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Nowadays, Social Networks have become an essential communication tools producing a large amount of information about their users and their interactions, which can be analysed with Data Mining methods. In the last years, Social Networks are being used to radicalise people. In this paper, we study the performance of a set of indicators and their respective metrics, devoted to assess the risk of radicalisation of a precise individual on three different datasets. Keyword-based metrics, even though depending on the written language, performs well when measuring frustration, perception of discrimination as well as declaration of negative and positive ideas about Western society and Jihadism, respectively. However, metrics based on frequent habits such as writing ellipses are not well enough to characterise a user in risk of radicalisation. The paper presents a detailed description of both, the set of indicators used to assess the radicalisation in Social Networks and the set of datasets used to evaluate them. Finally, an experimental study over these datasets are carried out to evaluate the performance of the metrics considered.

The Islamic State’s (IS) online propaganda has been analyzed from various perspectives aimed at defining the role of the Internet, the power of social media networks, and the main narratives processed online by terrorist organizations. Nevertheless, very little research has focused on defining IS’s comprehensive media strategy. To date, IS propaganda has been defined as multidimensional or as a mix of techniques related to moviemaking and video games. In consideration of the highly sophisticated IS online dissemination activity and its impact on Western youth who are already familiar with intensive media consumption, this article explores IS propaganda through a Hollywood-style transmedia approach. I analyze, through a qualitative content analysis of the magazine Dabiq narratives, IS propaganda as a comprehensive transmedia strategy centered on three key assets: synergistic storytelling, imaginary world-making, and semantic triggering.

This article presents a thematic network analysis of Dabiq—a prominent English-language e-magazine produced by the Islamic State. Through formal qualitative analysis, the article examines the e-magazine’s first 13 issues in order to better understand its structure, evolution and intended audiences. In terms of structure, thematic network analysis provides a comprehensive and holistic understanding of Dabiq’s themes, identifying a range of concerns that are broader and more complex than is often supposed by academic and professional commentators. In terms of evolution, this analysis reveals a thematic landscape that has demonstrated considerable dynamism over four distinct phases throughout the magazine’s publication. In terms of understanding audiences, it is argued that Dabiq has been particularly engaged with the manipulation of group-level identities in an apparent attempt to garner support from global audiences. Themes related to allegiance, the group’s strengths and victories, and territorial expansion all feature consistently and prominently. They seek to create an in-group identity centred on victory, and to frame the Islamic State’s expansion and successes as a group achievement on behalf of Islam itself. Additionally, Dabiq provides the Islamic State with an opportunity to justify its actions and its religious authenticity to a broader Muslim audience, and thus provide the Islamic State with legitimacy beyond its borders. Recognising these thematic dynamics will be important for those engaged in counter-messaging and the development of counternarratives.

This study analyzes how Inspire and Dabiq seek to appeal to and
radicalize English-speaking Muslims. It examines how each magazine
strategically designs ingroup, Other, crisis, and solution constructs and
interplays these via value-, dichotomy-, and crisis-reinforcing
narratives. This analysis also explores how narrative, imagery, and
counternarrative messaging are used to shape readers’ perceptions
and polarize their support. While both magazines are dominated by
narratives designed to empower readers toward action, Inspire relies
heavily on identity-choice appeals while Dabiq tends to balance
identity- and rational-choice messaging. This study concludes by
identifying key lessons for counterterrorism strategic communications
campaign and message design.

The article describes the research network “Analysis of extremist aspirations in social networks (X-SONAR)” funded by the Federal Ministry of Education and Research (BMBF). The network investigates extremist interaction and escalation dynamics in social online networks and their relevance for criminally relevant radicalization processes, such as in the planning and execution of extremist acts of violence. Among other things, the aim is to derive a model for risk assessment and prevention and to develop a demonstrator for a software-based tool that can be used by end-users from security agencies and civil society for on-demand monitoring of extremist agitation in virtual contexts.

The threat posed by terrorism today is changing rapidly—as have methods of study of this phenomenon, including analysis of radicalisation and the ‘terrorist cycle’. This chapter takes a qualitative approach to one aspect of contemporary terrorism, self-directed (‘lone wolf’) terrorism by right-wing extremists. Predominately plaguing the USA at first, solo actor terrorism by fascist extremists crossed the Atlantic in 1999 with David Copeland’s attacks in London, and most horrifically with Anders Behring Breivik’s murder of 77 people in Oslo and Utøya in 2011. Like these two terrorist murderers, the two case studies discussed here, Neil Lewington and Ian Davison, were also radicalised online through ‘passive’ and ‘active’ networks of support. Although interdicted before committing acts of terrorism, the different pathways of online radicalisation by Lexington and Davison are the central subject here.