The Young-Girl as compact political device
More distinctly than any other commodity, but not any more fundamentally so, the Young-Girl constitutes an offensive neutralization device.
How could capitalism have managed to mobilize affects, to spread its power in molecules everywhere to where it colonizes our very sentiments and emotions, if the Young-Girl wasn't working as a relay?
Just like the economy itself, the Young-Girl thinks she's got us by the infrastructure.
"Look at the bright side of life;" ...because history advances in its dark side.
Biopower is also available in a cream, pill, and spray form.
Seduction is the new opium of the masses. It is the freedom of a world with no freedom, the joy of a world with no joy.
The terrible example set in the past by a few liberated women was enough to convince domination that it would do well to ward off all feminine freedom.
By her sentiments, physiology, family, "sincerity," "health," desire, and obedience to all social determinisms, by all means, the Young-Girl defends herself against freedom.
Taking on the appearance of a ready-to-burst neutrality, the Young-Girl is the most fearful of all visible political oppression devices.
"Are you sexually normal?"
The Young-Girl advances like a living engine, directed by and directing itself towards the Spectacle's direction.
Domination has discovered a means vastly more powerful than the simple power of constraint: directed attraction.
The Young-Girl is the elementary unit of biopolitical individuality.
Historically, the Young-Girl appears in her extreme affinity with Biopower as the spontaneous addressee of all biopolitics, to which PEOPLE address themselves.
"Eating poorly is a luxury, a sign of idleness. Scorn for the body is a perfectly self-satisfied relationship to oneself. The working woman gets into maintaining her bodily capital (gym, pool), whereas for the student what's most important is aesthetics (dance) or the exhausting physical expenditure par excellence: the nightclub."
The function of the Young-Girl is to transform the promise of freedom contained in the end of western civilization into a surplus of alienation, into the deepening of the commodity order, into new servitudes, into a political status quo.
The Young-Girl lives on the same plane as Technology; that of the formal spiritualization of the world.
Within commodity domination, seduction straightaway shows itself as the exercise of power.
The Young-Girl has no opinion or position of her own; she takes shelter as quickly as possible in the shadow of whoever wins.
The "modern" type of labor, where it's no longer a certain quantity of labor power that is made profitable, but rather the docile exercise of certain "human qualities," admirably suits the Young-Girl's skills of imitation.
The Young-Girl is the cornerstone of the commodity order's maintenance system; she puts herself in the service of all its restorations. Since the Young-Girl just wants some fucking peace.
The Young-Girl is the ideal collaborator.
The Young-Girl understands freedom as the possibility of choosing from among a thousand insignificances.
The Young-Girl doesn't want any history.
The Young-Girl aims at the regulation of all the senses.
In the world of the authoritarian commodity, all the naive praise given to desire is immediately praise given to servitude.
No slave of semiocracy doesn't get a certain power out of it, a power of judgement; blame; opinion.
The Young-Girl is the materialization of the way capitalism has recreated all the needs that it had freed mankind from by tirelessly reworking the human world to meet the abstract norms of the Spectacle, and by raising the bar of those norms ever higher. Both Young-Girl and Spectacle share the morbid obsession with remaining identical to themselves, no matter the frenzied activity needed to do so.
The strict control and excessive solicitude that this society shows towards women only expresses its need to reproduce itself identically and to MASTER its perpetuation.
"The American Academy of Political and Social Sciences, in a publication dealing with the role of women in modern America (1929), concluded that mass consumerism has made the "modern housewife ... much less a specialized worker than an entrepreneur of lifestyles." (Stuart Ewen, Captains of Consciousness)
Biopower's program comes above all in the form of a process of the subjugation of men to and by their own bodies.
The Spectacle wards off the body in excessively evoking it, like religion evoked it by excessively warding it off.
The Young-Girl esteems "sincerity," a "good heart," "kindness," "simplicity," "frankness," "modesty," and in general all the virtues that considered one-sidedly are really just synonyms of servitude.
The Young-Girl lives in the illusion that freedom is found at the end of a total submission to commodity "Publicity." But at the end of that servitude there is nothing but old age and death.
"Freedom doesn't exist" says the Young-Girl, and then walks off into the pharmacy.
The Young-Girl wants to be "independent," that is, in her mind, dependent only on PEOPLE.
Everything great that is not at the same time a sign of subjugation to world of the authoritarian commodity is because of that devoted to a total detestation of the Young-Girl, who still dares talk about "arrogance," "sufficiency," and even "scorn."
The Young-Girl is the central article of permissive consumption and commodity leisure.
Access to freedom in the Spectacle is merely access to marginal consumption on the desire market, which is its symbolic heart.
The preponderance of the amusement and desire markets is but a moment in the vast enterprise of social pacification, in which it has taken on the function of temporarily covering up the living contradictions that riddle the tissue of imperial biopolitics at all points.
The symbolic privileges that the Spectacle grants to the Young-Girl come back to it as the counterparts of the absorption and diffusion of the ephemeral codes, renovated usages, and general semiology that had to be there in order to politically neutralize the free time released by the "progress" made by the social organization of labor.
The Young-Girl as the central linchpin of "permissive training."
The Young-Girl as environment and coordination in the dictatorial management of leisure activity.
The Young-Girl, deep down inside, is like a rubber stamp: she bears all the proper indifference, all the necessary coldness that the conditions of metropolitan life demand.
It doesn't matter much to the Spectacle if seduction is hated everywhere, as long as people don't manage to get any idea of the abundance that could transcend it.
When the Spectacle makes attempts to "praise womanhood" or more flatly acknowledges the "feminization of the world," all you'll ever really be getting will be an underhanded promotion of all the servitudes and of the constellation of "values" that slaves always pretend to have.
"Oh my God, you are SO gross!"
The Young-Girl is already the best-performing behavior control agent out there. With the Young-Girl, domination is introduced into even the profoundest extremities of each person's life.
The violence with which feminitude is administered in the world of the authoritarian commodity recalls the way domination felt free to abuse its slaves even when, after all, it needed them to ensure its reproduction.
The Young-Girl is that power against which it is barbaric, indecent, and even plain totalitarian to rebel.
In the world of the authoritarian commodity, the living can see in their own alienated desires a demonstration of the power that the enemy has drawn from them.