Group items tagged

there is a world of content out there that has not been watermarked, which is done by adding imperceptible information to a digital file so that its provenance can be traced. Once watermarking at creation becomes widespread, and people adapt to distrust content that is not watermarked, then everything produced before that point in time can be much more easily called into question.

countering them is much harder when the cost of creating near-perfect fakes has been radically reduced.

There are many examples of how economic and political powers manipulated the historical record to their own ends. Stalin purged disloyal comrades from history by executing them — and then altering photographic records to make it appear as if they never existed

Slovenia, upon becoming an independent country in 1992, “erased” over 18,000 people from the registry of residents — mainly members of the Roma minority and other ethnic non-Slovenes. In many cases, the government destroyed their physical records, leading to their loss of homes, pensions, and access to other services, according to a 2003 report by the Council of Europe Commissioner for Human Rights.

The infamous Protocols of the Elders of Zion, first published in a Russian newspaper in 1903, purported to be meeting minutes from a Jewish conspiracy to control the world. First discredited in August 1921, as a forgery plagiarized from multiple unrelated sources, the Protocols featured prominently in Nazi propaganda, and have long been used to justify antisemitic violence, including a citation in Article 32 of Hamas’s 1988 founding Covenant.

In 1924, the Zinoviev Letter, said to be a secret communiqué from the head of the Communist International in Moscow to the Communist Party of Great Britain to mobilize support for normalizing relations with the Soviet Union, was published by The Daily Mail four days before a general election. The resulting scandal may have cost Labour the election.

Decades later Operation Infektion — a Soviet disinformation campaign — used forged documents to spread the idea that the United States had invented H.I.V., the virus that causes AIDS, as a biological weapon.

As it becomes easier to generate historical disinformation, and as the sheer volume of digital fakes explodes, the opportunity will become available to reshape history, or at least to call our current understanding of it into question.

Fortunately, a path forward has been laid by the same companies that created the risk.

In indexing a large share of the world’s digital media to train their models, the A.I. companies have effectively created systems and databases that will soon contain all of humankind’s digitally recorded content, or at least a meaningful approximation of it.

They could start work today to record watermarked versions of these primary documents, which include newspaper archives and a wide range of other sources, so that subsequent forgeries are instantly detectable.

many of the intellectual property concerns around providing a searchable online archive do not apply to creating watermarked and time-stamped versions of documents, because those versions need not be made publicly available to serve their purpose. One can compare a claimed document to the recorded archive by using a mathematical transformation of the document known as a “hash,” the same technique the Global Internet Forum to Counter Terrorism, uses to help companies screen for known terrorist content.

creating verified records of historical documents can be valuable for the large A.I. companies. New research suggests that when A.I. models are trained on A.I.-generated data, their performance quickly degrades. Thus separating what is actually part of the historical record from newly created “facts” may be critical.

Preserving the past will also mean preserving the training data, the associated tools that operate on it and even the environment that the tools were run in.

Such a vellum will be a powerful tool. It can help companies to build better models, by enabling them to analyze what data to include to get the best content, and help regulators to audit bias and harmful content in the models

The conversation usually tracks the order identified in the introduction: from curiosity to excitement to critique. I try to start the critique by looking at the data

I begin with the program defaults, life expectancy on the y axis and per-capita income on the x axis, quickly identifying the watermark and explaining the ways that the different colors apply to various regions and that size is equal to population.

I usually use it as a review of the modern era. The simplicity of bubbles moving up and down, left and right seems to stick with students as they see the historical events they’ve studied made manifest

Why did they choose one data set over the other? Can we trust this data? Does it matter if there is some data we can, and some data we can’t, trust? How does the context of us using the tool, in a classroom, vary from the context for which it was created—info-tainment?

Then, I move the class to an examination of the structure and narrative of the graph. Where does the axis’ scale, logarithmic or linear, switch? Why? How does that change our understanding of the graph? Why are some countries represented as independent entities long before they even existed? Why and how does this reify the nation state? Why did the project designers make these choices? What argument is the project making? Is this visualization misleading us to drive a narrative

after the students have finished critiquing the program, I circle back to the place that this project has in our class. How does it reinforce, contradict, or qualify the material we have covered in this course

a “pedagogical pause.” Why did I show them this project, with its methodological and conceptual problems, to them? What is the value in viewing and discussing it? How does it help them better understand the past and, just as importantly, their present?

Gapminder offers a powerful tool for combining a variety of historical thinking skills with solid content review. Within the space of one class period students review broad historical trends of the past 200 years, hone their data literacy skills, interrogate the primacy of the nation state, and reflect on the ways they learn

Authoritarian governments have created seemingly realistic news broadcasters to advance their political goals

Getty’s lawsuit reflects concerns raised by many individual artists — that A.I. companies are becoming a competitive threat by copying content they do not have permission to use.

“The tools are going to get better, they’re going to get cheaper, and there will come a day when nothing you see on the internet can be believed,” said Wasim Khaled, chief executive of Blackbird.AI, a company that helps clients fight disinformation.

Artificial intelligence allows virtually anyone to create complex artworks, like those now on exhibit at the Gagosian art gallery in New York, or lifelike images that blur the line between what is real and what is fiction. Plug in a text description, and the technology can produce a related image — no special skills required.

Midjourney’s images, he said, were able to pass muster in facial-recognition programs that Bellingcat uses to verify identities, typically of Russians who have committed crimes or other abuses. It’s not hard to imagine governments or other nefarious actors manufacturing images to harass or discredit their enemies.

In February, Getty accused Stability AI of illegally copying more than 12 million Getty photos, along with captions and metadata, to train the software behind its Stable Diffusion tool. In its lawsuit, Getty argued that Stable Diffusion diluted the value of the Getty watermark by incorporating it into images that ranged “from the bizarre to the grotesque.”

Experts fear the technology could hasten an erosion of trust in media, in government and in society. If any image can be manufactured — and manipulated — how can we believe anything we see?

Trademark violations have also become a concern: Artificially generated images have replicated NBC’s peacock logo, though with unintelligible letters, and shown Coca-Cola’s familiar curvy logo with extra O’s looped into the name.

The threat to photographers is fast outpacing the development of legal protections, said Mickey H. Osterreicher, general counsel for the National Press Photographers Association

Newsrooms will increasingly struggle to authenticate conten

Social media users are ignoring labels that clearly identify images as artificially generated, choosing to believe they are real photographs, he said.

The video explained that the deepfake had been created, with Ms. Schick’s consent, by the Dutch company Revel.ai and Truepic, a California company that is exploring broader digital content verification

The companies described their video, which features a stamp identifying it as computer-generated, as the “first digitally transparent deepfake.” The data is cryptographically sealed into the file; tampering with the image breaks the digital signature and prevents the credentials from appearing when using trusted software.

The companies hope the badge, which will come with a fee for commercial clients, will be adopted by other content creators to help create a standard of trust involving A.I. images.

“The scale of this problem is going to accelerate so rapidly that it’s going to drive consumer education very quickly,” said Jeff McGregor, chief executive of Truepic

Adobe unveiled its own image-generating product, Firefly, which will be trained using only images that were licensed or from its own stock or no longer under copyright. Dana Rao, the company’s chief trust officer, said on its website that the tool would automatically add content credentials — “like a nutrition label for imaging” — that identified how an image had been made. Adobe said it also planned to compensate contributors.