STUPID UNDERGROUNDS - MANN
his own "radical" discourse with her lipstick; someone else would see her as a mere pawn of the culture industry. But what if she is both at the same time, and neither? A strange sort of disruption occurs. It is not revolutionary; it is trivial, utterly inane; and yet the moment the banker's eyes attach themselves to the tattoo of the rose (it is never much more than a rose) on this girl's breast, a stupid liminality dissolves, just for a moment, the clarity of a certain historical opposition, a certain recuperation and a certain critique. If the critical has always relied on the clarity of distinctions, on "exposing contradictions," it gives way at this moment to a sign that is not a sign, a disruption that is already smoothed over by capital, a fuzziness with which no criticism has yet been able to contend.
 It is notable how often the interviews in Modern Primitives--stupid interviews in general--resort, even while describing the most extreme practices, to the category of fun. The subjective analogue, the affective dimension of fuzzy capital might be fuzzy fun. Stupid fun. Piercing is fun, drunkenness and drugs are fun, sexual excess is fun, hyper-loud sound is fun, theft is fun, staying up for days is fun, "je m'enfoutisme" is French for fun. All of them together, what could be more fun. Stupid fun is not simply pleasure, even in a complex economy in which pleasure and pain are inextricably linked; it is rather the intensity that binds them indifferently together. Stupid fun is intensity itself: anything intense is fun. Stupid fun is quite serious; it is also "political," we are told, by being the subversion of the serious, the practical, the useful, the profitable. At the same time it participates in (if only by stealing from) the general industrialization of amusement. One can buy it, ingest it, for a while have it; it is even imminently obsolete, just like the commodity; but it also floats free of the objects to which capital would like to fix it, which are just as likely to lapse into boredom in an instant, to eclipse the dull aura and useless utility of the commodity even as they seem to announce it, to turn against the user and denounce the use. Fun is difficult, after all, to exchange. It obeys peculiar laws that are refracted by capital but are not precisely economic. If earlier avant-gardes sought to break down