ABSTRACT
This chapter revisits the central themes examined in the course of this book, in light of recent developments in social mobilisation. It reaffirms the role of performance as key tactic for digital direct action. The book establishes that the role of performance, and performativity within social and political protest has been underestimated. Performance is the tactic against terror, par excellence. At the time when Critical Art Ensemble's (CAE) was publishing its first pamphlets, the contention that governments would frame digital protest as a criminal act was still hypothetical. Contrary to the tendency to distance the study of performance from theatrical and artistic contexts, the analysis here explicitly displayed there-appropriation of theatricality. Whether it relates to CAE's transgender hacking, Electronic Disturbance Theater's recombinant theatre or Anonymous's cinematic revenge, tactical performance virtually offers new spaces of contention.
