Author Archives: Will Stanley, Science Museum Press Officer

Science Museum IMAX plays host to Christopher Nolan and his Interstellar team

World-renowned director and blockbuster auteur Christopher Nolan visited the Science Museum last night for a special screening of his latest acclaimed feature, Interstellar, in our IMAX Theatre.

He was joined by the film’s editor Lee Smith, visual effects supervisor Paul Franklin and cinematographer Hoyte van Hoytema for an exclusive Q&A with BAFTA members hosted by writer and journalist Mark Salisbury.

Mark Salisbury, Christopher Nolan, Lee Smith, Paul Franklin and Hoyte van Hoytema at the Science Museum IMAX for a screening of Interstellar © Katherine Leedale

Mark Salisbury, Christopher Nolan, Lee Smith, Paul Franklin and Hoyte van Hoytema at the Science Museum IMAX for a screening of Interstellar © Katherine Leedale

The Science Museum IMAX is one of only four screens in the UK to show Interstellar in Nolan’s intended 70mm IMAX format, with one of the other three at our sister museum, Bradford’s National Media Museum. Presented in the highest quality resolution and combined with specially made IMAX sound, the experience is the most immersive presentation of Nolan’s most ambitious film to date.

On making his films a spectacular experience for audiences, Nolan has said: “IMAX is the gold standard and what any other technology has to match up to, but none have, in my opinion.”

Christopher Nolan during the making of Interstellar.

Christopher Nolan during the making of Interstellar.

Featuring an outstanding cast led by Oscar winner Matthew McConaughey, Interstellar draws on the scientific research of eminent physicist Kip Thorne whose theories centre here on traversable wormholes through space and time.

Screenings of Interstellar in IMAX 70mm continue at the Science Museum until Sunday 14 December. For tickets click here.

Best Festival Ever

David Finnigan from Australian science-theatre company Boho, explains what goes into making the Best Festival Ever

My name is David and soon I’ll find out whether audiences at the Science Museum can catch a stage-diving Dolly Parton. Since September, we’ve been in residence at the Science Museum preparing for the premiere of our interactive theatre work Best Festival Ever: How To Manage A Disaster.

In 2011, the University College London Environment Institute gave us the challenge of creating a theatre show looking at concepts from climate and systems science. Over the last three years we’ve created a work in which a playing audience seated around a table take control of managing their own complex system: a music festival.

A music festival is an excellent example of a complex system. In a lot of ways, a festival is like a temporary city, with tens of thousands of people coming together for a few days on a patch of land. Over the course of the show we examine some of the interesting ways in which systems behave and ask ourselves: how can we recognise and better think about the systems we’re part of?

I don’t want to give away too much about the show, but I thought I might share some of what audiences have to do to put on the best festival ever.

1. Programming the lineup

Obviously you want the best possible artists to play your festival: Do you take the 9-piece reggae collective over the teenage Youtube sensation? The folk ensemble or the glitchy electronica artist? But you’ll need to find sponsors to pay for them. As always in complex systems, there are trade-offs. Some sponsors may offer more, but may also be ethically… interesting. Whatever you decide, you’ll have to live with.

Best Festival Ever. Credit: BOHO

Best Festival Ever. Credit: BOHO

2. Building a festival site

Putting on a festival sometimes means constructing, inhabiting and packing down an entire temporary city. You’ll be in charge of organising the layout of your festival – placing gates, stages, food stalls and face-painting stalls – and then making everything both quickly and beautifully. Of course, when everything is connected, decisions made in one place will have consequences throughout the festival, often in unexpected ways.

Best Festival Ever. Credit: BOHO

Best Festival Ever. Credit: BOHO

3. Electricity

Festivals usually don’t run off the main grid. You’ll have to take control of the generators, ensuring that power goes to where it’s most needed. Managing this common-pool resource will involve prioritising: amazing laser light show on stage two vs turning on the water filters to stop sewage leaking into the river that flows into the nearby village.

4. Concerts

The most crucial part of any music festival, and also the hardest to manage. Can your security guards prevent fights from breaking out in the moshpit? Can you get the band onstage and hitting all the right solos? And are you ready if Justin Timberlake decides to jump right into the moshpit?

