I argue that all that is relevant to appreciating art as art is the "abstract entity that is the work of art." The object of aesthetic contemplation, the bearer of aesthetic value, just is this abstract entity picked out by the sortal concept 'work of art,' which requires some vehicle but does not require the particular vehicle that is the original painting. Since this is so, the work of art is present in a visually-indistinguishable duplicate to the same extent (...) and to the same degree as it is in the original. To hedge my bets a little against those who are not persuaded by this strong claim, I also argue that, assuming there is a genuine value-relevant difference between an original and a duplicate, the duplicate could in principle share in or exceed the value of the original.. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Fakes fall into two categories: copies and pastiches. The first is exemplified when someone paints a reproduction of Manet's The Fifer with the intention of selling it to you as the original. The second is exemplified when someone paints a picture in the style of Manet – although not a reproduction of one of his actual works – with the intention of selling it to you as a picture by Manet.

At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French (...) soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art. (shrink)

In the U.S. there has been considerable interest in connecting low-income households to alternative food networks like Community Supported Agriculture. To learn more about this possibility we conducted a statewide survey of CSA members in California. A total of 1149 members from 41 CSAs responded. Here we answer the research question: How do CSA members’ socioeconomic and demographic backgrounds, household conditions potentially interfering with membership, and CSA membership experiences vary between lower-income households and higher-income households? We divided members into LIHHs (...) and HIHHs. We present comparisons of LIHHs’ and HIHHs’ employment, race/ethnicity, household composition and education, use of food support, and enjoyment of food-related activities; conditions interfering with membership and major life events; and sources of information influencing decision to join, reasons for joining, ratings of importance of and satisfaction with various CSA attributes, gaps between importance of and satisfaction with various CSA attributes, valuing of the share and willingness to pay more, and impacts of membership. We find that LIHHs are committed CSA members, often more so than HIHHs, and that CSA members in California are disproportionately white, but that racial disproportionality decreases as incomes increase. We conclude by considering: the economic risks that LIHHs face in CSA membership, the intersection of economic risks with race/ethnicity and cultural coding in CSA; and the possibilities of increasing participation of LIHH in CSA. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly (...) confronted with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

In a thoughtful paper, Peter Martin Jaworski has written, “The debate over originals, authenticity, fakes, duplicates, and forgery got its start in the mid-60s and then continued until the ‘80s.”Peter Martin Jaworski. “In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates Are as Good as the Originals.” Journal of Value Inquiry (2013), pp. 391–405. Quotation at p. 392. The debate, at least insofar as I participated in it, questioned whether original paintings and forgeries were sufficiently alike – sufficiently the (...) same kinds of things – that as a general rule the same qualities could be predicated of them. I and others argued they were not. To know the qualities of a painting, to make sense of the many often conflicting interpretations critics may offer of the same canvass, one must as a first step know what kind of painting it is. The relevant qualities of a painting, call them “artistic” or “aesthetic” or “stylistic” or whatever, are predicated of them i .. (shrink)

In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo (...) - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today. (shrink)

“Copying”: this practice, in China as elsewhere, was and still is the first exercise of every apprenticeship at the same time as an irreplaceable technique for spreading know-how, talent, and innovation; but the place and interest accorded to it throw light on the rather special positions being taken up. Thus, when a Chinese author speaks of copy, he is thinking primarily of the “copy-image,” in two dimensions. Sculpture in China plays a religious and propitiatory role; it only indirectly gives rise (...) to reflections about art. The copies of objects thus found themselves relegated to the sphere of the utilitarian, even of the frankly deceptive (the “fakes”); they held little interest for esthetes, with a single exception: that of archaic bronzes, which I shall be dealing with later since they fall within the scope of an overall reflection on history, ritual, and the foundations of the state. Now the latter, like the bases of painting, flow from an original cultural context, the elements of which that are most resistant to comparison are language and writing. (shrink)

