ABSTRACT
On September 11, 2001, two beautiful modem buildings in New York City came crashing down after two modem American airplanes were piloted directly into those exquisite symbols of one of the great aesthetic capitals of the world. Between the wonderful technologies that produced the World Trade Center—the Twin Towers, as they were commonly known—and the intricate advances that designed the two Boeing airplanes was the political: an ugly, excruciating politics, whose end is nothing less than the destruction and disintegration of the modern western world. Modem American achievements were turned into a weapon against itself. Calling it a “terrorist politics” is only part of the story, for this term describes merely the effects of the enterprise. This politics despises the achievements of modernity, progress, and technology as well as the aesthetic that accompanies it. Not just between the Twin Towers but also between the World Trade Center and the Boeing airplanes was the most unsettling and horrible hatred of the modern. And this hatred inserted itself between—and the insertion took place through the mechanism of persons who were willing to die to bring this juxtaposition into a collision.
