By Rachel Vik
The Museum of the Moving Image is hosting a live event this week to discuss the details of the fabricated videos and their consequences.
The discussion is organized as part of the museum’s current exhibition ‘Deepfake: Unstable Evidence on Screen’, exploring the world of deepfakes – videos of a person that have been digitally altered so that the person appears convincingly as someone. another.
The March 9 conversation “Deepfakes and Creative Play” will feature artists Chris Umé, Carl Bogan and Paul Shales. They will discuss the different facets of the creation of deep fakes, their history and their impact, explored throughout the exhibition with co-curator Barbara Miller, Deputy Director of Curatorial Affairs at MoMI.
Co-curator Joshua Glick, assistant professor of English, film and media studies at Hendrix College, said his hope was to inspire visitors to “talk about how this installation is made and the technology involved , and how deepfakery is created and used in addition to getting viewers to think historically.
“We want people to be aware of the likely uses, how this technology is used today, and the real harm it can cause,” Glick said.
Through the different sections of the exhibition, visitors to the Astoria Museum are invited to question the authenticity of the videos and test their abilities to spot counterfeits, discover the different uses – positive, creative or malicious – and the cultural context in which they are created. .
It includes a hall of mirrors exploring amateur endeavors and an installation featuring the Emmy-winning project “In Event of Moon Disaster.”
“Sometimes it’s portrayed that media manipulation is a completely new issue, that we’re in this information apocalypse,” he said. “Although there is a certain degree of crisis… [the goal is to remind] people think that the problem of media manipulation is not necessarily new. They have a long history: propaganda, war movies, conspiracy theory videos, tabloid TV.
“We want people to be aware that these malicious deepfakes fit into a larger context of misinformation, how they could be used in a political election or to sow doubt,” he added.
There are also ways in which technology can be “smart, savvy, strategic”, such as creating political criticism or disguising the identity of a persecuted party to protect it while exercising freedom of expression, such as LGBTQ advocates in areas where their expression is illegal.
The exhibit also encourages viewers to think critically about the media they consume, with a focus on how easily deepfakes can be created using current technology and how politics and Internet culture shapes their impact.
“Trying to equip and empower exhibition visitors to be knowledgeable members of the public with this idea that there are things ordinary people can do to be more critical, more skeptical,” said Glick said. “We want viewers, students and media consumers to be critical about these issues, to dig deeper and look at the context; to really think about the stakeholders and the intent of the author’s sponsorship.
The exhibition will be on view until May 15.