'Ladies and Gentleman, at your right is Mike Wallace in the Super Hornet; coming in for a thunder pass', goes the commentator and even as a thousand heads turn, they are made to turn again for the aircraft passes in a blur. The commotion all round and the incessant clicking barely register. Without a camera, one is spared the act of juggling the joy of the present with the necessity of having to record it for posterity. This way I can experience the thrill that speed alone can trigger. It's a momentary thing though. A dose of it now and then. The rest of the time, my head is reeling with thoughts galore. At the physics of it, what it must be like to pilot one of these.
She does a tail-spin, and then in a wondrous arc, makes for the heavens. Within moments there is no sight of her. Western Classical ! Just when you long for more moments that take one's breath away, Tritsch-Tratsch Polka (Johann Strauss) plays and it's when one realizes that the whole thing is one long exercise in doing precisely that. There is something about Baroque that captures the grace and fluidity of motion. Be it a shuttle docking on a space station or mach-speed aircraft flitting about. As more escapist thoughts loom, the Super Hornet appears. Soon she is back in our visual window. During the quieter moments, when in an upward incline, she literally floats, refusing to be sucked into an orgy of speed. It almost feels as if there is a puppeteer above, holding the strings. Then she retraces the arc and it hits you that there are no shackles. If anything, the puppeteer is down below. This is fulfillment of the potential of man. And I drift of once again, into Zarathustra, Nietzsche and the Overman.
She does a tail-spin, and then in a wondrous arc, makes for the heavens. Within moments there is no sight of her. Western Classical ! Just when you long for more moments that take one's breath away, Tritsch-Tratsch Polka (Johann Strauss) plays and it's when one realizes that the whole thing is one long exercise in doing precisely that. There is something about Baroque that captures the grace and fluidity of motion. Be it a shuttle docking on a space station or mach-speed aircraft flitting about. As more escapist thoughts loom, the Super Hornet appears. Soon she is back in our visual window. During the quieter moments, when in an upward incline, she literally floats, refusing to be sucked into an orgy of speed. It almost feels as if there is a puppeteer above, holding the strings. Then she retraces the arc and it hits you that there are no shackles. If anything, the puppeteer is down below. This is fulfillment of the potential of man. And I drift of once again, into Zarathustra, Nietzsche and the Overman.