ABSTRACT Understanding how extremist Salafists communicate, and not only what, is key to gaining insights into the ways they construct their social order and use psychological forces to radicalize potential sympathizers on social media. With a view to contributing to the existing body of research which mainly focuses on terrorist organizations, we analyzed accounts that advocate violent jihad without supporting any terrorist group and hence might be able to reach a large and not yet radicalized audience. We constructed a critical (...) multimodal and multidisciplinary framework of discourse patterns that may work as potential triggers to a selection of key cognitive biases and we applied it to a corpus of Facebook posts published by seven extremist Salafists. Results reveal how these posts are either based on an intense crisis construct or on simplistic solutions composed of taken-for-granted statements. Devoid of any grey zone, these posts do not seek to convince the reader; polarization is framed as a presuppositional established reality. These observations reveal that extremist Salafist communication is constructed in a way that may trigger specific cognitive biases, which are discussed in the paper. (shrink)

Interactive media arts offer us new approaches to the role of theatrical representation. Nowadays, digital technology allows us to explore self-representation in systems that cross over between installation art, theatre and performance. By confronting the subject with his or her own image, these devices question the mechanisms of identification and denegation. Both the theatrical creations and the interactive forms that are examined here invite the spectator to explore the relationship between identification and denegation. All the artistic productions that are studied (...) in this article call for a virtual double that the immersant meets: Liquid Views (1992) and Rigid Waves ([1993] 2008) by Monika Fleischmann and Wolfgang Strauss, Telematic Dreaming ([1992] 2007) by Paul Sermon and Eux (2008) by the Crew company and Sensorama (2009) by the Andwhatbeside(s)death company. In all of these artworks, the participant is encouraged to give less importance to his or her cognitive senses in order to allow his or her sensations to create a representation of himself or herself. The overlap between identity and otherness is therefore to be found at the very heart of the sensitive body. (shrink)