person:jane fonda

  • In the Age of A.I., Is Seeing Still Believing ? | The New Yorker

    In a media environment saturated with fake news, such technology has disturbing implications. Last fall, an anonymous Redditor with the username Deepfakes released a software tool kit that allows anyone to make synthetic videos in which a neural network substitutes one person’s face for another’s, while keeping their expressions consistent. Along with the kit, the user posted pornographic videos, now known as “deepfakes,” that appear to feature various Hollywood actresses. (The software is complex but comprehensible: “Let’s say for example we’re perving on some innocent girl named Jessica,” one tutorial reads. “The folders you create would be: ‘jessica; jessica_faces; porn; porn_faces; model; output.’ ”) Around the same time, “Synthesizing Obama,” a paper published by a research group at the University of Washington, showed that a neural network could create believable videos in which the former President appeared to be saying words that were really spoken by someone else. In a video voiced by Jordan Peele, Obama seems to say that “President Trump is a total and complete dipshit,” and warns that “how we move forward in the age of information” will determine “whether we become some kind of fucked-up dystopia.”

    “People have been doing synthesis for a long time, with different tools,” he said. He rattled off various milestones in the history of image manipulation: the transposition, in a famous photograph from the eighteen-sixties, of Abraham Lincoln’s head onto the body of the slavery advocate John C. Calhoun; the mass alteration of photographs in Stalin’s Russia, designed to purge his enemies from the history books; the convenient realignment of the pyramids on the cover of National Geographic, in 1982; the composite photograph of John Kerry and Jane Fonda standing together at an anti-Vietnam demonstration, which incensed many voters after the Times credulously reprinted it, in 2004, above a story about Kerry’s antiwar activities.

    “In the past, anybody could buy Photoshop. But to really use it well you had to be highly skilled,” Farid said. “Now the technology is democratizing.” It used to be safe to assume that ordinary people were incapable of complex image manipulations. Farid recalled a case—a bitter divorce—in which a wife had presented the court with a video of her husband at a café table, his hand reaching out to caress another woman’s. The husband insisted it was fake. “I noticed that there was a reflection of his hand in the surface of the table,” Farid said, “and getting the geometry exactly right would’ve been really hard.” Now convincing synthetic images and videos were becoming easier to make.

    The acceleration of home computing has converged with another trend: the mass uploading of photographs and videos to the Web. Later, when I sat down with Efros in his office, he explained that, even in the early two-thousands, computer graphics had been “data-starved”: although 3-D modellers were capable of creating photorealistic scenes, their cities, interiors, and mountainscapes felt empty and lifeless. True realism, Efros said, requires “data, data, data” about “the gunk, the dirt, the complexity of the world,” which is best gathered by accident, through the recording of ordinary life.

    Today, researchers have access to systems like ImageNet, a site run by computer scientists at Stanford and Princeton which brings together fourteen million photographs of ordinary places and objects, most of them casual snapshots posted to Flickr, eBay, and other Web sites. Initially, these images were sorted into categories (carrousels, subwoofers, paper clips, parking meters, chests of drawers) by tens of thousands of workers hired through Amazon Mechanical Turk. Then, in 2012, researchers at the University of Toronto succeeded in building neural networks capable of categorizing ImageNet’s images automatically; their dramatic success helped set off today’s neural-networking boom. In recent years, YouTube has become an unofficial ImageNet for video. Efros’s lab has overcome the site’s “platform bias”—its preference for cats and pop stars—by developing a neural network that mines, from “life style” videos such as “My Spring Morning Routine” and “My Rustic, Cozy Living Room,” clips of people opening packages, peering into fridges, drying off with towels, brushing their teeth. This vast archive of the uninteresting has made a new level of synthetic realism possible.

    In 2016, the Defense Advanced Research Projects Agency (DARPA) launched a program in Media Forensics, or MediFor, focussed on the threat that synthetic media poses to national security. Matt Turek, the program’s manager, ticked off possible manipulations when we spoke: “Objects that are cut and pasted into images. The removal of objects from a scene. Faces that might be swapped. Audio that is inconsistent with the video. Images that appear to be taken at a certain time and place but weren’t.” He went on, “What I think we’ll see, in a couple of years, is the synthesis of events that didn’t happen. Multiple images and videos taken from different perspectives will be constructed in such a way that they look like they come from different cameras. It could be something nation-state driven, trying to sway political or military action. It could come from a small, low-resource group. Potentially, it could come from an individual.”

    As with today’s text-based fake news, the problem is double-edged. Having been deceived by a fake video, one begins to wonder whether many real videos are fake. Eventually, skepticism becomes a strategy in itself. In 2016, when the “Access Hollywood” tape surfaced, Donald Trump acknowledged its accuracy while dismissing his statements as “locker-room talk.” Now Trump suggests to associates that “we don’t think that was my voice.”

