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1
Soloshenko, Viktoriia. "Art Forgery: The International Context." Diplomatic Ukraine, no. XXII (2021): 829–41. http://dx.doi.org/10.37837/2707-7683-2021-45.
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The article deals with the problem of art forgery, its local and global dimensions, whilst also exploring the origins of this practice. The author argues that works of art have always aroused and continue arousing great interest among collectors, art admirers, and specialists in forgeries. It has been found in the research that collecting has been practiced since ancient times, in a certain way promoting the process of art forgery. The author mentions well-known and reputable world auction houses and reveals the role of some of them in trafficking forged paintings. The article emphasises that the scandals related to trading art forgery cast a dark shadow on auctions and galleries in general. Paintings have proven to be one of the most common items of antiquity and forgery. It is established in the article that the prices for the artworks of famous masters have increased from thousands to millions of dollars over the years, and that they are generally recognised as a reliable investment. The replenishment of collections with purchased works of art is always a large and lucrative business. However, not all of these masterpieces are originals. The presented research shows that this problem keeps gaining momentum and needs to be resolved on a global level. The article notes that the 20th century can be characterised by positive achievements and discoveries of humankind. However, it has engraved in history the problem of art forgery mired in scandals of a worldwide scale. The author highlights famous forgeries and falsifications as well as the most popular art forgers and paintings. The forgers were found to have skillfully used the hardships connected with the chaos and displacement of cultural property caused by the two world wars. As a result, forgery artworks appear on the auctions, where they can find their new owners. It misleads museums, collectors, and millions of art lovers. The article describes the methods, which forgers use in their work, and reveals their motivation for making fake art products. The details and ways, which allows distinguishing a counterfeit artwork from the original, are also covered in the research. The article shows how the international community invests great efforts to find originals, detect existing forgeries, and prevent the creation of new fakes. Interpol’s opening of a previously classified database of stolen works of art has proved helpful in partially blocking forged artwork distribution channels. Keywords: works of art, forgers, forgeries, art market, auction houses, galleries, museums, theft, search, Interpol.
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Hendel, Ronald. "Notes on the Orthography of the Shapira Manuscripts: The Forger’s Marks." Zeitschrift für die alttestamentliche Wissenschaft 133, no. 2 (2021): 225–30. http://dx.doi.org/10.1515/zaw-2021-2008.
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Abstract The Shapira manuscripts, putatively precursors of Deuteronomy, have many indications of forgery, particularly in the orthography, which mixes the writing conventions of the Mesha stele and the Hebrew Bible. Notably, the consistent use of waw, instead of he, to mark final ō is an anachronism. These problems were not perceivable by the text’s nineteenth century critics (or its forgers), but in hindsight are clear marks of the forger’s art.
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Amineddoleh, Leila. "Purchasing Art in a Market Full of Forgeries: Risks and Legal Remedies for Buyers." International Journal of Cultural Property 22, no. 2-3 (2015): 419–35. http://dx.doi.org/10.1017/s094073911500020x.
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Abstract:Since the first lawsuit against the Knoedler Gallery was filed for selling forgeries, the art world has been abuzz with stories of high-end fakes. However, forgeries are not a new phenomenon. The law of supply and demand dictates that there will be no end to the rising value of artworks done by the hands of “masters.” And with soaring market prices, art forgery will proliferate as forgers find incentive in skyrocketing sales. At the heart of forgery disputes is the determination of authenticity. Who makes these determinations? How does the market and legal world handle a battle of experts? Moreover, what remedies are available to disappointed buyers? The best method of protection is to complete due diligence; however, the process is often complex and expensive. Even after completing due diligence, it is possible for buyers to be left with sophisticated fakes. What legal remedies are available to buyers?
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Dundler, Lauren. "Art crime: terrorists, tomb raiders, forgers and thieves." Journal of Policing, Intelligence and Counter Terrorism 11, no. 2 (2016): 199. http://dx.doi.org/10.1080/18335330.2016.1231377.
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Prajakta, Harne, Mishra M.K, and Sodhi G.S. "Variation in Length of Signatures in Case of Simulated Forgery." Journal of Forensic Chemistry and Toxicology 4, no. 2 (2018): 83–88. http://dx.doi.org/10.21088/jfct.2454.9363.4218.2.
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Simulated or imitation forgery is one of the pervasive forgeries among the group of forgers, where genuine signature of signatory authority is available to forger and he attempts to execute by following the pictorial effect of the design of the signature by simply drawing the same. However, several factors are revealed during this act of forgery. Not every reproduction has a perfect evidence of poor line quality, retouching, and other “classic” features that may establish it as a fraud. Others, specifically those carried out when copying simple short signatures may have a line quality not very diverse from the signature and can be made without pen lifts, retouching, or tracing. In such cases, it may not be probable to opine with an extraordinary degree of confidence that the questioned writing is an imitation, but, according to its degree of inaccuracy, that exist, it may be apparent to postulate forgery.\
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Łydżba-Kopczyńska, Barbara I., and Janusz Szwabiński. "Attribution Markers and Data Mining in Art Authentication." Molecules 27, no. 1 (2021): 70. http://dx.doi.org/10.3390/molecules27010070.
