{"id":5272,"date":"2025-11-18T10:08:00","date_gmt":"2025-11-18T09:08:00","guid":{"rendered":"https:\/\/hacnumedia.org\/on-the-artistic-use-of-deepfakes\/"},"modified":"2025-12-10T13:08:31","modified_gmt":"2025-12-10T12:08:31","slug":"on-the-artistic-use-of-deepfakes","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/on-the-artistic-use-of-deepfakes\/","title":{"rendered":"On the Artistic Use of Deepfakes"},"content":{"rendered":"\n<p class=\"is-style-chapo\"><strong>Propelled into the spotlight by the rise of AI, deepfakes blur our perception of reality more than ever. Many artists are now working with vocal and visual cloning tools: somewhere between technological critique and new forms of storytelling, they probe the limits of authenticity in the age of algorithms. Who are these artists? How do they challenge us in this era of post-truth? A dive into the artistic use of deepfakes.    <\/strong><\/p>\n\n<p>A contraction of \u201cdeep,\u201d as in deep learning, and \u201cfake,\u201d as in fake news, deepfakes (or \u201chypertrucages\u201d in French) have seen explosive growth in recent months. \u201cThe idea is to digitally graft part of an image onto another, which works for both video and audio,\u201d explains journalist<em> <a href=\"http:\/\/linkedin.com\/in\/gerald-holubowicz?originalSubdomain=fr\">G\u00e9rald Holubowicz<\/a><\/em>, a specialist in the societal impacts of deepfakes. \u201cOver time, the term became a catch-all to describe any video manipulation or identity alteration for malicious purposes,\u201d he adds. Indeed, deepfakes have a troubling capacity to reshape real events, twist the truth, and impose an alternative narrative. This distortion manifests first and foremost in the field of pornography, often used for blackmail or revenge porn. Artists \u00c9milie Brout and Maxime Marion tackled this terrain in Sextape (2021), an amateur porn video found online, altered so their own faces appear in it. Likewise, in 2019, Marianne Vieul\u00e8s created <a href=\"https:\/\/dda-nouvelle-aquitaine.org\/Absolutely-Yes\">Absolutely Yes<\/a>, a reconstruction of a censored orgasm scene from Extase (1933) by Gustav Machat\u00fd.     <\/p>\n\n<p>Politics is no refuge either. In 2018, filmmaker <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jordan_Peele\">Jordan Peele<\/a> warned of the dangers of manipulation with <a href=\"https:\/\/www.youtube.com\/watch?v=cQ54GDm1eL0\">Obama Deepfake<\/a>, a viral video in which he impersonates the former president to demonstrate just how easily public speech can be fabricated. In 2019, Nixon\u2019s image was repurposed in <a href=\"https:\/\/arts.mit.edu\/in-event-of-moon-disaster\/\">In Event of Moon Disaster<\/a>, an installation by Francesca Panetta and Halsey Burgund at MIT.   <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"You Won\u2019t Believe What Obama Says In This Video! \ud83d\ude09\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cQ54GDm1eL0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>From the Origins of Deepfake\u2026<\/strong><\/h2>\n\n<p>Let\u2019s say it clearly: deepfakes weren\u2019t invented in 2025. Their technical foundations have existed for years in the film industry. \u201cIt\u2019s tied to Hollywood studios who feared losing an actor mid-production,\u201d explains artist and filmmaker <a href=\"https:\/\/ismaeljoffroychandoutis.com\/\">Isma\u00ebl Joffroy Chandoutis<\/a>, a deepfake specialist. This theme was central to Ari Folman\u2019s <a href=\"https:\/\/www.imdb.com\/fr\/title\/tt1821641\/\">The Congress<\/a> (2013), <em> <\/em>which already imagined actor-cloning. \u201cTechnically, it\u2019s a suite of tools derived from GANs (Generative Adversarial Networks). The phenomenon became widespread in 2017 on Reddit, where people could run them across multiple machines,\u201d continues Ismael Joffroy Chandoutis. Digitally cloning performers is hardly new. As early as 2012, <g id=\"gid_1\">Philippe Parreno<\/g> explored vocal cloning with <g id=\"gid_2\">Marilyn<\/g>, where an algorithm resurrected Marilyn Monroe\u2019s voice in a hotel suite she once occupied. In <a href=\"https:\/\/x.com\/genekogan\/status\/1057303123738398725\">Meat Puppet<\/a> (2018), American artist Gene Kogan imagined a future in which a person\u2019s appearance could be perfectly imitated through machine learning. Today, these tools have scaled dramatically. \u201cSpecial-effects professionals have deep technical expertise, but with tools like <a href=\"https:\/\/www.youtube.com\/watch?v=ykcFb31pDqw\">Sora 2,<\/a> these technologies have become accessible to far broader audiences,\u201d notes Holubowicz\u2014a democratization that further blurs the line between reality and manipulation.      <\/p>\n\n<h2 class=\"wp-block-heading\"><strong>\u2026To Its Technological Peak<\/strong><\/h2>\n\n<p>Before 2025, most visual deepfake tools relied on software such as <a href=\"https:\/\/github.com\/iperov\/DeepFaceLab\">DeepFaceLab<\/a> or <a href=\"https:\/\/github.com\/facefusion\/facefusion\">FaceFusion<\/a>. The latter made manipulation far more accessible. \u201cNo need for hundreds of photos, sometimes one was enough. It still required skill, but the process was simpler. However, as soon as movement entered the frame, complexity skyrocketed,\u201d says Ismael Joffroy Chandoutis, who has created interactive <a href=\"https:\/\/ismaeljoffroychandoutis.com\/works\/dark-waves-copy\">AI clones of Alain Damasio<\/a> and <a href=\"https:\/\/www.instagram.com\/reel\/DOUGj-ugh6A\/?utm_source=ig_web_copy_link&amp;igsh=MzRlODBiNWFlZA==\">David Lynch<\/a>, as well as \u201cmentor clones\u201d like Chantal Akerman, Jean-Claude Carri\u00e8re, and Aaron Sorkin, digital entities that accompany him throughout his creative process. A new wave arrived in September 2025 with the direct integration of generative AI into video tools, including <a href=\"https:\/\/www.atlascloud.ai\/collections\/wan?utm_source=google&amp;utm_medium=cpc&amp;utm_campaign=A09&amp;utm_term=wan2.2%20animate&amp;gad_source=1&amp;gad_campaignid=23057395865&amp;gbraid=0AAAABBjo_xCCozzPcL3M7wPH-KuX4zYL9&amp;gclid=Cj0KCQiAiKzIBhCOARIsAKpKLAMVCitLhdnhtoNqtoQQ58Y9nlYsdMqA1-56yv5TUjQdGjX9fW2y7gkaAiI2EALw_wcB\">Wan 2.2 Animate<\/a>. \u201cYou can now use reference images to generate fully tracked visuals. From there, movements become believable: the deepfake becomes virtually undetectable,\u201d Ismael Joffroy Chandoutis explains. Some artifacts still appear\u2014pixel density anomalies, odd gradients. But once re-encoded, the material is smoothed out. A new discipline has even emerged: deepfake forensics, combining expert analysis and algorithmic detection.       <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1319\" height=\"1211\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/wan2-2-animate-in-comfyui-full-motion-video-from-images-comfyui-demo-1292.webp\" alt=\"\" class=\"wp-image-5139\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/wan2-2-animate-in-comfyui-full-motion-video-from-images-comfyui-demo-1292.webp 1319w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/wan2-2-animate-in-comfyui-full-motion-video-from-images-comfyui-demo-1292-900x826.webp 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/wan2-2-animate-in-comfyui-full-motion-video-from-images-comfyui-demo-1292-768x705.webp 768w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.runcomfy.com\/fr\/comfyui-workflows\/wan2-2-animate-in-comfyui-full-motion-video-from-images\">Wan 2.2 Animate via ComfyUI<\/a><\/figcaption><\/figure>\n\n<p><\/p>\n\n<p>The leap in audio technology has been just as radical. Musician DeLaurentis uses the software <a href=\"https:\/\/musicfy.lol\/\">Musicfy<\/a>. <em>\u201cIt\u2019s an extremely fine-tuned vocal-cloning tool. I was able to blend my voice with that of a man. It keeps my inflections and interpretation\u2026 but with another person\u2019s timbre,<\/em>\u201d she explains in <a href=\"https:\/\/trempo.com\/actualites\/delaurentis-lia-ne-permet-pas-daller-plus-vite-mais-de-creer-autrement\/\">Trempo\u2019s magazine<\/a>. <em>\u201cI even sang Billie Jean via Musicfy. I\u2019m nowhere near his range, but with AI I found a new vocal personality, a groove I never could\u2019ve accessed otherwise.\u201d<\/em> Composer <a href=\"https:\/\/benoitcarre.com\/\">Beno\u00eet Carr\u00e9<\/a>, associated with <a href=\"https:\/\/csl.sony.fr\/\">Sony CSL<\/a>\u2019s research lab, is another pioneer of vocal cloning. His project <a href=\"https:\/\/www.skygge.fr\/chansons-impossibles\/\"><em>Chansons impossibles<\/em><\/a> creates imaginary duets between late artists and contemporary musicians: Dalida with PNL, Brassens singing Ang\u00e8le, Joe Dassin performing Papaoutai. <em>\u201cYou can already convert a voice, modify its timbre with<\/em> <a href=\"https:\/\/voice.ai\/hub\/tools\/rvc-voice-changer\/\"><em>RVC <\/em><\/a><em>(Retrieval Voice Conversion). Doing it live requires massive computing power and creates latency, but we can imagine a near future where singers borrow each other\u2019s timbre on stage,\u201d<\/em> he predicts. Meanwhile,<a href=\"https:\/\/www.ircam.fr\/article\/clones-filtres-et-fakesethique-et-ia\"> IRCAM is actively researching detection<\/a>: <a href=\"https:\/\/www.ircam.fr\/projects\/pages\/detox\">DeTOX <\/a>for video, <a href=\"https:\/\/www.ircam.fr\/projects\/pages\/bruel\">BRUEL <\/a>for audio.     