STUPID UNDERGROUNDS - MANN
domestication, but as if it were still an adventure. The trajectory is thus seldom a straight line into the beyond, a singular line of flight through becoming-imperceptible, into the invisible. The complexity of these movements suggests four trajectories, or four dimensions of the trajectory as such:
to the apotheosis of stupidity, as sublime becomes ridiculous as if without transition;
to the violent limit of the tolerable, the very limit of recuperability;
to disappearance past the boundary of culturalrepresentation, a disappearance so critical that it gives the lie to every other form of criticism;
and to what turns out, in the very midst of an innovative frenzy, to be stupid repetition, anautonomous, automatic repetition that drains cultural forms of every meaning, even that of parody: the stupefying force of repetition, which, we are told, is the very trace of the death drive.
 The horizontal extension of the trajectory tilts along another axis, much older, much more deeply embedded, much more stupidly anthropomorphic, and precisely the logic that gives rise to the term "underground."The space of tunnels and hence also of communication--subways, fiberoptics, sewers--and of escape under the walls; of burrowing animals and carriophagic worms; of roots and imminent growth, and at the same time of death, indeed death as eternal punishment. Underground lies fecundity and decay; the foundation and everything that would erode it; the deepest truth or exclusion from the light; eternal torment or libidinal indulgence and its threat to repressive order. All of these habitual and mutually cancelling tropes attach themselves dumbly to the stupid underground, even in its most brilliant elaborations. Bataille, for instance, cannot avoid what one might cautiously call a metaphysics of verticality in his very attempt to construe the basest materialism: the piston of fucking turning the earth; the burst of orgasmic laughter from the upturned pineal eye of the "Jesuve";