The Young-Girl as living currency
The Young-Girl is demonetized as soon as she leaves circulation. And when she loses the possibility of putting herself back on the market, she starts to rot. THE YOUNG GIRL IS THE COMMODITY SPECIALLY APPOINTED FOR THE CIRCULATION OF STANDARD EMOTIONS.
Value has never measured anything, but what it already didn't measure, it measures ever more poorly.
Living currency is commodity society's ultimate response to money's powerlessness to be equivalent to, and thus to buy, the highest human productions, which are at the same time the most precious and the most common. Because to the extent that the empire of money has spread out to the ends of the world and to the expression of all human life, it has lost all value of its own, and has become as impersonal as its concept, and consequently so pathetic that to take on equivalence to anything really personal has become highly problematic for it. It's this absolute inequality between it and human life which one could always see in how impossible it is to pay prostitutes properly.
With living currency, commodity domination has annulled these two weaknesses - the one regarding the purchasing of human life as such, that is, as strength, the other, regarding the purchasing of its highest productions, by multiplying them amongst themselves. Living currency achieves the equivalence of the incommensurable in people's personal productions - which meanwhile has become preponderant - and the incommensurable in human life. NOW THE SPECTACLE ESTIMATES THE INESTIMABLE BY USING THE INESTIMABLE IN "OBJECTIVE" VALUES.
"'Living currency,' the industrial slave is simultaneously value both as a symbol worth riches, and as those riches themselves. As a symbol he or she can be exchanged against all kinds of material wealth, and as wealth he or she nevertheless excludes any other demands, if it is not the demand that they represent the satisfaction of. But satisfaction itself, properly speaking, is also excluded by its very quality as a symbol. (Klossowski, Living Currency)
Attached to the Young-Girl as commodity is a character of exclusion linked to the fact that she is also, irreducibly, a human being, that is, something that is, like gold, an end in itself. And it is as a result of this situation of exception that she is returned to the role of a general equivalent.
Living currency, and specifically the Young-Girl, comprises a likely solution to the crisis of value, having become capable of measuring and remunerating the most characteristic productions of this society, those which are tied to the general intellect.
The preservation of minimal social conventions is conditioned by the fact that a surplus of living currency would devalorize it, and make it incapable of comprising a serious counterpart to the inestimable that she is intended for the purchase of. At the same time, by rendering the inestimable estimable, she undermines her own foundation. The specter of inflation haunts the Young-Girls' world.
The Young-Girl is the final cause of spectacular economy, its primary motor, immobile. The Young-Girl's ass carries no new value, only a new devalorization of all the ones that have gone before it. The devastating power of the Young-Girl is thus the fact that she liquidates all productions that cannot be converted into living currency.
In total nihilism, all notions of greatness or prestige have long disappeared if they are not immediately convertible into Young-Girls.
The Young-Girl never misses a chance to display the victory of living currency over raw, vile money; thus she demands an infinite counter-gift in exchange for herself.
Money is no longer the ultimate term of the economy. Its triumph has depreciated it. A naked king that has abandoned all metaphysical content, it has also lost all value. Nothing shows it respect anymore, in the biopolitical flock. Living currency has taken the place of money as a general equivalent; that which relative to which it is worth anything. It is its value and its concretion. The purchasing power of living currency, and a fortiori of the Young-Girl, has no limit; it extends over the whole of everything that exists, because in her, wealth enjoys itself doubly: as symbol and as fact. The high level of individuation in people and their productions, which had made money incapable of serving as a mediator in purely personal relationships comes into play on condition that living currency is being distributed.
It appears that all that is concrete about this world has disappeared into the Young-Girl's ass.
In the same way as the organization of social misery has been made necessary after 68 to return to the commodity its lost honor, sexual misery is necessary for the maintenance of the tyranny of the Young-Girl -- of living currency. But there's nothing economic or short-term about that misery; on the contrary, in the end, it is just the essential misery of "sexuality" itself.
"When it comes to personal property, possession amounts to title."
Money in no way contradicts living currency; it preserves a transcended moment of it, along with all its accounting which no longer measures anything at all.
Since the translation of highly-differentiated human life into money had become impossible, the Young-Girl was invented to restore value to devalorized money. But in one fell swoop the Young-Girl not only out-classed money, making it a secondary consideration, she regenerated it, and returned substance to it. And money now continues to survive due to this ruse.
