Fauxtography

Images online are constantly claiming the attention of the viewers but whose truth do they speak of?

The theme of Fauxtography examines a world where images become collective resources that narrativise the world we live in and its crisis. First coined by webloggers during the 2006 Israel – Lebanon war to describe the blatant use of manipulated images in news articles, the term encapsulates how casual we have become in our relationship to such images.
Either by spreading the populist discourses of highly visualised conspiracy theories or by expressing the democratizing power of cameras today, networked images create a challenge of credibility not only of their content but also of their creator. 

February 2017

Where someone said they saw some smoke, there very well may be no fire.

For the (conspiracy) theorist, the beauty of images is that they have the power to become simultaneously a source of proof and doubt.
Look again, don’t you see that?
There it is.
Gone.

February 2017

Artifact Readers: pixelated revelations, glitch augury and low-res millenarianism in the age of conspiracy theory

These images, drawn from films made by members of the YouTube conspiracy theorist community, are presented as evidence for the radically heterodox alternate worldviews of their original creators.

February 2017

Hidden in Plain Sight: The Steganographic Image

Who knows what went into an image, what it includes and what it hides? This is not merely a question of fine art historical importance of materials, or even media historical intrigue of chemistry but one of steganography - hiding another meaningful pattern, perhaps a message, in data; inside text or an image.

February 2017

Soft Power / Hard Meme

In early 2016, @RussianEmbassy, the verified Twitter account from the Russian Embassy in the UK, sent an image to the Russian Ministry of Defence via Twitter, warning that ‘Extremists near Aleppo received several truckloads of chemical ammo.' On further inspection, rather than a matter of urgency, it became immediately apparent that these were neither extremist trucks, nor was it in fact an actual photograph of real trucks at all.