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Abstract: Any analysis of contemporary societies lacks objectivity if it omits the production, distribution, and consumption on a planetary scale of psychoactive substances considered illegal by nation states and international organizations. What subjectivities might such an active narco-machine produce in the capitalism of the first decade of the 21st century? As a counterpoint, the essay then examines the work of the Argentinean artist Adriana Bustos as she critically explores the relationship between colonial biomules and contemporary narcomules. Argentina and cocaine converge in their whiteness. The former, silvery by name, tends to be imagined as a white nation, an almost European one. The latter——the powder trafficked on a planetary scale——looks like talcum or has tiny multicolored sparkles like the wings of a fly, depending on its snowy purity. According to official studies in Argentina, the percentage of people who have used cocaine increased from 0. Plata , gold, and cocaine emerge as authentic fetishes, insofar as their true substance is located far beyond the mineral and vegetable realms, becoming personified substances capable of subtle trickery, the undermining of human comprehension, and the clouding of the senses. This synesthesia made me turn my attention to some of the data I have collected in my fieldwork as an anthropologist, and cross it with experiences from the field of art and criticism. It is from this intersection that this work arises, opening with a particular reading of the narco-machine as one of the subjectivizing technologies that is active in the present. In the conclusion, I briefly examine the subjectivity of the contemporary narco-mule. To my aid I called upon the power of art and its capacity to make real, in images, other worlds that are none other than this one. Any analysis of contemporary societies lacks objectivity if it omits the production, distribution and consumption at planetary scale of a series of psychoactive substances considered illegal by nation states and international organizations. Marihuana, cocaine, heroin, ketamine, methamphetamine, LSD and many other substances comprise a set of molecules produced on the margins of the medical-scientific and cosmetics apparatus known as the legal pharmaceutical industry. The State has entered the battle surrounding the management of these illegalized molecules: the fight against drug trafficking or the war on drugs. Coca leaf plantations in the Andes and marihuana plants cultivated under a Buenos Aires highway; marches for decriminalization and the swelling of state institutions dedicated to surveillance and punishment; tortured and destroyed bodies; popular saints; songs; the murder of peasants; architectural works; cartels; barons, lords and massive fortunes; sneakers, machine guns and armored cars; bandits, police and para-police; nothing and no one appear to escape the presence of illegal chemicals being distributed throughout the entire social fabric. Drugs, in the general opinion, move day and night, in shantytowns and on the floor of the Stock Exchange, in official offices and under a bridge. In order to conceptualize this situation, we can imagine ourselves faced with the development of a new abstract machine Deleuze and Guattari , the narco-machine. A schizoanalysis of this narco-machine requires, in the first place, a qualitative examination of the creation of different modes of agency. Who uses the machine and how? Who makes and is made by this machine? What are the grammars inscribed on bodies and moralities? Which lives turn out to be in significant and un livable? What are the raw materials, the products and residues processed by the narco-machine? This narco-machine would include mechanisms of normalization such as the training camps of narcosoldiers, or raves where the body functions as the medium and the final product of a set of disciplinary practices. Practices of inscription—tattoos, linguistic, gestural, or dress codes, reflexes for detecting dangerous situations, visual, audio, and bodily representations, states of consciousness—also form part of the machine. The production of subjectivities, a dimension irreducible to the relations of power and knowledge, offers a set of privileged practices for observing abstract machines in action. What happens when the molecules of drug trafficking dissolve in the body, in the humors that constitute the internal medium of subjects? We can find clues to think about these questions in transfeminist thinking, particularly in the work of Beatriz Preciado and Sayak Valencia These authors analyze new forms of capitalist development: pharmaco-pornographic capitalism and gore capitalism, associated respectively with toxico-pornographic subjectivity and the monstrous subject. In Testo Yonqui , Beatriz Preciado analyzes the current postindustrial, global, and media regime of production and consumption. In accordance with its developments, the excitable body—an object of state control since the end of the nineteenth century—became the fundamental raw material of capitalism. Arousal, erection, ejaculation, pleasure, the feeling of self-satisfaction, and of omnipotent control would bcomee the privileged materials of the new regime of