He wore the expression of a man who has heard all this before, and is not enjoying it any better the second time. - James Blish

“Though the wicked may hide, the claws of crabs are dangerous people in bridges,” Father Selahny intoned abruptly. As was the case with all his utterances, the group would doubtless find out what this one meant only after sorting out its mixed mythologies and folklores, and long after it was too late to do anything about it.

There was one wing of the conservatives, however, which had gone the 12-tone procedure one better. These men composed what was called “stochastic music,” put together by choosing each individual note by consultation with tables of random numbers. Their bible, their basic text, was a volume called Operational Aesthetics, which in turn derived from a discipline called information theory, and not one word of it seemed to touch upon any of the techniques and customs of composition known to Strauss. The ideal of this group was to produce music which would be “universal”—that is, wholly devoid of any trace of the composer’s individuality, wholly a musical expression of the universal Laws of Chance. The Laws of Chance seemed to have a style of their own, all right, but to Strauss it seemed the style of an idiot child being taught to hammer a flat piano to keep him from getting into trouble.

One death is as good as another, if death is what you are courting.