1. There is an important argument which can be traced back to Kant's second and third Critiques , and which has been defended by a number of distinguished modern philosophers.1 It goes as follows. Moral judgments are universalizable; that is, I am logically committed to making the same moral judgment about all relevantly similar cases. If I refuse to make the same moral judgment about two relevantly similar cases, then either I believe that they are relevantly different, or I have (...) changed my moral views between examining the first case and examining the second, or I am simply irrational and not a proper subject for discussion. In contrast, however, aesthetic judgments are not universalizable; works of art are necessarily unique. If I say that a painting is aesthetically pleasing or successful or important or striking or whatever, I am not committed to making the same judgment about any relevantly similar work. Occasionally no doubt I might make the same judgment about a relevantly similar work, but I am in no way logically committed to doing so. Indeed in certain cases—the cases which are the topic of this paper—I am logically committed to making an entirely different aesthetic judgment of a relevantly similar work. Since works of art are necessarily unique, copies, fakes, forgeries, pastiches and ‘works in the style of …’, however plausible, however skilful, however close to the original, can never have the same aesthetic merit. Even if my Athena print of a Canaletto were qualitatively identical with the original, it could not have the same aesthetic merit. Even if a modern symphony reproduced perfectly the style of Mozart and even if it were in general of comparable musical quality, it could not have the same aesthetic merit as the forty-one originals. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Office of Scientific IntegrityDavid P. Hamilton (bio)For most of the 1980s, the specter of scientific fraud popped into public view every few years, usually only to submerge again. Faced with several well-publicized cases of scientists who blatantly faked their data—among the best-known being Harvard cardiologist John Darsee (whose colleagues watched him forge data) (Broad and Wade 1982, p. 14) and Sloan-Kettering Institute immunologist William Summerlin (who painted black (...) spots on white mice to simulate tissue grafts) (Broad and Wade 1982, p. 155)—the scientific community as a whole tended to dismiss the phenomenon as the work of a few deviants. Called in 1981 to testify before then-Representative Albert Gore Jr.'s subcommittee on investigations and oversight, Philip Handler, then-president of the National Academy of Sciences, told the panel that science was perfectly capable of regulating itself, and that the problem of scientific fraud had been "grossly exaggerated" by the press (Broad and Wade 1982). The message was clear: Congress should stick to its knitting, and science would take care of itself.Now, however, scientists are faced with a very different situation: a permanent federal bureaucracy, known as the Office of Scientific Integrity (OSI), devoted to the investigation of alleged scientific wrongdoing. The transition from the days of laissez-faire, when universities were entrusted with all investigations unless they were handled so badly that the federal government was forced to take notice, has been an uncomfortable one for many researchers. Lately, this discomfort has taken shape as a vocal protest against OSI. Largely as a result of this protest, federal officials recently promoted a plan to restructure OSI and change some of its operating procedures, a move with unpredictable consequences for universities and researchers alike.OSI was born largely because of investigations by two influential congressmen: Representatives John Dingell of Michigan and Ted Weiss of New York. While both claimed they acted mainly to make sure taxpayer dollars were not spent on fraudulent research, both also maintained a strong interest in protecting "whistleblowers," the often vulnerable, and usually junior, scientists who first raise questions about bad research. And Dingell seemed to take special pleasure in pointing up the deficiencies of investigations run by universities and by the National Institutes of Health (NIH) itself. (For reasons that are not well understood, [End Page 171] biomedical research seems far more prone to fraud than any other field of science. As a result, NIH, which funds most biomedical research in the United States, has held ultimate responsibility for most prominent cases of fraud.) Plagued as they often were by conflicts of interest, shoddy methodologies, and, in some cases, a willingness to believe any excuse by the accused, no matter how far-fetched, these investigations made easy targets. And the notion that science could "govern itself" grew harder to sustain.In late 1988, Dingell and other congressmen began circulating draft bills that would have created a new office for investigating scientific fraud. Dingell would have placed such an office under the aegis of the Inspector General of the Department of Health and Human Services, raising the possibility that scientific fraud might be probed by the same criminal investigators who unravel Medicare fraud. Unsettled by this vision of the "science police," NIH officials moved quickly to pre-empt Congress. On March 16, 1989, they published a notice in the Federal Register announcing the creation of OSI, an office with responsibility for ensuring thorough university investigations of misconduct and the authority to conduct its own investigations when necessary.From the beginning, OSI took an unusual approach to its work. For one thing, the office had a broad mandate: Although located within NIH, it was responsible for research funded throughout the entire Public Health Service, including the Food and Drug Administration, the Alcohol, Drug, and Mental Health Administration, and the Centers for Disease Control. Furthermore, it was not restricted to scientific fraud. Departmental lawyers, wishing to avoid the legal connotations of the term "fraud"—in particular, a requirement that fraudulent actions not only mislead others but also cause them noticeable harm—decided instead to adopt the term "scientific misconduct," defined as "fabrication, falsification, plagiarism, or other practices that deviate... (shrink)

