1 10 19030 https://digitalcollections.museumofflight.org/files/original/9ef6e3c27e55c6ff57a10fd35dd29518.PNG 820a1d81578dddf550db2f9cbbadbec9 https://digitalcollections.museumofflight.org/files/original/eedc29c9c9d7dc3f1dcd43db2bbf0106.mp4 9fb03b2740e4f011c13b2ddb4bc49055 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Subseries III-G - Publicity materials, 1944-1966, 1999, undated Description An account of the resource Publicity materials, 1944-1966, 1999, undated Identifier An unambiguous reference to the resource within a given context 2000-06-20, Subseries III-G Audiovisual Audiovisual items that are not an oral histories, such as personal film footage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2000-06-20_AV_002_01 Source A related resource from which the described resource is derived The William P. and Moya Olsen Lear Papers (2000-06-20), Audiovisual Materials Creator An entity primarily responsible for making the resource Lear, Inc. Norman Wright Productions (Hollywood, Calif.) Date A point or period of time associated with an event in the lifecycle of the resource 1960s circa Subject The topic of the resource Lear, William P. (William Powell), 1902-1978 Lear, Inc. Automatic pilot (Airplanes) Airplanes, Military United States. Air Force United States. Navy Lear Integrated Flight Equipment Aeronautical instruments Commuter aircraft Extent The size or duration of the resource. 1 film reel (23 min., 30 sec.) : sound, color ; 16 mm Format The file format, physical medium, or dimensions of the resource 16mm (photographic film size) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The William P. and Moya Olsen Lear Papers/The Museum of Flight Rights Information about rights held in and over the resource In copyright Description An account of the resource Promotional film for Lear, Incorporated, produced by Norman Wright Productions (Hollywood, California) and narrated by Bob Cummings, circa 1960s. The footage opens with a dramatization of an astronaut piloting a futuristic spacecraft on a deep-space mission. Cummings then describes Lear's collaborative work with the U.S. Air Force on the Advanced Instrumentation Development Program (AIDP), which is developing a control display system for a manned space bomber, and the company's other flight instrumentation projects. Scenes depict the AIDP prototype display system; instruments being manufactured and tested; various Lear-equipped aircraft; the Nike Zeus, Boeing BOMARC, and Atlas missiles and the Ryan Q-2C Firebee target drone; and Lear facilities such as factories and researches laboratories. The narration describes the widespread utility of Lear equipment in the aircraft, manufacturing, and defense industries, as well as the company's research into new technologies such as molecular circuitry and remote-controlled industrial tools. The film concludes with Cummings summarizing the achievements of William P. Lear and Lear, Incorporated and emphasizing the company's status as an innovative leader in industry. Specific aircraft appearing or mentioned in the footage include the Lockheed F-104 Starfighter, McDonnell F4H, Douglas A4D Skyhawk, North American X-15, Republic F-84F Thunderstreak, North American F-86D Sabre, Boeing KC-135 Stratotanker, Sud-Aviation Caravelle, and North American XB-70 Valkyrie. Specific Lear products mentioned are the F-5 autopilot, the LIFE (Lear Integrated Flight Equipment) system, the L-102 autopilot, and the north-seeking gyroscope. The film is in color and includes audio. Label on reel can: "Norman Wright Productions Incorporated. Hollywood Calif. Lear Inc. presents '…And on Beyond.' Prod #314. C-2." Title A name given to the resource ...And On Beyond [Lear, Incorporated promotional film] https://digitalcollections.museumofflight.org/files/original/279083b54dfc65da83458e400088a928.JPG ef378346cd840a23d227566f1dade179 https://digitalcollections.museumofflight.org/files/original/a6ec386f748166e08c34b59f89925df8.JPG 0415b1c0354979f47850b5155e6c0396 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Folder: 1 - Stereographs, circa 1914-1919 Description An account of the resource Stereographs, circa 1914-1919 Identifier An unambiguous reference to the resource within a given context 2016-00-00-5, Folder: 1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2016-00-00-5_image_006_01 2016-00-00-5_image_006_02 Title A name given to the resource "And the trench was a reeking shambles" [Stereograph] Format The file format, physical medium, or dimensions of the resource stereographs Description An account of the resource Stereograph, "'And the trench was a reeking shambles.' German dead in the La Bassee area," Image number V18858, Keystone View Company, circa 1914-1919. Image of dead servicemen in trenches. Caption on reverse describes the battle at La Bassée (France) as an extension of the Battle of Ypres (Belgium) in late 1914. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The World War I Stereographs/The Museum of Flight License A legal document giving official permission to do something with the resource. Materials were digitized as part of a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). Digital files are made available under <a href="https://creativecommons.org/licenses/by-nc-nd/2.5/">Creative Commons license CC BY-NC-ND</a>. For commercial use, please inquire via our <a href="https://www.museumofflight.org/Collections-and-Research/Research-Request">image/research request form</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1919 circa Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant France Subject The topic of the resource World War, 1914-1918 Soldiers Trenches Battlefields War casualties Dead Germany. Heer Germany. Army Creator An entity primarily responsible for making the resource Keystone View Company Source A related resource from which the described resource is derived The World War I Stereographs (2016-00-00.5), Folder 1 Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/1cc2606e74ce9b2acc95f63d315fb04f.JPG 6686f23e0d3116a952582d469468cc9b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Box: 1, Folder: 2 - Report: Notes on the Caproni 600 Night-Bombing Biplane, 1919 Description An account of the resource Report: Notes on the Caproni 600 Night-Bombing Biplane, 1919 Identifier An unambiguous reference to the resource within a given context 1998-11-12, Box: One, Folder: 2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 1998-11-12_image_142_01 Title A name given to the resource "Dummy center section" (Four struts with short spars) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The S. E. Hutton Collection of Caproni Materials/The Museum of Flight Creator An entity primarily responsible for making the resource Hutton, S. E. Description An account of the resource Photograph from "Notes on the Caproni 600 night-bombing biplane," a technical report by S. E. Hutton, circa 1919.Caption in report: "Fig. 