Abstract

The article defines the research field of a semiotically oriented philosophy of digital communication. It lays out its methodological perspective, pointing out how the fake has always been at the center of semiotic research. It traces the origin of deepfakes back to the conception of GANs, whose essential semiotic workings it expounds on. It enucleates the specificities of the digital fake, especially in the production of artificial faces. It reviews the deepfake phenomenon, enunciating its most recent statistics, prevalent areas of application, risks, and opportunities. It surveys the most current literature. It concludes by emphasizing the novelty of a situation in which the fake, in human societies and cultures, is produced mostly by machines. It stresses the desirability for a semiotic and interdisciplinary study of these productions.