On Assignment for Time and Navigation

What’s missing when you sit in front of a computer all day? Adventure! Luckily, three
Time and Navigation photography missions took me across the country last year, giving me the chance to escape the office.

My first destination was Beer Bottle Pass in the Mojave Desert. This is where Stanley, the autonomous car, navigated its way to victory during the 2005 Defense Advanced Research Projects Agency (DARPA) Grand Challenge race. I needed a photo of the pass to cover the 27-­foot wall behind Stanley in the Time and Navigation gallery. I was confident about this trip until I discovered how precarious this pass could be. The fact that Stanley was able to navigate these sheer drop-­offs and steep inclines is remarkable.

Ashley Hornish

Ashley Hornish in the Mojave Desert

After studying Google Earth for several weeks, my husband, Cory, and I were ready to go. We drove our rented Jeep Wrangler to our starting point outside Primm, Nevada. This area had received a record rainfall the previous week so we had to negotiate washed-out areas and large stones. It took us 45 minutes to travel the seven miles to the pass.

Such a large mural requires more than just one photo; I needed a series that I could stitch together into a panorama. As we gradually moved into the pass, I looked for the best composition. Unfortunately, the road conditions got worse as we progressed, so we never made it to the most treacherous areas (fine with me!). Nevertheless, the trip was a success, and I was relieved to make a safe return to Primm.

Ashley Hornish

Ashley Hornish in the Time and Navigation exhibition. Behind her are Stanley and the mural she photographed in the Mojave Desert.

Since Cory and I were “in the neighborhood,” we arranged a visit to the Goldstone Deep Space Network complex. Located about 35 miles north of Barstow on the Ft. Irwin Military Base, the NASA Deep Space Network is an international network of antennas that supports interplanetary missions and radio and radar astronomy observations for exploring the universe.

I wanted to photograph an old hydrogen maser at the Mars 70­-meter antenna. Now a backup, this maser was the primary frequency standard for the racks of Goldstone timing equipment we have on display in Time and Navigation.

Now used as a backup, this hydrogen maser frequency standard was the primary frequency reference for the Goldstone timing equipment on display in the Time and Navigation exhibition.

Visiting Goldstone is no simple task. Hidden away in the middle of the desert, Goldstone is a 45-minute drive from the nearest highway. Disconcerting signs warned of tank crossings and live ammunition areas. After a safety briefing (don’t touch the snakes and don’t drink the water), our guides escorted us to the timing vault of the massive 70-­meter antenna. The best part about the old maser is that it has a small hole at the top that allowed us to view the purple plasma glowing inside the equipment. After a few quick photos, we were allowed to take a brief look into the control room for the Curiosity rover.

I found myself in a very different landscape for my third trip: the middle of a cornfield in Rippey, Iowa. I needed photos of farmer Roy Bardole harvesting his crops using equipment guided by GPS. Museum photographer Dane Penland agreed to accompany me on this adventure, and we headed to the drought­-stricken area hoping there would actually be crops to photograph.

Roy Bardole

Dane Penland photographs farmer Roy Bardole in a harvester near Rippey, Iowa.

Dane and I ended up spending an entire day in the field with Roy and his two sons as they methodically worked their way through the stalks. We took turns riding inside the combine, watching as the enormous machine drove itself down the lengthy rows without wavering. Farming is much more involved than you might imagine, and I was impressed by the Bardoles’ business sense.

Overall this trip was a success: the weather held, the Bardoles’ yield was better than expected, and the motel wasn’t as bad as I thought it might be. I even got a special sendoff at the Des Moines airport, home to the Des Moines Air National Guard. As my airplane taxied to the runway, we passed several F­-16s that were awaiting takeoff. As we passed, the pilots waved to us. It was a great way to end my adventure.

Ashley Hornish is a graphic designer in the National Air and Space Museum’s Exhibits Department.

Amelia Earhart and the Profession of Air Navigation

The recent seventy-fifth anniversary of the disappearance of Amelia Earhart and her navigator, Fred Noonan, stirred up considerable media attention – particularly in light of another expedition to the South Pacific in the hopes of solving the mystery. While the fate of Earhart has enthralled the public since 1937, the story of how Earhart figures into the larger history of air navigation and long-distance flying is often overlooked.

