“Disability’s `Pinocchio Story`: A Modern Crisis and How to Begin its End” will express an understanding of the disabled identity as internally and eternally schismatic and suggest the disabled occupy a fascinating position of alterity. Like Pinocchio, however, the desire to be something other than what we are, as disabled, is continually threatening our future as an identity group. Part of this threat arrives from inside ourselves, and another hails from technological innovation in a digital world. These threats are expressed in the desire to `pass` or hide our disabled reality in both online and personal spaces, as well as in the question of birthing ethics and designer children. As such, this paper will complicate a recent study on the capacity for disability to be minimized or hidden online (by Bowker and Tuffin) while interrogating whether or not this tendency ought to be viewed with positivity. It will also offer a view of the disabled future that faces potential deletion via technological change. After clarifying this modern crisis, this work will seek to offer a different entry point into understanding the disabled identity which may summon new forms of empowerment. By utilizing analysis of James Burger’s notions on the relationship between disabled birth and identity catastrophe, this paper will work to embrace the unique position of the disabled as that which already faces ends, decay and damage and rises up from it rather than stealing away from its realities. Additionally, utilizing notions of the body helmed by Gilles Deleuze, as well as an understanding of exilic experience brought on by Mimi Thy Nguyen, I will come to the conclusion that the disabled identity has the capacity to operate from positions of damage, exile and potential deletion to advance powerful philosophical conceptions of the self.
Pierre Klossowski is not well-known outside of France, and especially not for La monnaie vivante or Living Currency (1970). His récits or his philosophical readings of Sade or Nietzsche have garnered the most acclaim. By way of his reading of “living currency” however, he deconstructs contemporary economics, teasing out the intricacies between sensuality, value, and the simulacrum, transgressing the categories between language and economic transaction. Published alongside photographs by Pierre Zucca that ostensibly illustrate Klossowski’s hermetic theses, La monnaie vivante is at once satirical and deathly serious, a synchronous commentary on the Marquis de Sade’s Society of the Friends of Crime and the utopian socialism of Charles Fourier. After a brief overview of Klossowski’s life and career, a reading of La monnaie vivante in depth is developed. By inverting the classical usage of the simulacrum through its analogies with the numeraire or basic standard of value, Klossowski critiques the discursive biases that stand against a pure flux of intensities. In this way he anticipates postmodernism even as he also problematizes it. The destruction of political economy and metaphysics are combined he suggests, and the relativity of one cannot be granted without the other. We here show how Klossowski uses affect and the exorbitant to address the sensuous libidinal currency moving through and alongside its economic counterparts, as well as how these observations still remain underestimated today.