pharmaco-pornographic production. Arousing and controlling this orgasmic power would be the basic operations of pharmaco-pornographic capitalism, made up of contraceptives, Playboy , Viagra, the pornography industry as the motor behind the information economy, cocaine, human trafficking, money laundering, tax havens, etc. For Preciado, any current regime of production would be molded within this pharmaco-pornographic matrix that exploits and produces a molecular intensification of bodily desire, especially of narcotic-sexual desire. A key component of the arousal—frustration—arousal circuit is the toxicological nature of sexual pleasure, its addictive quality. As concerns cocaine, it was possible to describe two different modes of narcoexperiences associated with differing forms of consumption. Not stopping, keeping on, going full speed were the ways in which the interviewees defined their experience of consumption. Cocaine use was combined with alcohol, whose depressive effects on the central nervous system were countered with more cocaine which enabled the movement to continue. Not letting oneself drop was the slogan that organized consumption in a circuit that included alcohol and cocaine, where marihuana could function as a sort of permanent downer, and which sometimes ended, for some males, with a Viagra at the end of the night. We use the term junkie to describe another experience characterized by the quest for the bodily state of hardness. Through a continuous and abundant consumption of cocaine, some subjects acquired a particular state of muscular rigidity where their jaws locked, sometimes breaking teeth as a result of the pressure. Situated in a static position, with their arms and legs stuck in place and gazing at a fixed point, these hard subjects appeared to stop, and be stopped in, time and space—the space of the club. Beyond the differences between these experiences, both ended in the comedown , the hangover , or the lime , terms that describe some feeling of depression, muscular exhaustion, and unease that came about following withdrawal from the stimulant effects of cocaine. The memory of the pleasurable experience of the state and its subsequent frustration stimulate a new consumption that seeks to produce a new excitation that would restart the magical circuit of pharmaco-pornographic capitalism. In this universe, whose capital would be Tijuana, violence appears as the price that the Third-World people of the planet must pay for clinging to the consumer logic of pharmaco-pornographic capitalism. Within this dynamic, ultra-specialized, theatricalized, and spectral violence inserts itself into the everyday life of populations located in strategic geopolitical points on a map organized by drug trafficking and other forms of organized crime and nation states. Gore capitalism is made, like the film genre from which it takes its name, out of human entrails, exposed cadavers, murdered women, explicit and spectacular spilling of blood mixed with high doses of organized crime, predatory uses of bodies, gender difference, and eroticism. In gore capitalism, the body, provided that is a dead body, is merchandise, a resource. Death and its necro-politics become the most profitable business in the contemporary gore moment, when accumulation is carried out through the accounting of the number of the dead. Within the framework of this form of capitalism, the author sees new discursive figures emerge, figures that constitute an episteme of violence, along with the reconfiguration of the concept of work through a perverse granting of agency built upon the necropolitical commercialization of murder. Monstrous subjectivities seek to establish themselves, and those who embody them, as valid subjects, with possibilities of social belonging and ascent. Their formation includes both logics of scarcity poverty, frustration, dissatisfaction and of excess waste, opulence, fortune. In a practical sense, the subjects reinterpret themselves according to a the logic of consumption and create economic fields that are dystopic in relation to those that are supposedly legitimate within the capitalist double standard. In these spaces——like drug trafficking——subjects become entrepreneurs who influence political, public, official, social, and cultural processes. This schizoanalytic transfeminist outline of the narco-machine , which I began with a qualitative examination of different modes of agency, also requires their quantitative study in relation to a supposedly pure machine, following Deleuze and Guattari In this sense, the authors analyze two great engines of agency: the war machine and the State apparatus, which confront one another and constitute themselves in difference. What type of war machine does drug trafficking constitute? What state apparatus is formed and empowered in the war on drug trafficking? Does the current organization of drug trafficking, and of other forms such as human trafficking, entail this war machine being subsumed by a para state apparatus? Far from being able to answer such difficult questions, the remainder of this essay focuses on a much smaller issue. She and I came into the world a few days and some thirty kilometers apart. Perhaps we played together on the same beaches during the summers of our early childhoods. We both