In this volume a group of distinguished aestheticians consider the distinctive ways painting, sculpture, music, poetry and the cinema approach their subject matter and add to our aesthetic understanding. In addition these are discussions of artistic value and artistic truth, of the value of performance and of the problem of fakes, all of which contribute to a volume which will be of interest both to aestheticians and philosophers more generally.

In this volume a group of distinguished aestheticians consider the distinctive ways painting, sculpture, music, poetry and the cinema approach their subject matter and add to our aesthetic understanding. In addition these are discussions of artistic value and artistic truth, of the value of performance and of the problem of fakes, all of which contribute to a volume which will be of interest both to aestheticians and philosophers more generally.

After the horrendous events of September 2001, photographer Peter Elliott loaded his cameras and some clothes into his car and began a cross-country journey, looking for the flag. He found it everywhere: painted on a retaining wall in Tacoma, flying over a trailer in Bozeman, carried billowing by a lone man walking a sandbar in Florida, made of plastic cups stuck in a fence in Mississippi, draped over a fake horse in Salinas, immaculately hanging from a Beverly Hills mansion's (...) window. Home Front is both a tribute to the profound emotions of the country and a testament to Elliott's eye. His genius in these eighty-seven arresting images is to wed these serendipitous meetings with the flag to a language of light and composition that draws as much from classic landscape photography as it does from urban visual idioms. Elliott manages to convey here America's stirring and complex national character, one in which those who have not benefited from the nation's prosperity nonetheless feel the same sense of pride as those who have. With its inspiring introduction by Julia Reed, Home Front is the record—both somber and joyous—of Elliott's encounters with spontaneous patriotism. (shrink)

Knowledge, like other things of value, can be faked. According to Hawley (2011), know-how is harder to fake than knowledge-that, given that merely apparent propositional knowledge is in general more resilient to our attempts at successful detection than are corresponding attempts to fake know-how. While Hawley’s reasoning for a kind of detection resilience asymmetry between know-how and know-that looks initially plausible, it should ultimately be resisted. In showing why, we outline different ways in which know-how can be faked (...) even when a given performance is successful; and in doing so, we distinguish how know-how can be faked (no less than know-that) via upstream and downstream indicators of its presence, and within each of these categories, we’ll distinguish (in connection with detection resilience) both faking symptoms and (various kinds of) criteria. The unappreciated resilience of faked knowledge-how to successful detection highlights a largely overlooked dimension of social-epistemic risk – risk we face not just in our capacity as recipients of testimony, but in our capacity as both (would-be) apprentices and clients of knowledge-how. (shrink)

This paper contributes to the growing literature in social epistemology of diagnosing the epistemically problematic features of fake news. I identify two novel problems: the problem of relevant alternatives; and the problem of the degradation of the epistemic environment. The former arises among individual epistemic transactions. By making salient, and thereby relevant, alternatives to knowledge claims, fake news stories threaten knowledge. The problem of the degradation of the epistemic environment arises at the level of entire epistemic communities. I (...) introduce the notion of an epistemic environment, roughly the totality of resources and circumstances relevant to assessing the epistemically interesting statuses, such as knowledge. Fake news degrades our epistemic environment by undermining confidence in epistemic institutions and altering epistemic habits, thereby making the environment less conducive to achieving positive epistemic statuses. This is problematic even if the decrease in confidence and the altering of habits are rational. I end by considering solutions to these problems, stressing the importance of reproaching each other for proliferating fake news. I argue that we should reproach even faultless purveyors of fake news. This is because fake news typically arises in abnormal epistemic contexts, where there is widespread ignorance of, and noncompliance with, correct epistemic norms. (shrink)