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Today’s global art market is a billion-dollar business, attracting not only investors but also forgers. The high number of forged works requires reliable authentication procedures to mitigate the risk of investments. However, with the developments in the methodology, continuous time pressure and the threat of litigation, authenticating artwork is becoming increasingly complex. In this paper, we examined whether the decision process involved in the authenticity examination may be supported by machine learning algorithms. The idea is motivated by existing clinical decision support systems. We used a set of 55 artworks (including 12 forged ones) with determined attribution markers to train a decision tree model. From our preliminary results, it follows that it is a very promising technique able to support art experts. Decision trees are able to summarize the existing knowledge about all investigations and may also be used as a classifier for new paintings with known markers. However, larger datasets with artworks of known provenance are needed to build robust classification models. The method can also utilize the most important markers and, consequently, reduce the costs of investigations.
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Chappell, Duncan, and Kenneth Polk. "Fakers and Forgers, Deception and Dishonesty: An Exploration of the Murky World of Art Fraud." Current Issues in Criminal Justice 20, no. 3 (2009): 393–412. http://dx.doi.org/10.1080/10345329.2009.12035819.
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Haval Sadiq, Bareen. "Image Splicing Forgery Detection using Standard Division-Local Binary Pattern Features." Academic Journal of Nawroz University 12, no. 3 (2023): 35–41. http://dx.doi.org/10.25007/ajnu.v12n3a1839.
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Numerous aspects of daily life contribute to societal stability, and the security of people's perceptions of the world online is one target of various malicious attacks. Professional forgers can now quickly create copy-move, splice, or retouch photos with the use of today's advanced tools. It has been determined that splicing, is a widespread method of manipulating images. Image forgery can also lead to substantial setbacks and challenges, some of which may have significant ethical, moral, or legal consequences. Thus, the paper proposes a system that combines SD-LBP (Standard Devision-Local Binary Pattern) based passive picture splicing detection system and ANN classifier. The SD-LBP is created to have the benefits and avoid drawbacks of Local Binary Pattern (LBP). The SD-LBP extraction is typically performed by employing proposed SD value-based thresholding instead of the center pixel, which is robust to noise and other photometric attacks. The second part of the proposed system is the ANN classifier is used that extract the feature of images to lower the error and build a model that can tell spliced images from real photos that have been digitally altered. The proposed system is creating a reliable image forgery detection technique that was implemented with CASIA V2.0 standard dataset. The results showing that it outperformed compared with other methods on the in terms of accuracy (97.8%), sensitivity (98.6%), and specificity (97.1%). Most importantly, the proposed SFD method exceeded the state-of-the-art efforts in this field in terms of accuracy.
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Salisbury, Laney. "Art Forgers—Criminals or Heroes? In the Post-Truth Era It's Time for an Unequivocal Answer." Social Research: An International Quarterly 85, no. 4 (2018): 827–36. http://dx.doi.org/10.1353/sor.2018.0052.
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Odenkirk, Sarah Conley. "Review of Noah Charney, Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves. 364 pp. London: Palgrave Macmillan, 2016." International Journal of Cultural Property 24, no. 2 (2017): 243–47. http://dx.doi.org/10.1017/s0940739117000042.
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Neuhoff, Elise, Ariadne Dias Godinho, and Michael Scullin. "0187 Empathy and Punishment Ratings for Copyright Infringement in Rested and Sleep Restricted Individuals." SLEEP 47, Supplement_1 (2024): A80. http://dx.doi.org/10.1093/sleep/zsae067.0187.
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Abstract Introduction Sleep restriction can worsen cognitive functioning and alter emotional regulation. Recent studies further indicate that sleep deprivation reduces empathy and increases willingness to punish others for mistakes. We built on this emerging literature by presenting rested and sleep restricted individuals with vignettes of people who had been victimized (e.g., forgery, plagiarism), with a focus on how much the offenders should be punished and how much the victims should be compensated. Methods Participants included 62 young adults (mean age = 20.03, 51.6% female, 45.2% non-Hispanic white) who first completed a laboratory polysomnography adaptation night. Afterward, participants were randomly assigned to either two laboratory nights of restricted sleep (1:30 AM – 7:00AM) or two laboratory nights of normal sleep (10:00 PM – 07:00 AM). In the morning, participants were presented with vignettes depicting copyright fraud such as shoe companies using trademarked features, music companies sampling melodies without credit to the original songwriter, and art forgers who sold painting replicas to art enthusiasts as if they were the originals. Participants were asked to rate the seriousness of the mistakes, how much punishment the offenders deserved, if the offender should be jailed or prevented from working in the field, and how much the victims should be compensated. Results Relative to rested participants (M=6.1), sleep restriction significantly reduced participant ratings of victim compensation (M=5.3), even when accounting for ratings of the severity of copyright infringement (F=7.1, p=.01, eta squared=0.12). Other perceptions of the seriousness of the mistakes or how much the offenders should be punished were not significantly changed (ps>0.05). There were no gender differences or gender by sleep condition interactions. Conclusion Two nights of mild sleep restriction were sufficient to reduce empathy for victims of copyright infringement. Additional work is needed to understand dose-response relationships between sleep loss and empathy and punishment. Support (if any) Support provided by the National Science Foundation (1920730)
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Simko, Lucy, Luke Zettlemoyer, and Tadayoshi Kohno. "Recognizing and Imitating Programmer Style: Adversaries in Program Authorship Attribution." Proceedings on Privacy Enhancing Technologies 2018, no. 1 (2018): 127–44. http://dx.doi.org/10.1515/popets-2018-0007.
