Zapatistas, a revolutionary group, is one of the most influential social movements that can also be considered “postmodern.” It is a postmodern movement “because they had somehow accomplished, by ripping into the electronic fabric, this possibility of expanding a network and manifesting a network without having access to a network” Taylor says on pg 3 in the interview. Known for their unconventional methods and use of the internet, the Zapatistas brought attention to indigeneity through performances, the use of masks, and the referencing of other social justice leaders. The use of space and possibilities given by cyberspace allowed Zapatistas to combine political protest with conceptual art as an act of social revolution. With the support of Electronic Disturbance Theater, cyberspace became a port of entry that turned the internet into a map and a pocket of resistance. “EDT illuminates a new set of possibilities for understanding the relation between performance, embodiment, and spatial practice in cyberspace,” Lane affirms on pg 131 that EDT is now allowing us to understand the notion of embodiment through specific possibilities that constitute presence in digital space as both collective and politicized. Through paper planes, Zapatistas used a form o poetics, a discursive missile to attack social domination as a protest of the occupation of indigenous land. I find the work of the Zapatistas within the cyberspace to be metaphorical, the use of the word “frontier,” for example, “laws of access and rights of passage.” Going back to the notion of embodiment, it is interesting to note how the Zapatistas are still present through their actions and performances in cyberspace without the physical body being present. EDT questions this relationship of speciality and embodiment, is intriguing to know that the physical human body is a vehicle for performance art. But we see Zapatistas being present in this disturbance without their flesh being present. It is hard to ignore the lack of a body in the cyber performance, but this asks us to question the extent of the physical body and embodiment. Artist or hacktivist have engaged with cyberspace in a manner o that could not be achieved in the physical reality or polyspatial embodiments,” Lane says on page 131. The theatricality and use of the mask by Subcomandante Marcos touches on the collective, anonymity, and performance. “Marcos, like the mask, was a colorful ruse, a hologram born of the uprising that reflected the aspirations of those who longed to challenge the regimes of domination” Taylor says on pg 3. I think the use of the mask is a symbol or a metaphor that calls out this censorship in the internet, where this so called space is supposed to be public, it is still controlled and those who have a voice can still be silenced and oppressed. In relation to the readings and the “global grassroots support network” as well as facebooks ads, if you always have an audience listening, are you always — even unintentionally performing? And has Wikileaks now turned, in a way, as the new form of innovation of protest that causes social and governmental disturbances in and out of cyberspace?