This paper focuses on extant approaches to counteract the consumption of fake news online. Proponents of structural approaches suggest that our proneness to consuming fake news could only be reduced by reshaping the architecture of online environments. Proponents of educational approaches suggest that fake news consumers should be empowered to improve their epistemic agency. In this paper, we address a question that is relevant to this debate: namely, whether fake news consumers commit mistakes for which they (...) can be criticized and that they could easily avoid by reforming their doxastic conduct. Proponents of structural approaches, like R. Rini and B. Millar, have defended in different ways a negative answer to this question. In this paper, we criticize their views and suggest that individual users could improve on their epistemic practice by widening their information diet. (shrink)

Across two studies, one of which was pre-registered, we find that a simple questionnaire that measures intellectual virtue and vice predicts how many fake news articles and conspiracy theories participants accept. This effect holds even when controlling for multiple demographic predictors, including age, household income, sex, education, ethnicity, political affiliation, religion, and news consumption. These results indicate that self-report is an adequate way to measure intellectual virtue and vice, which suggests that they are not fully immune to introspective awareness (...) or “stealthy” in the sense that Cassam (2015) argues. This is an important methodological result and may pave the way for future research on intellectual virtue and vice. (shrink)

The topic of fake news has received increased attention from philosophers since the term became a favorite of politicians (Habgood-Coote 2016; Dentith 2016). Notably missing from the conversation, however, is a discussion of fake news and conspiracy theory media as a market. This paper will take as its starting point the account of noxious markets put forward by Debra Satz (2010), and will argue that there is a pro tanto moral reason to restrict the market for fake (...) news. Specifically, we begin with Satz’s argument that restricting a market may be required when i) that market inhibits citizens from being able to stand in an equal relationship with one another, and ii) this problem cannot be solved without such direct restrictions. Our own argument then proceeds in three parts: first, we argue that the market for fake news fits Satz’s description of a noxious market; second, we argue against explanations of the proliferation of fake news that are couched in terms of “epistemic vice”, and likewise argue against prescribing critical thinking education as a solution to the problem; finally, we conclude that, in the absence of other solutions to mitigate the noxious effects of the fake news market, we have a pro tanto moral reason to impose restrictions on this market. At the end of the paper, we consider one proposal to regulate the fake news market, which involves making social media outlets potentially liable in civil court for damages caused by the fake news hosted on their websites. (shrink)

Did you know that Hillary Clinton sold weapons to ISIS? Or that Mike Pence called Michelle Obama “the most vulgar First Lady we’ve ever had”? No, you didn’t know these things. You couldn’t know them, because these claims are false.1 But many American voters believed them.One of the most distinctive features of the 2016 campaign was the rise of “fake news,” factually false claims circulated on social media, usually via channels of partisan camaraderie. Media analysts and social scientists are (...) still debating what role fake news played in Trump’s victory.2 But whether or not it drove the outcome, fake news certainly affected the choices of some individual voters.Why were people willing to believe easily... (shrink)

Many languages allow for “fake” uses of their past tense marker: the marker: can occur in certain contexts without conveying temporal pastness. Instead it appears to bear a modal meaning. Iatridou :231–270, 2000) has dubbed this phenomenon Fake Tense. Fake Tense is particularly common to conditional constructions. This paper analyzes Fake Tense in English conditional sentences as a certain kind of ambiguity: the past tense morphology can mark the presence of a temporal operator, but it can (...) also signal a specific modal operator. The ambiguity is proposed to be the result of recategorization: the Simple Past develops a second, modal meaning because of structural similarities between the temporal and the modal/epistemic domain. The proposal is spelled out in the generative semantics framework, using the restrictor approach to conditionals Semantics from different points of view, 1979; in: A. von Stechow and D. Wunderlich Semantics: an international handbook of contemporary research, 1991), and building on von Stechows et al.’s recent work on the English tense system The expression of time in language, 2010; Romero and von Stechow, Tense: introduction, 2008). (shrink)