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Abstract Source code attribution classifiers have recently become powerful. We consider the possibility that an adversary could craft code with the intention of causing a misclassification, i.e., creating a forgery of another author’s programming style in order to hide the forger’s own identity or blame the other author. We find that it is possible for a non-expert adversary to defeat such a system. In order to inform the design of adversarially resistant source code attribution classifiers, we conduct two studies with C/C++ programmers to explore the potential tactics and capabilities both of such adversaries and, conversely, of human analysts doing source code authorship attribution. Through the quantitative and qualitative analysis of these studies, we (1) evaluate a state-of-the-art machine classifier against forgeries, (2) evaluate programmers as human analysts/forgery detectors, and (3) compile a set of modifications made to create forgeries. Based on our analyses, we then suggest features that future source code attribution systems might incorporate in order to be adversarially resistant.
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Currie, Gregory, and Denis Dutton. "The Forger's Art. Forgery and the Philosophy of Art." Philosophical Quarterly 35, no. 141 (1985): 435. http://dx.doi.org/10.2307/2219478.
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Ostmeyer, Johann, Ludovica Schaerf, Pavel Buividovich, Tessa Charles, Eric Postma, and Carina Popovici. "Synthetic images aid the recognition of human-made art forgeries." PLOS ONE 19, no. 2 (2024): e0295967. http://dx.doi.org/10.1371/journal.pone.0295967.
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Previous research has shown that Artificial Intelligence is capable of distinguishing between authentic paintings by a given artist and human-made forgeries with remarkable accuracy, provided sufficient training. However, with the limited amount of existing known forgeries, augmentation methods for forgery detection are highly desirable. In this work, we examine the potential of incorporating synthetic artworks into training datasets to enhance the performance of forgery detection. Our investigation focuses on paintings by Vincent van Gogh, for which we release the first dataset specialized for forgery detection. To reinforce our results, we conduct the same analyses on the artists Amedeo Modigliani and Raphael. We train a classifier to distinguish original artworks from forgeries. For this, we use human-made forgeries and imitations in the style of well-known artists and augment our training sets with images in a similar style generated by Stable Diffusion and StyleGAN. We find that the additional synthetic forgeries consistently improve the detection of human-made forgeries. In addition, we find that, in line with previous research, the inclusion of synthetic forgeries in the training also enables the detection of AI-generated forgeries, especially if created using a similar generator.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, et al. "Uncovering modern paint forgeries by radiocarbon dating." Proceedings of the National Academy of Sciences 116, no. 27 (2019): 13210–14. http://dx.doi.org/10.1073/pnas.1901540116.
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Art forgeries have existed since antiquity, but with the recent rapidly expanding commercialization of art, the approach to art authentication has demanded increasingly sophisticated detection schemes. So far, the most conclusive criterion in the field of counterfeit detection is the scientific proof of material anachronisms. The establishment of the earliest possible date of realization of a painting, called the terminus post quem, is based on the comparison of materials present in an artwork with information on their earliest date of discovery or production. This approach provides relative age information only and thus may fail in proving a forgery. Radiocarbon (14C) dating is an attractive alternative, as it delivers absolute ages with a definite time frame for the materials used. The method, however, is invasive and in its early days required sampling tens of grams of material. With the advent of accelerator mass spectrometry (AMS) and further development of gas ion sources (GIS), a reduction of sample size down to microgram amounts of carbon became possible, opening the possibility to date individual paint layers in artworks. Here we discuss two microsamples taken from an artwork carrying the date of 1866: a canvas fiber and a paint chip (<200 µg), each delivering a different radiocarbon response. This discrepancy uncovers the specific strategy of the forger: Dating of the organic binder delivers clear evidence of a post-1950 creation on reused canvas. This microscale 14C analysis technique is a powerful method to reveal technically complex forgery cases with hard facts at a minimal sampling impact.
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Apenko, Olga. "Trugare, or one case from the history of the forgery-making." Text and Image: Essential Problems in Art History, no. 1 (2023): 113–23. http://dx.doi.org/10.17721/2519-4801.2023.1.08.
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The paper is a part of the author’s larger research on the history of restoration of Limoges painted enamels in the end of the 19th and the beginning of the 20th century in Paris. It treats about a well-documented case of a French restorer and merchant Simon-Emérique Pierrat, accused in 1858 for selling false Limoges enamels to the members of the Rothschild family. The transcript of this process sheds light on methods and approaches used by some XIXth century forgers in the field of applied arts. Due to the high rank of his deceived clients, Pierra’s case was widely known by his contemporaries, and the restorer himself was considered as a faker par excellence. To succeed in his business, Pierrat, used to acquire enamels produced by his contemporaries and resell them to collectors. To make them look ancient, the restorer used to add some dirt and fire it on the object, so that it looks like the dirt of the time. He also used sophisticated narrative methods to add more credibility to his merchandise. However, sometimes objects talked for themselves. That is why, the presence of decorative elements imitating antique vases discovered during the Herculaneum excavations on a Renaissance enamel allowed an expert to expose a fake at the Rothschild collection and thus put an end to Pierrat’s fraudulent business. The method of his trucage (fr. Process or set of processes used, in the field of decorative arts and fine arts, to make fakes, counterfeits of antiques - Larousse) was largely discussed and denounced, but was also, though rarely, seen as a natural result of collectors’ blind chase over authentic Limoges enamels at the time. As the question of false objects and “honest” imitations rises for museum curators all over the world, such testimonies could be seen as a valuable piste to follow for a better understanding of the XIXth century applied art market context and its actors.
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Sholomova, Tatyana. "Art of Forgery as a Phenomenon of Culture." Ideas and Ideals 15, no. 4-2 (2023): 392–407. http://dx.doi.org/10.17212/2075-0862-2023-15.4.2-392-407.