studied psychology and shared many celebrations and moments of joy. As artists, we were in an exhibition together during the Mundo Mix festival in After some time, we met again when Adriana was devising her project on mules—both the equine hybrids and the women who illegally transport cocaine across borders. These meetings took place in the context of an art clinic where we discussed the poetics and politics of her artistic work, reading and reflecting on anthropological, philosophical, and historiographical texts, as well as on diverse experiences. Active since the s, Bustos has made incursions into various media and techniques: painting, performance, photography, and video, among others. Affected by the financial, political, and social crisis that erupted in December of , she began to explore the underlying material of the new national reality. As part of her research into nature, the artist discovered mules ——both the beasts of burden and women who transport cocaine. Rendered on cloth canvas, we find variety of images and texts in pencil. From this dissonance, the work opens a suspended space-time and materializes it in the form of an illustration where the simultaneity of the images, the varied information they present, and the multiple associations they awaken—added to the manual nature of the craftsmanship—form a dense fabric that sustains detailed reflection. This poetics animates the entire series of illustrations that Bustos continues producing, such as My Cocaine Museum or her different Routes. Nature and Domination inaugurate this museum that exhibits maps, infographics, artworks, trafficking technologies and modern chemistry. A set of images stretches out under the rule of this law of narcocapitalist convertibility, speaking to us of other times. The times when cocaine was not illegal, and even had important public recognition, become present through goods such as an Emergency Kit that allows the transport of cocaine, morphine, atropine, strychnine, the corresponding syringe and needle, or the tonic Mariani Wine. Colonial maps, world maps, and trafficking routes mix together with goods like Mariani Wine or pills for dental pain whose container shows a tender and kitschy image of two children gathering the fruits of a generous Nature. Amid these dreams of consumption, exhibited through fossilized goods from a primordial pharmaco-pornographic capitalism, the artist introduces the gore world of crime, police, and espionage. Secret weapons hidden under a jacket sleeve, devices for wiretapping telephones, self-defense techniques, criminological science with its positivist research and its fascination with the bodily indications of criminality, portraits, physiognomy and X-rays. All these images come from very diverse media. Royal and virtual libraries were plundered in the search for information, cases, anecdotes, clues, indications, a relation, multiple relations. Like an image produced during the ingestion of ayahuasca ——a practice studied by both Taussig and Bustos—— the illustrations display traces and connections without establishing causal or spatial-temporal lines. Juxtaposition serves as a poetic strategy to explore the power of the dialectical image. In this task, Bustos supports her work with the mimetic theory of language put forth by Benjamin For this author, words and things are materially connected, although history——as a space between the produced symbol and what it means——intervenes, making the connection of contiguity between the symbol and its meaning impossible. While dulled, these connections expose themselves fleetingly, in images that appear and disappear with the speed of lightning. In these images, for Benjamin, lies the possibility of historical knowledge capable of honoring the tradition of the oppressed Benjamin If, on the one hand, the illustrations appear to make reference to the educational context, a quotation the artist offers in order to reinforce her pedagogical aims, she also disassociates herself from this world by not employing the techniques of mechanical reproduction that are so dear to pedagogical institutions. In their uniqueness, these works seek to occupy the space that history creates between words and things, between colonial times and the postcolonial era, between the traffic metals and of cocaine, with the unfolding of the not at all arbitrary connection that connects them: the mule. Illusions is composed of a series of four works, each one made up of two photographs of the same dimensions. In each of the photographs we see a female character seated with her back to the viewer, contemplating a large-scale image that takes up the whole frame. The other photograph shows a full-body portrait of a mule. The animal that looks at the audience is posing against the same background as the woman. In three of the works, the photograph of the woman is in black and white and the animal is in color, while in the final one this relationship is inverted. If one is a mule, the other is one as well. For several months and after navigating various bureaucratic channels, Adriana Bustos interviewed women imprisoned for crimes associated with drug trafficking, explaining her artistic project and inviting them to participate. What would these women use the money for? What projects could materialize