An important way in which philosophy can contribute to public discourse is by clarifying concepts that are central to it. This paper is a philosophical contribution in that spirit. It offers an account of fake news—a notion that has entered public debate following the 2016 US presidential election. On the view I defend, fake news is Frankfurtian bullshit that is asserted in the form of a news publication. According to Frankfurt’s famous account, bullshit has two characteristics. There is, (...) firstly, an “indifference to how things really are” on the part of the bullshitter. This does not mean that what a bullshitter says is always false. It might well be true. What it does mean, however, is that, unlike a liar, who tries to convince us that a given statement he believes to be false is true, a bullshitter simply does not care whether what he says is true. The same, I believe, is true of the publisher of fake news. Secondly, the bullshitter misrepresents “in a certain way … what he is up to”. Likewise, the publisher of fake news seems to misrepresent what he is up to. It appears that he wants to hide his actual motives. At any rate, so I will argue. (shrink)

Despite being a new term, ‘fake news’ has evolved rapidly. This paper argues that it should be reserved for cases of deliberate presentation of false or misleading claims as news, where these are misleading by design. The phrase ‘by design’ here refers to systemic features of the design of the sources and channels by which fake news propagates and, thereby, manipulates the audience’s cognitive processes. This prospective definition is then tested: first, by contrasting fake news with other (...) forms of public disinformation; second, by considering whether it helps pinpoint conditions for the proliferation of fake news. (shrink)

The central thesis of this paper is that fake news and related phenomena serve as defeaters for knowledge transmission via journalistic channels. This explains how they pose a threat to democracy; and it points the way to determining how to address this threat. Democracy is both intrinsically and instrumentally good provided the electorate has knowledge (however partial and distributed) of the common good and the means of achieving it. Since journalism provides such knowledge, those who value democracy have a (...) reason to protect it. Hostile agents, however, can undermine both the effectiveness of democratic decision-making and faith in democracy itself, by deliberately promulgating fake news and hyper-partisan views; moreover, these effects can come about unintentionally on social media. I conclude that we may need to change, not just the way we process information online, but also the informational environment in which we operate. (shrink)

Since the Brexit Referendum in the United Kingdom and the election of Donald Trump as US President in 2016, the term ‘fake news’ has become a significant source of concern. Recently, the European Commission and the British House of Commons have condemned the phenomenon as a threat to their institutions’ democratic processes and values. However, political disinformation is nothing new, and empirical studies suggest that fake news has not decided crucial elections, that most readers do not believe the (...) online fake news stories they read, and that political polarization in Western democracies like the US began to increase long before online fake news existed. The question then is: how exactly does fake news threaten democracies? This paper argues that online fake news threatens democratic processes because it undermines citizens’ epistemic trust in each other. This in turn threatens to undermine the perceived legitimacy and the moral justification of democratic institutions as a whole. While online fake news is a symptom of a much larger issue (how has the Internet affected democracies, and how can we use its positive power while checking its negative effects?), it deserves particular attention given the potential danger it presents for the viability and the legitimacy of the democratic process. (shrink)

The article starts by offering a definition of fake kindness focused on the dissociation between the behavioural components of kindness and the intent to sincerely pay some heed to the needs of others. Using the sociological theory of Pierre Bourdieu, this definition is then used to articulate how fake kindness can be conceptualized as a specific form of symbolic violence. Such a view allows explanations as to how and why the prevalence and effectiveness of fake kindness vary (...) according to microsociological norms and values. The generic definition and conceptualization of fake kindness as a form of symbolic violence are then used to discuss how nursing’s enthrallment with the concept of caring and its operationalization as a moral compass likely fosters the growth of fake kindness within the profession. In this view, the institutional enforcement of propriety and well-behaved professionalism is more likely to lead to toxic environments than to healthy workplaces. We hope that being able to understand how professional norms and institutional rules are sometimes turned into social tools to enforce obedience and existing hierarchies can empower victims of those phenomena to resist them more effectively. It might also contribute to increasing the awareness of well-meaning nurses or people in position of authority who have been socialized in environments where fake kindness is normalized. (shrink)

