According to the German radio station, Norddeutscher Rundfunk, the composer Karlheinz Stockhausen called the WTC assault “the greatest work of art imaginable for the whole cosmos.” According to a tape transcript, he went on: “Minds achieving something in an act that we couldn’t even dream of in music, people rehearsing like mad for ten years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 people are dispatched into the afterlife, in a single moment. I couldn’t do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world.” When a journalist asked him whether crime and art were interchangeable, Stockhausen remarked, “It’s a crime because those involved didn’t consent. They didn’t come to the ‘concert.’ That’s obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.” Life is a cabaret, old chum.

MORE PERTINENT ORWELL: “In so far as it hampers the British war effort, British pacifism is on the side of the Nazis, and German pacifism, if it exists, is on the side of Britain and the USSR. Since pacifists have more freedom of action in countries where traces of democracy survive, pacifism can act more effectively against democracy than for it. Objectively the pacifist is pro-Nazi.” – from a review of Alex Comfort’s book No Such Liberty: “No, Not One,” Adelphi, Oct. 1941. The same, I think, can be said for the enclaves of leftist decadence celebrated among this country’s universities and elites, in response to the act of war prepetrated by men who hold many of the beliefs the Nazis proudly held.