Amelia Earhart

Amelia Earhart and her Lockheed 10E Electra.

Viewed as a stand-alone episode, the tale of Earhart’s last flight is confusing. Did she have the right training and equipment? If Fred Noonan was one of the greatest aerial navigators of the time, how did they get lost? The evidence for these questions is often vague and contradictory. One way to come to terms with the moment is to look at the larger historical context of air navigation at that time. This musing is not meant to provide definitive clues to the disappearance, but rather to provide some further topics of discussion that might be useful for future scholarship. How did Earhart’s planning fit with other flights over the South Pacific? How did their navigational training compare with that of other aviators? And, what was the professional standard of air navigation at the time?

In less than two months, the National Air and Space Museum will unveil a new permanent gallery – Time and Navigation: The Untold Story of Getting From Here to There – that will in part chronicle the development of air navigation as a profession. Today, the navigator as a crew member has largely disappeared from most commercial and military long-distance operations, replaced by microprocessors in the form of GPS and inertial navigation systems, but from the 1930s to the 1980s, the navigator was an essential crewmember on many long-distance commercial and military flights. Understanding how Earhart fits into the story of this profession provides some useful insights into the evolution of long range flight on the eve of World War II.

While Europe and the United States were developing networks of radio beacons and direction finding stations over their own territory, transoceanic navigation was only reliable with proficiency in celestial and dead reckoning navigation. Though these techniques were tried and true in maritime navigation, adapting them to the aerial environment was a new challenge. The cramped confines of aircraft, high speeds, variable weather, and turbulence greatly complicated the process of fixing position.

Charles Lindbergh’s reliance on nothing more than an earth inductor compass and a simple clock for finding his way during his 1927 solo transatlantic flight was emblematic of the often dangerous or ineffective state of air navigation. Though it worked well for Lindbergh who was the beneficiary of ideal wind conditions at the time of his flight, almost half of his peers attempting long distance flights that year either lost their lives or had their flights end in near disaster. However, the decade between Lindbergh’s Paris flight and the disappearance of Amelia Earhart witnessed a transformation of aerial navigation technology and practice. A small community of innovators worked to find better tools and techniques. One of these was a Navy Lt. Commander named Phillip Van Horn Weems. He developed simplified methods of celestial navigation that, when combined with improved sextants, provided a reliable means of determining position (either a fix or a “line of position) when the sun or stars could be seen.

By 1928, Weems had gone into business teaching air navigation. His initial students and clients included Charles Lindbergh, eager to find a better way than simply relying on luck to cross oceans (see the author’s article in Air & Space Magazine on this topic), polar explorer Lincoln Ellsworth, and Harold Gatty, the soon-to-be-famous navigator of Wiley Post’s Winnie Mae on its around-the-world record stating flight of 1931.

Despite the efforts of Weems and Gatty (who managed the Weems System of Navigation for a period), by 1937, the navigator as a dedicated non-pilot aircrew member was still a largely untested idea. While both the Army Air Corps and (to a lesser extent) Navy, were teaching air navigation with the tools and techniques advanced by Weems, Gatty and Albert Hegenberger (the Air Corps’ navigation authority), navigation was still seen as the responsibility of the aircraft commander or pilot. Rather, it was Pan American Airways and record-setters like Wiley Post that were defining the role of a dedicated non-pilot air navigator. Fred Noonan was on the cusp of this transition and his competence earned him a place as Pan Am’s lead navigator for the trans-pacific trials of a new class of “Flying Clipper.”

Earhart, like most distance fliers of the time, elected to concentrate on piloting and intended to leave the technical aspects of her flight to two navigators – Noonan and Harry Manning. Manning lacked the aerial expertise Noonan had acquired from Tornich and Weems, but was a celebrated maritime navigator and had the radio skills that both Earhart and Noonan lacked. Originally, Earhart intended on having Noonan along only for the dangerous Hawaii – Howland Island leg on her original westbound route. She also intended on dropping Manning after completing the remainder of the Pacific hop. Unfortunately, Earhart became dissatisfied with Manning before her final around-the-world attempt so that Noonan became the sole navigator and the expedition was left without an experienced radio operator when she set off on her second around the world attempt in June 1937.