The problem of fake news and the spread of misinformation has garnered a lot of attention in recent years. The incentives and norms that give rise to the problem, however, are not unique to journalism. Insofar as academics and journalists are working towards the same goal, i.e., publication, they are both under pressures that pervert. This chapter has two aims. First, to integrate conversations in philosophy of science, epistemology, and metaphilosophy to draw out the publishing incentives that promote analogous (...) problems of fake news and misinformation in academic research communities more broadly. Second, to argue for a (partial) solution. This chapter argues that research communities benefit when authors believe what they argue for in print and it warns against attempts to loosen our publication norms to permit publishing without belief. (shrink)

Fake research produces results that are invalid from the start. I take such research to be characterised by three jointly sufficient features. It is severely methodologically defective, and the relevant defects support certain nonepistemic (social, political, economic) interests and objectives, while the relevant objectives typically concern the interference with attempts at political regulation. I deal with two kinds of claimed fake research. One is agnotological ploys in which scientific dissent is created by interested parties from industry or politics (...) in order to support their own partisan goals. Another one is the populist antiscience movement that suspects fake research in the scientific mainstream. I suggest three remedies to reduce or eliminate the impact of fake research: disclosing fallacies, improving the understanding of scientific methods, and distinguishing more clearly between science and politics in political decision-making. (shrink)

I argue that there is a prima facie tension between solutions to the problem of fake news and solutions to the problem presented by various cognitive biases that dispose us to dismiss evidence against our prior beliefs (what might seem to be the driving force behind echo chambers). We can guard against fake news by strengthening belief. But we can exit echo chambers by becoming more sensitive to counterevidence, which seems to require weakening our beliefs. I resolve the (...) tension by arguing against an injunction to weaken belief in the required ways. In particular, there is no injunction to be open-minded in all circumstances toward various counterarguments, even those whose premises seem compelling and in which we can’t expose a flaw. On the contrary, there are circumstances in which you should, in the relevant sense, be closed-minded toward such counterarguments. (shrink)

This book is the first sustained inquiry into the new epistemology of fake news. The chapters, authored by established and emerging names in the field, pursue three goals. First, to analyse the meaning and novelty of 'fake news' and related notions, such as 'conspiracy theory.' Second, to discuss the mechanics of fake news, exploring various practices that generate or promote fake news. Third, to investigate potential therapies for fake news.

Recent develops in AI technology have led to increasingly sophisticated forms of video manipulation. One such form has been the advent of deepfakes. Deepfakes are AI-generated videos that typically depict people doing and saying things they never did. In this paper, I demonstrate that there is a close structural relationship between deepfakes and more traditional fake barn cases in epistemology. Specifically, I argue that deepfakes generate an analogous degree of epistemic risk to that which is found in traditional cases. (...) Given that barn cases have posed a long-standing challenge for virtue-theoretic accounts of knowledge, I consider whether a similar challenge extends to deepfakes. In doing so, I consider how Duncan Pritchard’s recent anti-risk virtue epistemology meets the challenge. While Pritchard’s account avoids problems in traditional barn cases, I claim that it leads to local scepticism about knowledge from online videos in the case of deepfakes. I end by considering how two alternative virtue-theoretic approaches might vindicate our epistemic dependence on videos in an increasingly digital world. (shrink)

Fake news is a worrying phenomenon which is growing increasingly widespread, partly because of the ease with which it is disseminated online. Combating the spread of fake news requires a clear understanding of the nature of fake news. However, the use of the term in everyday language is heterogenous and has no fixed meaning. Despite increasing philosophical attention to the topic, there is no consensus on the correct definition of “fake news” within philosophy either. This paper (...) aims to bring clarity to the philosophical debate of fake news in two ways: Firstly, by providing an overview of existing philosophical definitions and secondly, by developing a new account of fake news. This paper will identify where there is agreement within the philosophical debate of definitions of “fake news” and isolate four key questions on which there is genuine disagreement. These concern the intentionality underlying fake news, its truth value, the question of whether fake news needs to reach a minimum audience, and the question of whether an account of fake news needs to be dynamic. By answering these four questions, I provide a novel account of defining “fake news”. This new definition hinges upon the fact that fake news has the function of being deliberately misleading about its own status as news. (shrink)