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The article deals with the problem of falsifi cation of works of art (forgery) and attitudes towards falsifi ed works: falsifi cation as a cultural phenomenon; the meaning of falsifi cation in different types of art; falsifi cation through the eyes of an art connoisseur, philosopher, forger; falsifi cation as an aesthetic and ethical phenomenon; the signifi cance of falsifi cation for modern aesthetic theory and for the art market. The relevance of the topic is justifi ed by a large number of falsifi cations both in the modern art market and in the artistic fi eld. The article defi nes falsifi cation; reveals the problem of distinguishing a fake from legal ‘secondary works’. Particular attention is paid to the lack of clear criteria for identifying falsifi cation: as a rule, this is the intention to bring a secondary work to the market or to the artistic sphere. The different meaning of falsifi cation in different types of art is associated not only with different opportunities to be the subject of investment, but also with the specifi cs of the types of art. In accordance with the theory of N. Goodman, for ‘autographic’ (‘visual’) types of art, the history of creation of a single unique copy has exceptional value; for ‘allographic’ ones such as cinema and literature, each reproduction is original (but works of these arts are not the subject of investment). T. Kulka, a prominent representative of modern aesthetics, explains why the “correct” aesthetic perception of an original or a fake without a hint from the outside is impossible and always requires knowledge of the context. This is a very important point for understanding the attitude towards falsifi cation: it is not built into the history of art and therefore cannot claim the same reverent attitude towards itself that the originals deserve. The ethical problem of the existence of falsifi cation is shown on the example of E. Hebborn’s “The Art Forger’s Handbook”, which explains how to shift responsibility for establishing the status of a work to art critics, using the peculiarities of their professional psychology. In general, the article recognizes the important role of falsifi cation in the modern art market: the fi rst unsuccessful acquisition of a novice collector becomes a kind of act of initiation and strength testing.
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Ali, Syed Sadaf, Iyyakutti Iyappan Ganapathi, Ngoc-Son Vu, Syed Danish Ali, Neetesh Saxena, and Naoufel Werghi. "Image Forgery Detection Using Deep Learning by Recompressing Images." Electronics 11, no. 3 (2022): 403. http://dx.doi.org/10.3390/electronics11030403.
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Capturing images has been increasingly popular in recent years, owing to the widespread availability of cameras. Images are essential in our daily lives because they contain a wealth of information, and it is often required to enhance images to obtain additional information. A variety of tools are available to improve image quality; nevertheless, they are also frequently used to falsify images, resulting in the spread of misinformation. This increases the severity and frequency of image forgeries, which is now a major source of concern. Numerous traditional techniques have been developed over time to detect image forgeries. In recent years, convolutional neural networks (CNNs) have received much attention, and CNN has also influenced the field of image forgery detection. However, most image forgery techniques based on CNN that exist in the literature are limited to detecting a specific type of forgery (either image splicing or copy-move). As a result, a technique capable of efficiently and accurately detecting the presence of unseen forgeries in an image is required. In this paper, we introduce a robust deep learning based system for identifying image forgeries in the context of double image compression. The difference between an image’s original and recompressed versions is used to train our model. The proposed model is lightweight, and its performance demonstrates that it is faster than state-of-the-art approaches. The experiment results are encouraging, with an overall validation accuracy of 92.23%.
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Luan, Tao, Guoqing Liang, and Pengfei Peng. "Interpretable DeepFake Detection Based on Frequency Spatial Transformer." International Journal of Emerging Technologies and Advanced Applications 1, no. 2 (2024): 19–25. http://dx.doi.org/10.62677/ijetaa.2402108.
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In recent years, the rapid development of DeepFake has garnered significant attention. Traditional DeepFake detection methods have achieved 100% accuracy on certain corresponding datasets, however, these methods lack interpretability. Existing methods for learning forgery traces often rely on pre-annotated data based on supervised learning, which limits their abilities in non-corresponding detection scenarios. To address this issue, we propose an interpretable DeepFake detection approach based on unsupervised learning called Find-X. The Find-X network consists of two components: forgery trace generation network (FTG) and forgery trace discrimination network (FTD). FTG is used to extract more general inconsistent forgery traces from frequency and spatial domains. Then input the extracted forgery traces into FTD to classify real/fake. By obtaining feedback from FTD, FTG can generate more effective forgery traces. As inconsistent features are prevalent in DeepFake videos, our detection approach improves the generalization of detecting unknown forgeries. Extensive experiments show that our method outperforms state-of-the-art methods on popular benchmarks, and the visual forgery traces provide meaningful explanations for DeepFake detection.
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Samir, Soad, Eid Emary, Khaled El-Sayed, and Hoda Onsi. "Optimization of a Pre-Trained AlexNet Model for Detecting and Localizing Image Forgeries." Information 11, no. 5 (2020): 275. http://dx.doi.org/10.3390/info11050275.
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With the advance of many image manipulation tools, carrying out image forgery and concealing the forgery is becoming easier. In this paper, the convolution neural network (CNN) innovation for image forgery detection and localization is discussed. A novel image forgery detection model using AlexNet framework is introduced. We proposed a modified model to optimize the AlexNet model by using batch normalization instead of local Response normalization, a maxout activation function instead of a rectified linear unit, and a softmax activation function in the last layer to act as a classifier. As a consequence, the AlexNet proposed model can carry out feature extraction and as well as detection of forgeries without the need for further manipulations. Throughout a number of experiments, we examine and differentiate the impacts of several important AlexNet design choices. The proposed networks model is applied on CASIA v2.0, CASIA v1.0, DVMM, and NIST Nimble Challenge 2017 datasets. We also apply k-fold cross-validation on datasets to divide them into training and test data samples. The experimental results achieved prove that the proposed model can accomplish a great performance for detecting different sorts of forgeries. Quantitative performance analysis of the proposed model can detect image forgeries with 98.176% accuracy.