Earhart’s first around-the-world attempt ended in near disaster on March 21, 1937, when she substantially damaged her Lockheed Electra 10E after losing control during takeoff from Hawaii’s Luke Field bound for Howland Island. While the plane was being repaired, Weems wrote the letter below to Earhart encouraging her to undergo navigation training in the manner of Britain’s top female aviator, Amy Johnson. He also called out what has been widely regarded as one of Earhart’ and Noonan’s greatest failings in anticipation of the flight – their lack of proficiency in the use of Morse code, which was essential for gaining long range bearings from the Coast Guard cutter specially stationed at Howland Island for this purpose. However, even though critical for navigation, Weems’ suggestion is somewhat remarkable as radiotelegraphy was considered an unusual specialization for an aviator, or even a navigator, at the time. Well into the World War II era, navigators and radio operators were considered two entirely different occupational tracks. In the military, the radio operator was considered a less technically demanding skillset and was usually assigned to enlisted personnel, while navigators were usually officers (often washed-out pilots).

Weems Letter to Earhart

Weems wrote this letter to Earhart after her near-disastrous takeoff attempt in Hawaii in 1937. Extra navigation training may not have kept Earhart from disaster, but it might have allowed to her appreciate shortcomings in planning an equipment.

Putnam's response to Weems

George Putnam’s response to Commander Weems

After Weems’ initial offer to Earhart, her publishing magnate husband, G. P. Putnam, responded the next day to Weems’ offer, kindly rejecting it. This brief and forgotten exchange of letters sheds further light on the frequent criticism of Earhart from both her contemporary peers and from historians of her tendency to be dismissive of training in the more technical aspects of aviation. Weems’ invocation of Amy Johnson’s navigational skill demonstrates that there was indeed a cadre of very competent female aviators skilled in navigation in a way that Earhart was not. In addition to Johnson and Anne Morrow Lindbergh, several other prominent female aviators of the time learned under the Weems System of Navigation. Among these were the Romanian Baroness Lisette Kapri, Dorothy “Dot” Lemon, and Mary Tornich, who was one of the Weems System of Navigation principal instructors in the late 1930s, and who appears to have undertaken much of Noonan’s air navigation instruction. From this perspective, Earhart may be seen as inadequately trained. However, there was certainly no clear consensus on what standard of navigational skill was required for distance fliers at the time. For instance, Wiley Post, at the height of his fame in 1933 (earned for his solo around-the-world flight in the Winnie Mae), was no more a navigator than Earhart. He employed Gatty in 1931 in the same manner as Earhart did with Noonan. In 1933, Post, like Earhart in 1937, put blind faith into new technology – a new Air Corps radio compass and a Sperry autopilot. The gamble paid off for Post, but not Earhart. The most obvious distinction between the two is that Post seemed to have a greater interest, familiarity and comfort with the technology.

Amy Johnson and PVH Weems

Amy Johnson with PVH Weems. Weems is showing her a drift meter.

Whether or not Weems’ instruction would have helped Earhart cannot be known. Perhaps it may have made her realize that her “flying laboratory” was that in name only. The Lockheed was not well fitted for navigation. It lacked a rooftop hatch or viewing port for unobstructed celestial observations and none of their navigational equipment, save for a Bendix direction finding radio, could be considered state-of-the-art. Unfortunately, Earhart struggled with the Bendix radio during the flight. Its newness, mechanical unreliability and Earhart’s inexperience with the equipment likely reduced its utility. However, the most vivid illustration of how poorly equipped the Electra was can be seen in the following year with Howard Hughes’ around-the-world flight in a Lockheed 14 that was similar to Earhart’s 10E, but which was truly a flying laboratory that accommodated two navigators and a host of new navigational equipment. This included a new averaging sextant, a new drift sight, new dead reckoning computers, a special observation portal, and a remarkable (and secret) line of position computer made by Fairchild-Maxson (see photo). If the loss of Earhart and Noonan had any impact on the navigational community, it may well be the thoroughness with which Hughes pursued the Army Air Corps supported flight (including filling the voids in the aircraft structure with 35,000 ping pong balls to stay afloat in the event of a ditching). The Hughes flight did much to pave the way for the approach to navigation used so effectively by bombers and other long-range aircraft over the ocean expanses during World War II, most notably by encouraging the mounting of Plexiglas astrodomes.