In their recent paper, Esfe et al. present some criteria for fake journals and propose some ‘features’ to recognize them. While I share most of the authors’ concerns about this issue in general, some of the reported criteria are not fit to differentiate fake journals from genuine ones. Here are some examples derived from their list, which illustrate that such criteria are not necessarily specific to fake journals only, but they could also apply to well-established journals and, (...) therefore, should not be considered as is. (shrink)

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 online fakes on satisfaction of the warrant condition, as these have received comparatively little attention. I consider three accounts of the conditions under which fakes compromise the warrant condition. I argue for the third of these accounts, according to which the propensity of fakes to exist in an environment threatens warrant acquisition in that environment. Finally, I consider some limitations on the epistemic threat of fakes and suggest some strategies by which this threat can be mitigated. (shrink)

Looking at the recent spate of claims about “fake news” which appear to be a new feature of political discourse, I argue that fake news presents an interesting problem in epistemology. Te phenomena of fake news trades upon tolerating a certain indiference towards truth, which is sometimes expressed insincerely by political actors. Tis indiference and insincerity, I argue, has been allowed to fourish due to the way in which we have set the terms of the “public” epistemology (...) that maintains what is considered “rational” public discourse. I argue one potential salve to the problem of fake news is to challenge this public epistemology by injecting a certain ethical consideration back into the discourse. (shrink)

ABSTRACT In Habgood-Coote : 1033–1065) I argued that we should abandon ‘fake news’ and ‘post-truth’, on the grounds that these terms do not have stable public meanings, are unnecessary, and function as vehicles for propaganda. Jessica Pepp, Eliot Michaelson, and Rachel Sterken and Étienne Brown : 144–154) have raised worries about my case for abandonment, recommending that we continue using ‘fake news’. In this paper, I respond to these worries. I distinguish more clearly between theoretical and political reasons (...) for abandoning a term, assemble more evidence that ‘fake news’ is a nonsense term, and respond to the worries raised by Pepp, Michaelson and Sterken, and Brown. I close by considering the prospects for anti-fascist and anti-authoritarian conceptual engineering. (shrink)

In a recent contribution to conceptual ethics, Joshua Habgood-Coote argues that philosophers should refrain from using the term “fake news,” which is commonly employed in public discussions focusing on the epistemic health of democracies. In this short discussion note, I take issue with this claim, discussing each of the three arguments advanced by Coote to support the conclusion that we should abandon this concept. First, I contend that although “fake news” is a contested concept, there is significant agreement (...) among contemporary philosophers about its key feature. Second, I argue against the claim that “fake news” is an unnecessary concept by underlying that it is not reducible to other terms we customarily use to describe the epistemic dysfunctions of democracies. Lastly, I suggest that using the term “fake news” need not serve propagandistic aims, and that philosophers can use this concept without engaging in epistemic policing, that is, commanding their interlocutors not to believe specific news stories or sources. (shrink)

The world is swimming in misinformation. Conflicting messages bombard us every day with news on everything from politics and world events to investments and alternative health. The daily paper, nightly news, websites, and social media each compete for our attention and each often insist on a different version of the facts. Inevitably, we have questions: Who is telling the truth? How would we know? How did we get here? What can we do? Beyond Fake News answers these and other (...) queries. It offers a technological and market-based explanation for how our informational environment became so polluted. It shows how purveyors of news often have incentives to mislead us, and how consumers of information often have incentives to be misled. And it chronicles how, as technology improves and the regulatory burdens drop, our information-scape becomes ever more littered with misinformation. Beyond Fake News argues that even when we really want the truth, our minds are built in such a way so as to be incapable of grasping many facts, and blind spots mar our view of the world. But we can do better, both as individuals and as a society. As individuals, we can improve the accuracy of our understanding of the world by knowing who to trust and recognizing our limitations. And as a society, we can take important steps to reduce the quantity and effects of misinformation. (shrink)