We’ll be presenting these shows at the Science Museum on 17-19 November, along with climate and systems scientists talking about the ways in which this show intersects with their own work. Book your tickets here

Stuff Matters Wins Science Book Prize

Materials scientist, author and TV presenter Professor Mark Miodownik has won the most prestigious science book prize in the world, with his personal journey through our material world.

Professor Mark Miodownik winner of the 2014 Royal Society Winton Prize for Science Books. Credit: Royal Society

Professor Mark Miodownik winner of the 2014 Royal Society Winton Prize for Science Books. Credit: Royal Society

Stuff Matters: The Strange Stories of the Marvellous Materials that Shape Our Man-made World, was yesterday (10 November) named the winner of the 2014 Royal Society Winton Prize for Science Books at the Royal Society in London.

The £25,000 prize was awarded to the University College London professor by Sir Paul Nurse, Nobel Prize-winning President of the Royal Society, with anatomist, author and broadcaster Professor Alice Roberts hosting the event.

Speaking at the awards ceremony, Miodownik told the BBC, “This stuff around us is speaking through me. Materials are not inert things, I hope I have given them a voice in this book. I think it’s an important story.”

Materials House by Thomas Heatherwick. Credit: Science Museum

Materials House by Thomas Heatherwick. Credit: Science Museum

The Science Museum’s Challenge of Materials gallery explores the changing use of materials, from Egyptian glass to a steel wedding dress. Perhaps the most striking features are a magnificent glass bridge spanning the main hall and Materials House, the first publicly commissioned work from designer Thomas Heatherwick. This enormous sculpture, made from 213 different materials, invites visitors to reflect on how materials are used in everyday life.

The six shortlisted books include The Cancer Chronicles by George Johnson, The Perfect Theory by Pedro G. Ferreira, Stuff Matters by Mark Miodownik, Serving the Reich by Philip Ball, Seven Elements That Have Changed The World by John Browne and Gulp by Mary Roach. Each of the shortlisted authors received £2,500 and interviews with the authors can be seen here. Last year’s winner of the Royal Society Winton Prize for Science Books was best-selling author James Gleick, who recently helped celebrate the opening of the Information Age gallery.

The Prize is sponsored by Winton Capital Management, who’s founder David Harding has a long record of working with the Science Museum, having supported the Information Age gallery, the award-wining Collider exhibition and a new Mathematics gallery that opens in 2016.

Dogs in Space

By Doug Millard, Deputy Keeper of Technology and Engineering and Julia Tcharfas, Curatorial Assistant.

On this day (3 November) in 1957, just one month after the launch of Sputnik, a dog called Laika became the first living creature to orbit the Earth. But sadly, with no means of returning her safely to Earth, she was on a one-way mission. Enough reserve supplies were prepared for Laika to survive one week in orbit inside the Sputnik 2 satellite, but she overheated and died only a few hours after launch.

Dog spacesuit and ejector seat used on suborbital rocket flights launched from Kapustin Yar, Soviet Union, c. 1955. Credit: Zvezda Research, Development and Production Enterprise, photo by Rosizo.

Dog spacesuit and ejector seat used on suborbital rocket flights launched from Kapustin Yar, Soviet Union, c. 1955. Credit: Zvezda Research, Development and Production Enterprise, photo by Rosizo.

Laika’s flight followed earlier stratospheric flights with dogs as crew. These sub-orbital missions were crucial for gathering knowledge of what happens to living creatures in space, as well as testing the equipment, ejection and parachute landing systems that would later be used by cosmonauts. The space dogs were used all the way up until the first manned space flight and after, flying in Vostok-type spacecraft.

On 22 July 1951, after six months of training, two small dogs nicknamed Tsygan and Dezik were launched from the site of the first Soviet cosmodrome in a region called Kapustin Yar. At a height of 110 km, the head of the rocket containing the dogs separated and began to free-fall back down to Earth. They experienced intense G-forces during descent, but after a heavy jolt from the parachute, the cabin containing the two four-legged pilots slowed and touched down safely. The trip, which lasted 15 minutes from start to finish, made Tsygan and Dezik the first animals to experience space flight and to emerge from the craft unharmed.

