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Photography is valued as a medium for recording and visually reproducing features of the world. I seek to challenge the view that photography is fundamentally a recording process and that every photograph is a record—a view that I claim is based on a ‘single-stage’ misconception of the process. I propose an alternative, ‘multi-stage’ account in which I argue that causal registration of light is not equivalent to recording and reproducing an image. Intervention or non-intervention by photographers is more sophisticated than (...) |
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Deepfakes are a new form of synthetic media that broke upon the world in 2017. Bringing photoshopping to video, deepfakes replace people in existing videos with someone else’s likeness. Currently most of their reach is limited to pornography, and they are also used to discredit people. However, deepfake technology has many epistemic promises and perils, which concern how we fare as knowers. Our goal is to help set an agenda around these matters, to make sure this technology can help realize (...) No categories |
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In recent years, a number of philosophers have turned their attention to developments in Artificial Intelligence, and in particular to deepfakes. A deepfake is a portmanteau of ‘deep learning' and ‘fake', and for the most part they are videos which depict people doing and saying things they never did. As a result, much of the emerging literature on deepfakes has turned on questions of trust, harms, and information-sharing. In this paper, I add to the emerging concerns around deepfakes by drawing (...) |
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There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) |
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This paper defends two main theses related to emerging deepfake technology. First, fears that deepfakes will bring about epistemic catastrophe are overblown. Such concerns underappreciate that the evidential power of video derives not solely from its content, but also from its source. An audience may find even the most realistic video evidence unconvincing when it is delivered by a dubious source. At the same time, an audience may find even weak video evidence compelling so long as it is delivered by (...) No categories |
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Many of our beliefs are acquired online. Online epistemic environments are replete with fake news, fake science, fake photographs and videos, and fake people in the form of trolls and social bots. The purpose of this paper is to investigate the threat that such online fakes pose to the acquisition of knowledge. I argue that fakes can interfere with one or more of the truth, belief, and warrant conditions on knowledge. I devote most of my attention to the effects of (...) |
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Deepfakes pose a multi-faceted threat to the acquisition of knowledge. It is widely hoped that technological solutions—in the form of artificially intelligent systems for detecting deepfakes—will help to address this threat. I argue that the prospects for purely technological solutions to the problem of deepfakes are dim. Especially given the evolving nature of the threat, technological solutions cannot be expected to prevent deception at the hands of deepfakes, or to preserve the authority of video footage. Moreover, the success of such (...) |
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Deepfakes are realistic videos created using new machine learning techniques rather than traditional photographic means. They tend to depict people saying and doing things that they did not actually say or do. In the news media and the blogosphere, the worry has been raised that, as a result of deepfakes, we are heading toward an “infopocalypse” where we cannot tell what is real from what is not. Several philosophers have now issued similar warnings. In this paper, I offer an analysis (...) No categories |
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Deepfakes are audio, video, or still-image digital artifacts created by the use of artificial intelligence technology, as opposed to traditional means of recording. Because deepfakes can look and sound much like genuine digital recordings, they have entered the popular imagination as sources of serious epistemic problems for us, as we attempt to navigate the increasingly treacherous digital information environment of the internet. In this paper, I attempt to clarify what epistemic problems deepfakes pose and why they pose these problems, by (...) |
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The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that (...) |
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According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...) |
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