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Most people would agree that terrorism is no good. The word itself is rich with moralized connotations. It is true that some have argued that terrorism might sometimes be justified, but in popular discourse, terrorism is typically deemed obviously horrible. What are the consequences of branding some action an act of terrorism, or of branding some group a terrorist group? Note, in connection with this question, the ratcheting up of rhetoric surrounding ‘cyberterrorism,’ with many government officials now listing it as a major ongoing threat (e.g., here and here). A recent study by Adam Feltz and Edward Cokely of the Michigan Institute of Technology found that describing a group of people as ‘terrorist’ had far-reaching results. In general, participants in their study were less willing to “understand the group’s grievances,” less willing to “negotiate with the group.” Further, participants in their study found violence directed towards a group described as terrorist more permissible, and perceived such a group as less rational when compared to a group not described as terrorist.

So it is important to be aware of the ways labels such as terrorist subtly influence the way we perceive other groups of people, and also of the way we perceive people we implicitly associate with such groups.

After the Charlie Hebdo attack, a Paris imam went to the scene and condemned the murders. "These victims are martyrs, and I shall pray for them with all my heart," said Hassen Chalghoumi (above). He was also quoted as saying that 95% of victims of terrorism are Muslim. How accurate is this statistic?

Extremists on all sides not only hijack religion and identity and narratives, they also hijack language to rationalize their violent ideology and their violent actions. I want to take it back and say, "No. Allahu akbar means God is great. I use it in prayer."

And with the Islamic State’s prolific use of social media, terrorism experts and government agencies continually search for clues in posts and Twitter messages that appear to promote the militants’ cause.A physicist may not seem like an obvious person to study such activity. But for months, Neil Johnson, a physicist at the University of Miami, led a team that created a mathematical model to sift order from the chaotic pro-terrorism online universe.

As far as I could tell, there were no protesters in the vicinity of Lincoln Center on Nov. 15 before a Saturday matinee, the final performance of “The Death of Klinghoffer” at the Metropolitan Opera. This was a big change from the opening night of the Met’s season in September and the premiere of the “Klinghoffer” production last month, when hundreds of angry demonstrators gathered to denounce this opera by the composer John Adams and the librettist Alice Goodman as an anti-Semitic work that dared to humanize terrorists. Of course, Saturday is the Jewish Sabbath. But the only sign I saw being held outside the Met at the sold-out matinee said, “I need a ticket!” in big red letters.This was also to have been the day of a live HD simulcast of “Klinghoffer.” But Peter Gelb, the Met’s general manager, canceled the broadcast, bowing to pressure from the Anti-Defamation League, whose leaders were concerned about the work’s gaining international exposure at a time of a rise in anti-Semitic actions.

A 19th-century French impressionist artist who perished almost a century ago is the world’s leading aesthetic terrorist; you just don’t know it.Fortunately, the Renoir Sucks at Painting (RSAP) movement is here to change that.

t the core of RSAP’s serious political critiques are Eurocentric aesthetics and beauty standards and the domination of art museums by white men. “If the problems with Eurocentricity were personified in a man, Renoir would be the disgusting” embodiment, Geller insisted.Geller did not mince words: “Renoir is the most pulsating, puss-ridden boil which is the most blatant essence of the problem,” he added.“The fact that this utter charlatan can get by the watchmen defending the high altar of art is the proof positive that the system is broken, and that, for far too long, these decisions have been made by people who have access to fancy art educations and pursue them with an eye toward dictating taste,” Geller explained.