43 'Dummy center section' (Four struts with short spars)." Format The file format, physical medium, or dimensions of the resource photographic prints technical reports Subject The topic of the resource World War, 1914-1918 Caproni Ca.44 (Military Ca.5, Ca.600) Airplanes, Military Airplanes--Design and construction Date A point or period of time associated with an event in the lifecycle of the resource 1919 circa License A legal document giving official permission to do something with the resource. Materials were digitized as part of a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). Digital files are made available under <a href="https://creativecommons.org/licenses/by-nc-nd/2.5/">Creative Commons license CC BY-NC-ND</a>. For commercial use, please inquire via our <a href="https://www.museumofflight.org/Collections-and-Research/Research-Request">image/research request form</a>. Source A related resource from which the described resource is derived The S. E. Hutton Collection of Caproni Materials (1998-11-12), Box 1, Folder 2 Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/218e50413db4108b310dea3b1a944bc4.JPG 9c46723d4a0d4f1fa05599ae5e98c510 https://digitalcollections.museumofflight.org/files/original/d52d6c04829d90b32c0b72f21d94f85e.JPG 37c091f3fa9fc7ad79822aad971a8153 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Box: 1, Folder: 1-3 - Keystone View Company Stereographs, circa 1914-1921 Description An account of the resource Keystone View Company Stereographs, circa 1914-1921 Identifier An unambiguous reference to the resource within a given context 2011-04-22, Box: One, Folder: 1-3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2011-04-22_image_030_01 2011-04-22_image_030_02 Title A name given to the resource "Enemy Airmen Successfully Bombed One of Supply Trains," Official Report [Stereograph] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Mark Winters Stereograph Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Keystone View Company Description An account of the resource Stereograph, "'Enemy Airmen Successfully Bombed One of Supply Trains,' Official Report," Set Number 30, Image Number V18927, Keystone View Company, circa 1914-1921. Image of dead horses and ruined carts on a country road. Caption on reverse describes the effectiveness of the airplane in warfare. Format The file format, physical medium, or dimensions of the resource stereographs Subject The topic of the resource World War, 1914-1918 Date A point or period of time associated with an event in the lifecycle of the resource 1914-1921 circa License A legal document giving official permission to do something with the resource. Materials were digitized as part of a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). Digital files are made available under <a href="https://creativecommons.org/licenses/by-nc-nd/2.5/">Creative Commons license CC BY-NC-ND</a>. For commercial use, please inquire via our <a href="https://www.museumofflight.org/Collections-and-Research/Research-Request">image/research request form</a>. Source A related resource from which the described resource is derived The Mark Winters Stereograph Collection (2011-04-22), Folder 2 Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/da5a4c5adbb247628228a5e76392c77f.pdf 45711e6b880fafb693beae77d0b037cb PDF Text Text SENSE VG 90 .G18 1943 c.1 �SEN·SE I I I ISSUED BY AVIATION TRAINING DIVISION, OFFICE OF THE CHIEF OF NAVAL OPERATIONS, U. S. NAVY • DECEMBER 1943 �HOW MUCH DO YOU WEIGH? IF YOU WANT TO SEE, look out for g. Yes, g stands for Gravity. It stands for one times gravity. You are withstanding one g right now sitting in that chair. One g is normal. You have been withstanding one g _a ll your life. When you come down in an elevator and stop quickly you may withstand two . g's (or more). Two g's means two tiines gravity and they make you twice as heavy-momentarily. If you jump off a chair and hit the deck without bending your knees you can create 10 g's or more-for a split fraction of a second. Your weight is multiplied by 10 in that brief moment. When you slow down, speed up, or change direction while walking-or in an airplane-you create g's. ~ f~ "Okay," you say, "If I can withstand 10 g's jumping off a chair, why can't I withstand 10 g's in an airplane without blacking out?" 3 �rhe winning answer is that you usually withstand the g's longer in an airplane . \ for several seconds, not fractions of seconds. TIME is the thing. If you "took" . the 1g's which you created jumping off the chair for as long as several seconds youor rnybody else-would pass out colder 8-9-IO YOU'RE. tha~ a penguin. Yo:ur blood-like the rest OUT/., of you-gets heavier ·under the effects' of g-.,sp heavy in fact that the heart cannot pu~p it to the brain. The brain "starves" I fro,tn lack of oxygen-and WHAMBOptit go the lights. Here are two g-men. They represent two times gravity. The ·e?{tra man hgpped on when you made that 60° bank. You invited him aboard when you changed direction. . ! TAKE YOUR CHOICE THERE ARE two kinds of g-positive and negative. One kind is when the brain doesn't get enough blood and one kind is when the brain gets too much blood. Four or more g-men will hop in with you suddenly when you pull out of a di~e, depending on your speed and how rapidly you change direction. The faster you are going and the quicker you pull out, the greater the number of g-men who will How are they created? When should a pilot expect them? What are they? ThesT questions and many others have been ans~ered for you-by the Navy's research /facilities and by men like yourself-pilots and specialists-who have put planes through their paces and recorded valuable data to give to you, in brief form: j : . THE ABC's OF g climb aboard. Engineers call the g-man "load factor." He can change the characteristics of . your plane. In fact, about 10 or more of him probably will tear the wings off any plane you may be flying! HERE is the g-man. He represents one times gravity. J -: . He's in the plane with you before you take off. \ 4 5 �THE g-MAN IS DANGEROUS IN NUMBERS! To UNDERSTAND the forces at work in aircraft, and how g-men come into the picture, you must know something about the physics of motion. The principles are simple and familiar to everybody. The first is INERTIA. You know what that means. A fellow who sits around on his backside all day is full of inertia. Hard to start. Always tending to rest. If you have ever tried to push a stalled automobile, you know how much harder it is to get it started than to keep it going. That's why you start a car in lo)'V gear to overcome inertia. Inertia also applies to things that are moving. You know what happens in a crowded bus when it stops suddenly. Passengers are thrown forwar1 violently. They tend to keep right on moving in the same direction as before, until they can resist this tendency by pushing on the fat lady ahead. 