STUPID UNDERGROUNDS - MANN
Sur la Plage - Page 51
the apparent boundary between art and life, so the stupid underground seeks the
dissemination of fun past the demarcation of entertainment
centers, the permeation of fun into all aspects of life, or
else. Fun is the register of the total aestheticization of
experience. The rock band is a fantasy conjunction of work
and fun; the day job is sabotaged because it is not fun;
drugs are fun until one ends up in a recovery program,
which will insist to you that you can have fun now without
drugs. It might be a force of revolt in a world where the
work-ethic dominates, but such a world no longer exists.
Fuzzy fun socializes pleasure, removes it from a strictly
libidinal economy, pressures capital to satisfy us when it
is clear that it cannot, and dissipates the gravity of its
potential critique in the most critically trivial acts.
Sur la Plage
- Plagiarism has etymological roots in kidnapping,
specifically the stealing of slaves or the enslavement
of freemen. The plaga too is a Net.
In 1987, an "International Festival of Plagiarism"
(actually just a few venues in London and San Francisco)
announced the coming-out of sign-theft.33 What had
always been characterized as the most obscene, insidious,
pathetic attempt to pass off someone else's text or
authorship as one's own now wrapped itself in the heroic
banner of anarchism and marched forth as a fierce
political and moral attack on the aesthetic economy.
Perhaps the very depth of the cultural revulsion against
plagiarism guaranteed its eventual adoption, its stupid
privilege, as a weapon of choice. This neo-plagiarism
claimed its noble lineage from Ducasse's "Plagiarism is
necessary; progress demands it"; from the Bakunist line
that "property is theft"; from the Situationist economics
of theft and gift and its strategies of detournement;
from a highly conventional critique of the rather
convenient specter of authorship as "bourgeois
individualism" (Stewart Home: plagiarism is "collective
creation"); and from the rise of various technologies for
that greatly facilitate image recycling, such as electronic
sampling (the bard of the '60s gives way to the recording
engineer, the dubber and mixer, the DJ of the '90s).34
Plagiarism announces itself as the most modern of all
compositional modes, since it recognizes (i.e., it sees
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Stupid Underground Index.
It is on
along the sleepy Anacostia River in the District of Columbia, USA.