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Zhu, Jiaying, Dong Li, Xueyang Fu, et al. "Learning Discriminative Noise Guidance for Image Forgery Detection and Localization." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 7 (2024): 7739–47. http://dx.doi.org/10.1609/aaai.v38i7.28608.
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This study introduces a new method for detecting and localizing image forgery by focusing on manipulation traces within the noise domain. We posit that nearly invisible noise in RGB images carries tampering traces, useful for distinguishing and locating forgeries. However, the advancement of tampering technology complicates the direct application of noise for forgery detection, as the noise inconsistency between forged and authentic regions is not fully exploited. To tackle this, we develop a two-step discriminative noise-guided approach to explicitly enhance the representation and use of noise inconsistencies, thereby fully exploiting noise information to improve the accuracy and robustness of forgery detection. Specifically, we first enhance the noise discriminability of forged regions compared to authentic ones using a de-noising network and a statistics-based constraint. Then, we merge a model-driven guided filtering mechanism with a data-driven attention mechanism to create a learnable and differentiable noise-guided filter. This sophisticated filter allows us to maintain the edges of forged regions learned from the noise. Comprehensive experiments on multiple datasets demonstrate that our method can reliably detect and localize forgeries, surpassing existing state-of-the-art methods.
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Rybak-Karkosz, Olivia. "Criminal Liability for Forgery of Print in Polish Legislation." Wroclaw Review of Law, Administration & Economics 12, no. 1 (2022): 77–90. http://dx.doi.org/10.2478/wrlae-2022-0005.
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Abstract This paper aims to outline relevant legal problems of domestic legislation in aspects such as evidence difficulties, the so-called legalisation of forgery, and choosing the legal qualification of forgery of print. The doctrine for many years has postulated (and still does) the increase of protection of works of art from crimes such as forgery would increase the safety and fair trade on the art market. However, legislators tend to omit this problem. So, the other possible acts are: the Polish Criminal Code, Act of 23 of July 2003 on the Protection and Guardianship of Monuments, and Act of 16 of April 1993 on Fair Trade. Each of these acts are analysed in the context of its evidential requirements to find the most useful one. The choice of a legal action depends on whether the work of art (print) is considered a monument as in the definition included in the Act on the Protection and Guardianship of Monuments. We then compared our results with cases prosecuted in Poland.
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Kratz, Martin. "‘Two Uses for Ashes’: Translation as Forgery in Anthony Burgess' Versions of Giuseppe Gioacchino Belli." Translation and Literature 26, no. 1 (2017): 52–71. http://dx.doi.org/10.3366/tal.2017.0275.
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In 1978 Anthony Burgess published twelve translations from the original, biblically themed, Romanesco sonnets by the nineteenth-century Roman poet Giuseppe Gioacchino Belli in the journal Translation. It has been suggested that two of them (‘Two Uses for Ashes’ and ‘The Bet’) are in fact Burgess’ own creations, and not translations at all. In the context of Translation, the poems are fakes, a literary hoax or forgery - Burgess passed off as Belli. This article considers how the ambiguous status of Burgess’ two poems draws attention to the uneasy relationship between literary forgery and literary translation. In particular, it reflects on the way in which translation, as an act of mediation, has offered specific opportunities for the literary forger to stage textual interventions and inventions.
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Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.
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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
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Gao, Shichao, Ming Xia, and Gaobo Yang. "Dual-Tree Complex Wavelet Transform-Based Direction Correlation for Face Forgery Detection." Security and Communication Networks 2021 (September 29, 2021): 1–10. http://dx.doi.org/10.1155/2021/8661083.
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With the rapid development of face synthesis techniques, things are going from bad to worse as high-quality fake face images are unnoticeable by human eyes, which has brought serious public confidence and security problems. Thus, effective detection of face image forgeries is in urgent need. We observe that some subtle artificial artifacts in spatial domain can be easily recognized in transformation domain, and most facial features have an inherent directional correlation, and generative models would ruffle this kind of distribution pattern. Inspired by this, we propose a two-stream dual-tree complex wavelet-based face forgery network (DCWNet) to expose face image forgeries. Specifically, dual-tree complex wavelet transform is exploited to obtain six directional features (±75°, ±45°, ±15°) of different frequency components from original images, and a direction correlation extraction (DCE) block is presented to capture the direction correlation. Then, the direction pattern-aware clues and the original image are taken as two complementary network inputs. We also explore how specific frequency components work in face forgery detection and propose a new multiscale channel attention mechanism for features fusion. The experimental results prove that the proposed DCWNet outperforms the state-of-the-art methods in open datasets such as FaceForensics++ and achieves high robustness against lossy image compression.
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Pyle, Terri. "Wolfgang Beltracchi and the authenticity of forgery: Not a moral failure." Visual Inquiry 11, no. 2 (2022): 167–78. http://dx.doi.org/10.1386/vi_00079_1.