The completely new field of space biology was asking many questions about whether humans and other animals could survive an extended trip into outer space. The scientists involved needed to test the boundaries of endurance on actual living creatures. Was it possible to survive the extreme accelerations and decelerations of launching and landing? How could basic life-support needs – such as air, water and food – be supplied away from the home planet? And finally, would the experience of weightlessness inside a small capsule be harmful? Scientists needed to test life-support equipment, develop a training regimen for crews and perform tests in space. All of this had to be completed before human crews could embark on space exploration.

By the time of the first Soviet space dog crew, American scientists had attempted a number of launches using monkeys in V2 and Aerobee rockets, and all of them ended in the death of the animals. But the information collected during the flights demonstrated that the animals could cope with the intense G-forces and stresses of the rocket launches.

Chief Designer Sergei Korolev decided that the Soviet space programme would, on the other hand, work with dogs. The choice of dogs, ‘man’s best friend’, over monkeys, among our closest genetic relatives, was based on rational reasoning springing from emotional attachment. The Russian scientists believed they could build stronger bonds with the animals and so ensure their obedience. They also believed that the dogs eking out an existence on the harsh streets of Moscow would possess a survivalist temperament.

Belka and Strealka in the arms of Oleg Gazenko, following their day-long space flight, 1960. Credit: Institute of Biomedical Problems, Moscow.

Belka and Strealka in the arms of Oleg Gazenko, following their day-long space flight, 1960. Credit: Institute of Biomedical Problems, Moscow.

There were strict criteria for scouting the first star squad of dogs. They had to be female, because the specialised clothing and toilet technology was easier to tailor to them. And they needed to be small in size: 6 to 7 kg each to accommodate the strict weight limit for the rocket. These dogs also needed to have light-coloured fur, in order to show up clearly in front of the on-board camera. The scientists had even attempted to bleach the fur of one of their favourite darker dogs without success.

In the six years of stratospheric dog flights only a few launches ended in tragedy. But through these sacrifices enough information was gathered on whether living beings were likely to survive a trip into space. After the launch of an untrained puppy called ZIB (a quick replacement for a runaway dog), Chief Designer Korolev was ecstatic. At the landing site, when greeted by the happy puppy, he announced to his colleagues:

‘Space travellers will soon be flying in our spaceships with state visas – on a holiday!’

These early tests, conducted in secrecy, culminated in the final question: could a living creature survive a prolonged stay in zero gravity?

The most successful canine mission was perhaps the one performed by Belka and Strelka in 1960, who completed 18 orbits and returned to Earth in perfect health. They were greeted by an international press corps at a news conference in Moscow and their friendly faces were broadcast around the world. Belka went on to have a litter of puppies, one of which was given to the American first lady Jacqueline Kennedy by Russian premier Nikita Khrushchev.

White House dog Pushinka, a puppy of the Soviet space dog Belka. Credit: Robert Knudsen. White House Photographs. John F. Kennedy Presidential Library and Museum, Boston.

White House dog Pushinka, a puppy of the Soviet space dog Belka. Credit: Robert Knudsen. White House Photographs. John F. Kennedy Presidential Library and Museum, Boston.

At the time of this gift, Korolev already knew the name of the cosmonaut who would be the first to fly into space. By the time of Gagarin’s flight, 48 dogs had been to space and 20 had perished.

Discover the dramatic history of the Russian space programme in our new exhibition, Cosmonauts: Birth of the Space Age, opening soon.

Information Age: evolution or revolution?

On Friday 24 October 2014, the Science Museum celebrated the launch of a new permanent gallery; Information Age. The gallery explores over 200 years of information and communication technologies and was officially opened by Her Majesty The Queen who marked the occasion by sending the first tweet by a reigning monarch. In the afternoon, the Museum’s IMAX auditorium continued the celebrations, bringing together a panel of some of the world’s leading thinkers and entrepreneurs to share their insights and predictions about the big events that have shaped the communication technology we are familiar with today, and look ahead to what the future may hold.

