think of artists as hackers who endeavour to get inside cultural systems and make them do things they were never intended to do: artists as culture hackers.". A networking expert hacked into DNS servers to have the traceroute Linux command reveal the history of star wars IV. This deep technical repurposing for the sake of enchantment and fun can be considered as a net.art performance. Computer worms can be intentionally good and positive when they are repurposed for large-scale ephemeral art that uses the whole Internet as a canvas. Critique of the art world During the heyday of net.art developments, particularly during the rise of global dot.com capitalism, the first series of critical columns appeared in German and English in the online publication Telepolis. Edited by writer and artist Armin Medosch, the work published at Telepolis featured American artist and net theorist Mark Amerika's "Amerika Online" columns. These columns satirized the way self-effacing net.artists (himself included) took themselves too seriously. In response, European net.artists impersonated Amerika in faux emails to deconstruct his demystification of the marketing schemes most net.artists employed to achieve art world legitimacy. It was suggested that "the duplicitous dispatches were meant to raise US awareness of electronic artists in Europe, and may even contain an element of jealousy." Many of these net.art interventions also tackled the issue of art as business and investigated mainstream cultural institutions such as the Tate Modern. Harwood, a member of the Mongrel collective, in his work Uncomfortable Proximity (the first on-line project commissioned by Tate) mirrors the Tate's own website, and offers new images and ideas, collaged from his own experiences, his readings of Tate works, and publicity materials that inform his interest in the Tate website. net.artists have actively participated in the debate over the definition of net.art within the context of the art market. net.art promoted the modernist idea of the work of art as a process, as opposed to a conception of art as object making . Alexander R. Galloway, in an e-flux article entitled "Jodi's Infrastructure" argues that Jodi's approach to net.art, which involves the very structures that govern coding, is uniquely modernist: the form and content converge in the artwork. The presentation of this process within the art world—whether it should be sold in the market, or shown in the institutional art environment, is problematic for digital works created for the Internet. The web, as marketable as