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Reiner Schurmann’s Broken Hegemonies is a philosophical approach to how humans have historically created a rhetorical framework of ideas to operate in their existence. For this article, I will discuss Schurmann’s text, specifically his Hegemonic Fantasms of Nature and Modern Consciousness (as well as the associated concepts of the tragic condition and tragic denial) in order to understand Wolfgang Beltracchi as a skilled albeit complicated artist, researcher and art forger. Beltracchi operates within the Hegemonic Fantasm of Nature as the law (per Marcus Tullius Cicero and Marcus Aurelius) as well as with nature as the destitution of the hegemonic construct of nature (per Meister Eckhart) and the Hegemonic Fantasm of Modern Consciousness of the subject ‘self’ (per Luther and Kant), as well as the diremption of hegemonic concepts (per Martin Heidegger). I will further discuss Nature as the law of authenticity and provenance within the twentieth-century art market as discussed in Anthony Amore’s The Art of the Con, Arne Birkenstock’s documentary, Beltracchi: The Art of Forgery, as well as articles from Deutsche Welle (DW) and Times Magazine, and then define diremption as the self-reflexive gaze as discussed in Martin Heidegger’s essays from Basic Writings and Schurmann’s interpretation of Heidegger’s text, Contributions. While I am of the opinion that Beltracchi is operating under the particulars of laws and ‘ethics of naturality’ (via Roman Stoicism), he is also operating outside of Nature and into the narration of singularity that contradicts the Hegemonic Fantasm of Modern Consciousness. I will argue that Beltracchi utilizes the fantasm of the art market to operate within the fantasm of forgery and, in doing so, becomes an ‘obedient spirit that lets itself be broken’ and re-subsumed by art itself.
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Mahmood, Toqeer, Tabassam Nawaz, Aun Irtaza, Rehan Ashraf, Mohsin Shah, and Muhammad Tariq Mahmood. "Copy-Move Forgery Detection Technique for Forensic Analysis in Digital Images." Mathematical Problems in Engineering 2016 (2016): 1–13. http://dx.doi.org/10.1155/2016/8713202.
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Due to the powerful image editing tools images are open to several manipulations; therefore, their authenticity is becoming questionable especially when images have influential power, for example, in a court of law, news reports, and insurance claims. Image forensic techniques determine the integrity of images by applying various high-tech mechanisms developed in the literature. In this paper, the images are analyzed for a particular type of forgery where a region of an image is copied and pasted onto the same image to create a duplication or to conceal some existing objects. To detect the copy-move forgery attack, images are first divided into overlapping square blocks and DCT components are adopted as the block representations. Due to the high dimensional nature of the feature space, Gaussian RBF kernel PCA is applied to achieve the reduced dimensional feature vector representation that also improved the efficiency during the feature matching. Extensive experiments are performed to evaluate the proposed method in comparison to state of the art. The experimental results reveal that the proposed technique precisely determines the copy-move forgery even when the images are contaminated with blurring, noise, and compression and can effectively detect multiple copy-move forgeries. Hence, the proposed technique provides a computationally efficient and reliable way of copy-move forgery detection that increases the credibility of images in evidence centered applications.
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Lai, Songxuan, Lianwen Jin, Luojun Lin, Yecheng Zhu, and Huiyun Mao. "SynSig2Vec: Learning Representations from Synthetic Dynamic Signatures for Real-World Verification." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 01 (2020): 735–42. http://dx.doi.org/10.1609/aaai.v34i01.5416.
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An open research problem in automatic signature verification is the skilled forgery attacks. However, the skilled forgeries are very difficult to acquire for representation learning. To tackle this issue, this paper proposes to learn dynamic signature representations through ranking synthesized signatures. First, a neuromotor inspired signature synthesis method is proposed to synthesize signatures with different distortion levels for any template signature. Then, given the templates, we construct a lightweight one-dimensional convolutional network to learn to rank the synthesized samples, and directly optimize the average precision of the ranking to exploit relative and fine-grained signature similarities. Finally, after training, fixed-length representations can be extracted from dynamic signatures of variable lengths for verification. One highlight of our method is that it requires neither skilled nor random forgeries for training, yet it surpasses the state-of-the-art by a large margin on two public benchmarks.
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Reece, Frederick. "Composing Authority in Six Forged “Haydn” Sonatas." Journal of Musicology 35, no. 1 (2018): 104–43. http://dx.doi.org/10.1525/jm.2018.35.1.104.
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In December 1993 news broke that six keyboard sonatas whose rediscovery was being hailed as “The Haydn Scoop of the Century” were, in fact, not by Haydn at all. It soon emerged that the compositions—initially believed to be the lost Hob. XVI:2a–e and 2g—were not simple misattributions, but rather something that has rarely been discussed in the music world: modern forgeries deliberately constructed to deceive scholars and listeners. Adapting philosophical and art-historical writing on forgery to music, this article examines the six “Haydn” sonatas in the context of contemporary debates about expertise, postmodernism, and the author concept. Analyzing the stylistic content of the works in question sheds new light on musical forgeries as artifacts of aesthetic prejudice and anti-academic critique. More broadly, it suggests that the long-overlooked phenomenon of forgery poses questions about authorship, authority, and truth itself that have an important place in our shared history as musicologists. Should our standards of evidence be rooted in historical sources, musical style, or some combination of the two? What kind of relationship do we believe exists between composers and their works? And is there any inherent reason—cultural, ethical, or otherwise—that we cannot write music like Haydn’s today? In posing such questions, the story of the forged Haydn sonatas provides us with a unique opportunity to reflect on the values and future of the field.
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Lacopo, Frank. "Indigenous Globalism: Confraternity and Connectivity in Colonial Cuzco." Catholic Historical Review 109, no. 3 (2023): 541–63. http://dx.doi.org/10.1353/cat.2023.a907449.