Director of External Affairs Roger Highfield introduces the panel at Information Age: evolution or revolution?

We’re repeatedly told that we are experiencing more rapid technological advances than ever before. But over the past two centuries, our predecessors witnessed transformational developments in communication technology that were arguably far more revolutionary, from the laying of the first telegraph cable that connected the UK and USA to the birth of radio and TV broadcasting.

What can we learn from their experiences? Is what we are going through truly an unparalleled revolution, or does our focus on the now distort our perspective on an ongoing evolution in our relationship to information?

Click here to listen to the whole discussion and decide for yourself…

Chaired by Tom Standage, Digital Editor of The Economist and author of The Victorian Internet and Writing on the Wall, the expert panel brought together to discuss this question featured:

  • Hermann Hauser, computing engineer and co-founder of venture capital firm Amadeus Capital Partners
  • Baroness Martha Lane Fox, co-founder of lastminute.com, Chancellor of the Open University, chair of Go ON and board member of Marks and Spencer
  • Mo Ibrahim, mobile communications entrepreneur and founder of Celtel, one of Africa’s leading telecommunications operators, and
  • Jim Gleick, best-selling author of Chaos and The Information

The opening of Information Age marks the start of the biggest period of development of the Museum since it was opened over a century ago. Over the next five years, about a third of the Museum will be transformed by exciting new galleries, including a brand new mathematics gallery designed by Stirling Prize-winning architect Zaha Hadid.

Information Age is now open, located on floor 2 of the Museum. A new book entitled Information Age, to which the event’s panel have all contributed, is also now on sale in the Museum shop and online.

Open for Business: The story of contemporary British industry

Curator Ben Russell reflects on the story of contemporary British industry, on show in our Open for Business exhibition. 

Our collections include some of most celebrated icons of manufacturing and engineering in history, including Puffing Billy, Newcomen’s engine and Stephensons’s Rocket. These objects embody the ingenuity, resourcefulness and resolve of the engineers and manufacturers who created them.

Stephenson's 'Rocket' (1829) on display at the Science Museum. Credit: Science Museum

Stephenson’s ‘Rocket’ (1829) on display at the Science Museum. Credit: Science Museum

Fast forward to the present day, and it seems like many people’s perceptions of manufacturing continue to be dominated by heavy industrial images of men in boiler suits bathed in oil, up to their elbows in a machine. Of course, that’s still an integral part of industry, and one not without its attractions. But what we don’t often recognise is just how much contemporary British manufacturing has (literally) smashed these conventions into pieces.

Many people think Britain doesn’t actually make things anymore, but the reality is very different. Making things and selling them around the world remains strategically important for Britain, and its resilience continues to draw many manufacturing companies back to the UK after relocating to the Far East. As well as the mass production of everything from tin can tops to cars, many British companies thrive by carving out their own unique niches, from building yachts to weaving fine textiles. Many companies make a reputation for the excellence of their product: Quality sells.

Princess Yachts. Plymouth. GB. 2013. Open for Business © Chris Steele-Perkins, Magnum Photos

Princess Yachts. Plymouth. GB. 2013. Open for Business © Chris Steele-Perkins, Magnum Photos

Our exhibition Open for Business tells the story of contemporary British manufacturing through the images of nine Magum photographers. They each concentrated on a different region of the UK, visiting one-man businesses and FTSE 100 companies like Airbus and Renishaw, to try and create a snapshot of industry across the UK.

Their subjects can seem surprising, with photographs that include Aardman animators and theatre propmakers, as well as shipbuilding and factory workers. Renowned photographer David Hurn wanted to show the variety of manufacturing in Wales. Rather than just focus on the coal mines more commonly associated with industry in Wales, he chose to photograph Corgi Hosiery, a Welsh company that produces a range of socks designed by Prince Charles.

