Famously, Walter Benjamin tried to confront this problem by presenting his ideas unconventionally so that they could not be appropriated for Fascist purposes. In "The Work of Art in the Age of [Its] Technological Reproducibility,” he writes, “The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism. They are, on the other hand, useful for the formulation of revolutionary demands in the politics of art.” The problem Benjamin references, of course, is not limited to rhetoric, but in our very structures of being together. The revolutionary affordance of every new communication technology is exactly equal to its usefulness for surveillance. It works the opposite way as well, however. The internet itself, for example, first developed for governmental purposes, now also hosts art, dissent.