 621 00:16:43,333 --> 00:16:44,300 FREE, DO WHAT YOU WANT, ASK FOR 622 00:16:44,300 --> 00:16:45,300 HELP IF YOU NEED IT AND OTHER 623 00:16:45,300 --> 00:16:46,166 THAN THAT YOU'RE SET FREE AND I 624 00:16:46,166 --> 00:16:47,500 LIKE IT BECAUSE IT'S LIKE IT'S 625 00:16:47,500 --> 00:16:48,333 UNIQUE, IT'S NOT LIKE YOUR 626 00:16:48,333 --> 00:16:53,766 NORMAL TAUGHT CLASS. 627 00:16:53,766 --> 00:16:54,833 >> SAMUEL BWISEZE: HAVING A HIP 628 00:16:54,833 --> 00:16:56,033 HOP TOURNAMENT AT MY SCHOOL IS 629 00:16:56,033 --> 00:16:57,466 REALLY AMAZING AND IT'S EXCITING 630 00:16:57,466 --> 00:17:00,800 BECAUSE I THINK WE'RE LIKE THE 631 00:17:00,800 --> 00:17:01,733 FIRST SCHOOL IN CHARLOTTESVILLE 632 00:17:01,733 --> 00:17:02,633 THAT HAS THIS THING GOING ON AND 633 00:17:02,633 --> 00:17:04,100 IT'S JUST REALLY COOL. 634 00:17:04,100 --> 00:17:07,233 >> CHRISTIAN CARRIER: M 635 00:17:07,233 --> 00:17:09,333 FAVORITE PART OF BEING IN THE 636 00:17:09,333 --> 00:17:14,833 CLASS IS PROBABLY MR. DICKERSON. 637 00:17:14,833 --> 00:17:16,066 HE'S A GREAT TEACHER AND YOU 638 00:17:16,066 --> 00:17:16,766 LEARN MORE THAN TECHNOLOGY IN 639 00:17:16,766 --> 00:17:17,266 HERE. 640 00:17:17,266 --> 00:17:18,766 I'VE LEARNED SO MUCH FROM HIM 641 00:17:18,766 --> 00:17:19,500 THAT DOESN'T HAVE ANYTHING TO DO 642 00:17:19,500 --> 00:17:19,966 WITH TECHNOLOGY. 643 00:17:19,966 --> 00:17:21,133 HE'S LIKE MY ROLE MODEL. 644 00:17:21,133 --> 00:17:22,700 >> TERRI: YOU LIKE TO 645 00:17:22,700 --> 00:17:26,066 COLLABORATE WITHIN GENRES, 646 00:17:26,066 --> 00:17:29,700 WITHIN THE ARTS, AND SO THE 647 00:17:29,700 --> 00:17:31,300 STUDENTS WORK ON PROJECTS ALL 648 00:17:31,300 --> 00:17:33,233 YEAR LONG AND THEY COLLABORATE, 649 00:17:33,233 --> 00:17:35,233 SOMETIMES THEY COLLABORATE 650 00:17:35,233 --> 00:17:36,300 OUTSIDE OF THE CLASSROOMS, TALK 651 00:17:36,300 --> 00:17:37,200 ABOUT THAT. 652 00:17:37,200 --> 00:17:38,133 >> BERNARD HANKINS: THE GREAT 653 00:17:38,133 --> 00:17:38,966 THING WITH THE RECORD LABEL 654 00:17:38,966 --> 00:17:40,033 MODEL NOW THAT YOU KNOW I HAVE A 655 00:17:40,033 --> 00:17:40,766 GRAPHIC DESIGNER OVER HERE AND A 656 00:17:40,766 --> 00:17:42,366 VIDEOGRAPHER IN THAT CLASS, I 657 00:17:42,366 --> 00:17:45,200 NEED A MUSIC VIDEO. 