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become transnational corporations operating globally, increasingly shifting from concrete locations to the nomadic electronic data-stream of cyberspace, and thus avoiding provocation by civil disobedience. CAE maintained that to continue to be effective under these conditions, resistance should no longer be aimed at blockading physical locations, but should stem the actual information flow. Various projects use this ‹virtual sit-in› strategy (Electronic Disturbance Theatre, etoy).
Finally, Heath Bunting's «BorderXing guide» Internet project (2001) records illegal border crossings inside and outside Europe that Heath Bunting and his partner Kayle Brandon have carried out themselves in recent years. «BorderXing guide» sets out to provide instructions for crossing borders without papers. But the information that Bunting and Brandon post on their website in the form of photographs, detailed notes, maps and laconic comments on the individual routes is not available to all Internet users. For example, to gain access to the project as a Western European, you have
to travel in person to one of the ‹social servers› (places with public Internet access) available world-wide that Bunting has come to trust—the artist himself had to depend exclusively on these contacts on his travels in recent years to gain access to the Internet. This principle of ‹reverse authentication› also alludes to the everyday experiences of people crossing borders illegally.
In international video and media art, artists often address the subjects of surveillance and control. John Lennon and Yoko Ono's «Film No. 6, Rape» (1969) is one of the first works to anticipate with almost uncanny precision the reality TV aesthetics of the late 1990s. Classic artistic treatments of social surveillance devices include Vito Acconci («Following Piece,» 1969), Bruce Nauman («Live-Taped Video Corridor,» 1969–1970; «Video Surveillance Piece: Public Room, Private Room,» 1969–1970) and Dan Graham