By counter-machine (in the context of the work of the violence of narco-trafficking), I mean the group of fragile, intermittent, expressive, and fragmented devices society deploys to resist, make visible, or subtract power from the narco-machine. Although they are not antagonistic or mutually exclusive forms, my ongoing research strongly suggests that the narco-machine has been increasing its expressive dimension. By this I mean the exercise of those violencias whose sense appears to be centered on the exhibition of total and unquestionable power, using the most brutal and at the same time most sophisticated forms of violence against a body that has already been stripped of its humanity . This expressive action tends to displace utilitarian violence, whose aims are readable and can be apprehended by experience (I kill you to rob you, I annihilate you because your presence hinders my plans, etc.) The death of the other is sufficient.

On a road, a street, a roundabout, a “group” of bodies reveal the horror, as much spread out as crowded together, inside a funeral van, like in a traveling extermination camp. The machine’s power authorizes itself to take things to another level, to unload its shocking payload on the road without resorting to any other message. The act of delivery is formally aphasic but, symbolically, total. In a notable way, the work of the journalist Marcela Turati , whose capacity to bring out the voice of victims without reducing them to their defenselessness, brings into stark relief the total desolation and destruction that the machine tyler auto finance leaves in its wake. Her work gives visibility not only to the serialized production of broken bodies, but also to the citizens at the epicenter of the horror that are still capable of narrating their experience, and thus of living. When in the middle of 2010, I received the invitation from the editors of e-misférica to be an invited editor for an issue on narco-trafficking and violence, I thought for several days about what direction to take, what framework to employ, and especially how to frame an approach to a phenomenon that has such power to disarticulate, that is so abysmal, and yet at the same time so quotidian.

Furthermore, a company can’t be found on a US product’s label if it is a foreign product. So if you are looking for a product made in the United States, you are probably going to find a company that doesn’t even exist. So there is no guarantee that the Superior Insulating product is made in the United States. Superior Insulations product is a very good insulation product that is made in China. This is true whether it is a residential product or a commercial product.

The machine, however, resorts mainly to its disciplinary and diffuse forms. Its brutal calligraphy inscribes itself in the production of control and submission, as it hides behind its inapprehensible nature. As I pointed out above, the bodies disciplined by the work of violence act as indexes of its power. For Deleuze, the task of critical thinking is to detect and reinforce the lines of flight (those spaces that escape the power of the narco-machine, in this case), which can lead to new space-times. These last two cases carried the explicit warning that this is what happens to those using social networks and the Internet to spread news or information that compromises the activities of organized crime. We count the dead, but the gesture is useless because we are unable to restore the humanity lost and unable to mend the rupture that the machine leaves in its wake.

With this “tag” I allude to the forms in which Mexican Spanish has named the corpses of those assassinated or killed in the violent spirals of the narco-machine. Jo Tuckman of Dawn said that the website’s contents are “a catalogue of horror absent even from the national press, which still covers the violence from the relative safety of its headquarters in the capital.” Blog del Narco oficial