658 00:17:45,200 --> 00:17:46,300 SO IT CREATED A NATURAL CONTEXT 659 00:17:46,300 --> 00:17:47,466 FOR PEOPLE TO BE ABLE TO WORK 660 00:17:47,466 --> 00:17:48,700 TOGETHER BECAUSE NOW YOU'RE 661 00:17:48,700 --> 00:17:49,700 AWARE OF THESE OTHER TALENTS 662 00:17:49,700 --> 00:17:51,133 THAT ARE AVAILABLE TO YOU. 663 00:17:51,133 --> 00:17:52,400 >> CHANCE DICKERSON: I ALWAYS 664 00:17:52,400 --> 00:17:53,366 WANTED IT TO BE A PROGRAM THAT 665 00:17:53,366 --> 00:17:56,800 WAS OPEN TO ALL FORMS OF 666 00:17:56,800 --> 00:17:58,500 CREATIVITY -- PAINTING, 667 00:17:58,500 --> 00:17:59,833 PHOTOGRAPHY, MUSIC, DANCE, ANY 668 00:17:59,833 --> 00:18:01,166 CREATIVE ART FORM, IT WAS OPEN 669 00:18:01,166 --> 00:18:02,266 TO THAT ART FORM. 670 00:18:02,266 --> 00:18:06,033 AND THEN WHEN IT BECAME 671 00:18:06,033 --> 00:18:07,633 ACCREDITED CLASSES, THERE WAS 672 00:18:07,633 --> 00:18:11,066 LIKE THIS PRESSURE THAT WAS 673 00:18:11,066 --> 00:18:12,200 APPLIED LIKE, OH, IT'S A CLASS 674 00:18:12,200 --> 00:18:13,100 NOW, IT NEEDS TO BE TAKEN 675 00:18:13,100 --> 00:18:18,466 SERIOUSLY. 676 00:18:18,466 --> 00:18:19,800 SO WE HAVE TO CREATE THIS 677 00:18:19,800 --> 00:18:20,933 CURRICULUM SO ITS LIKE YOU LEARN 678 00:18:20,933 --> 00:18:21,666 HOW TO RECORD ON THE MICROPHONE 679 00:18:21,666 --> 00:18:22,666 DAY ONE AND THEN YOU LEARN HOW 680 00:18:22,666 --> 00:18:23,633 TO USE A MIDI CONTROLLER, THEN 681 00:18:23,633 --> 00:18:24,866 YOU LEARN HOW TO APPLY AUDIO 682 00:18:24,866 --> 00:18:25,833 EFFECTS SO LIKE IT HAD THIS LIKE 683 00:18:25,833 --> 00:18:27,233 RIGIDNESS. 684 00:18:27,233 --> 00:18:28,366 BUT THEN IT WAS LIKE WE HAVE SO 685 00:18:28,366 --> 00:18:29,800 MANY DIFFERENT TALENTS, WHY NOT 686 00:18:29,800 --> 00:18:32,800 CREATE A RECORD LABEL BECAUSE 687 00:18:32,800 --> 00:18:36,100 THAT'S SOMETHING THAT FAMILIAR 688 00:18:36,100 --> 00:18:37,533 AND I THINK THAT IS THE 689 00:18:37,533 --> 00:18:38,200 STRUCTURE THAT IT NEEDED BUT 690 00:18:38,200 --> 00:18:41,200 THEN YOU STILL COULD HAVE THEM 691 00:18:41,200 --> 00:18:42,066 PURSUE THEIR PERSONAL PASSIONS 692 00:18:42,066 --> 00:18:43,000 AND TALENTS WITHOUT THE RIGID 693 00:18:43,000 --> 00:18:43,866 TEST TAKING AND ASSIGNMENTS AND 694 00:18:43,866 --> 00:18:54,066 ALL THAT TEACHER STUFF. 695 00:18:54,066 --> 00:18:54,800 [RAPPING] 696 00:18:54,800 --> 00:18:57,133 >> TERRI: SO AS THE TEACHERS, AS 697 00:18:57,133 --> 00:18:58,300 THE INSTRUCTORS WHAT ARE YOUR 698 00:18:58,300 --> 00:18:58,833 ROLES AT THE LABEL? 699 00:18:58,833 --> 00:19:11,600 >> BERNARD HANKINS: WELL, WE'RE 700 00:19:11,600 --> 00:19:12,466 NOT TEACHERS, I MEAN -- 701 00:19:12,466 --> 00:19:13,500 >> TERRI: BUT WHAT ARE YOU AT 702 00:19:13,500 --> 00:19:13,866 THE LABEL? 703 00:19:13,866 --> 00:19:14,533 >> BERNARD HANKINS: WE ARE 704 00:19:14,533 --> 00:19:15,200 "TEACHERS" BUT I'M THE CHIEF 705 00:19:15,200 --> 00:19:15,700 CREATIVE OFFICER. 706 00:19:15,700 --> 00:19:16,366 >> CHANCE DICKERSON: I'M THE 707 00:19:16,366 --> 00:19:17,100 DIRECTOR OF VISION AND DREAMING. 