Reflections From The Window Seat

Flying over the Alps to Paris, France

~ So when you travel, where do you prefer to sit: window, aisle or middle seat?

I am definitely a window seat traveller. When I take international flights, I prefer the window seat, not because I can spend most of the flight looking at the scenery from the window – at 30,000 feet, there is not a lot of scenery to see passing over the Pacific Ocean between Australia and North America.

No, I choose window seats because I can wedge myself up against the internal fuselage of the aircraft and get a reasonable amount of sleep without being disturbed by the comings and goings of the other passengers sharing my seating section. The ability to look at the landscape once the plane is passing over areas of country is an added bonus

Gulf Coast from Greyhound Bus window

When travelling by bus or train, I again choose window seats. I am not one of those travellers who bury their head in a book or digital device, or who try to blot out my surroundings by listening to music through a pair of tiny ear buds.

I spend most of the trip looking out the window at the passing parade of small towns and villages, with their pedestrians and local traffic; examining the local architecture, both civic and private; and trying get an understanding (no matter how brief and fleeting) of the lives and loves of the local population.

How about you. Where do you prefer to sit, and why? Feel free to share your opinions and thoughts via the Comments section below.

National September 11 Memorial

~ I paid a visit to the National September 11 Memorial in New York City during August 2012. I expected to be much more emotionally affected by the site, but I wasn't.

On my way to the Memorial site, I also dropped into St. Paul's Chapel, a building I have visited on numerous occasions during my trips to New York, and here I was once more emotionally engaged with the Chapel and the displays there – although these seem to be shrinking as the years pass.

I think the difference between the two sites is that St. Paul’s Chapel connects with you on a personal level, partly because of its accessibility and scale, while the National September 11 Memorial is massive and almost impersonal - despite the almost three thousand names displayed there. Of course, the Chapel still stands, while the towers of the World Trade Center now only exist in our memories, and in the multitude of audio-visual artifacts that remain.

Clearly, visitors with a direct connection to the site will be much more emotionally engaged than myself, and indeed while there, I saw visitors making rubbings of the names of people they knew who were victims of the attacks. Also, once the museum, with its many artifacts and exhibits is finally open, I am sure the whole experience will be much more affecting.

I expect to return to the completed Memorial on subsequent visits to New York City, and I will be interested to see how the experience compares to my August visit. If you are visiting New York, a visit to the National September 11 Memorial is certainly worth the long queues and security checkpoints. Like other major memorial sites (war memorials, Holocaust memorials, and such), the Memorial serves to remind us of the tragedy it commemorates, and to keep alive the memories of the thousands of men, women and children (some unborn), who were victims of the attacks.

Here is a short video I made following my visit:

The song is Sweet Forgiveness, by one of my favourite artists, Iris DeMent… www.irisdement.com

Art: Ballroom

~ During my three week house sitting stint in Melbourne over January, I frequently found myself hanging out at the city’s Federation Square. The square has become the active heart of Melbourne with some type of event, or events taking place there throughout the summer, and at other times of the year.

While I was there, a major installation, Ballroom, attracted much attention from visitors and locals alike. The installation was created by American artist, Patrick Dougherty, who bends, weaves, snags and flexes a humble pile of sticks to create works of art that are inseparable from nature and landscape. Over the last twenty five years, Dougherty has build more than two hundred works throughout the Untied States, Canada, Europe and Asia, with every piece mesmerising in its ability to fly through trees, overtake buildings, and virtually defy gravity.

In addition to freestanding structures, Patrick’s art functions just as easily as adornments. What shape the works take, depends very much on the site and methodology used.

The work took three weeks, or 2000 hours, to build with the help of 70 volunteers. In part inspired by the architecture of Flinders Street Station, Patrick named this piece, Ballroom.

Speaking about the installation, Patrick had this to say: “I think that a good sculpture is one that evokes in the viewer a wealth of personal associations. My viewers see stick castles, lairs, nests, architectural follies; and they remember moments in the woods building forts and hide outs.

I hear stories about the Garden of Eden, favourite trees, and secrets about first dates. Some viewers touch the surfaces and talk about the momentum of wind of other forces of the natural world. Most important, people love to explore strange shapes and hidden spaces, particularly if they encounter them in unlikely spots. I like to see children running towards the openings and people standing on the street and pointing. I like to spark people’s imaginations and connect them with nature in a surprising way.”

Here is a brief video I shot of the installation during my stay:

More information:

Federation Square...