with the monetary difference that would be provided by making their bodies a vehicle for illegal goods? After arriving at a definitive version, she painted large-scale curtain-like cloths displaying a rather oneiric image of dreams realized. Each of the prisoners was photographed, sitting with her back to the viewer, contemplating her dream spread out before her like a hallucination. Her hope had materialized, but in the form of an image. With the layout of these two photographs, Bustos constructs dialectical images that reconfigure the present and the past. The operation that Illusions brings to the fore emerges out of the intersection of a set of contradictory social processes piled up like cars in a multiple collision on a highway. In this collision, the works exhibit the impossible stillness of the crash, related to the messianic conception of the event that Bustos takes from Walter Benjamin, where thought not only flows but rather is arrested, petrified in a monad, crystallized by the shock. Memory, space, and time coagulate in the fragment of historical knowledge that the works produce, in the discovery that these routes are not random, making way for a third alchemical dimension where image and material substance become one and the same. More than a polemic on the catastrophe of drugs and the evils of narco-trafficking, the dialectical images Bustos produces invoke the changing power of money silver and of the seductive white substance called cocaine. From this position, the artist enacts a commentary on the narco-machine. Making use of autobiographical registers, interviews, allegories, Walter Benjamin and Michael Taussig, natural history, political history, and colonial economy, Bustos depicts how silver, now cocaine, came back into play with the new postcolonial mules. The rescue is that which remains in order to stay in motion and thus be able to finish the party. A remnant that one must know how to make last and hide or share with friends. Taking advantage of this narcology of consumption, and to close this essay, we ask ourselves what rescue might be found in the artistic interventions under consideration. What final knowledge can we extract from them? It would appear that small bourgeois dreams——a little tourism, being a homeowner or working for oneself, or securing healthcare for the family that the state does not guarantee——guided the actions of these women who acted radically and illegally in becoming narcomules. Who are the narcomules? What subjectivities are constructed in this practice? In a social world resulting from the implantation of narcoconsumerism as a logic that organizes relationships with others and with goods, certain subjects take certain risks and defy an established order that denied them social mobility, the enjoyment of a good life or health. But in doing so, they from a subaltern position and as subjects of consumption, they become entangled in the meanders of capitalist production. Human mules are the weakest link in the chain of exchanges that make up drug trafficking, in that their pay is not very high and the possibilities of death or detention by the police are always high. The dangerous and ambivalent Bhabha self-affirmation that becoming a narcomule implies requires, in a very concrete way, emptying oneself of oneself to fill or cover oneself with cocaine. The body itself or some of its extensions——like clothing, suitcases, shoes, etc. This operation opens a space for the development of agency that would seem to respond to a sort of narcoempowerment. But in doing it through dystopian, violent practices, associated with suffering and death, they give way, yet again, to the reproduction of relations of domination. Although dissimilar, and not necessarily contradictory, these different contemporary subjectivities account for the commodification of the body and the hypercorporalization of narcoconsumer society, which can be observed from recreational, medical, and aesthetic technologies to kidnapping, torture, and contract killings. The body that the narcomules offer is a disposable container, a mere vehicle or means of transport. Hybrid and sterile, the new human mules, neither bios nor zoe , are transport platforms, a corpus on the inside of the narco-machine. He is also currently working independently in artistic production and criticism. These machines, like Foucauldian devices, only exist in concrete, singular, and immanent agentifications. Becoming a subject would be part of the subjectification of the individual, of the subjection to a structure or institution, a network of power that produces the individual and produces certain knowledge about him or her. Works Cited Assadourian, Carlos Sempat. Benjamin, Walter. Madrid: Tecnos. Iluminaciones II. Madrid: Abada. Libro I vol. Butler, Judith. Cuerpos que importan. El lazarillo de ciegos caminantes. Caracas: Biblioteca Ayacucho. Mil Mesetas, Capitalismo y esquizofrenia. Valencia: Pre-textos. Foucault, Michel. Freud, Sigmund. Buenos Aires: Amorrortu. Entre santos, cumbias y piquetes. Las culturas populares en la Argentina reciente. Buenos Aires: Biblos. Taussig, Michael. My Cocaine Museum. Chicago: Chicago University Press. There is no translation available. Book Reviews. Review Essays.
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