708 00:19:17,100 --> 00:19:23,400 >> BERNARD HANKINS: AND OUR 709 00:19:23,400 --> 00:19:24,466 OTHER COHORT WAS MR. P, HE WAS 710 00:19:24,466 --> 00:19:25,066 THE PRIMARY INSTIGATOR. 711 00:19:25,066 --> 00:19:26,066 >> TERRI: SAY HIS FULL NAME 712 00:19:26,066 --> 00:19:26,766 THOUGH, SO EVERYBODY KNOWS WHO 713 00:19:26,766 --> 00:19:27,300 WE'RE TALKING ABOUT. 714 00:19:27,300 --> 00:19:27,966 >> CHANCE DICKERSON: TREVOR 715 00:19:27,966 --> 00:19:28,633 PURZESKI. 716 00:19:28,633 --> 00:19:29,333 >> TERRI: THANK YOU. 717 00:19:29,333 --> 00:19:30,200 HE'S ALSO A TEACHER HERE. 718 00:19:30,200 --> 00:19:31,433 >> CHANCE DICKERSON: HE'S BEEN A 719 00:19:31,433 --> 00:19:32,133 TEACHER HERE FOR A WHILE DOING 720 00:19:32,133 --> 00:19:32,566 TV PRODUCTION. 721 00:19:32,566 --> 00:19:33,933 HE WAS AN INSPIRATION TO ME LAST 722 00:19:33,933 --> 00:19:34,666 YEAR BECAUSE I WAS SEEING HOW HE 723 00:19:34,666 --> 00:19:35,366 WAS WORKING WITH HIS FILM KIDS 724 00:19:35,366 --> 00:19:36,033 AND I WAS LIKE OKAY, THERE'S 725 00:19:36,033 --> 00:19:36,666 SOME ADVANTAGE TO, SORT OF 726 00:19:36,666 --> 00:19:37,233 PUTTING KIDS IN A WORK 727 00:19:37,233 --> 00:19:37,966 ENVIRONMENT BUT ALLOWING THEM TO 728 00:19:37,966 --> 00:19:40,000 STILL HAVE FUN AND PLAY. 729 00:19:40,000 --> 00:19:40,700 ♪ 730 00:19:40,700 --> 00:19:41,966 >> MERCY MUTHEE: THE LABEL IS 731 00:19:41,966 --> 00:19:42,966 LIKE REALLY ENJOYABLE FOR ALL OF 732 00:19:42,966 --> 00:19:43,766 THE STUDENTS BECAUSE WE ALL MOST 733 00:19:43,766 --> 00:19:44,500 OF US WANT RECORD DEALS WHEN WE 734 00:19:44,500 --> 00:19:46,900 GROW UP SO HAVING SOMETHING HERE 735 00:19:46,900 --> 00:19:48,200 IS JUST FEELS GOOD. 736 00:19:48,200 --> 00:19:49,133 >> NATE GIBSON: WE HAVE A LOT OF 737 00:19:49,133 --> 00:19:51,366 COLLABORATION. 738 00:19:51,366 --> 00:19:53,166 LIKE OTHER PEOPLE DON'T KNOW 739 00:19:53,166 --> 00:19:54,033 SOMETHING OTHER PEOPLE COME IN 740 00:19:54,033 --> 00:19:54,766 TO HELP AND THEY LEARN STUFF IN 741 00:19:54,766 --> 00:20:02,200 THE PROCESS. 742 00:20:02,200 --> 00:20:03,133 IT'S KIND OF LIKE A FAMILY. 743 00:20:03,133 --> 00:20:03,900 WE ALL COME IN AND COLLAB ON 744 00:20:03,900 --> 00:20:04,400 STUFF, IT'S COOL. 745 00:20:04,400 --> 00:20:05,166 >> DAQUADRE TAYLOR: YEAH I AM 746 00:20:05,166 --> 00:20:09,700 THE FIRST PERSON TO COME TO A3 747 00:20:09,700 --> 00:20:10,433 HOUSE. 748 00:20:10,433 --> 00:20:11,333 I MEAN THAT'S JUST THE WORK I 749 00:20:11,333 --> 00:20:12,000 PUT IN THE EFFORT HOW MUCH I 750 00:20:12,000 --> 00:20:12,400 LOVE MUSIC. 