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Copyright of Archives de Sciences Sociales des Religions is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’article promeut une philosophie de la communication orientée sémiotiquement, capable de détecter les idéologies du sens qui sous-tendent les technologies de l’échange symbolique. Leur évolution au cours de l’histoire implique des changements importants en ce qui concerne la rhétorique du faux. Il s’agit d’un élément constitutif de l’espèce humaine, dont les conditions sont pourtant radicalement modifiées par le numérique et l’essor de l’intelligence artificielle. L’article se concentre sur l’idéologie sémiotique des réseaux adverses génératifs et leurs conséquences en termes de production et de réception des deepfakes. Ces nouveaux produits textuels, perturbants, sont le plus souvent considérés comme divertissants ; pourtant, conclut l’article, ce n’est qu’une question de temps avant que les humains ne soient incapables de les détecter. La sémiotique est donc appelée à se concentrer d’urgence sur la « crise épistémologique » que les progrès du faux numérique sont susceptibles d’engendrer.

Copyright of Authenticity Studies: International Journal of Archaeology & Art is the property of Padova University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Conséquence de la découverte de la nécropole de Tanagra au début des années 1870, la production de fausses terres cuites grecques est l’une des mystifications archéologiques les plus importantes de la fin du XIXe siècle. Jusqu’au début des années 1900, les fausses figurines se diffusent en masse au sein du marché de l’art, des musées et des collections privées. Parmi elles, les groupes dits « d’Asie Mineure » se distinguent par leur iconographie attrayante et leur style « baroque », fruits de l’érudition et de l’inventivité des faussaires. Le présent article propose de s’intéresser plus particulièrement à cet ensemble par le prisme des collections du musée Louvre et du Metropolitan Museum of Art de New York, en le resituant dans son contexte historique.

From the 1890s, 15th and 16th century Flemish painting rediscovery generated a largescale production of Flemish Primitives forgeries. While some of these are made using a modern support, others are paintings abusively restored. A certain number of these fakes found their way into Spanish collections, and even famous authors such as Chandler Post, Jacques Lavalleye and Elisa Bermejo believed them to be genuine Flemish or Hispano-Flemish works. Amongst the newly detected forgeries investigated in this contribution, some can be ascribed to the Belgian restorer and forger Joseph Van der Veken, others to the mysterious 'Valls Marín Forger'. [ABSTRACT FROM AUTHOR]

Copyright of Social Anthropology / Anthropologie Sociale is the property of Berghahn Books and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le Faussaire de Valls Marín peut être considéré comme l’un des imitateurs de la peinture des anciens Pays-Bas ayant connu le plus grand succès, une sorte de Joseph Van der Veken ibérique. Il semble avoir travaillé durant la première moitié du XXe siècle, principalement pour le marché d’art espagnol. Il réussit à vendre des peintures de sa main comme des œuvres flamandes authentiques à des collectionneurs renommés, tels l’éditeur José Lázaro Galdiano, le médecin Carmelo Valls Marín et l’historien d’art José Camón Aznar. Ses sources principales furent probablement des photographies de tableaux de Jan van Eyck, Rogier van der Weyden et Hans Memling. À l’occasion, il prit aussi pour modèles des œuvres allemandes. Comme de nombreux faussaires de son époque, il eut une activité de restaurateur. Parfois, il alla bien au-delà de la simple restauration d’une peinture ancienne et chercha à augmenter sa valeur marchande en y ajoutant des visages et des détails d’architecture dans le style des Primitifs flamands. L’une de ses ‘hyperrestaurations’ les plus spectaculaires concerne une Présentation au Temple due à un artiste aragonais: le Maître de Sijena. De ce tableau du début du XVIe siècle, il a tenté de faire une œuvre de Memling.

The Valls Marín Forger may be considered as one of the most successful forgers of early Netherlandish paintings, as a kind of Iberic Joseph Van der Veken. He seems to have worked during the first half of the 20th century, principally for the Spanish art market. He succeeded in selling paintings created with his own hands as genuine Flemish works to well-known Spanish collectors, such as the editor José Lázaro Galdiano, the physician Carmelo Valls Marín and the art historian José Camón Aznar. His main sources were probably photographs of paintings by Jan van Eyck, Rogier van der Weyden and Hans Memling but he could also have used German works as models. Like many forgers of his time, he worked as a restorer. Sometimes, he went beyond the mere restoration of an old painting and sought to increase its market value by adding faces and architectural details in the style of the Flemish Primitives. One of his most spectacular 'hyperrestorations' concerns a panel with the Presentation to the Temple by the Aragonese Master of Sijena (beginning of 16th century), which he tried to turn into a painting in the style of Memling. [ABSTRACT FROM AUTHOR]

Falsified medicines are a global threat that does not stop to grow. Its trafficking causes more deaths than malaria while being more profitable than drug smuggling. Not only it threatens public health but also economic development of the poorest countries. Taking advantage of globalization, it affects now every country even the most developed and any type of pharmaceutical products, ranging from treatments against cancer to erectile dysfunction pills. Considered the biggest black market in the world, it remains underestimated by politicians, health professionals and the public. Raising awareness at every level about the health risks associated with falsified medicines is a vital emergency. [ABSTRACT FROM AUTHOR]

We present a case of a faux blood fingermark, wherein a natural latent fingerprint on the pistol at the crime scene was enhanced by the whole blood of the victim. A male was shot to death. The crime scene investigator did not find any blood fingermark during the collection of evidence, but a blood fingerprint was noticed in the firearms examination. We identified that the fingerprint was of the victim; a series of experiments on the nonporous substrate were then conducted; the death in this case was classified as a suicide. The phenomenon is interesting, and thus, calls for attention of the forensic community. [ABSTRACT FROM AUTHOR]

After visiting the exhibition Fake or not Fake, held in the Bruges Groeningemuseum, November 2004-February 2005, art historians were essentially struck by the revelations about Van der Veken. But the purpose was to demonstrate to the public that works of art should be submitted to a critical examination, like any archival source. The eye is not sufficient. The help of technical instruments is necessary. Inorder to protect the works of art, one should consider the legal aspects of the restorer's activity.

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the obstacles faced by the female medical expert in the early modern courtroom through a close reading of three case studies: Marie Garnier, expert midwife tried for false testimony in 1665, and Angélique Perrotin and Barbe-Françoise D'Igard, accused of false accusation of rape and infant substitution, respectively, in the 1730s. The difficulties of determining the veracity of the corporeal signs of a crime were particularly acute with regard to the reproductive female body, which was perceived to be less reliable than its male counterpart. The ability of the female medical expert to accurately and truthfully interpret such signs was also questionable, and at times she seems to have been as much "on trial" as the bodies of those she examined. [ABSTRACT FROM AUTHOR]