Abstract
As verb, code and historical method, terrorism has consistently been understood as an act of symbolically intimidating and, if deemed necessary, violently eradicating a personal, political, social, ethnic, religious, ideological or otherwise radically differentiated foe. Yet, as noun, message and catch-all political signifier, the meaning of terrorism has proven more elusive. After the Cold War terror mutated from a logic of deterrence based on a nuclear balance of terror into a new imbalance of terror based on a mimetic fear and an asymmetrical willingness and capacity to destroy the other without the formalities of war. This imbalance is furthered by the multiple media, which transmit powerful images as well as triggering pathological responses to the terrorist event. Thanks to the immediacy of television, the internet and other networked information technology, we see terrorism everywhere in real time, all the time. In turn, terrorism has taken on an iconic, fetishised and, most significantly, highly optical character.
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