    “The larger danger is plausible deniability,” Farid told me. It’s here that the comparison with counterfeiting breaks down. No cashier opens up the register hoping to find counterfeit bills. In politics, however, it’s often in our interest not to believe what we are seeing.

    As alarming as synthetic media may be, it may be more alarming that we arrived at our current crises of misinformation—Russian election hacking; genocidal propaganda in Myanmar; instant-message-driven mob violence in India—without it. Social media was enough to do the job, by turning ordinary people into media manipulators who will say (or share) anything to win an argument. The main effect of synthetic media may be to close off an escape route from the social-media bubble. In 2014, video of the deaths of Michael Brown and Eric Garner helped start the Black Lives Matter movement; footage of the football player Ray Rice assaulting his fiancée catalyzed a reckoning with domestic violence in the National Football League. It seemed as though video evidence, by turning us all into eyewitnesses, might provide a path out of polarization and toward reality. With the advent of synthetic media, all that changes. Body cameras may still capture what really happened, but the aesthetic of the body camera—its claim to authenticity—is also a vector for misinformation. “Eyewitness video” becomes an oxymoron. The path toward reality begins to wash away.

    #Fake_news #Image #Synthèse

  • Jane Fonda réagit à l’affaire Weinstein : « Ce n’est pas un cas unique, c’est très très répandu » - La Libre

    Ces agressions sexuelles se produisent partout, pas seulement à Hollywood et prolifèrent parce que le #pouvoir est dans les mains des hommes et que les femmes rechignent à en parler, de peur qu’on ne les croient pas, a répété l’actrice, qui fut l’une des principales figures contestataires des Etats-Unis des années 1960 et 1970.

    Jane Fonda a aussi évoqué les scandales sexuels qui ont visé l’acteur américain Bill Cosby, l’ex-président du Fonds monétaire international, le Français Dominique Strauss-Kahn, et le président américain Donald Trump. « Nous avons maintenant un président dont nous savons qu’il a fait la même chose », a-t-elle affirmé. Pendant la campagne présidentielle, une vidéo de Donald Trump avait fuité dans laquelle le magnat de l’immobilier se vantait de pouvoir attraper les femmes par le sexe parce qu’il est célèbre.

    #culture_du_viol #système

  • The Rumor Bomb: On Convergence Culture and Politics Jayson Harsin / American University of Paris – Flow

    In February 2006, the Democratic Party of Japan admitted that one of its politicians used a hoax email producing a scandal that implicated a senior official of the governing Liberal Democratic Party, who allegedly received large sums of money from a publicly disgraced Internet startup. In 2005, a political consultant in South Africa was paid to fabricate emails to sow divisions and contribute to the succession battle in the ANC. In Nigeria in September 2008, an entire TV station was closed after it repeated an internet claim that Nigeria’s president would resign due to illness.

    New photo-editing technologies led to visual rumors. Recall the doctored photo of John Kerry with “Hanoi” Jane Fonda which made its way into the New York Times, and countless war journalism examples.

    Perhaps the most common American political rumor recently concerned Barack Obama. When it was clear Obama would be a contender, the Muslim rumor was launched, landing on mainstream news when a Clinton campaign volunteer was caught re-emailing it. Videoed McCain supporters also announced dread of an “Arab” President Obama, again frequenting news agendas, pressuring McCain to respond that Obama was a “decent family man” (not an Arab). Meanwhile, these rumors have complements that imply Obama was/is a terrorist because he allegedly “pals around with terrorists,” referring to acquaintance Bill Ayers.

    Rumor then is a keyword of contemporary politics and culture. But is it useful as a scholarly concept?

    I proposed the concept of “rumor bomb” (RB) to distinguish a particular use of rumor from other related notions.1 I begin with the widespread definition of rumor as a claim whose truthfulness is in doubt and which often has no clear source even if its ideological or partisan origins and intents are clear. I then treat it as a particular rhetorical strategy in current contexts of media and politics in many societies. The “RB” extends the definition of rumor into a media/politics concept with the following features:

    1. A crisis of verification: perhaps the most salient and politically dangerous aspect of rumor. [...]

    2. A context of public uncertainty or anxiety about a political group, figure, or cause, which the RB overcomes or transfers onto an opponent. ....

    3. A clearly partisan even if anonymous source (eg. “an unnamed advisor to the president”), which seeks political profit from the RB’s diffusion. [...]

    4. A rapid electronic diffusion: i.e. a “convergence culture” where news travels fast.

    #fake_news #post_truth #rumeurs

  • Sois belle et tais-toi

    Delphine Seyrig 1976, FR, video, vo st ang, 115’ Dans ce film culte et féministe des années 1970, Delphine Seyrig interroge des comédiennes françaises et américaines sur le thème de la condition des femmes dans les métiers du cinéma. Auriez-vous choisi le même métier si vous aviez été un homme ? Y a-t-il une place pour une comédienne vieillissante ? Avez-vous songé à devenir metteur en scène ? Etc... De Jane Fonda à Juliet Berto en passant par Anne Wiazemsky, Shirley Mac Laine et beaucoup d’autres, toutes vont s’exprimer sur leur expérience (...) jeudi 26 mai 2016 - 22h , Delphine Seyrig

  • Regardez ce court-métrage d’anticipation sur la peur de vieillir -

    Avec un casting assez fou : Pamela Anderson, Jane Fonda (à la voix) ou Dree Hemingway.