Fairchild-Maxson Line-Of-Position Computer

The Fairchild-Maxson line-of-position computer was an amazingly engineered mechanical computer in which the data sets of different celestial tables were coded onto gears and cams in cassettes that plugged into the main unit. By inputting the elevation of a celestial body and the time, the device would compute a line of position eliminating a number of mathematical calculations. Unfortunately the unit was very expensive and took up valuable space. Nonetheless, it was very useful for Howard Hughes’ 1938 around-the-world flight.

Astrodome

The astrodome was a major innovation for celestial navigators. While earlier aircraft had observation hatches or even cupolas, the aerodynamic astrodome was well suited to the increasing speeds of aircraft and offered great visibility. Air Corps navigation engineer Thomas Thurlow began pushing for their development after his 1938 around-the-world flight with Howard Hughes. They did not last much past World War II as they were a weak point for pressurized aircraft and added significant drag as aircraft began moving closer to supersonic speeds.

By the time of Earhart’s disappearance, the necessity of training in celestial navigation touted by Weems, Gatty, and Hegenberger over the previous decade had finally been heeded by many with Lindbergh being the most prominent acolyte. Lindbergh was so convinced that in 1930 he had his wife, Anne Morrow, learn celestial navigation from Gatty in her third trimester of pregnancy and then demonstrate it on a transcontinental flight. Earhart’s desire to distinguish herself led her to select a Southern route that most of her predecessors, had carefully avoided. By doing so, she also sidestepped the poor weather often found from Siberia to Alaska and perhaps alleviated her known discomfort with instrument flying. If celestial navigation was not necessarily an expected trait for distance flyers of the time, skill in “blind flying” had become mandatory.

Effective navigation across the South Pacific was indeed possible in 1937, but only one person had demonstrated it could be done safely – Charles Kingsford Smith. Overshadowed by Lindbergh in the United States, Kingsford Smith’s achievements are arguably more spectacular. In 1928, he made the first Pacific crossing from the United States to Australia in the Fokker F.VII Southern Cross with three additional crewmembers. In 1935, he repeated the achievement flying eastbound in the Lockheed Altair Lady Southern Cross with P.G. Taylor as navigator. What stands in stark contrast between “Smithy’s” flights and Earhart’s attempt is that Kingsford Smith chose an aircraft with adequate range. This allowed him on both flights to make the “jump” between Fiji and Hawaii – very large targets. For reasons that can only be speculative, Earhart selected the fast and flashy Lockheed 10E. It was an extremely attractive aircraft at that time for distance flying – except for crossing the South Pacific, for which it did not have the range. The issues of range and geopolitical considerations forced Earhart into the selection of the remote, isolated, and tiny Howland Island. Perhaps most importantly, the 10E’s twin engines gave Earhart a false sense of security. In many situations, the ability to sustain flight on one engine was highly desirable as it could prevent forced landings in unforgiving terrain. Unfortunately, over the open South Pacific, it was a major liability as it doubled the chances of engine failure, and the degraded single engine performance provided virtually no hope of reaching land in the event of a problem on the legs to and from Howland Island. Earhart would have likely been far better off with Smithy’s obsolescent single-engine Altair than the flashier 10E. However, high-profile accidents such as the fatal one in 1935 that killed Wiley Post and famed humorist Will Rogers had convinced many distance fliers that twin engine aircraft were preferable, unfortunately without much analysis of their risks.