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Abstract: This article places colonial Cuzco’s Nombre de Jesús confraternity within early modern global history. The Nombre de Jesús served as a focal point for collaboration between Indigenous elites and Jesuit proselytizers in the old Inca capital. An ambiguous archive and forgeries related to the confraternity have led to sensationalist narratives about the confraternity. While compelling from the perspective of archival and forgery studies, this discussion ultimately distracts from a more thoroughly-grounded history of a mixed European and Indigenous institution. This article draws on evidence outside the forgeries to show how Indigenous mission history was globally connective and collaborative rather than European-dominated.
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Sassoon, Hannah. "Adolfo Kaminsky; A forger's art." Yale Review 108, no. 3 (2020): 97–105. http://dx.doi.org/10.1353/tyr.2020.0014.
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Murray, L. "Art attack: spot the forgery." Engineering & Technology 16, no. 8 (2021): 58–63. http://dx.doi.org/10.1049/et.2021.0806.
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Hick, Darren Hudson. "Forgery and Appropriation in Art." Philosophy Compass 5, no. 12 (2010): 1047–56. http://dx.doi.org/10.1111/j.1747-9991.2010.00353.x.
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Sassoon, Hannah. "Adolfo Kaminsky; A forger's art." Yale Review 108, no. 3 (2020): 97–105. http://dx.doi.org/10.1111/yrev.13669.
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Hu, Yongjian, Chang-Tsun Li, Yufei Wang, and Bei-bei Liu. "An Improved Fingerprinting Algorithm for Detection of Video Frame Duplication Forgery." International Journal of Digital Crime and Forensics 4, no. 3 (2012): 20–32. http://dx.doi.org/10.4018/jdcf.2012070102.
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Frame duplication is a common way of digital video forgeries. State-of-the-art approaches of duplication detection usually suffer from heavy computational load. In this paper, the authors propose a new algorithm to detect duplicated frames based on video sub-sequence fingerprints. The fingerprints employed are extracted from the DCT coefficients of the temporally informative representative images (TIRIs) of the sub-sequences. Compared with other similar algorithms, this study focuses on improving fingerprints representing video sub-sequences and introducing a simple metric for the matching of video sub-sequences. Experimental results show that the proposed algorithm overall outperforms three related duplication forgery detection algorithms in terms of computational efficiency, detection accuracy and robustness against common video operations like compression and brightness change.
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Khandelwal, Vedika. "Cultural Status of Art Forgeries." Groundings Undergraduate 8 (April 1, 2015): 32–41. http://dx.doi.org/10.36399/groundingsug.8.206.
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This article explores the cultural status and significance of forgeries in the world of art, as well as tracing an evolution of the changes in their perception. Forgeries are generally thought to be culturally perverse, falsifying our experience and understanding of art. However, this very devaluation of forgeries presupposes notions of authenticity and originality which, upon examination, turn out to be arbitrary or inconsistent. Thus, the value of forgeries is twofold: firstly, they highlight and help criticise the presuppositions behind our cultural and aesthetic practices and attitudes; and secondly, they can also be valuable as works in their own right. Forgeries cannot be left out from the study of art history, as they have contributed in the shaping of art historical study as it is today.
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Polanski, Zhanna. "THE TRADITIONS OF JAPANESE CERAMICS." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-133-145.
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The article focuses on an important topic - the traditions of Japanese ceramics. Its relevance lies in the importance of solving the problem of identifying artworks: whether they are fake or original. Incorrect attribution of an item can lead to severe legal and material consequences and significantly affect the reputation. Differences between the terms “a copy” and “a forgery” with the assessment of positive and negative aspects of falsification are revealed. Highly qualified specialists with certificates and diplomas are required to identify and attribute art. The article shows the main requirements they must have. It also highlights and covers the characteristics and central problem of Western art, describes the ideology of Eurocentrism, according to which Europe, or the West, is the highest stage of human civilization; the rest of the world is considered primitive and undeveloped. A vivid example of an error in identifying a work of art by the Getty Museum - the sculpture Head with Horns and several cases of creating grandiose first-class forgeries in the art of Japanese ceramics are presented in the article. The works of such artists as Kato Tokuro, a ceramic artist whose works have won the highest artistic award in Japan and are widely recognized among collectors and curators of the West, Kagami Shukai, and Kato Koju have been studied. The article describes the Setoceramic tradition and its significance for common cultural art. It was created by the great Kato Shirozaemon and got its name from the name of the city in Japan, famous for its pottery. The article shows the importance of traditional methods in Japanese ceramic art history. Hence the desire of masters to follow ancient patterns and techniques. The article also describes the features and reveals the differences between traditional and Studio ceramics. The characteristics of the Asian approach, which aims to reproduce cultural values in an unchanged form, parallel with the development of progress in other areas, are studied. The article’s main task is to teach how to detect an obvious forgery by analyzing genuine ceramic products’ characteristic features. For this purpose, significant analysis of the distinctive features of authentic ceramic products is given. Several techniques and methods for determining the authenticity of the exhibit are presented.
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Pradeep, Dr V., S Samatha, A Harika, G Sweth, and U Keerthi. "Image Forgery Detection Based on Fusion of light weight Deep Learning Models." Journal of Nonlinear Analysis and Optimization 14, no. 02 (2023): 128–41. http://dx.doi.org/10.36893/jnao.2023.v14i2.0128-0141.
