IV

The Young-Girl as commodity


The Young-Girl is not worried so much about possessing the equivalent of what she's worth on the desire market as she is about ensuring herself of her value, which she wants to know with certainty and precision, by means of those thousand symbols that are left to her to convert into what she would call her "seduction potential," read: her manna.


"Those who cannot give of themselves sell themselves." (Stendhal)


"How to be flirty without looking like a bitch"


The Young-Girl's value does not rest on any interior or even intrinsic grounds; her foundation resides uniquely in her exchangeability.  The Young-Girl's value only appears in her relationship with another Young-Girl.  That's why she's never alone.  By making the other Young-Girl her equal as a value, she puts herself into a relationship with herself as a value.  By putting herself into a relationship with herself as a value, she at the same time differentiates herself from herself as a singular being.  "Thus representing itself as something differentiated in itself, it begins to show itself as what it really is, a commodity." (Marx)


The Young-Girl is the commodity that at every moment demands to be consumed because with each passing moment she is getting closer to her expiration date.


The Young-Girl does not contain within herself the thing for which she is desired: her Advertising.


The Young-Girl is an absolute: she is purchased because she has value, she has value because she is purchased.  Commodity tautology.


The Young-Girl is anyone that prefers to become a commodity him or herself, rather than simply suffering under tyranny.


In love, like in the rest of this "society," no one is allowed to not know their own value anymore.


The Young-Girl is the place where the commodity and the human coexist in an apparently non-contradictory manner.


The world of the Young-Girl shows a singular sophistication, since her reification has progressed to an exceeding degree: in her human relationships mask commodity relationships that mask human relationships.


"You deserve better than that guy / that chick."


In the Spectacle, the Young-Girl is, like woman was in the primitive world, an object of Advertising.  But the Young-Girl is, furthermore, a subject of Advertising, who buys and sells herself.  This division within the Young-Girl is her fundamental alienation.  Added to that is this drama: while exogamy effectively maintained permanent relationships among tribes, the Young-Girl's manna spills away between her fingers, her Advertising fails, and it's she herself that suffers the consequences.


The Young-Girl is absorbed by price.  She's nothing but that, and it makes her sick to her stomach.


Shame for the Young-Girl consists not in the fact of being bought, but on the contrary of not being bought.  She doesn't get glory just out of her value, she gets glory out of having a price put on her too.  


Nothing's less personal to the Young-Girl than her "value as a person."


It's not rare to see, by an abuse of language that slowly becomes an abuse of reality, the owners of a unique or expensive object first get a hankering after something, and then finally they claim to "like" it, and then they even "really love" it after a while.  Some may claim in the same way that they "love" a given Young-Girl.  But if that were really the case they'd end up dying of unhappiness.  


The Young-Girl puts to work the self-commodification of non-commodities, the self-estimation of the inestimable.


"Oh... no, not on the first night."


The Young-Girl's "value as a person" is but the "price" for which she is willing to be exchanged, and it is the reason she lets herself be bought and sold, in the end - to increase her value.

The Young-Girl sells her existence like it was a personal loan.


Whatever the Young-Girl gives that is incalculable, she counts anyway. 


In the exchange set up by the Young-Girl, personnel are traded off against personnel on the terrain of commodity impersonality.


The Young-Girl, who is disturbed by love, only lets herself be approached conditionally, either at the close of, or according to the prospects of, a market.  Even when she appears to abandon herself completely, she only in fact abandons the part of herself that is under contract, preserving or reserving the freedom that she does not alienate/sell.  Since the contract can never bind the whole person being sold, part of the person still must remain outside the contract, so as to remain contractable.  There's no clearer or truer way to express the abject character of the present version of "love."  "From this one may conclude that from the beginning the absolute behind relationships was perverted, and that in a commodity society, there is a certain commerce between beings but never a real 'community,' never a meeting that was more than just the 'right' procedures, however extreme they may have been.  Force relationships where the payer or the keeper is dominated, frustrated by their own power, which only measures their own powerlessness."  (Blanchot, the shameful community)


"Gotta hang up!" [call on the other line?]


The Young-Girl  at all times remains ferociously the owner of her body.


Waitress, model, advertiser, executive, coordinating agent.   The Young-Girl today sells her "seduction power" like people used to sell their "labor force."


