venues (nettime, RHIZOME, etc.) and other temporary autonomous communities belong here too (although some-
times these venues become more conceptual than activist).

2) "Pure tactical aesthetics" is the label we use for new media's art-for-art's-sake. It designates new media art that is
truly (web)site-specific. Jodi invented it. 7-11 perfected it. And today, hell.com (and its residents) have evolved it
to a higher form. Pure tactical aesthetics are most often seen in a raising of the bar--a shock of the shock--whose
eventual goal is to define a new aesthetic totally native to computers. This art stretches outward, past one's normal
creative purview to chart new cultural ground. It is a grenade in the brain of the establishment. It is unsellable, un-
exhibitable and uncritiquable.

3) "Net conceptualism” is web sculpture. It is the spacialization of the web, a way of thinking new thoughts. To find net
conceptualism look for places where the art object has been dissolved into the network (or rather, into *relational-
ity* as such). "Refresh" was an early form. More advanced conceptual projects include FloodNet and the Web
Stalker. Heath Bunting's " readme" is pure net conceptualism, though he might deny it. Electronic civil disobedi-
ence becomes conceptual when it sheds its offline pretense. Online media activism becomes conceptual when it
discovers what is it when it cannot *be* anywhere else.

Intelligent systems (capitalism, Hollywood, language, internet) are amazingly powerful, yet always produce their own
grave diggers. Alternate possibilities must necessarily emerge. For the internet our new virtues are interactivity, collabo-
ration, artificial life-each with a correlative effect: anti-author, anti-hierarchy, and anti-fascism. Technology is inherently
tactical. Material change is nothing without cultural innovation. You will fail who cannot do both. And finally we will re-
alise that tactical net.art is not just technology, it is a just technology.

Mt