Its commercial branch, IRCAM Amplify, recently released <a href=\"https:\/\/www.ircamamplify.com\/products\/ai-music-detector\">AI Music Detector<\/a>, capable of analyzing audio fingerprints and spectral features with over 97.8% accuracy to determine whether a piece was generated by AI or performed by human musicians.<\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Quand Edith Piaf reprend Stroma\u00e9 | PhantasIA #2 le magazine de la cr\u00e9ation IA | ARTE\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/R226JGaY8l8?start=122&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Artistic Subversion<\/strong><\/h2>\n\n<p>While deepfake technology is typically a tool of control or identity theft, for artists it becomes a space of experimentation and critique. They reclaim the tools to expose limitations and reveal societal tensions. Artistic deepfake becomes a form of metadiscourse\u2014showing the manipulation instead of hiding it. Researcher Vivien Lloveria describes this well in <a href=\"https:\/\/www.unilim.fr\/interfaces-numeriques\/4876\">Le deepfake et son m\u00e9tadiscours<\/a> : l\u2019art de montrer que l\u2019on ment (Interfaces num\u00e9riques, 2022). Drawing on the work of Facebook\u2019s Monika Bickert, he distinguishes deepfakes from \u201ccheapfakes,\u201d which intentionally expose visual flaws, letting viewers perceive the mechanics of falsification. \u201cA whole range of textual and visual metadiscourse teaches audiences to read these signs of manipulation,\u201d he writes. This strategy echoes <a href=\"https:\/\/www.lefresnoy.net\/exposition\/60\/oeuvre\/274\/\">Z32<\/a> by <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Avi_Mograbi\">Avi Mograbi<\/a> (Le Fresnoy, 2008), in which an Israeli soldier confesses to a murder committed during his service. To preserve his anonymity, Mograbi uses a deepfake whose surface fractures, revealing the mask\u2019s digital cracks. Ismael Joffroy Chandoutis shares this philosophy: his work on internet troll <a href=\"https:\/\/ismaeljoffroychandoutis.com\/blog\/villa-albertine-une-r%C3%A9sidence-aux-us-sur-le-plus-grand-troll-d-internet\">Joshua Ryne Goldberg <\/a>explores the blurred boundaries between identity and simulacrum. \u201cAsking someone to embody a figure with a thousand faces feels right conceptually. I\u2019m not looking for Hollywood polish, I want the mask to break. This technology is only a simulacrum, and that\u2019s exactly where it becomes interesting: when you realize it\u2019s just an illusion.\u201d      <\/p>\n\n<p>Artist and researcher <a href=\"https:\/\/www.alizeearmet.com\/\">Aliz\u00e9e Armet,<\/a> who devoted part of her <a href=\"https:\/\/www.alizeearmet.com\/images\/blog\/deepfake.pdf\">PhD <\/a>to deepfake practices, advocates for the same reflexive stance. \u201cMy approach considers deepfake as an interface between the living and the computational, where the artistic gesture becomes a space of exchange born from technopoiesis. Far from simply revealing the fake, these practices allow us to imagine the emergence of non-human images and forms, opening pathways to new modes of existence and co-creation with the machine.\u201d<\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Multiple Identities in the Digital Age <\/strong><\/h2>\n\n<p>Identity is explored with varying degrees of realism by many artists. In 2021, English musician and researcher <g id=\"gid_0\">Holly Herndon <\/g>launched <g id=\"gid_1\">Holly+<\/g>, a digital twin of her voice: any audio file can be transformed into a rendition sung with her <g id=\"gid_2\">cloned timbre<\/g>. She demonstrated it with a <a href=\"https:\/\/www.youtube.com\/watch?v=kPAEMUzDxuo\">recreation of Dolly Parton\u2019s Jolene,<\/a> entirely performed by her vocal double. A gesture of voluntary self-dispossession, where the artist uses the loss of control over her own identity as creative ground. Others embrace parody or counter-power. Artist Albertine Meunier mocks Elon Musk in her series I am a Grok con. Researcher-artist <a href=\"https:\/\/billposters.ch\/\">Bill Posters<\/a> hijacks public figures to expose mechanisms of persuasion and disinformation online. His deepfakes of Kim <a href=\"https:\/\/www.vice.com\/en\/article\/kim-kardashian-deepfake-mark-zuckerberg-facebook-youtube\/\">Kardashian<\/a> or <a href=\"https:\/\/billposters.ch\/the-zuckerberg-deepfake-heard-around-the-world\/\">Mark Zuckerberg<\/a> spotlight, with irony, the manufacturing of media authority.      <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Holly Herndon - Jolene (feat. Holly+)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/kPAEMUzDxuo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<p>Plus largement, ces exp\u00e9rimentations invitent \u00e0 repenser la notion de double et de l\u2019incarnation num\u00e9rique. Ces questionnements d\u00e9passent le champ des arts num\u00e9riques pour s\u2019\u00e9tendre \u00e0 d\u2019autres disciplines comme le th\u00e9\u00e2tre. Le <a href=\"https:\/\/obvious-art.com\/\">collectif Obvious<\/a>, en collaboration avec la Sorbonne Universit\u00e9, a par exemple recr\u00e9\u00e9 un<a href=\"https:\/\/www.sorbonne-universite.fr\/presse\/et-si-moliere-netait-pas-mort-en-1673-obvious-et-sorbonne-universite-imaginent-une-oeuvre\"> clone num\u00e9rique de Moli\u00e8re<\/a> autour d\u2019une hypoth\u00e8se : qu\u2019aurait \u00e9crit l\u2019auteur s\u2019il avait v\u00e9cu au-del\u00e0 de 1673 ? De son c\u00f4t\u00e9, la metteure en sc\u00e8ne Christine Armanger, de la<a href=\"https:\/\/www.compagnielouve.fr\/\"> [Compagnie Louve]<\/a>, imagine cloner la voix de Marilyn Monroe sur sa cr\u00e9ation <a href=\"https:\/\/www.compagnielouve.fr\/creation-description.php?p=de-diaboli\"><em>de dIAboli<\/em><\/a> ou ressusciter la danseuse Isadora Duncan dans de faux films d\u2019archives du d\u00e9but du XXe si\u00e8cle (The Mirage Factory). Ou comme avec<g id=\"gid_5\"><g id=\"gid_6\"> To Be A Machine 2.0<\/g><\/g>, de la compagnie Dead Centre o\u00f9 l\u2019artiste <g id=\"gid_7\">Antoine Vanel<\/g>, utilise le visage de chaque spectateur pour le rendu de son propre film VR. Autant de cr\u00e9ations qui d\u00e9placent les fronti\u00e8res entre m\u00e9moire et fiction, et qui questionnent la notion d\u2019identit\u00e9.      <\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Interrogating Our Relationship to Images <\/strong><\/h2>\n\n<p>Deepfake must ultimately be understood within a broader context: the era of post-truth, in which the mere mastery of social media can produce large-scale manipulation. It remains one of the most powerful\u2014and ambiguous\u2014tools for distorting reality. The collective <a href=\"https:\/\/www.u2p050.com\/\">U2P050<\/a> generates images of political figures kissing in <a href=\"https:\/\/www.ladn.eu\/mondes-creatifs\/il-y-a-deja-differents-courants-esthetiques-de-lintelligence-artificielle\/\">Smack Dat<\/a>, and in their film <a href=\"https:\/\/ifdigital.institutfrancais.com\/fr\/creation\/youre-very-special\">You Are Very Special<\/a>, they document Trump supporters\u2019 assault on the Capitol using AI-generated archives sourced from two years of research. Their approach borders on deepfake, though the collective prefers the term \u201csynthetic truth,\u201d part of a wider investigation into the redefinition of contemporary epistemology.    <\/p>\n\n<p>In a world saturated with deepfakes, attention and perception have become fragile terrains where truth and fiction merge. To paraphrase artist <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Hito_Steyerl\">Hito Steyerl<\/a>: images no longer just present reality\u2014they produce it. All the artists mentioned above, working directly or indirectly with deepfake, have an essential merit: they compel us to question this radically new paradigm.  <\/p>\n\n<p class=\"is-style-signature\">Adrien Cornelissen<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Propelled into the spotlight by the rise of AI, deepfakes blur our perception of reality more than ever. Many artists are now working with vocal and visual cloning tools: somewhere between technological critique and new forms of storytelling, they probe the limits of authenticity in the age of algorithms. Who are these artists? How do they challenge us in this era of post-truth? A dive into the artistic use of deepfakes.    <\/p>\n","protected":false},"author":2,"featured_media":5173,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[42,38,40],"class_list":["post-5272","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert","tag-ai","tag-hybrid-creation","tag-society","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5272","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/comments?post=5272"}],"version-history":[{"count":1,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5272\/revisions"}],"predecessor-version":[{"id":5276,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5272\/revisions\/5276"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/5173"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=5272"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=5272"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=5272"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}