6 To put it technically, objects tend to remain in a constant state (at rest, or moving at the same speed in the same direction) unless acted upon by an external force. There always is an external force (friction, for instance) otherwise we would have perpetual motion and could forget gas rationing. AccELERATION is another familiar property of motion which deals with changing velocities. If you have any gas and are driving at a legal 35 miles an hour and you step hard on the accelerator, the car speeds up, or accelerates. Theoretically, if there were no friction, its speed would increase at a constant rate until the cops nabbed you for passing a red light. Similarly if you were doing 90 and 'p ut the brakes on so as to stop in exactly 2 minutes, the car would decelerate, or be acted on by an acceleration in the opposite direction, of 45 miles an hour per minute. We usually speak of acceleration in terms of velocity per unit of time. g is different, for it is the only kind of acceleration which is constant and to which all objects on earth are exposed all the time-the acceleration d.u e to the force of gravity. A free falling body in a vacuum will be acted on by gravity so that its acceleration ~11 be 32 feet per second every second. Therefore, we can use the acceleration due to gravity (32 feet per second) as our standard, and designate it as a unit, i. e., g. One, g is an acceleration equal to that due to gravity; 2, g twice as much; 3, g three times as much, and so on. This makes a convenient unit for expressing acceleration in any direction because it is always present and constant. 7 �We can talk about all rapid accelerations, such as those that occur in airplanes, in terms of g-the force of gravity that gives us weight. If it were not there, we'd all be lighter than a feather. One g isn't bad and it i~ pulling downward on everything all the time. You don't get into much trouble with one g. Actually the trouble that g causes is because it is all mixed up in motion. Suppose you speed up or slow down a car. "g" comes into the picture, this time in a fore and aft direction. (There_ is still one g pulling downward all the time.) "0. K." you say, "but I hardly ever feel it when I step on it or jam on the brakes." That's true, but how about a catapult take-off? You get about 3 g fore and aft and need a rest to keep your head steady so you can concentrate on the plane. Fore and aft g we call "linear" but normally it doesn't bother anybody very much in ordinary flight. If you zip around a corner in your car you tend to slide over in your seat toward the outside of the turn. That's fine when your girl is sitting next to you, but if the road is slippery, your car will skid. g has hopped on your car and on you, and you tend to keep moving in the same direction as you were going. Which brings us back to the way g works on an airplane. Any change in direction will put g on you and your plane. An airplane in a turn or pull-out is constantly changing its direction. To keep the airplane in a circular path, a force must be acting constantly toward the center of the circle-part of the force obtained from the lift of the wings. The result of this force is to make the airplane act as if it were heavier. It tends to keep going in a straight line, that is, away from the turn, just as you tended-unconsciously?-to slide up close to your girl. 8 If you try to make an 80° banked turn in a Yellow. Peril at less than 100 knots, you stall; if you make a sharp pull-out at too slow an air speed, you mush, which is the same thing. Why? Because the g of centrifugal force makes your plane heavierand your Yellow Peril can't go fast enough at reduced throttle to give it the lift required to fly. If you make your maneuver with enough power g will not cause your plane to slip or stall. What happens to the pilot when plus g comes aboard his plane? He weighs his own weight times the number of g produced, exactly as the plane and everything in it does. The plane stalls when it gets too much g for its flying speed and the pilot blacks out when he gets too much g for his circulatory system. There is this important difference, though. The faster the plane goes in a tight turn the more g it can stand without stalling, but the more g the pilot gets in each turn the more quickly he will black out. When the plane stalls the pilot doesn't tend to black out, and vice-versa. When speeds are great and changes of direction are sudden, the forces produced can run into large figures. A 200-pound man acted on by an acceleration of 10 g "weighs" one ton, and every organ and tissue in his body is 10 times as heavy as it is normally. 556068°-44-2 9 • �. That makes his blood as heavy as lead! No wonder he blacks out. It would take a real iron man to stand it. Imagine your heart trying to pump a lot of lead through your arteries. SCALES FOR The trouble-making g is the kind produced in a vertical direction, that is, in the ver_tical axis of the plane. That's because you sit upright in your seat. We also can have sideways, or lateral g, in slips and skids, but that doesn't bother us much. It's the vertical g that counts. It can work in two directions, up and down. If you make a banked turn or a pull-out, g pulls you down. We call that posit£ve g. If you do an inverted spin or an outside loop the g pulls you upward or toward your head. ~hat is negative g. No matter how you slice it, it's still g. It's the same force, only it's working in different directions on you. So you call it by different names, positive or negative, depending on whether you're right side up or upside down. - g THE ACCELEROMETER: In airplanes we usually measure g by means of an accelerometer, which records the number of g-men placed upon it at any given moment. A 1-pound weight under a force of 3 g would act as if it weighed 3 pounds. The accelerometers used in Navy planes are so designed and placed as to measure gin two directions, up or ne.gative, (-) g, and down or positive ( +) g. Negative g is therefore a force acting toward the head of the pilot and the upper surface of the wings. This instrument also has maximum-minimum hands, which record . the limits of g reached in the two directions. An accelerometer is a spring balance measuring a single weight under different forces. Of course, wh~n the plane is on the ground or in level flight, it records 1 g, as gravity is working normally. + In inverted flight it records - lg, as gravity is pulling on the plane opposite to its usual direction. Actually, when we speak of a plane pulling +9g, we mean that +Bg extra was added to the 1g normally present in level flight; similarly, when a maneuver resulted in -4g, we mean that the hand of the accelerometer went from + + REMEMBER.-lf 9 g you weigh a ton with 10 g on you, your body still isn't any stronger th~n it was under 1 g. The same thing holds for a plane. A 5 ,000-pound plane under 10 g wi.11 weigh 50,000 pounds, but its wings won't grow larger or stronger. And the 1 engine doesn t develop any more horsepower to pull it through a stall. 