All success in matters of seduction is essentially a failure, since in the same way as you're not buying a commodity, but a commodity is wanting to be bought, it's not that we're seducing Young-Girls, but rather, that Young-Girls want to be seduced.


The broker of a somewhat singular transaction currency, the Young-Girl directs all her efforts towards performing a good fuck.


The diversity of social, geographical, or morphological constraints weighing upon of the parcels of human organs that the Young-Girl encounters is not enough to explain her differential positioning among the competing products.  Their exchange value cannot be based on any singular expression or any substantial determination that it would be impossible to consider as equivalent to every other, even in spite of the Spectacle's powerful mediation.  This value is thus not determined by any chimerical natural factors, but on the contrary by the sum of the labor supplied by each to make themselves recognized in the glassy eyes of the Spectacle, that is, to produce themselves as a symbol of those qualities recognized by alienated Publicity, which in the end are never anything but synonyms for submission. 


The first skill the Young-Girl learns: to organize her own rarity.


Rest, for the Young-Girl, means knowing exactly what she's worth.


"Oh my god I can't believe that old man rejected me!"


The Young-Girl is never worried about herself, just about her value.  Thus, when she encounters hatred, she is seized by doubt: has her popularity rating/stock quotation gone down?  


If Young-Girls had any interest in speaking, they'd say, "our use value can certainly interest men; as for us, as objects, we don't really give a damn.  What concerns us is our value.  Our relationship between ourselves as objects to be bought and sold proves it.  We just see each other as exchange values." (Marx, das kapital)


"Seduce right.  Don't get tired of turning stuff on!"


The Young-Girl relates to herself like she does to all the commodities she surrounds herself with.


"You shouldn't devalue yourself like that!"


The Young-Girl is - above all - all about making herself valued.


In the same way as an object that has been acquired for a certain sum of money is trivial compared to the infinite virtual possibilities that that sum contains, in the same way, the sex object effectively possessed by a Young-Girl is no more than a disappointing crystallization of her "seduction potential" and a given sex act at hand is but a poor objectification of all the possible sex acts that she might just as well have had.  This scorning for everything by the Young-Girl results from the religious intuition against the "infinite evil."


The Young-Girl is the most authoritarian commodity in the whole world of authoritarian commodities, the one that can never be possessed, but instead polices you and can at any time be taken away from you.


The Young-Girl is the commodity that claims to sovereignly desire her acquirer.


The Young-Girl feels as if she were with family when she's among commodities, all of which are her sisters.


The absolute triumph of the Young-Girl reveals that sociality is now the most precious and prized of commodities.  


What characterizes the imperial era, the era of the Spectacle and Biopower, is the fact that the Young-Girl's very body takes on the form of a commodity belonging to her.  "On the other side of it, it is at this very moment that the commodity form of human beings is generalized." (Marx)


The varnished aspect of the Young-Girl's physiognomy must be explained by the fact that as a commodity she is the crystallization of a certain amount of labor expended in order to make her meet the standards for a certain type of exchange.  And the form in which the Young-Girl appears, which is also the commodity form, is characterized by the concealment, or at least the voluntary forgetting, of this concrete labor.  In the Young-Girl's "loves," a relationship between things phantasmagorically takes on the form of a relationship between single individuals.  


With the Young-Girl, it's not just that the commodity is taking over human subjectivity, but above all human subjectivity that's revealing itself as the internalization of the commodity.


Marx must not have been thinking of the Young-Girl when he wrote that "commodities cannot take themselves to the market or exchange themselves among each other."


"My boyfriend's a poet."


"originality" is part of the Young-Girl's banality system.  It's a concept that lets her put all singularities into equivalence, as empty singularities.  In her eyes, all non-conformities take their place within a kind of conformism of non-conformity.


It's always surprising to see how Ricardo's theory of competitive advantages is verified more fully in the commerce of Young-Girls than in that of inert goods.


It's only in exchange that the Young-Girl realizes her value.


Whether from the countryside, the ghetto, or the expensive neighborhoods, all Young-Girls are equivalent as Young-Girls.

The commodity is the materialization of a relationship, and the Young-Girl is its incarnation.

The Young-Girl is today the commodity the most in demand: the human commodity.  

