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The Young Girl

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Nothing’s less personal to the Young-Girl than her “value as a person.”

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.

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.

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.

“Oh… no, not on the first night.”

“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.

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

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

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

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

The Young-Girl today sells her “seduction power” like people used to sell their “labor force.”

“My boyfriend’s a poet.”

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.

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 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

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.

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

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

“Because I’m worth it!”

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)

Text from Tiqqun’s Theory of a Young Girl

Written by secondcousin

October 21, 2012 at 10:07 PM

Posted in Uncategorized

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