A History of Fakes on the Internet
By Walter J. Scheirer
Stanford University Press
ISBN 2023017876
One of Agatha Christie’s richest sources of plots was the uncertainty of identity in England’s post-war social disruption. Before then, she tells us, anyone arriving to take up residence in a village brought a letter of introduction; afterwards, old-time residents had to take newcomers at their own valuation. Had she lived into the 21st century, the arriving Internet would have given her whole new levels of uncertainty to play with.
In his recent book A History of Fake Things on the Internet, University of Notre Dame professor Walter J. Scheirer describes creating and detecting online fakes as an ongoing arms race. Where many people project doomishly that we will soon lose the ability to distinguish fakery from reality, Scheirer is more optimistic. “We’ve had functional policies in the past; there is no good reason we can’t have them again,” he concludes, adding that to make this happen we need a better understanding of the media that support the fakes.
I have a lot of sympathy with this view; as I wrote recently, things that fool people when a medium is new are instantly recognizable as fake once they become experienced. We adapt. No one now would be fooled by the images that looked real in the early days of photography. Our perceptions become more sophisticated, and we learn to examine context. Early fakes often work simply because we don’t know yet that such fakes are possible. Once we do know, we exercise much greater caution before believing. Teens who’ve grown up applying filters to the photos and videos they upload to Instagram and TikTok, see images very differently than those of us who grew up with TV and film.
Schierer begins his story with the hacker counterculture that saw computers as a source of subversive opportunities. His own research into media forensics began with Photoshop. At the time, many, especially in the military, worried that nation-states would fake content in order to deceive and manipulate. What they found, in much greater volume, was memes and what Schierer calls “participatory fakery” – that is, the cultural outpouring of fakes for entertainment and self-expression, most of it harmless. Further chapters consider cheat codes in games, the slow conversion of hackers into security practitioners, adversarial algorithms and media forensics, shock-content sites, and generative AI.
Through it all, Schierer remains optimistic that the world we’re moving into “looks pretty good”. Yes, we are discovering hundreds of scientific papers with faked data, faked results, or faked images, but we also have new analysis tools to use to detect them and Retraction Watch to catalogue them. The same new tools that empower malicious people enable many more positive uses for storytelling, collaboration, and communication. Perhaps forgetting that the computer industry relentlessly ignores its own history, he writes that we should learn from the past and react to the present.
The mention of scientific papers raises an issue Schierer seems not to worry about: waste. Every retracted paper represents lost resources – public funding, scientists’ time and effort, and the same multiplied into the future for anyone who attempts to build on that paper. Figuring out how to automate reliable detection of chatbot-generated text does nothing to lessen the vast energy, water, and human resources that go into building and maintaining all those data centers and training models (see also filtering spam). Like Scheirer, I’m largely optimistic about our ability to adapt to a more slippery virtual reality. But the amount of wasted resources is depressing and, given climate change, dangerous.