Since 2016, there has been an explosion of academic work and journalism that fixes its subject matter using the terms ‘fake news’ and ‘post-truth’. In this paper, I argue that this terminology is not up to scratch, and that academics and journalists ought to completely stop using the terms ‘fake news’ and ‘post-truth’. I set out three arguments for abandonment. First, that ‘fake news’ and ‘post-truth’ do not have stable public meanings, entailing that they are either nonsense, (...) context-sensitive, or contested. Secondly, that these terms are unnecessary, because we already have a rich vocabulary for thinking about epistemic dysfunction. Thirdly, I observe that ‘fake news’ and ‘post-truth’ have propagandistic uses, meaning that using them legitimates anti-democratic propaganda, and runs the risk of smuggling bad ideology into conversations. (shrink)

Environmentalists express concern at the destruction/exploitation of areas of the natural environment because they believe that those areas are of intrinsic value. An emerging response is to argue that natural areas may have their value restored by means of the techniques of environmental engineering. It is then claimed that the concern of environmentalists is irrational, merely emotional or even straightforwardly selfish. This essay argues that there is a dimension of value attaching to the natural environment which cannot be restored no (...) matter how technologically proficient environmental engineers become. The argument involves highlighting and discussing analogies between faking art and faking nature. The pivot of the argument is the claim that genesis is a significant determinant of an area's value. (shrink)

Many of U.S. President Donald Trump’s business interests—and those of his family and close associates—either conflict or could conflict with his position as the country’s top elected official. Despite concerns about the vitality of the journalism industry, these actual or potential conflicts have been reported in great detail across a number of journalism platforms. More concerning, however, are the partisan news organizations on both the right and left that deliberately sow social discord by exciting deeply polarized political tensions among the (...) U.S. populous. Often described as “fake” news, these organizations produce reports that seem designed to create outrage among audiences instead of enlightenment. This paper draws upon social epistemology and information ethics to offer a truth-based ethos for journalism to help overcome this pernicious form of exploitation. (shrink)

The purpose of a study is to critically assess common presupposition, that fake news is a) a threat for civilization as we know it; b) something that appeared only recently or at least that recent examples present a more serious threat for civilization as those from the past. It looks like the fast and global spread of fake news widens the gap between objective reality and that reality asserted by fake news. It is thus accepted especially by (...) so-called liberal media but also a wider intellectual community that we are living in the post-truth era. Such shift is mainly attributed to a strong anti-scientific movement of which one of more important consequence is agnotology that is then understood as one of the major causes for the inefficiency of democracy, post-democracy. (shrink)

Faking Nature explores the arguments surrounding the concept of ecological restoration. This is a crucial process in the modern world and is central to companies' environmental policy; whether areas restored after ecological destruction are less valuable than before the damage took place. Elliot discusses the pros and cons of the argument and examines the role of humans in the natural world. This volume is a timely and provocative analysis of the simultaneous destruction and restoration of the natural world and the (...) ethics related to those processes, in an era of accelerated environmental damage and repair. (shrink)

In epistemology, fake-barn thought experiments are often taken to be intuitively clear cases in which a justified true belief does not qualify as knowledge. We report a study designed to determine whether non-philosophers share this intuition. The data suggest that while participants are less inclined to attribute knowledge in fake-barn cases than in unproblematic cases of knowledge, they nonetheless do attribute knowledge to protagonists in fake-barn cases. Moreover, the intuition that fake-barn cases do count as knowledge (...) is negatively correlated with age; older participants are less likely than younger participants to attribute knowledge in fake-barn cases. We also found that increasing the number of defeaters (fakes) does not decrease the inclination to attribute knowledge. (shrink)

This study examines the potential of fake news to produce effects on social media engagement as well as the moderating role of education and government approval. We report on a 2x2x2 online experiment conducted in Romania (N=813), in which we manipulated the level of facticity of a news story, its valence, and intention to deceive. Results show that ideologically driven news with a negative valence (rather than fabricated news or other genres, such as satire and parody) have a greater (...) virality potential. However, neither the level of education nor government approval moderate this effect. Additionally, both positive and negative ideologically driven news stories enhance the probability that people will sign a document to support the government (i. e., potential for political engagement on social media). These latter effects are moderated by government approval: Lower levels of government approval lead to less support for the government on social media, as a consequence of fake news exposure. (shrink)