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January 29th, 2016, Intimacies, Critical Consumption and Diverse Economies (Strathclyde)
Chinese male homosexualities: Memba, tongzhi and golden boy. Seidman, S. Introducing the new sexuality studies: Original essays and interviews. Stombler, M. Sex matters: The sexuality and society reader.
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The agent of the spectacle placed on stage as a star is the opposite of the individual, the enemy of the individual in himself as well as in others. Passing into the spectacle as a model for identification, the agent renounces all autonomous qualities in order to identify himself with the general law of obedience to the course of things. The consumption celebrity superficially represents different types of personality and shows each of these types having equal access to the totality of consumption and finding similar happiness there.
The decision celebrity must possess a complete stock of accepted human qualities. Official differences between stars are wiped out by the official similarity which is the presupposition of their excellence in everything. Khrushchev became a general so as to make decisions on the battle of Kursk, not on the spot, but at the twentieth anniversary, when he was master of the State. Kennedy remained an orator even to the point of proclaiming the eulogy over his own tomb, since Theodore Sorenson continued to edit speeches for the successor in the style which had characterized the personality of the deceased.
The admirable people in whom the system personifies itself are well known for not being what they are; they became great men by stooping below the reality of the smallest individual life, and everyone knows it. False choice in spectacular abundance, a choice which lies in the juxtaposition of competing and complimentary spectacles and also in the juxtaposition of roles signified and carried mainly by things which are at once exclusive and overlapping, develops into a struggle of vaporous qualities meant to stimulate loyalty to quantitative triviality.
This resurrects false archaic oppositions, regionalisms and racisms which serve to raise the vulgar hierarchic ranks of consumption to a preposterous ontological superiority.
In this way, the endless series of trivial confrontations is set up again. Wherever there is abundant consumption, a major spectacular opposition between youth and adults comes to the fore among the false roles—false because the adult, master of his life, does not exist and because youth, the transformation of what exists, is in no way the property of those who are now young, but of the economic system, of the dynamism of capitalism. Things rule and are young; things confront and replace one another. What hides under the spectacular oppositions is a unity of misery. Behind the masks of total choice, different forms of the same alienation confront each other, all of them built on real contradictions which are repressed.
The spectacle exists in a concentrated or a diffuse form depending on the necessities of the particular stage of misery which it denies and supports. In both cases, the spectacle is nothing more than an image of happy unification surrounded by desolation and fear at the tranquil center of misery. The concentrated spectacle belongs essentially to bureaucratic capitalism, even though it may be imported as a technique of state power in mixed backward economies or, at certain moments of crisis, in advanced capitalism. In fact, bureaucratic property itself is concentrated in such a way that the individual bureaucrat relates to the ownership of the global economy only through an intermediary, the bureaucratic community, and only as a member of this community.
Moreover, the production of commodities, less developed in bureaucratic capitalism, also takes on a concentrated form: the commodity the bureaucracy holds on to is the totality of social labor, and what it sells back to society is wholesale survival. The dictatorship of the bureaucratic economy cannot leave the exploited masses any significant margin of choice, since the bureaucracy itself has to choose everything and since any other external choice, whether it concern food or music, is already a choice to destroy the bureaucracy completely.
This dictatorship must be accompanied by permanent violence. The imposed image of the good envelops in its spectacle the totality of what officially exists, and is usually concentrated in one man, who is the guarantee of totalitarian cohesion. Everyone must magically identify with this absolute celebrity or disappear.
This celebrity is master of non-consumption, and the heroic image which gives an acceptable meaning to the absolute exploitation that primitive accumulation accelerated by terror really is. If every Chinese must learn Mao, and thus be Mao, it is because he can be nothing else. Wherever the concentrated spectacle rules, so does the police. The diffuse spectacle accompanies the abundance of commodities, the undisturbed development of modern capitalism. Here every individual commodity is justified in the name of the grandeur of the production of the totality of objects of which the spectacle is an apologetic catalogue.
Therefore the already problematic satisfaction which is supposed to come from the consumption of the whole, is falsified immediately since the actual consumer can directly touch only a succession of fragments of this commodity happiness, fragments in which the quality attributed to the whole is obviously missing every time. Every given commodity fights for itself, cannot acknowledge the others, and attempts to impose itself everywhere as if it were the only one.
The spectacle, then, is the epic poem of this struggle, an epic which cannot be concluded by the fall of any Troy. The spectacle does not sing the praises of men and their weapons, but of commodities and their passions. In this blind struggle every commodity, pursuing its passion, unconsciously realizes something higher: the becoming-world of the commodity, which is also the becoming-commodity of the world.
The satisfaction which no longer comes from the use of abundant commodities is now sought in the recognition of their value as commodities: the use of commodities becomes sufficient unto itself; the consumer is filled with religious fervor for the sovereign liberty of the commodities. Waves of enthusiasm for a given product, supported and spread by all the media of communication, are thus propagated with lightning speed. A style of dress emerges from a film; a magazine promotes night spots which launch various clothing fads.
Just when the mass of commodities slides toward puerility, the puerile itself becomes a special commodity; this is epitomized by the gadget. We can recognize a mystical abandon to the transcendence of the commodity in free gifts, such as key chains which are not bought but are included by advertisers with prestigious purchases, or which flow by exchange in their own sphere.
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One who collects the key chains which have been manufactured for collection, accumulates the indulgences of the commodity, a glorious sign of his real presence among the faithful. Reified man advertises the proof of his intimacy with the commodity. The fetishism of commodities reaches moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism. The only use which remains here is the fundamental use of submission. The pseudo-need imposed by modern consumption clearly cannot be opposed by any genuine need or desire which is not itself shaped by society and its history.
The abundant commodity stands for the total breach in the organic development of social needs. Its mechanical accumulation liberates unlimited artificiality, in the face of which living desire is helpless.
The cumulative power of independent artificiality sows everywhere the falsification of social life. In the image of the society happily unified by consumption, real division is only suspended until the next non-accomplishment in consumption. Every single product represents the hope for a dazzling shortcut to the promised land of total consumption and is ceremoniously presented as the decisive entity.
A product acquires prestige when it is placed at the center of social life as the revealed mystery of the ultimate goal of production. But the object which was prestigious in the spectacle becomes vulgar as soon as it is taken home by its consumer—and by all its other consumers. It reveals its essential poverty which naturally comes to it from the misery of its production too late. But by then another object already carries the justification of the system and demands to be acknowledged. The fraud of satisfaction exposes itself by being replaced, by following the change of products and of the general conditions of production.
That which asserted its definitive excellence with perfect impudence nevertheless changes, both in the diffuse and the concentrated spectacle, and it is the system alone which must continue: Stalin as well as the outmoded commodity are denounced precisely by those who imposed them. Every new lie of advertising is also an avowal of the previous lie.