Renewable Energy. Scotland. GB. 2013. Open for Business © Stuart Franklin, Magnum Photos

Renewable Energy. Scotland. GB. 2013. Open for Business © Stuart Franklin, Magnum Photos

The incredible diversity of British manufacturing challenges the perceptions of what’s needed behind-the-scenes to make things. Roles in contemporary UK industry are vast, varied and can no longer be defined by the image of men in boiler suits.

Of course, it was ever thus: in the Industrial Revolution, Britain’s reputation as workshop of the world was attributed, not to the rise of the machines, but to the excellence of her people. In 1803, a French commentator praised ‘the wonderful practical skills’ of Britain’s ‘adventurers in the useful application of knowledge, and the superiority of her workmen in rapid and masterly execution’. The same could equally be said about making things in Britain today.

See more stunning images in our Open for Business exhibition, which closes 2 November 2014. 

Make Life Worth Living – Nick Hedges’ Photographs for Shelter, 1968-72

In this post Hedy van Erp, co-curator of the new Media Space exhibition Make Life Worth Living, looks at the background of the exhibition and the significance of the photographs on display.

Nick Hedges was commissioned by housing charity Shelter to document the poor conditions suffered by many around 1970. He travelled around the UK for four years and photographed people in slum properties in London, Birmingham, Liverpool, Sheffield, Glasgow and other major cities. A selection of these images – 100 out of the 1000 vintage prints held by the National Media Museum – can now be seen in the Virgin Media Studio at Media Space.

Children playing at 'Weddings', The Gorbals, Glasgow, 1970 © Nick Hedges  National Media Museum, Bradford

Children playing at ‘Weddings’, The Gorbals, Glasgow, 1970 © Nick Hedges National Media Museum, Bradford

Detached from the original Shelter context and combined with many images which have never been seen before, Make Life Worth Living does not just show the misery in housing around 1970, but is in fact a cinematic narrative of Hedges criss-crossing the UK from 1968 to 1972. The selection is reminiscent of Robert Frank‘s groundbreaking book The Americans. Like Frank, Hedges at the time was a true ‘noir’ photographer.

It has been said that Nick Hedges’ work for Shelter is strongly related to the American tradition of social documentary established by photographers like Lewis Hine and Paul Strand. Moreover, an analogy can be found in the work of Walker Evans, when he was hired by the Farm Security Administration to document the poor conditions of the farmers in pre-Second World War America.

“Make Life Worth Living”, terrace of back-to-back houses, Leeds, West Yorkshire, July 1970 © Nick Hedges / National Media Museum, Bradford

“Make Life Worth Living”, terrace of back-to-back houses, Leeds, West Yorkshire, July 1970 © Nick Hedges / National Media Museum, Bradford

Hedges also continued the rich tradition of socially committed photography in Britain. In fact, few photographers have captured better than Hedges what is both so upsetting and captivating in the look of Britain around 1970. Yet this is more than the aesthetics of poverty. Hedges’ Britain is at times a gritty place full of shadows, where you get the feeling things may not end well, but you still can’t stop looking.

Kitchen of slum house, Birmingham Duddleston, August 1970 © Nick Hedges / National Media Museum, Bradford

Kitchen of slum house, Birmingham Duddleston, August 1970 © Nick Hedges / National Media Museum, Bradford

The images taken outside the derelict houses – street scenes, city and rural landscapes – have a casual, almost drive-by feel. But you quickly see how carefully Hedges chose the images he shot over four years. Signs, interiors, children and animals keep cropping up, echoing from image to image. These images possess an energy and a visual harshness that contradict what may at first glance be mistaken for objective photojournalism.

It’s not only permissible, but also rewarding to take pleasure in Hedges’ images; the way light falls on a kitchen floor, the terraced houses running down to a factory, the pile of shoes in the window of a second hand shoe shop, or the vacant stare of a mother holding her baby. When life is hard, which it often is in these photographs, we have to look hard, but when we do, Hedges shows us beauty in many places.