Within the commodity mode of disclosure, where "beauty" reveals nothing that is truly of its own about itself, appearance being autonomized from all essence, the Young-Girl cannot whatever she does, give herself, to just anyone. 


Bah, either her or some other chick...


The "laws of the market" are individualized in the Young-Girl.


What is still called "love" is just the fetishism attached to a particular commodity: the human commodity.


The Young-Girl's eye carries within it the placing into effective equivalence of all places, all things, and all beings.  That's how the Young-Girl can conscientiously connect everything that enters her field of vision to something she's already known from alienated Publicity.  That's what her language expresses, overflowing as it is with little words like "like," "-ish," and "sorta."


The Young-Girl is a central aspect of what Negri-ists call "putting desire and feeling to work," eternally dazzled as they are by this world of the commodity which they never find anything reproachable about.


"Seduction: learn amorous marketing!  You dream about him, he ignores you.  Hook up with him by using the laws of marketing!  No man can resist a well-designed campaign plan.  Above all if the product is you!"


Wherever the Spectacle reigns, the Young-Girl's value is immediately effective; her beauty itself is an executive power.

The Young-Girl, to preserve her "rarity value," must sell herself at full price, meaning that she most often must refuse to sell herself.  Also, as she is seen, the Young-Girl is opportunist even in matters of abstinence.


"Because I'm worth it!"


In terms of classical economics, the Young-Girl must be considered a "Giffen good," or a giffenian good, that is, an object that, contrary to what "ordinarily" happens, is more in demand the more expensive it gets.  Luxury commodities fall into this category, and the Young-Girl is certainly the most common of them.


The Young-Girl never allows herself to be possessed as a Young-Girl in the same way as the commodity never lets itself be possessed as a commodity, but only as a thing.


"You can be pretty, popular, hassled by indecent propositions, and INWARDLY ALONE."


The Young-Girl only exists as a Young-Girl within the general equivalence system and its gigantic circulatory movement.  She's never possessed for the same reason she's desired.  At the same time as one becomes her acquirer, she is withdrawn from circulation, a mirage blurs away, the magic aura is stripped, the transcendence that enshrouded her is gone.  She's an idiot and she stinks.


"The modern world isn't universally whoring out of lust.  It would be incapable.  It's universally whoring because it's universally interchangeable." (Peguy, Note Conjointe)


The Young-Girl is the universal inheritor of the whole of this world's pseudo-concreteness, and above all of the pseudo-objectivity of the sex act.


The Young-Girl would like to be a thing, but not be treated like a thing.  All her distress comes from the fact that she's not just treated like a thing, but moreover she can't even manage to really be a thing.


"No, my body isn't a commodity, it's a work tool."


The revolting thing isn't that the Young-Girl is fundamentally a whore, but that she refuses to see herself as one.  Since the whore, not being just purchased, but also selling herself, is a maximalist figure of autonomy on the commodity terrain.  The Young-Girl is a thing to the exact extent that she takes herself for a human being; she is a human being to the exact extent that she takes herself for a thing. 


The whore is the highest holiness conceivable by the commodity world.


"Be yourself!  (It pays)"


By a trick of commodity reason, what determines the Young-Girl's value is supposed to be precisely what is non-commodity, "authentic," and "good" about her.


The Young-Girl is a crisis of coherence knotting up the intestines of commodity society in the last quarter of its era.  She is the response to the imperative of the total commodification of existence in all its aspects, to the need to ensure that nothing remains anymore outside of the commodity-form in what is still, in an euphemistic way, called "human relationships."


The mission the Young-Girl has received is to re-enchant the bleak world of the  commodity and to delay the disaster with joy and carefreeness.  In her a second degree form of consumption is primed: the consumption of consumers.  So far as one could tell from looking only at appearances, which in a number of cases has become legitimate, one might say that the commodity has, with the Young-Girl, achieved total annexation of the non-commodity.


The Young-Girl's ass represents the last bastion of the illusion of use value, which has so manifestly disappeared from the surface of all that exists.  The irony, of course, is that this value itself is still an exchange.


In the Spectacle, one might say about the Young-Girl what Marx said about money: that it is "a special commodity that is set aside by the common action of all other commodities and serves to expose their reciprocal value."




changed April 6, 2011