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With the advent of social media, terrorist organisations have seized an unprecedented opportunity to engage wider audiences with their ideologies and actions. This study aims to develop an understanding of this tactic by analysing its use in the 2013 Westgate Mall hostage crisis. During that event, the Twitter account @HSMPress_ provided continuous updates supporting the actions of the terrorist organisation Al- Shabaab. Situating the event within a framework of Jürgen Habermas’s theories of the Public Sphere and Andrew Mack’s theories of asymmetric warfare, this paper employs Kenneth Burke’s dramatistic pentad to perform a rhetorical analysis of the tweets using both artistic and inartistic factors. It does so in order to understand how they engaged the audience of the terrorist event, emphasising the performative nature of the text in accordance with behaviourist objectives. The results of this analysis will demonstrate how terrorist groups may use platforms like Twitter to achieve a strategic political goal by shifting viewer perspectives, with significant implications for future policy governing social media content and censorship.

The livestreaming of terror, its co-production through live consumption and the massacre of lives as ‘entertainment’ propelled us into another long abyss of ethical challenges in the case of the xenophobic terrorist attack in Christchurch, New Zealand, in 2019. Livestreaming, as part of the convergence of technologies, enables narration in ‘real’ time, dragging us into a new ‘banalisation of evil’ where terror and torture can be co-produced by inviting audiences to consume through the vantage point of the perpetrator. This article examines the Muslim ‘body’ through JanMohamed’s notion of the ‘death-bound subject’ where the continual threat of death foreshadows the Muslim body, imbricating it within a political and ideological archaeology wherein both its possibility of death and the performance of death enter into a realm of theatrics of production incumbent upon invoking new moralities around consumption and its residues as a screen image. The ‘wretched of the Earth’ and their residues as immaterial matter online as the ‘wretched of the screen’ connote a new architecture of violence conjoining the temporalities of liveness with the sharing features of ‘semiotic capitalism’.

VOX-Pol Blog post.

This paper aims to provide an overview of digital environments and draw insights from qualitative research and monitoring of RWE online subcultures that reveals a shift towards a post-organisational reality, whereby online structures and subcultural milieus could be equally important for inspiring violence as connections to groups in the physical world. 1 In order to understand this emerging trend, it is important to recognise the online communities that violent right-wing extremists (VRWE) use to produce a sense of belonging, spread dehumanising propaganda and promote acts of violence.

VOX-Pol Blog Post.

VOX-Pol Blog post.