751 00:20:12,400 --> 00:20:13,133 THAT'S WHY I'M THE FIRST ONE TO 752 00:20:13,133 --> 00:20:13,633 COME IN YOU KNOW. 753 00:20:13,633 --> 00:20:14,466 >> TERRI: JUST RECENTLY YOU ALL 754 00:20:14,466 --> 00:20:16,233 HAVE HAD A HUGE SHOWCASE OF 755 00:20:16,233 --> 00:20:18,233 EVERYTHING THAT THE LABEL'S BEEN 756 00:20:18,233 --> 00:20:19,166 WORKING ON AT IX ART PARK. 757 00:20:19,166 --> 00:20:20,766 TALK ABOUT THAT. 758 00:20:20,766 --> 00:20:21,833 >> CHANCE DICKERSON: I THINK THE 759 00:20:21,833 --> 00:20:23,066 SHOWCASE WORKED OUT THE WAY IT 760 00:20:23,066 --> 00:20:26,200 DID BECAUSE WE HAD SO MUCH 761 00:20:26,200 --> 00:20:27,200 AUTHENTIC BUY-IN FROM THE 762 00:20:27,200 --> 00:20:30,766 MEMBERS OF THE RECORD LABEL. 763 00:20:30,766 --> 00:20:32,966 AND WE HAD TRIED SHOWCASES IN 764 00:20:32,966 --> 00:20:33,900 THE PAST BUT IT WAS MORE OF THIS 765 00:20:33,900 --> 00:20:34,766 TALENT SHOW FORMAT. 766 00:20:34,766 --> 00:20:40,533 BUT WE WANTED TO CREATE THIS 767 00:20:40,533 --> 00:20:41,533 ENVIRONMENT THAT IT WAS MORE OF 768 00:20:41,533 --> 00:20:42,333 A FESTIVAL WHERE YOU COULD MOVE 769 00:20:42,333 --> 00:20:42,966 AROUND AND GO TO DIFFERENT 770 00:20:42,966 --> 00:20:43,700 PLACES AND EXPLORE DIFFERENT ART 771 00:20:43,700 --> 00:20:44,433 AND TOUCH AND MOVE AND HEAR AND 772 00:20:44,433 --> 00:20:49,366 EAT AND EXPERIENCE AND HAVE AN 773 00:20:49,366 --> 00:20:50,800 IMMERSIVE EXPERIENCE AND ALSO IT 774 00:20:50,800 --> 00:20:54,000 WAS REFLECTIVE OF HOW WE TEACH 775 00:20:54,000 --> 00:20:58,200 THE CLASS BECAUSE THE VISITORS 776 00:20:58,200 --> 00:20:59,900 AT THE SHOWCASE, THEY WERE NOT 777 00:20:59,900 --> 00:21:02,300 REQUIRED TO BE AT ANY ONE PLACE 778 00:21:02,300 --> 00:21:13,600 AT ANY ONE TIME, THEY WEREN'T 779 00:21:13,600 --> 00:21:15,300 REQUIRED TO LISTEN TO ANYTHING. 780 00:21:15,300 --> 00:21:16,033 THEY COULD ROAM FREELY A PURSUE 781 00:21:16,033 --> 00:21:16,700 THEIR INTEREST AS OBSERVERS. 782 00:21:16,700 --> 00:21:17,433 >> BERNARD HANKINS: AND HE SAYS 783 00:21:17,433 --> 00:21:18,166 FESTIVAL -- I FORGOT THIS WAS A 784 00:21:18,166 --> 00:21:18,900 SCHOOL EVENT AND IT MADE ME HAVE 785 00:21:18,900 --> 00:21:19,600 THIS NEW VISION FOR EDUCATION, 786 00:21:19,600 --> 00:21:28,700 LIKE WHY ISN'T EDUCATION 787 00:21:28,700 --> 00:21:29,200 FESTIVE? 788 00:21:29,200 --> 00:21:30,733 WHY ISN'T IT PEOPLE SETTING UP 789 00:21:30,733 --> 00:21:31,466 TABLES, MAKING BEATS AND SHOWING 790 00:21:31,466 --> 00:21:32,200 CRAFTS AND PERFORMING AND YOU'RE 791 00:21:32,200 --> 00:21:32,766 LEARNING THROUGH DOING 792 00:21:32,766 --> 00:21:33,466 >> SAMUEL BWISEZE: A3 HOUSE IS 793 00:21:33,466 --> 00:21:34,200 WHERE THE MAGIC HAPPENS ALL THE 794 00:21:34,200 --> 00:21:34,900 MUSIC COOKING THIS IS WHERE IT 795 00:21:34,900 --> 00:21:35,233 HAPPENS. 