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Feurerhahn, Niels. “Nostalgia and the Displacement of Identity:
A Time-Based Analysis of the Unheimlichkeit of Nostalgia.” University of Guelph, 2015.

Mattern, Mark. Anarchism and Art: Democracy in the Cracks and on the Margins. State of New York Press, 2016.

Digital anarchy opens the perceivable addiction-theory-generated binary of either drowning in the web or forgoing the potential of digital technology altogether. Mattern borrows the definition of anarchy from pioneer anarchist Colin Ward: as “‘operat[ing] side by side with, and in spite of, the dominant authoritarian trends of our society’” (5). This means that anarchy happens interstitially, within the cracks of hegemony. If dominant trends move to the digital realm, then anarchists have no choice but to operate here as well. By this logic, anarchist groups must utilize problematic systems to employ their attempts. Early anarchists emphasized strikes, disobedience, and guerrilla warfare, but “[g]iven the failure of these strategies. . . recent anarchists entertain visions of partial anarchy” (22). Contemporary anarchy allows for imperfection. 

We live in a certain anarchist dystopia as a society not ruled by leadership but economy. Digital anarchy, opting to remain “on the margins of state and capitalism,” paradoxically locates itself in the centre of capitalist production (22). The Internet allows for a certain level of anarchist-esque sharing of ideas, art, and knowledge. Although these actions seem to challenge the dominant capitalist structure, yet modes of communication remain owned by corporations and individuals financially benefiting from engagement. Regardless of its confines within the superstructure, the intention behind digital anarchy opposes capitalism.