A playground by the shipyards. Govan, Glasgow, August 1970 © Nick Hedges / National Media Museum, Bradford

A playground by the shipyards. Govan, Glasgow, August 1970 © Nick Hedges / National Media Museum, Bradford

Apart from showing beauty, disconnection and decay, Hedges’ poignant work offers us an important part of Europe’s past and culture. 40 years later, his Shelter archive is an incredibly strong body of work with which Hedges created history with his camera, history that happened in the form of scenes that can now become symbolic archetypes embedded in a national consciousness. Nick Hedges shows us life worth seeing – the words ‘worth seeing’ in fact being a gross understatement.

Make Life Worth Living: Nick Hedges’ Photographs for Shelter, 1968-72 runs in the Virgin Media Studio at Media Space until 18 January 2015. Entry to the exhibition is free.

How Mathematics Inspired the Writers of The Simpsons and Futurama

Pete Dickinson, Head of Comms, reflects on a global premiere and the mathematics hidden within the Simpsons and Futurama.

Leading lights of the Simpsons and Futurama, Al Jean and David X. Cohen, served up a sell-out event at the Science Museum that danced effortlessly like a Simpsons episode between scintillating story-telling, one-liners and hard-core mathematics.

QI creator John Lloyd, CEO of Innovate UK Iain Gray, and mathematics populariser Alex Bellos were among those lured to the museum for an evening of maths and mirth, but it was 12-year-old Toby Hawkins whose question precipitated the eveningís global premiere.

Toby wondered whether we could hope for a Simpsons and Futurama crossover episode if anyone should prove that P does not equal NP and thus solve a major unresolved problem in computer science. In response we were treated to the first ever airing of part of a ‘Simpsorama’ crossover show that will see Bender travelling back in time in an attempt to kill Bart so worldwide disaster can be averted.

Al Jean and David X. Cohen discussing maths and The Simpsons at the Science Museum. Credit: Science Museum

Al Jean and David X. Cohen discussing maths and The Simpsons at the Science Museum. Credit: Science Museum

The evening was expertly compered by Simon Singh, author of The Simpsons and their Mathematical Secrets. He invited Al Jean and David X. Cohen to explain how and why they have regularly embellished episodes of both series with references to degree-level maths such as Fermatís Last Theorem or the Taxicab number.

Al Jean, who worked on the first series and is now executive producer of The Simpsons, and studied maths at Harvard, credited serendipity; many of the writers had scientific backgrounds. He went on to suggest that mathematics and comedy writing demand the same kind of thinking and a similar, sometimes obsessive, quest for the perfect solution.

We heard how, in the early 90s, the writers faxed a mathematician working at NASA to ensure the accuracy of a line by store owner Apu Nahasapeemapetilon when he boasts ‘I can recite pi to forty thousand places. The last digit is 1.’

David X Cohen, creator of Futurama who happens to have a computer science degree from UC Berkeley, hinted at a more serious purpose. Lamenting the way entertainment goes out of its way to make maths seem boring, he said ‘part of what I think about when we do Futurama is let’s make it fun, let’s not make it scary’.

Earlier, Science Museum Deputy Director Jean Franczyk had provided the context for the evening with a reminder of the Science Museumís ambitious plans for a new mathematics gallery, made possible by the generosity of the David and Claudia Harding Foundation. By combining the curation of David Rooney, the creativity of Zaha Hadid Architects and the museum’s beautiful maths collection, Jean predicted a gallery that would delight all, including the ‘intrepid and maths-loving Lisa Simpson’.

The event has inspired a wide range of media interest, on the importance of Lisa as a mathematical role model, the links between mathematics and comedy, along with mentions on Radio 4′s Loose Ends and Radio 1′s Nick Grimshaw Show.

All clips from The Simpsons and Futurama were kindly provided by Twentieth Century Fox Television.

Global Telephone Calls For All

David Hay, Head of Heritage & Archives at BT, reflects on the story of the first transatlantic telephone cable, TAT1, which opened 58 years ago today (25 September). The story will be covered in the Science Museum’s new Information Age gallery, which opens on 25 October.

Programme for the inauguration of the cable, 25 Sep 1956. Image credit: Courtesy of BT Heritage & Archives

Programme for the inauguration of the cable, 25 Sep 1956. Image credit: Courtesy of BT Heritage & Archives

When the first transatlantic telephone cable was launched on 25 September 1956, it was hailed as the start of the modern era of global communication. It was designed to link both the United States and Canada to the UK, with facilities for some circuits to be leased to other West European countries too.