796 00:21:35,233 --> 00:21:35,933 >> CHRISTIAN CARRIER: IT MAKES 797 00:21:35,933 --> 00:21:36,333 SCHOOL FUN. 798 00:21:36,333 --> 00:21:37,033 I GET A GRADE FOR DOING 799 00:21:37,033 --> 00:21:38,566 SOMETHING I LOVE. 800 00:21:38,566 --> 00:21:39,933 AND I DON'T THINK I COULD SEE 801 00:21:39,933 --> 00:21:40,600 MYSELF DOING ANYTHING ELSE. 802 00:21:40,600 --> 00:21:42,466 IT'S SUCH A GOOD FEELING 803 00:21:42,466 --> 00:21:46,233 >> ANTHONY HOANG: WHEN I LEARNED 804 00:21:46,233 --> 00:21:47,600 HOW TO RECORD, HOW TO PRODUCE, 805 00:21:47,600 --> 00:21:48,333 HOW TO MAKE MUSIC I LEARNED THAT 806 00:21:48,333 --> 00:21:51,166 THE CERTAIN STEPS THAT YOU HAVE 807 00:21:51,166 --> 00:21:52,100 TO TAKE ARE NOT SOMETHING THAT 808 00:21:52,100 --> 00:21:52,833 COULD BE TAUGHT THEY'RE 809 00:21:52,833 --> 00:21:53,433 SOMETHING THAT HAS TO BE 810 00:21:53,433 --> 00:21:53,833 EXPERIENCED. 811 00:21:53,833 --> 00:21:54,600 NOT EVERY SETTING IS THE SAME 812 00:21:54,600 --> 00:21:55,566 AND EACH SONG IS A NEW LESSON TO 813 00:21:55,566 --> 00:21:56,933 BE LEARNED FROM THE LAST ONE. 814 00:21:56,933 --> 00:21:57,900 >> TERRI: WHEN THE STUDENTS ARE 815 00:21:57,900 --> 00:22:03,266 CREATING IN THE CLASSROOM, WHAT 816 00:22:03,266 --> 00:22:04,300 ARE THE RULES? 817 00:22:04,300 --> 00:22:05,233 YOU KNOW, SO IF YOU'RE DEALING 818 00:22:05,233 --> 00:22:06,500 WITH SONGWRITING, IF YOU'RE 819 00:22:06,500 --> 00:22:14,933 DEALING WITH HIPHOP IS THERE 820 00:22:14,933 --> 00:22:15,500 CENSORSHIP? 821 00:22:15,500 --> 00:22:16,700 NO CENSORSHIP, HOW DO YOU DEAL 822 00:22:16,700 --> 00:22:17,333 WITH THAT WITH TEENAGERS? 823 00:22:17,333 --> 00:22:18,066 >> CHANCE DICKERSON: ALL RIGHT, 824 00:22:18,066 --> 00:22:18,766 SO WE HAVE SOMETHING IN PLACE, 825 00:22:18,766 --> 00:22:19,466 ITS SORT OF OUR CHARTER, ITS 826 00:22:19,466 --> 00:22:20,600 CALLED AMP AND THAT STANDS FOR 827 00:22:20,600 --> 00:22:21,133 AUTHENTIC ARTISTRY, 828 00:22:21,133 --> 00:22:22,100 MEANINGFULNESS AND POLISHED 829 00:22:22,100 --> 00:22:23,233 PRODUCTION. 830 00:22:23,233 --> 00:22:25,233 AND SO WITH AMP STUDENTS ARE 831 00:22:25,233 --> 00:22:29,700 ENCOURAGED TO PRODUCE ART THAT 832 00:22:29,700 --> 00:22:32,733 IS FROM THEM AND IS A TRUE 833 00:22:32,733 --> 00:22:33,700 AUTHENTIC REPRESENTATION OF WHO 834 00:22:33,700 --> 00:22:34,400 THEY ARE OR WHERE THEY ARE IN 835 00:22:34,400 --> 00:22:42,766 LIFE. 836 00:22:42,766 --> 00:22:43,900 SO THE IDEA IS NOT TO CENSOR 837 00:22:43,900 --> 00:22:44,966 OR -- I WOULDN'T CALL THEM 838 00:22:44,966 --> 00:22:45,700 RULES, ITS NOT A RULE, LIKE YOU 839 00:22:45,700 --> 00:22:47,966 CAN'T DO THIS, ITS LIKE A 840 00:22:47,966 --> 00:22:49,133 REMINDER TO SAY IF YOU ARE DOING 841 00:22:49,133 --> 00:22:50,600 SOMETHING, IF ARE MAKING SOME 842 00:22:50,600 --> 00:22:52,900 MUSIC OR WRITING SOME POETRY OR 843 00:22:52,900 --> 00:22:54,633 PAINTING, REMEMBER, IS THIS FROM 844 00:22:54,633 --> 00:22:56,633 YOUR IDENTITY, ARE YOU 845 00:22:56,633 --> 00:22:57,700 REPRESENTING YOURSELF OR ARE YOU 846 00:22:57,700 --> 00:23:02,233 REPRESENTING SOMEONE ELSE'S 847 00:23:02,233 --> 00:23:03,633 EXPERIENCE? 848 00:23:03,633 --> 00:23:04,966 AND SO THIS SPACE IS ACTUALLY 849 00:23:04,966 --> 00:23:05,600 DESIGNED TO CREATE A SAFE 850 00:23:05,600 --> 00:23:13,866 ENVIRONMENT TO PUT YOURSELF OUT 851 00:23:13,866 --> 00:23:23,400 THERE. 852 00:23:23,400 --> 00:23:27,800 IT'S ABOUT BUILDING SECURITY AND 853 00:23:27,800 --> 00:23:31,166 YOUR IDENTITY 854 00:23:31,166 --> 00:23:32,066 >> MERCY MUTHEE: SO ALL YEAR 855 00:23:32,066 --> 00:23:32,733 I'VE JUST BEEN TRYING TO AT 856 00:23:32,733 --> 00:23:33,466 LEAST MAKE ONE SONG THAT I LIKE 857 00:23:33,466 --> 00:23:34,200 REALLY ENJOY AND LIKE BECAUSE I 858 00:23:34,200 --> 00:23:34,866 MAKE A LOT OF MUSIC AND IT'S 859 00:23:34,866 --> 00:23:35,300 JUST LIKE, NO. 860 00:23:35,300 --> 00:23:36,033 SO, THAT'S WHAT I'VE BEEN TRYING 861 00:23:36,033 --> 00:23:36,766 TO DO AND MAYBE MAKE AN EP SO I 862 00:23:36,766 --> 00:23:37,500 COULD PUT IT OUT ON SOUNDCLOUD. 863 00:23:37,500 --> 00:23:38,200 >> DAQUADRE TAYLOR: WE'RE JUST 864 00:23:38,200 --> 00:23:38,866 MAKING SONGS AND WRITING AND 865 00:23:38,866 --> 00:23:39,666 WORKING HARD EVERY DAY AND 866 00:23:39,666 --> 00:23:43,966 ASKING HIM FOR HELP, MR. 867 00:23:43,966 --> 00:23:45,633 -- MR. H. 868 00:23:45,633 --> 00:23:48,633 HE'S ALWAYS ON ME, SO YEAH, JUST 869 00:23:48,633 --> 00:23:51,933 LEARNING, EVERY DAY. 870 00:23:51,933 --> 00:23:52,966 >> ANIJA JOHNSON: I FEEL LIKE IF 871 00:23:52,966 --> 00:23:53,700 I DON'T HAVE ANYTHING HANDS ON I 872 00:23:53,700 --> 00:23:54,466 DON'T REALLY LEARN ANYTHING. 873 00:23:54,466 --> 00:23:55,200 SO NOW I KNOW HOW TO SET UP THE 874 00:23:55,200 --> 00:23:55,833 MICROPHONES WHEN I WANT TO 875 00:23:55,833 --> 00:23:56,166 RECORD. 876 00:23:56,166 --> 00:23:56,800 I KNOW HOW TO SET UP OTHER 877 00:23:56,800 --> 00:23:57,500 PEOPLE'S MICROPHONES WHEN THEY 878 00:23:57,500 --> 00:23:58,133 WANT TO RECORD, SET UP THE 879 00:23:58,133 --> 00:23:58,833 HEADPHONES, SET UP THE ACTUAL 880 00:23:58,833 --> 00:24:00,100 SCREENS AND EVERYTHING. 