Recycling old strategies and devices. What remains, an art project addressing disinformation campaigns (re)using strategies to delay industry regulation

Main Article Content

Marloes de Valk

This paper describes a research-based art project that seeks to identify several strategies used to delay industry regulation and manipulate public opinion during the 1980s and compare them to the strategies used by online advertising platforms such as Google and Facebook which are facing regulation today. This paper will show how these strategies have been woven into the story of a game called What remains, a darkly humorous, authentic Nintendo Entertainment System (NES) game aiming to create an experience of fighting misinformation, showing the player ways to push back and regain agency by joining forces with others and actively questioning the nature of different news media.


Throughout the nineteen eighties, several strategies were tried and tested to manipulate public opinion in order to avoid regulation that was threatening industries such as oil and tobacco. Three strategies will be discussed with examples from the 1980s as well as from today’s Tech Industry, which is facing potential regulation after the 2016 US elections and the Brexit referendum made it clear that there was a massive lack of accountability on the part of online advertising platforms. The November 2017 congressional hearings of Facebook, Twitter and Google, as well as the hearings of Marc Zuckerberg in the US and the EU in early 2018 are the main sources of information analyzed.


This paper describes an art project that shows some of the most successful pre-internet disinformation campaigns and highlights how the online advertisement industry is utilizing them to stave off regulations threatening their business model, even if their business model is threatening democracy.

Keywords
artistic practices; digital countercultures; digital art and technologies; cultural Studies; journalism

Article Details

How to Cite
de Valk, Marloes. “Recycling old strategies and devices. What remains, an art project addressing disinformation campaigns (re)using strategies to delay industry regulation”. Artnodes, no. 24, pp. 34-43, doi:10.7238/a.v0i24.3290.
Author Biography

Marloes de Valk, Piet Zwart Institute (Rotterdam, The Netherlands)

Marloes de Valk (NL) is a software artist and writer in the post-despair stage of coping with the threat of global warming and being spied on by the devices surrounding her. Surprised by the obsessive dedication with which we, even post-Snowden, share intimate details about ourselves to an often not too clearly defined group of others, astounded by the deafening noise we generate while socializing with the technology around us, she is looking to better understand why.
She has participated in exhibitions internationally, teaches workshops, gives lectures (among others at Transmediale and Chaos Communication Congress) and has published articles on Free/Libre/ Open Source Software, free culture, art and technology (among others in the Contemporary Music Review, Archive 2020, Pervasive Labour Union Zine and NXS). She is a thesis supervisor in the Master’s Program in Experimental Publishing at Piet Zwart Institute and a fellow at V2_Lab for the Unstable Media. She is a former member of artist collective GOTO10, has helped develop the puredyne GNU/Linux distribution and Make Art festival. She is co-editor of the Digital Artists’ Handbook and the publication FLOSS+Art, published in early 2009. She is part of Plutonian Corp, La Société Anonyme and Iodyne dynamics.

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