10 the normal + 1 to O and then to -4, or a total of Sg in the negative direction~ This instrument therefore, not only tells you how many g-men are aboard, but also whether they are riding on the top or bottom of your plane. 11 �I • WHOA! LIMITS IN PLANES: Some maneuvers in aircraft produce considerable g over relatively long time intervals. Of course, the greater the spee~ the more g will result. Planes designed to maneuver rapidly are stressed to take these forces without going to pieces. The Bureau of Aeronautics has placed restrictions on all planes as to the number of g they can take safely. Know what these limits are, so you will not overstrain your plane. If you do, some day you will pmll a wing off. Flight load distribution also is extremely important. If you are using your ailerons or rudder so as to make _one wing bear much more than its share of the load, yo~ put a terrific strain on one wing at a time when the g as shown by the accelerometer is not excessive. SOME CAN TAKE IT-AND SOME CAN•t You CAN SEE that a heavy PBY can't stand much in the way of quick fnaneuvers. It just wasn't built for it. An SB2C is different. It's built to take it. Apd when PB's and TB's will take only 3 or 4 positive and 2 negative g's. SNJ's and SNV'S will take only about 5 positive and 2 negative. 0S2U's will take 6 positive and 3 negative. i I I / it takes its limit, it weighs more than the normal weight of a Liberator filled with :· bombs. The plane may take that limit-but you can't. You'll go out cold. You Yellow Perils will take 6 positive and 4 negative. F4F's will take between 7 and 8 positive and 4 negative. The F6F3 has a "top" of 6.5 positive and 3 negative g, and the F4U between 7 and 8 positive and 3 negative. Dive bombers will take about 8 positive and 4 negative. .:._ SAY, PAI., WHO IS THc WE.AK SIST!oR.? BUT-A lot depends on the load. IF a wing will break wi~h a 50,000pound load, and it .normally carries 10,000 pounds, then 5 g-m~n will break it. But if the plane is loaded so that .the wing carries 12,500 p~unds in level. flight, .it will take only 4 g-men ·to break I it. 12 could easily stand it for just a second, but unfortunately g-men in most combat maneuvers ride along for several seconds. And out you go. Now we're going to tell you why. 13 �Your heart pumps blood through your circulatory system. Large arteries successively divide into smaller and smaller vessels until there is a vast network of minute vessels called capillaries going through all body tissues. It is in these thin-walled vessels that the blood gives up its oxygen to the tissues and receives waste products in exchange. This used blood then goes into veins, soft-walled vessels which lead into larger and larger pipes and eventually back into the heart. The blood is then pumped through the lungs, where it gets more ·oxygen, and is sent back again to the heart where the cycle begins all over. If the heart doesn't get enough blood, it can't pump enough out to supply your vital organs, especially your brain. If you take enough blood out of the body, there w.o~'t he enough to pump around, and you'fl faint. Or, if you force enough blood in-to°"one place where it can't be used, the same thing happens. Filling up the legs and seat with a lot of useless blood has the·same effect as putting the blood into a bottle. \ 14 I • WHAT g DOES TO BLOOD: Blood has weight, and inertia. Because it is a liquid, it can be driven around the body by outside forces. (If you swing a cat by its tail, blood will be driven into its head and drained from its feet. It's hard on the cat, so don't try this experiment.) When you are subjected tog, blood is forced into parts of the body in the direction of the fqrce, and away from those toward its origin. It takes time for these forces to operate because of the 1nertia of the blood and its friction against bloodvessel walls. If the g is negative (as in the case of the cat) blood will be pushed into your head and your brain will get congested and fail ·t o work properly. If the g is positive, there are a combination of effects which will result in blackout if the g has enough time in which to operate. First the positive g will pull the blood out of the eyes and brain. The heart pumps faster on less blood because of the extra g's. At 5 g's or more, in fact, the heart can't replace the blood supply to the brain. It can lift blood approximately 5 feet at 1 g (if that were necessary) or 1 foot at 5 g's-and the brain is a foot or more above the heart. There is also a general disturbance of the circulation due to the pooling effect produced by continued pressure of extra g's. The blood is forced .down into the lower part of the body 15 �and the legs, where it collects in thin-walled blood vessels which under pressure will hold many times their normal capacity. Even when a man stands up after a good night's sleep, his feet swell a little as blood begins to collect in them! Pressure in the veins when a man is lying down is about 5 millimeters or roughly one-fifth inch of mercury. Pressure in the veins of his feet when he stands is about 3% inches of mercury. Under the forces of acceleration this may rise to as mtich as 30 inches-and 30 inches is a lot of pressure. It's easy to see that if this "pooling" of blood continues long enough, the heart will have little or no blood to pump. For example, if you are under 3 g's for as long as 15 seconds the result may be unconsciousness and circulatory collapse. The heart could pump blood to the brain against 3 g's of pressure, but it just doesn't get the blood. This pooling effect takes time, so it isn't noticeable in most maneuvers. It takes time to create it, and time to get back to normal after it has occurred. YOU AND At about 4 g you are really squashed down and you may begin to "gray out." Everything looks gray and a little hazy. Your hands are very heavy 1when you lift them, and you can't scratch your ear. Your cheeks feel heavy, and you begin to get woozy. At about 5 g, vision gets worse. Somebody puts a double-barreled shot gun in front of your eyes, and makes you look through it. You can only see straight ahead, and that not very well. l I At about 6 g they cork up the end of the gun and out go the lights. Your head is buzzing and you're very woozy. The hand you were scratching your ear with comes down on your knee with a bang. "This is blackout," you say, "and I don't fancy it much." g WHAT HAPPENS to you when you are exposed tog? Positive g: When you are exposed to positive g for some time (several seconds), certain sensations appear, depending on the number of g's and the time it lasts. The most obvious one is that of heaviness. At 2 g it is hard to walk. If you stand still, you don't notice it much, but moving makes your feet fill with lead. Add another g and you probably can't walk at all. When you are sitting down, 2 or 3 g give you a sense of being pushed down in your seat. If you try to lift your hands, they feel very heavy, but you don't notice anything if you let them rest. 16 At about 6 or 7 g, you may pass out cold. Knocked out. By g-men. You may twitch and kick the controls. This can be bad for airplanes. 