The Time and Navigation exhibition is not intended to give a lengthy exploration of the challenges faced by Earhart or speculate as to her fate, but we do represent the issues surrounding her disappearance as a cautionary moment which warned other distance fliers that lack of preparedness could be deadly. The exhibit features several of these key “Navigation Gone Wrong” episodes that prompted navigators of the time to pause briefly and reconsider the state of their profession. My own conclusion is that is that the accident chain started with the selection of a South Pacific route and the choice of the Lockheed 10E with inadequate range that then locked in the poor choice of Howland Island as the expedition’s most critical way-station. The great shortfall in the Earhart’s and Noonan’s approach was the inability to see the magnitude of the risk they were taking in selecting Howland and gambling on the reliability of largely untested radio equipment. We may never solve the question of the final whereabouts of Earhart and Noonan, but we can understand the world in which they operated by examining the circumstances of their disappearance.

Roger Connor is a museum specialist in the Aeronautics Division of the National Air and Space Museum and co-curator of the upcoming Time and Navigation exhibition.

If you would like to learn more, view an archive of our online conference, “Thinking Critically About Amelia Earhart’s Disappearance.

Shiny Delivery this Holiday Season for the “Time and Navigation” Exhibit

NTS-2

NTS-2 Satellite

Preparation of the upcoming Time and Navigation exhibition is in full swing, and objects are being installed in cases throughout the gallery.  In fact, the gallery became a little more shiny just in time for the holiday season thanks to a delivery from our friends at the Naval Research Laboratory. The object they contributed is a restored engineering model of the NTS-2 satellite. Now, you may be asking, “What is an NTS-2 satellite, besides a shiny box?”  Well, the NTS-2 satellite led a revolution in navigation technology, and can be considered the grandfather of all the satellites which currently help you find your way around town.

The NTS-2 satellite is the descendent of a naval research program known as TIMATION (TIMe/navigATION). The program began in the early 1960s, and tested the possibility of launching highly accurate clocks into space within satellites. The clocks on board the NTS-2 satellite worked by measuring the “tick” of cesium atoms. The cesium atoms vibrated more than nine billion times per second, acting like a super accurate clock. These clocks could then broadcast that time from space, and people on Earth could receive these signals to help them locate themselves on the planet. In 1973, the TIMATION program was combined with other military programs to form the NAVSTAR Global Positioning System (GPS). After successfully launching the NTS-1 satellite in the summer of 1974, NTS-2 was launched on June 23, 1977, forever changing how we navigate on Earth. The two satellites demonstrated the feasibility of using super accurate atomic clocks aboard satellites, and became the basis of the GPS network that your smartphone may use on a daily basis.

The restored engineering model looks very much like the one that went into space on that historic day in 1977. The Naval Research Laboratory did a great job restoring it and installing it in the gallery. We hope you will come and visit it when the exhibition opens in March of 2013!

Tom Paone is a museum specialist in the Aeronautics Division of the National Air and Space Museum.

Filming the Story of Getting from Here to There

The central theme of the Time and Navigation exhibition is the connection between timekeeping and determining position. The main point is this: “If you want to know where you are, you need an accurate clock.”  Centuries ago, accurate chronometers were required to determine longitude at sea. In recent years, global satellite navigation systems require accurate atomic clocks to synchronize their transmissions. These navigation tools would not function without accurate clocks.

Explaining the connection between time and location can be complex. During the development of the exhibition, we realized it was not enough to show devices for accurately measuring time and position. We wanted visitors to grasp why it’s true that “If you want to know where you are, you need an accurate clock.”  We wanted it to be easy to understand and, hopefully, fun. We developed the idea of a portrait gallery. Each portrait would depict a person from a different time period engaged in navigation. But this will be no ordinary set of portraits. Each will appear to be a painting or photograph, but in reality they will be large video screens. At regular intervals, the characters depicted in the portraits will “come to life” and interact with each other, telling the story of navigation from their point of view.