881 00:24:00,100 --> 00:24:04,433 SO I FEEL LIKE IT'S IMPORTANT TO 882 00:24:04,433 --> 00:24:05,333 BE HANDS ON, IF YOU DON'T YOU 883 00:24:05,333 --> 00:24:06,133 DON'T REALLY LEARN MUCH. 884 00:24:06,133 --> 00:24:07,933 >> TERRI: SO WHAT DO WANT 885 00:24:07,933 --> 00:24:10,800 STUDENTS TO TAKE WITH THEM, WHAT 886 00:24:10,800 --> 00:24:11,833 IS MOST IMPORTANT TO YOU ALL, 887 00:24:11,833 --> 00:24:12,433 THAT THEY TAKE WITH THEM 888 00:24:12,433 --> 00:24:14,100 THROUGHOUT THE YEAR AND WHEN 889 00:24:14,100 --> 00:24:16,266 THEY GO OFF WITH THEM IN TO THE 890 00:24:16,266 --> 00:24:17,400 BIG WIDE WORLD? 891 00:24:17,400 --> 00:24:19,500 >> CHANCE DICKERSON: NUMBER ONE 892 00:24:19,500 --> 00:24:20,733 THING, GOT THIS FROM BERNARD 893 00:24:20,733 --> 00:24:21,233 HANKINS, IDENTITY. 894 00:24:21,233 --> 00:24:22,633 IF YOU WALK AWAY FROM THIS 895 00:24:22,633 --> 00:24:23,566 PROGRAM WITH IDENTITY THEN I 896 00:24:23,566 --> 00:24:25,366 THINK YOU CAN APPLY THAT, YOU 897 00:24:25,366 --> 00:24:26,366 CAN APPLY THAT UNDERSTANDING OF 898 00:24:26,366 --> 00:24:27,266 YOURSELF TO ALMOST ANY TASK, ANY 899 00:24:27,266 --> 00:24:28,200 CHALLENGE, ANY HURDLE, ANY 900 00:24:28,200 --> 00:24:29,233 VISION, YOU MUST KNOW WHO YOU 901 00:24:29,233 --> 00:24:30,233 ARE AND I THINK THAT'S WHAT 902 00:24:30,233 --> 00:24:34,300 WE'RE DOING WITH KIDS, WE'RE 903 00:24:34,300 --> 00:24:39,666 TRYING TO SHOW THEM, HEY, YOU 904 00:24:39,666 --> 00:24:40,466 ARE AN INDIVIDUAL. 905 00:24:40,466 --> 00:24:41,233 YOU HAVE A VERY UNIQUELY 906 00:24:41,233 --> 00:24:42,300 DESIGNED GIFT THAT YOU CAN USE 907 00:24:42,300 --> 00:24:43,033 TO DO ABSOLUTELY ANYTHING. 908 00:24:43,033 --> 00:24:44,200 >> BERNARD HANKINS: I THINK 909 00:24:44,200 --> 00:24:45,166 CONNECTED TO THAT IDENTITY IS A 910 00:24:45,166 --> 00:24:47,833 SENSE OF SELF WORTH. 911 00:24:47,833 --> 00:24:49,033 YOU KNOW, THE AMOUNT OF SKILLS 912 00:24:49,033 --> 00:24:50,300 DOESN'T MATTER IF YOU DON'T HAVE 913 00:24:50,300 --> 00:24:51,133 THAT WHAT I CALL LIFE 914 00:24:51,133 --> 00:24:52,366 CONFIDENCE. 915 00:24:52,366 --> 00:24:54,633 YOU KNOW, YOU HAVE THE DAY TO 916 00:24:54,633 --> 00:24:55,566 DAY CONFIDENCE BUT DO YOU 917 00:24:55,566 --> 00:24:58,866 OVERALL SENSE THAT I CAN DO 918 00:24:58,866 --> 00:25:00,200 SOMETHING IN LIFE? 919 00:25:00,200 --> 00:25:01,600 SO I THINK THAT WHEN PEOPLE JUST 920 00:25:01,600 --> 00:25:02,800 WALK AWAY, HONESTLY IT'S FEELING 921 00:25:02,800 --> 00:25:03,566 LOVED. 922 00:25:03,566 --> 00:25:04,466 LIKE THESE PEOPLE THOUGHT ABOUT 923 00:25:04,466 --> 00:25:07,766 ME, AND CARED ABOUT ME, FEELING 924 00:25:07,766 --> 00:25:09,000 HUMAN. 