17 �It takes a long time to tell about these things and they happen very quickly. Bear in mind that these figures are average. You may be the kind of guy who will black out at 3.5 or 4 g. Or, you may be one of the peculiar boys who can still see at 8. But most people get pretty blind when 5 g lasts for 5 seconds. The cause of all these queer doings is the forcing of blood out of the brain and eyes by positive g, the fact the heart can't always pump hard enough to get it back, and the pooling of blood in the lower body and legs so that the heart no longer has enough to pump. The eye is affected before the brain, because the _contents of the The cause is of course an increased rush of blood to' the head, which nature did not intend should withstand such congestion. The pressure may be great enough to ~- ~,.:I \ cause rup~ure of blood vessels, particularly in the eye. Avoid negative g as far as possible. I. eye are already under a pressure which ·opposes the flow of blood. The eyes may grey out while the brain still gets enough blood for consciousness. Later, with more g or more time, the brain also . is depleted of fresh blood, and unconsciousness occurs. When the g is no longer applied, consciousness returns first, vision second. When you get back to straight-line flying, everything reappears faster than it went out. But you may stay woozy for several seconds and if you have really passed out, you may be confused for a quarter or half a minute. Negative g: g applied from the feet toward the head produces much more serious effects, and you ·can take much less of it. At -2 or -3 g, your face feels highly congested, and you get a throbbing headache. The constriction of your seat belt and / • \. _ shoulder harness are quite evi/ .. ~ \ ..."\ dent. At - 4 g your head feels _/'Y" as if it were splitting, and you. may see red, or "red out" with loss of vision. After exposure to negative g, mental confusion, headache, the twitches and the staggers come on. They may last for several minutes, or sometimes hours. 18 Transverse or lateral g: When you're lying down with 6 g you don't feel anything but some pressure; forces greater than this (up to 16 g) result in no disturbance of vision or consciousness, but breathing gets difficult because your chest is so heavy. This kind of g does the least to interfere with your internal machinery. TIME-THE VILLAIN TIME as has been said, is what causes most of the trouble. Time and g are a bad combination. A man can stand many g's if they are applied for only a fraction of a 19 �_second; his limits are set by the strength of his bones and joints to resist fracture. Blood probably moves very little in a shock, if at all, as it takes time to get going. But when even less g is applied for a longer time, this inertia is overcome, and blood moves in one direction or another. When g is removed the blood does not flow for a short time, as inertia takes charge until it is again overcome. The body can function fairly well for a second or two after blood stops flowing and it requires 2 or 3 seconds for the effects of g on vision and consciousness to take place. Shocks, bumps, snap pull-outs and violent maneuvers (such as snap rolls), lasting less than 2 seconds, do not affect the distribution of blood enough to cause trouble. If these maneuvers last longer than about 3 seconds, the g-men will get in their dirty work. If time and g are such a tough combination, why not cut doU?n time? Why not pull out of a dive so fast that there won't be time for the g-men to get started? WHY NOT MAKE SNAP MANEUVERS? + HOLO ONTO + + If a man can stand 15 or 20 g for a fraction of a second, and 10 g for a second and a half, but blacks out at g applied for 5 seconds, then why shouldn't he make snap pull-outs and turns so as to get around before symptoms come on? +s YOUR KATS/ 1•u FOOL .EM FAST/ ME? TIME AND g-lNC. Tms TOUGH COMBINATION of time and g work in a kind of mutual partnership. If you get~ lot of g you may black out quicker than with less g and more time. If you get a lot of time, it may not take as much g. For instance, you may black out when 6 g last for 4 seconds; or, you may black out when 4.5 g last for 15 seconds. 20 That would be a logical way of avoiding blackout if his plane were stressed to stand such a violent maneuver. But this is a big IF. Most planes will shed their wings under these strains. Most pilots with normal tolerance to g pull out of a dive just under their gray-out threshold. But there are some-and their number gets fewer all the time-who pull out so sharply that there is not enough time to gray or blackout. They do not know how much they pull, and because they have no trouble they believe it to be very little. But the plane may actually have taken a lot more g than it was ·designed for. That's bad for planes. Sometimes it's lilies for the pilot. �A ~ B I., I •'. PROGRESSIVE STALLS: While we're on the subject of dives and pull-outs, a word needs to be said about the unpleasant but important subject of g's and progressive stalls. When you come out of a spin, you're in a dive, as Dilbert is in the accompanying drawing. Dilbert obeyed that impulse to pull the nose up sharply as soon as his indicated airspeed was higher than the normal stalling speed. (A) He forgot that the sharp pull-out-allowed two extra g's to climb aboard, increasing the wingloading and raising his stalling speed several knots. So he found his plane starting to stall and spin again and nosed over to pick up more speed. At (B) Dilbert tried to pull out again, this time not quite so sharply, but because of the increased speed still more g's got aboard, his stalling speed went 'way up, and-there he goes again! By the time he gets to (C) he's REALLy TRAVELING and this time when he tries to pull out, the load factor is almost as great as that of a Flying Fortress! As Dilbert disappears from view (D) he is beginning dimly to realize that the wings of his plane are coming off, he is running out of altitude, and that it would have been a good idea to develop a technique for bailing out! The small plane in the same picture is piloted by Albert, Dilbert's smart brother, who kept in his first dive after coming out of his spin until the indicated air speed was well above the normal stalling point and then pulled out slowly. Albert brings back his planes with their wings on, and probably will run for the presidency of the Old Time Fliers Club in 1994. g-MAKING MANEUVERS: Some maneuvers, like the snap pull-out, produce a lot of g on the plane without using enough time to bother the pilot. Cartwheels, snap rolls, falling-leaf maneuvers, and