The Young-Girl's impersonality has the same ideal, impeccable, purifying substance as money. The Young-Girl herself is odorless.
Just like a "use value" has no relationship with its exchange value, the emotion that living currency stirs is not susceptible to accounting; it is not commensurable with any thing. But in the same way as use value hardly exists free of exchange value, the emotion that living currency stirs hardly exists outside of the system it is exchanged within. Neither the Young-Girl or gold are really enjoyed; one enjoys only their uselessness and rarity.
When Marx said that an object's exchange value crystallizes the labor time necessary for the production of that object, he was only saying that in the last analysis value is comprised merely of the life annulled in a thing -- that is, that living currency is first of all the numeraire.
"As soon as the bodily presence of the industrial slave is figured absolutely into the equation for the assessable yield of what he can produce - his physiognomy considered as inseparable from his labor - only a specious distinction can be made between the person and his activity. His physical bodily presence is already a commodity, independent of and beyond the commodity that such presence contributes to the production of. And now the industrial slave either establishes a strict relationship between his bodily presence and the money that it brings in, or that bodily presence replaces the money function, it itself being money: at the same time the equivalent of wealth and wealth itself." (Klossowski, Living Currency)
In French, the verb "foutre" [fuck] is used generally to depreciatively refer to all activity. "What the fuck are you doing?" [qu'est-ce que tu fous (literally, what are you fucking)]. And it's true that in all societies where people cannot engage in free activity, fuck is the general abstract equivalent, the degree zero of all activity.
Until the appearance of the Young-Girl on the scene, it was impossible to concretely understand what "baiser" [to physically fuck] was all about, that is, to fuck someone without really fucking any one singular person. Because to "fuck" with a being that's so completely abstract, so effectively interchangeable, is to fuck with the absolute [to delve into the absolute].
If money is the king of commodities, the Young-Girl is the queen.
The preferred kind of porn star is silent, keeps to herself, discourse-less; not because what they'd have to say would be so intolerable, or so excessively indecent, but on the contrary because when they talk, what they say about themselves is precisely the truth of all Young-Girls. "I take vitamins so I'll have pretty hair; physical care is something you have to work on every day. It's normal, you have to work on your appearance, the image people have of you," one of them confesses.
In the final phase of the Spectacle, everything is sexually mediated, that is, the sex act has replaced the utility of specific things as their ultimate finality. The existence of the world of the commodity now tends exclusively towards it.
"As long as free love is not generalized, a certain number of young girls will always be needed to fill the function of today's whores." (Georg Simmel, Philosophy of Love)
Ah, the Young-Girls of the tertiary sector; marketing; shops; social services. In the near, foreseeable future, the whole of the capitalist regime's surplus value will be produced by Young-Girls.
What's exchanged in the sex act is self-esteem. Each Young-Girl presents herself as an automatic and standard converter of existence into commodity value.
The Young-Girl is in fact neither the subject or object of emotion, but merely a pretext for it. One does not get off on a Young-Girl, or on her getting off; one gets off on getting off on her. A kind of gamble has to be made.
Like money, the Young-Girl is equivalent to herself, and is only bears a relation to herself.
The Young-Girl is the true gold, the absolute numeraire.
It's a unilateral-fetishist perspective to affirm that "the living object that is the source of emotion from an exchange perspective is worth its maintenance costs" (Klossowski, Living Currency.)
The time freed up by the perfection and growing efficiency of the instruments of production is not balanced out by any decrease in "labor" time, but by the extension of the sphere of "work" over the whole of life, and above all by the constitution and maintenance of a sufficiently large mass of living currency, of available Blooms and Young-Girls, available to give birth to a parallel and already regulated sexual market.
The ghostly nature of the Young-Girl reproduces the ghostly nature of participation in this society, for which the Young-Girl is also the remuneration.
Living currency, in sum, reveals the truth of commodity exchange, that is, it reveals its lie: the impossibility of putting the incommensurable aspects of human life (classically coagulated into "labor time") into equivalence with inert or other things, or with money, in whatever quantity. Because the lie of commodity society in the end is that it puts life through a regulated exchange, which always involves a SACRIFICE, and thereby claims to settle an INFINITE DEBT.