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In this paper, I draw a distinction between two types of deepfake, and unpack the deceptive strategies that are made possible by the second. The first category, which has been the focus of existing literature on the topic, consists of those deepfakes that act as a fabricated record of events, talk, and action, where any utterances included in the footage are not addressed to the audience of the deepfake. For instance, a fake video of two politicians conversing with one another. (...) |
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In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) |
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This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) |
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