wing-overs usually don't last long enough to drive the blood out of your head. On the other hand, continued loops, flipper turns, pull-outs from dives, and tight spirals can black one out from too long application of positive g. Likewise, outside maneuvers; such as outside snap rolls, inverted spins, outside loops, and inverted dives can put enough negative g on you to make you woozy. The amount of g depends on the air speed and the rate of change of direction. Of course, the plane you're flying makes a lot of difference in the amount of g that may be developed in certain maneuvers. In Yellow Perils, you can produce enough g to black yourself out easily in a diving spiral. If you do black out easily, you probably will do it in a tight J'// I I 23 �Immelman, loop, or flipper turn. Normal spins don't put much g on you, because you are turning close to your own axis. But inverted spins can put a lot on you, - 3 or - 4. The most g is developed in snap or stall maneuvers at high speed. Most aerobatics develop less than 5 g. In OS2U's doing a normal dive and pull-out, extra g will be on the plane for 4 or 5 seconds, and the maximum reached will be 4 to 6 g. A snap pull-out will last only 2 seconds and reach as much as 8 g. The difference between 6 and 8 g may be the difference between flying home and walking. In SNJ's and OS2U's 4 or 5 g are reached during fixed gunnery practice. Some people black out during a roundhouse. Where the g-men really begin to do their work is in fighters and dive bombers. Pulling out from a dive in an SBD can put 6 or 7 g on you for 3 or 4 seconds and you will black out. A long gunnery pass in an F4F will put 3 to 4 g on for perhaps 15 or 20 seconds, and there the g begins to tell. The violent maneuvers of a dog fight will develop a lot of g off and on. · First-In fighters, you are exposed to a Ii ttle g for a long time, off and on, and a lot of g for a short time. When a moderate amount of g is applied long enough it can black you out just as thoroughly as a large amount over a short period. In either case your efficiency at turning Zeros into junk for Tojo won't be improved. Second-In dive bombers, you may be exposed to a lot of g for a short time. This isn't very serious, as long as you pull out straight. If you black too severely, or pass out, you may relax your pressure on the stick and crash before you come out of it. Third-When you're flying on instruments, and dope off, what is the first thing that happens? A wing drops a little and you slowly start to spiral. That turn indicator wasn't put there just to fill up a hole in the instrument panel, but you're thinking of the blonde with the hair.over her eye . . . . What's this? Altimeter spinning one way and air speed indicator the other? Must have gone into a dive. You haul back on the stick and g takes hold. You wait a few seconds for the nose to come up, the air speed to fall, and g to leave. But they don't. You start looking at your gyro horizon. What's the matter? The nose won't come up. It's getting dark. You're graying. With your last confused glimpse, you think you see the turn indicator swung over to the side. Brother, it's too late. You've spiraled in. WHEN DOES g COUNT? By this time you should have a strong suspicion that resisting g is important. There are three special circumstances when blacking out may make all the difference in the world. 24 25 • �0°1< •.! FALL IN I YOu'R.E G-OING TO WORI( FOR.. ME AND AGAINST some people who are unusually resistant to black-out, and can stanc;l ~ much as +s g, and some who are unusually susceptible and black out at +3 g. JAPS! WHIPPING g "0. K" YOU SAY. "So if I put so much g on my plane I black out, that's alt There's nothing to be done about it." You're wrong. There's plenty you can do. And plenty that other people can do for you. Here's the "word". It's different with negative g. There isn't much variation between people. Negative g, more than -3 or -4 for any length of time, is apt to produce serious consequences. Neither planes nor men were built to take much negative g. You can't do much to change your tolerance. \.\OW MANY ct,,.N I TAKE 'FOR ~ow LONG? It all boils down to a simple m·a tter of knowledge. Knowledge of your own tolerance to g and the g tolerance of your plane. If you exceed your own you blackout; if you exceed the plane's you crack up. Tolerance in planes is fixed by the designer, but pilot tolerance to +g varies in different people- · and in the same person from time to time. In general, the average man will either gray or black out if exposed to 5 g for 5 seconds, and become unconscious at 7 or 8 g. There are But as for positive g, your tolerance, and everybody else's, will vary within certain limits from day to day. Part of this tolerance is fixed, but the rest of it is up to you. This is the dope for you: When you expect to take g, get ready 'to fight it. Get tense. A little excited. There she comes! Tighten your muscles. Squeeze the blood out o.f your belly. Strain hard. You may even want to yell. Go ahead, nobody will hear you. P-O-O-S-H that old veil away from your eyes. There ! You stay clear. 26 27 + + �A hangover will reduce your tolerance, more than anything else. Don't stay up too late. Don't smoke too many cigarettes. Don't expect to be able to stand much g if you have a cold, a sore throat, "cat fever," a digestive upset or are just getting over an illness. DoN'T DRINK MUCH LIQUOR THE NIGHT BEFORE FLYING. DoN'T RELAX AND TAKE IT! Pilots will tell you there's more g on the back seat in a plane than the front. That isn't true. They think it is, because the back seat guy often blacks out when the pilot doesn't. Why? Because the pilot is busy, tense, occupied, working hard, while the back seat fellow is relaxed, and out he goes. Keep in good physical condition. The best way of resisting g is with a good set of muscles. Keep your belly muscles in trim. Get plenty of sleep. Physical fitness is the most important single factor in increasing your tolerance. 