The Twitter jihadis: how terror groups have turned to social media

Pakistan’s militant and extremist organisations are increasingly aware of the importance of the internet, says Samira Shackle.

On 22 November last year, a new magazine sought writers through an advert on Facebook. “Dear brothers and sisters, ‘the pen is mightier than the sword’. Now you have a chance to use this mighty weapon,” said the ad, which was posted on Umar Media, the Facebook page of Tehkreek-e-Taliban Pakistan (TTP).

The previous month, the same page had announced “online job opportunities”, including “video-editing, translations, sharing, uploading, downloading and collection of required data”. Offering an email address on which to contact the Taliban, the two adverts urged readers to spread the word in case the Facebook account was deleted.

This showed foresight: Facebook soon closed the page. But social media are notoriously hard to police and it recently reopened, quickly gaining over 2,000 “likes”. The page features violent imagery.

TTP’s use of Facebook to recruit shows how Pakistan’s militant and extremist organisations are increasingly aware of the importance of the internet. In Pakistan there is a long tradition of legitimate religious organisations using online tools. Networks of madrasas use forums and video platforms to share study materials. Banned religious groups – which often carry out social work besides their more unsavoury activities – exploit the internet in the same way. But increasingly, many also see Twitter and Facebook as a chance to change their image and recruit members.

Take Jamaat-ud-Dawa (JuD), a major religious organisation in Pakistan. It is banned by the US, the UN and the EU because of its alleged role in the 2008 Mumbai attacks. But the organisation is not banned inside Pakistan, where it runs a large charitable network.

Abdul Rehman, of JuD’s IT and social media wing, explains that though the group has had an online presence for at least a decade, its focus on social media is new. “Our Facebook and Twitter has the political aim of taking up our narratives,” he tells me. “There is a lot of propaganda against us. Twitter allows us to give our own official statements. The main purpose is to preach our message.”

Sipah-e-Sahaba, the “mother ship” of terrorism in Pakistan, has carried out countless killings of Shia Muslims since it was formed in the 1980s. Banned in 2002, it hastily re-formed under the new name Ahle Sunnat wal Jamaat (ASWJ) and has since developed a political presence, even fielding election candidates.
 
“We use Facebook, Twitter and our own website for sharing daily news,” says a spokesman, Maulana Akbar Saeed Farooqi. “Many people make propaganda against us and say we are a terrorist party. But when people see our comments on the internet, they say that our agenda is right.”
 
After interviewing Farooqi on the phone, I am somehow added to ASWJ’s text-message service. Around ten messages a day come through, with updates about speeches and members who have been martyred.
 
Aaron Zelin, a fellow at the Washington Institute for Near East Policy, recently published a study entitled “The State of Global Jihad Online”. “Jihadi groups have been using Facebook and Twitter for a few years now,” he tells me. Zelin points out that there are upsides and downsides for terrorist groups tapping in to social media. “It can let groups amplify their messages more easily but it can also expose more of them to surveillance.”
 
In that regard, the terrorists are helped by one thing: the Pakistani state’s attitude to policing militancy is no less lax online than it is offline.

 

Pakistani security forces in Quetta. Photo: Getty Images.

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

This article first appeared in the 12 August 2013 issue of the New Statesman, What if JFK had lived?

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.