The cable  provided 30 telephone circuits to the US and six to Canada. Most were for communication with the UK, the rest were connected through London to give direct access to Europe.

Transatlantic telephone cable operations, Oban, Scotland, 1855. Image credit: Courtesy of BT Heritage & Archives

Transatlantic telephone cable operations, Oban, Scotland, 1855. Image credit: Courtesy of BT Heritage & Archives

Undertaken by BT’s predecessor, the Post Office Engineering Department, along with the American Telegraph and Telephone Company, Bell Telephone Laboratories and the Canadian Overseas Telecommunications Corporation, the £12.5 million project took three years to complete. During this time the system was planned, manufactured and installed, which required developing new techniques for placing cable in deep waters.

Men pulling first segment ashore at Clarenville, Newfoundland,  Canada, 1955. Image credit: Courtesy of BT Heritage & Archives

Men pulling first segment ashore at Clarenville, Newfoundland, Canada, 1955. Image credit: Courtesy of BT Heritage & Archives

Telegraph links between the UK and the USA had been in existence from the middle of the previous century, but 1927 saw the first commercial radiotelephone service between the two countries. Initially 2,000 calls per year were made across the Atlantic, but the cost was prohibitive – in 1928 the basic rate for calls to New York was £9 for just three minutes.

It was only with the development of new equipment, such as coaxial cables with polyethylene insulation, carrier frequency equipment and broadband submerged repeaters, that transatlantic telephony by cable could be realised. These new technologies were developed just before and during World War Two. One key Post Office input was the development of subsea repeaters which were robust and reliable enough for areas around the coast and mainland Europe.

Cable operations at Clarenville, Newfoundland,  preparing to bring cable ashore, 1955. Image credit: Courtesy of BT Heritage & Archives

Cable operations at Clarenville, Newfoundland, preparing to bring cable ashore, 1955. Image credit: Courtesy of BT Heritage & Archives

Apart from the short shore ends, the whole of the transatlantic telephone cable was laid by the Post Office cable ship Monarch. It was the only such ship that was capable of carrying the 1,500 nautical miles of cable which had to be laid in one piece across the deepest part of the Atlantic, between Oban in Scotland and Clarenville, Newfoundland. The cable then crossed over the the Cabot Strait to Sydney Mines, Nova Scotia.

Cable route map from Oban to Clarenville and topographic diagram of the ocean floor. Image credit: Courtesy of BT Heritage & Archives

Cable route map from Oban to Clarenville and topographic diagram of the ocean floor. Image credit: Courtesy of BT Heritage & Archives

At the inaugural ceremony at  Lancaster House in London on 25 September 1956, the service was opened by the Postmaster General, who spoke to the Chairman of AT&T calling from New York, and to the Canadian Minister of Transport.

During its first year of service, TAT1 carried twice as many calls as the radio circuits had done in a year – about 220,000 calls between Britain and the United States, and 75,000 between Britain and Canada – generating £2 million to be shared between the three countries.

In 1956, the first transatlantic telephone cable was regarded as a major technological achievement, not least as a base for future research and improvements. It laid the path for further developments such as sophisticated digital fibre optic transatlantic cables, which can pass tens of thousands of calls simultaneously.

Sectioned submerged repeater for TAT-1 the first trans-Atlantic telephone cable, designed at the Post Office Research Station at Dollis Hill, made by Standard Telephones and Cables Limited, Woolwich, London, England, 1956. Image credit: Science Museum

Sectioned submerged repeater for TAT-1 the first trans-Atlantic telephone cable. Credit: Science Museum

BT is excited to be Lead Principal Sponsor of the new Science Museum’s Information Age gallery, where the story of TAT1 and transatlantic communications is told. Our purpose as a company is to use the power of communications to make a better world. We have been involved in every significant development in telecommunications since the birth of the technology in 1837 with the invention of the electric telegraph in the UK

It was important for us to be able to support Information Age in telling the stories of how communications technology has changed the world for the better. And we are delighted to have donated so many of the objects on display in the gallery from our own heritage collection.