28 Use oxygen according to regulations. If you are a little bit anoxic you will black out more easily. Don't expect to build up your resistance tog by blacking out a lot. You'll only make it worse. Know your own tolerance and that of your plane. Keep yours up to scratch, and fly so that you don't black out. If you must black out, do it gently and make it short. Black-out itself never hurt anybody-it's what you do when you're out that counts. Or what the Jap will do to you. Don't exceed the limits of your plane. Don't make snap pull-outs to avoid black-out. Your plane won't fly without wings, and you can't judge the amount of g you pull in a snap maneuver by your symptoms. When you're flying on instruments, and think you're in a straight dive, and pull back, THINK QUICKLY b~fore the g's make you woozy-are you in a tight spiral? Look at your turn indicator. Think first of t:1ns. 29 �Don't fly on an empty stomach. A full stomach will raise your tolerance to g. The Germans make Stuka pilots eat before they fly, and it isn't because they want to use up chow. Watch out for negative g. Look out especially for a little negative followed by positive g. It will black you out more quickly. Be careful of your pushovers, and don't stay on your back too long. · Don't ever pull enough g to make yourself unconscious. Position and g: A crouching position will increase your tolerance by about 2 g. The closer you are to horizontal the more g you can take. When you lean forward, your belly muscles also tighten, and there is less chance for blood to pool in your abdomen. But the crouch puts a lot of strain on your lower back. (Don't use it if you have ever strained your back.) A lower seat will increase your tolerance a little, because it brings your legs closer to the horizontal. Extensions on the rudder pedals will raise your tolerance a little, because they make you bring your knees up. However, some pilots consider them uncomfortable. 30 ~ tilting seat has been tried in an attempt to put the pilot in a semireclining position. But it's hard to fly a plane while you are leaning back. The Navy is experimenting with a pressure suit, which increases tolerance tog considerably. REMEMBER: Anything which will lessen congestion in the lower half of the body will increase your tolerance to g. Anything which will improve your physical condition will increase your tolerance tog. Don't be afraid of g. Know how to deal with it. lj you treat it right it won't hurt you. If you can, take the advice of one experienced flyer: "A good pilot never blacks out." UNDERSTAND THE BALANCE BETWEE~ "g's,° TIME, YOU, AND THE PLANE! 31 �11 I . I NAVAER 00,SOQ-12 OPNAV 33-3 If. S. GOVERNM E !iT P R INTING OFFICE : 1944 �NOT IF k R.ECOGN YOU/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monographs Collection Description An account of the resource The Monographs Collection features digitized monographs (books) held by The Museum of Flight's Harl V. Brackin Memorial Library. Please note that materials on TMOF: Digital Collections are presented as historical objects and are unaltered and uncensored. Some items in this particular collection contain derogatory content, such as pejorative language or depictions of racial stereotypes. See our <a href="https://digitalcollections.museumofflight.org/disclaimers-policies">Disclaimers and Policies</a> page for more information. Source A related resource from which the described resource is derived <a href="http://t95019.eos-intl.net/T95019/OPAC/Index.aspx">The Museum of Flight Library Catalog</a> Rights Holder A person or organization owning or managing rights over the resource. The Museum of Flight Library Collection Rights Information about rights held in and over the resource Published works have been digitized under fair use. Material may be protected by copyright law. Responsibility for obtaining permission rests exclusively with the user. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Monographs Collection/The Museum of Flight Library Collection Identifier An unambiguous reference to the resource within a given context Monographs Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Call Number Call number for a library item. VG90 .G18 1943 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LMON_text_023 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Monographs Collection/The Museum of Flight Library Collection Title A name given to the resource "G" sense / issued by Aviation Training Division, Office of the Chief of Naval Operations, U.S. Navy. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. G sense Contributor An entity responsible for making contributions to the resource United States. Office of the Chief of Naval Operations. Aviation Training Division. Publisher An entity responsible for making the resource available [Washington D.C.] : The Division Description An account of the resource "NAVAER 00-80Q-12.""OPNAV 33-3." "December 1943." Date A point or period of time associated with an event in the lifecycle of the resource 1943 Subject The topic of the resource Airplanes--Piloting. Acceleration (Physiology). Format The file format, physical medium, or dimensions of the resource manuals (instructional materials) Source A related resource from which the described resource is derived Monographs Collection Extent The size or duration of the resource. 31 p. : ill. ; 25 cm. Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/40a8017228b5c7bb23d6488bff88aca8.JPG 84a2bd89a187ddb16ad5fedc65a43694 https://digitalcollections.museumofflight.org/files/original/35f97531c8d42f05f403ad7cd0b7a558.JPG 0f3718175785bd3d13d1786c318bb0e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Subseries XI-F - Publicity materials, 1968-1976, 1999, undated Description An account of the resource Publicity materials, 1968-1976, 1999, undated Identifier An unambiguous reference to the resource within a given context 2000-06-20, Subseries XI-F Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2000-06-20_text_026_01 2000-06-20_text_026_02 Title A name given to the resource "Lear Vapordyne" by Lear Motors Corp. Source A related resource from which the described resource is derived The William P. and Moya Olsen Lear Papers (2000-06-20), Box 92, Folder 11 Creator An entity primarily responsible for making the resource Lear Motors Corporation Description An account of the resource Informational sheet for the Lear Vapordyne Indy race car, circa 1969-1971. Contains drawings, photographs, and information related to the Vapordyne's development. Date A point or period of time associated with an event in the lifecycle of the resource 1968-1971 circa Subject The topic of the resource Lear Motors Corporation Steam-engines Vehicles Lear Vapordyne Extent The size or duration of the resource. 1 informational sheet : illustrations ; 11 x 8.5 in Language A language of the resource English Format The file format, physical medium, or dimensions of the resource advertisements Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The William P. and Moya Olsen Lear Papers/The Museum of Flight Rights Information about rights held in and over the resource In copyright https://digitalcollections.museumofflight.org/files/original/3645f32fd5e791c60b8a5a8888168fd9.JPG 559269ba03f94ee1b6aa032d5e21862d https://digitalcollections.museumofflight.org/files/original/2d53727f19f4f23288552637b50922f7.JPG 6b18fc1a2aa1c49569732f348868b3a5 https://digitalcollections.museumofflight.org/files/original/b45a698e2bd975f54ca9c667b8b10c7a.JPG 8c95f45464f43df8667f723e0cfdab08 https://digitalcollections.museumofflight.org/files/original/305d8376ab16b3e98ce781589ee7ac34.JPG a4b801caacf34424995da827e954bb67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Folder: 1 - Notebook and loose materials, circa 1917 Description An account of the resource Notebook and loose materials, circa 1917 Identifier An unambiguous