We planned five characters. The “Sea Navigator” would explain how he used a chronometer, sextant, and other tools to determine position while crossing the ocean in the 1830s. An “Air Navigator” would respond by explaining how he used similar tools, along with radio transmissions, to navigate aircraft during the World War II era. We’d then introduce an “Astronaut” to explore how to navigate spacecraft across the solar system, also using radio transmissions. A “Military Person” would speak about the details of the Global Positioning System and its military applications. Finally, a character we called the “Museum Visitor” would enter the scene. She would explore these topics from the point of view of an everyday user of global navigation with her mobile phone. Each of the characters reflected the topics in the sections of the Time and Navigation exhibition: Navigation at Sea, Navigation in the Air, Navigation in Space, Inventing Satellite Navigation, and Navigation for Everyone.

Actors

All five cast members before shooting begins. The astronaut character is in costume to the left, with the remaining actors ready to read their lines.

To bring this idea to reality, the Smithsonian selected a contractor to produce videos for Time and Navigation. The exhibition team worked with them over a period of months to develop the look and feel of the portraits, refine the script, and select the cast. We also had several decisions to make regarding props and wardrobe. Finally it was time to shoot the video.

During the last week of October, I traveled to southern California to be there during the shooting. The filming was planned to take place over two days in a sound stage in Orange, California. We met the evening before over dinner with the cast and crew for introductions. Over Mexican food, we completed a preliminary reading of the script.

The filming of the “portrait” characters was complex. The timing of each line needed to be precise, because the characters will interact with each other. Physical objects are even passed between two of the characters. The actors began by reading the entire script without a camera, giving us a recording of the program with a good pacing. Once the filming began, one actor at a time was filmed in costume, responding to the other actors as they spoke. By the time it was all over, the actors had read through the script at least 40 times.

Sea Navigator

The sea navigator prepares to begin his performance in front of a green screen.

Special attention was paid to how the actors looked at each other. Because they will appear next to each other on a wall, the eye lines between each character were determined before filming began. Each actor must look to the eyes of the character they address for each line. This required actors to sit or stand in their correct orientation, as if they were already within the portrait frames.

The Astronaut was the only character we filmed with props and a backdrop. The actor stood behind a table with a space shuttle model and a globe. The other four characters were filmed in front of a green screen so the background could be digitally added in production. During the filming, I sat next to the director to provide guidance. I was required to make several decisions, some important and others very minor. We made a few last-minute script changes and I occasionally provided pointers for which words to emphasize.

There were a few unexpected adventures. We had an issue with an insect flying onto a couple of the scenes. During a lunch break, it was announced that a reward would be given for its capture. This did the trick. The assistant director captured the offending insect and humanely release it outside.

Another surprise was that the legs of each character were visible. This was a serious problem because the chosen wardrobe did not include pants for two of the actors!  In the original plans, we thought the actors would be visible only above the waist.

The Air Navigator wore a flight jacket and khaki shirt. The actor wore casual shorts for comfort, because the jacket was hot and we had to turn off the whirring air conditioning. He even wore an ice vest under the flight jacket to stay cool. But now we needed a pair of matching khaki pants. Everyone looked around. I looked down at the khaki pants on my own legs. So did the director, sitting next to me. “Those look good,” he said.  ”What’s your waist size?” I asked the actor. He was a 33, a match. So that is how, while representing the Smithsonian at a filming in southern California, I lost my pants. Fortunately another crew member had a pair of shorts I could borrow. I looked ridiculous but I must admit I was comfortable.

We had the same problem with our military character. She wore the uniform of the US Air Force 807th Expeditionary Air Support Operations Squadron, which was deployed to Afghanistan. Once again, we needed to find matching pants. We got very lucky. Right around the corner was a military surplus store. They had an exact match for the camouflage pattern. The pants were too large for the actor, but with a few binder clips to hold the extra fabric in place we were good to go.

In the end, we got all the video we needed to produce the portraits. Over the next few months we’ll be reviewing preliminary versions of the video to prepare for installation. Thanks to the whole crew at Aperture Films. You can see the end result when we open Time and Navigation in March.

Andrew Johnston is a geographer in the Center for Earth and Planetary Studies at the National Air and Space Museum.

Stanley Moves In

On October 24, Stanley, winner of a historic robot race, left its home at the National Museum of American History aboard a flatbed truck and arrived safely at its destination, just seven blocks away. For the foreseeable future, Stanley will be here at the National Air and Space Museum, a centerpiece in the exhibition Time and Navigation:  The Untold Story of Getting From Here to There.