    Motherboard vient de mettre en ligne Connected, un court-métrage de science-fiction troublant sur la peur et l’angoisse du vieillissement. L’histoire ? Jackie (Pamela Anderson) est prof de fitness et de cardio-training.

    Exténuée, proche du burn-out et en plein questionnement sur elle-même, elle se laisse tenter par une société mystérieuse qui promet l’amélioration du corps, de l’âme et de l’esprit.

    #agisme #santé #immortalité #corps

  • Jane Fonda - « La chirurgie me permet de jouer 10 ans de plus »

    Lors de son entretien, l’actrice américaine a également évoqué la chirurgie esthétique, que son personnage aborde avec « autodérision » dans la série. Un comportement qui fait écho à sa vie. « [J’ai eu recours à la chirurgie esthétique], peut-être parce que je ne suis pas assez courageuse. Je me dis que cela me permettra d’exercer mon métier d’actrice dix ans de plus. Je suis brave dans bien d’autres domaines mais pas celui-ci... J’ai évolué à une époque où l’apparence était le plus important. Je passais mon temps à me dire que si je n’étais pas ainsi ou ainsi, personne ne m’aimerait. Cela m’a rendue assez vulnérable », affirme-t-elle.

    #actrices #chirurgie_esthétique

  • « La Majordome de Lee Daniels », ou l’art d’envelopper les luttes dans un drapeau.

     Le Majordome de Lee Daniels a connu un succès au box office, un succès en salle, aidé sans doute par un défilé d’acteurs et actrices qui donne presque le tournis : Forest Whitaker, Oprah Winfrey, David Oyelowo, Yaya Dacosta, Cuba Gooding Jr., Clarence Williams III, Lenny Kravitz, Mariah Carey, Vanessa Redgrave, Jane Fonda, Robbie […]

    #Cinéma #racisme

  • En opposition à un article du (planqué) va-t-en guerre Charles Krauthammer qui soutient l’assassinat « préventif » par drones.

    On Drones, Contra Krauthammer

    If sympathizing with our enemies and propagandizing on their behalf is the equivalent of making war on the country, then the Johnson and Nixon administrations should have bombed every elite college campus in the country during the 1960s.

    And as satisfying as putting Jane Fonda on a kill list might have been, I do not think that our understanding of the law of war would encourage such a thing, even though she did give priceless aid to the Communist aggressors in Vietnam. Students in Ann Arbor, Mich., were actively and openly raising funds for the Viet Cong throughout the war. Would it have been proper to put them on kill lists? I do not think that it would. There is a difference between sympathizing with our enemies and taking up arms against the country; there is even a difference between actively aiding our enemies and taking up arms against the country, which is why we have treason trials rather than summary execution.

  • The China Syndrome - Wikipedia, the free encyclopedia

    Godell uncovers evidence that X-rays of welds have been falsified. He believes that the plant is unsafe and could be severely damaged if another full-power SCRAM occurs. He tries to bring the evidence to the attention of the public, but after threatening an employee of the construction company who built the plant, he is chased by goons of the construction company. He escapes by taking refuge in the plant.

    Hier, j’ai vu « Le syndrome chinois », 1979, avec Jane Fonda, Jack Lemmon et Michael Douglas (produit par lui, aussi).

    J’ai beaucoup entendu parler de ce film quand j’étais ado, mais curieusement je ne l’avais jamais vu. Hé ben j’ai trouvé ça drôlement bien.

    Ce dont on parlait dans les années 80, c’est le scénario catastrophe du film (d’où son titre : « le syndrome chinois »), mais tout l’intérêt du film, me semble-t-il, c’est dans sa dénonciation politique du système (parce que, tout de même, c’est un film des années 70) : la logique du profit qui conduit à des économies (illégales) sur la surveillance de la centrale, les médias qui s’écrasent suite aux menaces de procès, l’organisme public de contrôle qui ne sert qu’à avaliser les décisions des industriels du secteur, et l’ensemble des trois qui collaborent pour minimiser la gravité de l’accident.

    Avec ça, les acteurs sont épatants, notamment Jack Lemmon. Et la fin est carrément haletante (même si carrément tirée par les cheveux).

    Après, ça reste grand public, il y a des facilités dans le scénario (la fin, vraiment tirée par les cheveux), ça n’est tout de même pas « Les trois jours du Condor », mais ça se laisse drôlement bien voir et, vraiment, c’est bien d’avoir axé la critique sur les travers inhérents à une pure logique de profit.

    #film #nucléaire