reference to the resource within a given context 1984-04-04, Folder: 1 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Light Car Talk" and "The Hot Spot on the Piston" [Magazine clippings] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The J. M. Wilson Notebook/The Museum of Flight Creator An entity primarily responsible for making the resource Autocar Description An account of the resource Two magazine clippings, "Light Car Talk" and "The Hot Spot on the Piston," from The Autocar, July 14, 1917. Part of a series of loose materials included inside the J. M. Wilson notebook. Format The file format, physical medium, or dimensions of the resource clippings Subject The topic of the resource Automobiles Date A point or period of time associated with an event in the lifecycle of the resource 1917-07-14 Identifier An unambiguous reference to the resource within a given context 1984-04-04_text_001_01 1984-04-04_text_001_02 1984-04-04_text_001_03 1984-04-04_text_001_04 License A legal document giving official permission to do something with the resource. Materials were digitized as part of a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). Digital files are made available under <a href="https://creativecommons.org/licenses/by-nc-nd/2.5/">Creative Commons license CC BY-NC-ND</a>. For commercial use, please inquire via our <a href="https://www.museumofflight.org/Collections-and-Research/Research-Request">image/research request form</a>. Source A related resource from which the described resource is derived The J. M. Wilson Notebook (1984-04-04), Folder 1 Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/e24bf37e1e620905b1c0983ebdb11c14.JPG f559933654f2c24df3aaf0ffe9818598 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Box: 2, Folder: 9, Oversize - William S. Luckey -- exhibition flyers and broadsides, undated (circa 1913-1915) Description An account of the resource William S. Luckey -- exhibition flyers and broadsides, undated (circa 1913-1915) Identifier An unambiguous reference to the resource within a given context 2007-09-24, Oversize, Box: 2, Folder: 9 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2007-09-24_text_004_01 Title A name given to the resource "Luckey" is my name! Source A related resource from which the described resource is derived The William S. Luckey Aviation Collection (2007-09-24), Box 2, Folder 9 Creator An entity primarily responsible for making the resource Luckey, William S., 1875-1915 Description An account of the resource Advertisement card for William S. Luckey's exhibition flight at the Isle of Palms, South Carolina, circa 1913-1915. Date A point or period of time associated with an event in the lifecycle of the resource 1913-1915 circa Subject The topic of the resource Luckey, William S., 1875-1915 Air pilots Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Isle of Palms (S.C.) South Carolina United States Extent The size or duration of the resource. 1 card ; 4 x 6 in Language A language of the resource English Format The file format, physical medium, or dimensions of the resource advertisements Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The William S. Luckey Aviation Collection/The Museum of Flight Rights Information about rights held in and over the resource No copyright - United States https://digitalcollections.museumofflight.org/files/original/c36cf8c05d4fe3e42703e4204241476c.JPG 041194defcea819645781764c6c6a963 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Box: 1, Folder: 4-5 - Articles and clippings, circa 1918-1945 Description An account of the resource Articles and clippings, circa 1918-1945 Identifier An unambiguous reference to the resource within a given context 2013-07-03, Box: One, Folder: 4-5 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2013-07-03_text_070_01 Title A name given to the resource "Luckiest guy alive" [Clipping, 1940] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Harold E. Hartney Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Wagner, Charles A. Description An account of the resource Newspaper clipping, "'Luckiest guy alive' - Thrilling accounts of battles in the air" by Charles A. Wagner, from an unidentified publication, March 31, 1940. Reviews Harold E. Hartney's book "Up and At 'Em." Includes photographs of Baron von Richtofen, Robert Nordhoff, James Norman Hall, Kenneth Littauer, Hartney, and Raoul Lufbery. Format The file format, physical medium, or dimensions of the resource clippings Subject The topic of the resource World War, 1914-1918 Hartney, Harold Evans, 1888-1945 Air pilots, Military Date A point or period of time associated with an event in the lifecycle of the resource 1940-03-31 License A legal document giving official permission to do something with the resource. Materials were digitized as part of a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). Digital files are made available under <a href="https://creativecommons.org/licenses/by-nc-nd/2.5/">Creative Commons license CC BY-NC-ND</a>. For commercial use, please inquire via our <a href="https://www.museumofflight.org/Collections-and-Research/Research-Request">image/research request form</a>. Source A related resource from which the described resource is derived The Harold E. Hartney Collection (2013-07-03), Folder 5 Rights Information about rights held in and over the resource In copyright https://digitalcollections.museumofflight.org/files/original/33a5d78628183efaa9a5fea0cfbcef3d.jpg 2aa195c15d75c1a1ad8569077e600baf https://digitalcollections.museumofflight.org/files/original/ea180cd084a0b1d295dc3d91e8bb58e2.jpg 5e8e4f59f5cb62564328cc4133f1794f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Box: 1, Folder: 7-10 - Squadron Portraits, circa 1943-1945 Description An account of the resource Squadron Portraits, circa 1943-1945 Identifier An unambiguous reference to the resource within a given context 2002-02-13-1098, Box: One, Folder: 7-10 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2002-02-13-1098_image_146_01 2002-02-13-1098_image_146_02 Title A name given to the resource "Maiden Swoon" Sayers Description An account of the resource Photograph of a U.S. Army Air Forces serviceman, identified in the inscription as "Maiden Swoon" Sayers, circa 1940s.Inscription on verso: "'Maiden Swoon' Sayers." Subject The topic of the resource World War, 1939-1945 United States. Army Air Forces Soldiers Format The file format, physical medium, or dimensions of the resource photographic prints Date A point or period of time associated with an event in the lifecycle of the resource 1940s circa Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The James C. Stewart Fighter Ace Collection/The Museum of Flight Source A related resource from which the described resource is derived The James C. Stewart Fighter Ace Collection (2002-02-13.1098), Box 1, Folder 7 Rights Information about rights held in and over the resource Copyright undetermined