The irony of the situation escaped no one.  Stanley, a driverless vehicle that had navigated 132 miles on its own to win the 2005 Defense Advanced Research Projects Grand Challenge, needed the help of scores of people AND a truck ride to get from there to here.

Stanley

Stanley hitches a ride to the National Air and Space Museum. Photo by Richard Strauss

Frankly, moving Stanley is nerve-racking for me. I collected Stanley for the American History Museum’s robot collection.  I feel responsible for Stanley’s safety and the safety of everyone involved with wrangling such a big, heavy car.  On moving day, it turned out, there really was no cause for worry. Everybody—American History’s experienced vehicle mover Shari Stout, the skilled riggers from Ely, and the welcoming Air and Space staffers—everybody knew exactly what to do to put Stanley in just the right spot for long-term display.

Now that Stanley is securely in place, though, there’s a moment to reflect.  It’s worth thinking more deeply about the car’s place in Time and Navigation and the reasons for collecting contemporary objects for the Smithsonian in the first place.

Some have already wondered:  what’s a car doing in the National Air and Space Museum?  In Time and Navigation, we link Stanley directly to satellite navigation, a subject clearly within the Museum’s scope.  The car’s ability to drive itself is a new application for satellite navigation, made possible when computers combine GPS (global positioning system) coordinates with other kinds of data to construct an image of the road ahead, complete with obstacles.  And there’s another connection:  Stanley operates on the ground in much the same way that UAVs, that’s Unmanned Aerial Vehicles, operate in the air.  Stanley moved into the Museum right under the UAV exhibition on the west end.

stanley

Stanley moves into the National Air and Space Museum. Photo by Mark Avino

When Stanley won the off-road DARPA race in 2005, the achievement was a giant technical step forward for autonomous vehicles, the vehicles like Stanley that drive themselves.   Now, seven short years later, numerous carmakers and Google are testing self-driving cars.  Three states—Nevada, Florida, and California—have passed legislation permitting them on state roads.  Advocates foresee a future where such cars will relieve congestion on highways, reduce traffic accidents, and provide transportation for those who otherwise cannot or do not want to drive.  No point going to the showroom to shop for your robot car just yet, but insiders predict the technology will be commercially available soon.

License Plate

Nevada license plate issued for testing autonomous vehicles on the state’s public roads. Photo by Wayne Wakefield.

Predicting the future, like moving Stanley, makes me nervous. My training and interests make me passionate about the past. I’m a historian and a curator, not a soothsayer. Making decisions about what to collect from the long-ago past, a curator stands on pretty solid ground. Often there’s a body of existing research and documentation that verifies the importance of an object from long ago. That’s collecting from inside a comfort zone.

But collecting contemporary objects like Stanley comes close to predicting the future.  It’s a risky business.  Curators have to make educated guesses that today’s technical innovation will be tomorrow’s historic milestone.  Curators who do contemporary collecting take the risk that an object making headlines today will remain representative of some important event or illustrative of how Americans absorbs new technologies.  Such an object might even carry material evidence that inspires our successors to dig deeper into research we haven’t even imagined yet.  Or maybe collecting such an object won’t have any of those useful outcomes.  Maybe it will simply lie fallow forever after in storage.  As I say, it’s a risky business.

An important indicator of an object’s historical worth is whether it yields rich  insights.  So far Stanley does not disappoint.  On display at the National Museum of American History, Stanley represented the latest in a long line of wheeled robots, a history that can be traced back to renaissance automatons.  At the Air and Space Museum, Stanley’s technologies let us see inside the “black box” of navigation and consider emerging technologies that are likely to change the ways we get from here to there.  Whether there will be more insights down the road, we’ll just have to wait and see.

Carlene Stephens is a curator at the National Museum of American History in Washington, DC. She is currently working with a team of curators, designers and restoration specialists at the National Air and Space Museum to develop the Time and Navigation exhibition.

For more about Stanley’s recent move, see the Smithsonian blog.