925 00:25:09,000 --> 00:25:10,333 FEELING ULTIMATELY HUMAN I THINK 926 00:25:10,333 --> 00:25:11,466 IS WHAT IT IS IF YOU WANT TO SUM 927 00:25:11,466 --> 00:25:12,100 IT UP, FEEL HUMAN. 928 00:25:12,100 --> 00:25:13,166 >> ANIJA JOHNSON: I RUN TO THIS 929 00:25:13,166 --> 00:25:14,033 CLASS LIKE I'M GOING TO CLASS 930 00:25:14,033 --> 00:25:14,766 I'M HAPPY THIS IS MY HAPPY PLACE 931 00:25:14,766 --> 00:25:15,500 THIS IS WHERE I WANT TO BE AT 932 00:25:15,500 --> 00:25:16,466 FOR THE REST OF THE DAY. 933 00:25:16,466 --> 00:25:17,500 >> DEQUADRE TAYLOR: A3 HOUSE IS 934 00:25:17,500 --> 00:25:18,533 AMAZING. 935 00:25:18,533 --> 00:25:19,533 PUT IT THAT WAY, A3 HOUSE IS 936 00:25:19,533 --> 00:25:21,200 AMAZING. 937 00:25:21,200 --> 00:25:22,266 YOU EVEN WANT TO GET UP IN THE 938 00:25:22,266 --> 00:25:23,400 MORNING AT 6:20 AND WALK TO 939 00:25:23,400 --> 00:25:24,433 SCHOOL JUST LIKE ME SO THAT'S 940 00:25:24,433 --> 00:25:26,900 HOW FUN IT IS. 941 00:25:26,900 --> 00:25:28,566 >> ANTHONY HOANG: HIP HOP WAS 942 00:25:28,566 --> 00:25:29,500 MADE FROM JAZZ AND THEN JAZZ WAS 943 00:25:29,500 --> 00:25:30,966 CREATED FROM THE BLUES AND THE 944 00:25:30,966 --> 00:25:31,966 BLUES WAS CREATED FROM AFRICAN 945 00:25:31,966 --> 00:25:34,633 DRUMMING AND SO ON AND SO ON. 946 00:25:34,633 --> 00:25:36,966 AND SO JUST SEEING THE EVOLUTION 947 00:25:36,966 --> 00:25:37,866 OF MUSIC AND REFERENCING THE 948 00:25:37,866 --> 00:25:42,033 PAST IN ORDER TO MAKE THE FUTURE 949 00:25:39,233 --> 00:25:56,166 MUSIC IS AMAZING TO ME. 950 00:25:42,266 --> 00:25:58,400 [SINGING] 951 00:25:58,400 --> 00:26:00,133 ♪♪♪ 952 00:26:00,133 --> 00:26:01,400 >> TERRI: THAT'S IT FOR THIS 953 00:26:01,400 --> 00:26:02,966 WEEK. 954 00:26:02,966 --> 00:26:04,133 FOR WHTJ, I'M TERRI ALLARD. 955 00:26:04,133 --> 00:26:08,633 JOIN US NEXT TIME ON 956 00:26:04,866 --> 00:26:24,466 "CHARLOTTESVILLE INSIDE-OUT." 957 00:26:11,966 --> 00:26:25,800 ♪♪♪ 958 00:26:25,800 --> 00:26:27,200 >> ANNOUNCER: "CHARLOTTESVILLE 959 00:26:27,200 --> 00:26:27,866 INSIDE-OUT" IS MADE POSSIBLE 960 00:26:27,866 --> 00:26:28,566 THANKS IN PART TO ITS PATRONS, 961 00:26:28,566 --> 00:26:29,233 COMMITTED TO SUPPORTING THE 962 00:26:29,233 --> 00:26:30,833 PEOPLE, PLACES AND QUALITY OF 963 00:26:30,833 --> 00:26:32,166 LIFE THAT UNIQUELY DEFINES 964 00:26:32,166 --> 00:26:33,066 CHARLOTTESVILLE AND ITS 965 00:26:33,066 --> 00:26:33,966 SURROUNDINGS, AND BY VIEWERS 966 00:26:33,966 --> 00:26:37,833 LIKE YOU. 967 00:26:34,433 --> 00:26:41,066 THANK YOU 968 00:26:42,466 --> 00:26:44,933 CAPTIONS PROVIDED BY CAPTION ASSOCIATES, LLC www.captionassociates.com