Information Age opens to the public at the Science Museum in London on 25 October 2014. For more details visit sciencemuseum.org.uk/informationage.

Konstantin Tsiolkovsky: Grandfather of Soviet Space Travel

Ulrika Danielsson, Content Coordinator for the Cosmonauts exhibition, reflects on the life of Konstantin Tsiolkovsky, the grandfather of Soviet space travel, 157 years after his birth.    

Look closely at this picture from the Russian module of the International Space Station and you will see two images of a man with a white beard. Known as the grandfather of Soviet space travel, this man dreamt of international space stations as early as the 1890s and cosmonauts still pay homage to him today. Born on this day (17 September) in 1857, the man’s name is Konstantin Tsiolkovsky.

Aboard the International Space Station. Credit: NASA

Aboard the International Space Station. Credit: NASA

Tsiolkovsky’s contribution to the science of space travel is diverse and astonishing, with his work ranging from robust science to science fiction. Citing the work of Jules Verne as a personal  inspiration, Tsiolkovsky believed science fiction was a valuable tool in advancing and popularising  serious scientific ideas. Subsequently, Tsiolkovksy himself produced three sci-fi novels, and towards the end of his life acted as technical advisor on the production of the Soviet sci-fi film ‘Cosmic Voyage’ (1936).

Konstantin Tsiolkovsky. Credit: Archive of Russian Academy of Sciences

Konstantin Tsiolkovsky. Credit: Archive of Russian Academy of Sciences

However, Tsiolkovksy’s prominence in the field of space travel is due to his work on the mathematics and mechanics of  how to reach outer space. He famously calculated the possibility of doing so by using liquid-propellant rockets. In addition to developing concepts on launch and orbital dynamics, Tsiolkovksy considered devices that would allow a human being to survive in space, including space suits and space food.

Drawing by Tsiolkovksy for the film ‘Cosmic Voyage’ showing a cosmonaut exiting a rocket via an airlock, 1932. Credit: Archive of Russian Academy of Science

Drawing by Tsiolkovksy for the film ‘Cosmic Voyage’ showing a cosmonaut exiting a rocket via an airlock, 1932. Credit: Archive of Russian Academy of Science

Tsiolkovsky’s achievements are even more extraordinary in light of his circumstances. Growing up in a large family of limited means and suffering from severely impaired hearing after contracting scarlet fever as a child, Tsiolkovsky was self-educated. After a brief period in Moscow where he taught himself mathematics, physics, astronomy and chemistry using public libraries, Tsiolkovsky returned to the provinces to become a school teacher and start a family.

Fleeing a bleak existence, he immersed himself in a world of inventions, struggling to get his work published – he was essentially founding a new field of science – but doggedly self-publishing when possible and gaining local followers intrigued by his ideas of metallic air ships, extra-terrestrial life and the colonization of other planets.

Tsiolkovsky’s work was driven by the idea that space travel would allow the human race to abandon Earth in the face of overpopulation and natural catastrophes, thereby securing the continued existence of humanity. He envisioned a species of super humans, a form of eugenics drawing on the likes of Nietzsche that does not tend to sit comfortably with those eulogizing his life and work in modern times. These super humans would use Earth as a source of energy and raw materials and cosmic evolution would eventually allow them to shed their physical “shells” and develop into energy, becoming immortal and boundless.

Despite receiving minor recognition from the state following the Russian Revolution of 1917, Tsiolkovsky’s situation remained relatively unchanged until he neared the end of his life in the 1930s when he was officially hailed as a hero.

Following the launch of the Soviet space programme in the 1950s, he went on to achieve cult status. To this day, Konstantin Tsiolkovsky remains a key inspirational and spiritual figure in the cosmonautical movement, alongside Chief Designer Sergei Korolev and the first man in space, Yuri Gagarin.

Discover Tsiolkovsky’s story and the dramatic history of the Russian space programme in our new exhibition, Cosmonauts: Birth of the Space Age, which opens soon.