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Image manipulation has increased in popularity as a result of the software that is readily available for altering photos. Since the altered photographs cannot be distinguished with the human eye, they are spreading on numerous platforms, causing confusion and spreading rumours.Researchers have been working on several methods for the more accurate detection of altered photographs as a result.Better accuracy is provided by neural networks' ability to extract intricate hidden properties from images. In contrast to conventional methods of counterfeit detection, a deep learning model automatically creates the necessary features; as a result, it has emerged as the newest field of study in image forgery.In this research, we suggest an approach for detecting image forgery that is fusion-based. SqueezeNet, MobileNetV2, and ShuffleNet—three compact deep learning models—are the foundation of the decision fusion.Two phases comprise the implementation of the fusion decision system. The evaluation of the forgeries of the photos begins with the pretrained weights of the lightweight deep learning models. The outcomes of the counterfeiting of the photos are compared with the pre-trained models using the ne-tuned weights, second.In comparison to state-of-the-art techniques, the experimental results show that the fusion-based decision strategy delivers higher accuracy.The paper initially discusses various types of image forgery techniques and later on compares different approaches involving neural networks to identify forged images
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Sumaiya Shaikh, Et al. "Video Forgery Detection: A Comprehensive Study of Inter and Intra Frame Forgery With Comparison of State-Of-Art." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (2023): 1487–97. http://dx.doi.org/10.17762/ijritcc.v11i9.9130.
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Availability of sophisticated and low-cost smart phones, digital cameras, camcorders, surveillance CCTV cameras are extensively used to create videos in our daily life. The prevalence of video sharing techniques presently available in the market are: YouTube, Facebook, Instagram, snapchat and many more are in utilization to share the information related to videos. Besides this, there are many software which can edit the content of video: Window Movie Maker, Video Editor, Adobe Photoshop etc., with this available software anyone can edit the video content which is called as “Forgery” if edited content is harmful. Usually, videos play a vital role in terms of proof in crime scene. The Victim is judged by the proof submitted by the lawyer to the court. Many such cases have evidenced that the video being submitted as proof is been forged. Checking the authentication of the video is most important before submitting as proof. There has been a rapid development in deep learning techniques which have created deepfake videos where faces are replaced with other faces which strongly made a belief of saying “Seeing is no longer believing”. The available software which can morph the faces are FakeApp, FaceSwap etc., the increased technology really made the Authentication of proofs very doubtful and un-trusty which are not accepted as proof without proper validation of the video. The survey gives the methods that are capable of accurately computing the videos and analyses to detect different kinds of forgeries. It has revealed that most of the existing methods are relying on number of tampered frames. The proposed techniques are with compression, double compression codec videos where research is being carried out from 2016 to present. This paper gives the comprehensive study of techniques, algorithms and applications designed and developed to detect forgery in videos.
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Huang, Xinchao, Zihan Liu, Wei Lu, Hongmei Liu, and Shijun Xiang. "Fast and Effective Copy-Move Detection of Digital Audio Based on Auto Segment." International Journal of Digital Crime and Forensics 11, no. 2 (2019): 47–62. http://dx.doi.org/10.4018/ijdcf.2019040104.
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Detecting digital audio forgeries is a significant research focus in the field of audio forensics. In this article, the authors focus on a special form of digital audio forgery—copy-move—and propose a fast and effective method to detect doctored audios. First, the article segments the input audio data into syllables by voice activity detection and syllable detection. Second, the authors select the points in the frequency domain as feature by applying discrete Fourier transform (DFT) to each audio segment. Furthermore, this article sorts every segment according to the features and gets a sorted list of audio segments. In the end, the article merely compares one segment with some adjacent segments in the sorted list so that the time complexity is decreased. After comparisons with other state of the art methods, the results show that the proposed method can identify the authentication of the input audio and locate the forged position fast and effectively.
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Hegazi, Aya, Ahmed Taha, and Mazen Mohamed Selim. "Copy-Move Forgery Detection Based on Automatic Threshold Estimation." International Journal of Sociotechnology and Knowledge Development 12, no. 1 (2020): 1–23. http://dx.doi.org/10.4018/ijskd.2020010101.
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Recently, users and news followers across websites face many fabricated images. Moreover, it goes far beyond that to the point of defaming or imprisoning a person. Hence, image authentication has become a significant issue. One of the most common tampering techniques is copy-move. Keypoint-based methods are considered as an effective method for detecting copy-move forgeries. In such methods, the feature extraction process is followed by applying a clustering technique to group spatially close keypoints. Most clustering techniques highly depend on the existence of a specific threshold to terminate the clustering. Determination of the most suitable threshold requires a huge amount of experiments. In this article, a copy-move forgery detection method is proposed. The proposed method is based on automatic estimation of the clustering threshold. The cutoff threshold of hierarchical clustering is estimated automatically based on clustering evaluation measures. Experimental results tested on various datasets show that the proposed method outperforms other relevant state-of-the-art methods.
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Shen, Qijun. "A Fine Forgery: The Yellow Court Classic Revisited." Communications in Humanities Research 3, no. 1 (2023): 843–50. http://dx.doi.org/10.54254/2753-7064/3/20221029.
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Questions arising from the authorship of the Yellow Court Classic have confronted art historians since the Northern Song dynasty (960-1127): who produced it; what is the authentic work of Wang Xizhi (303-361); what are the forgeries? With a focus on the so-called Xin Tai Ping version, once collected by Zhao Mengfu (1254-1322) and now held by the Gotoh Museum in Tokyo, this paper argues that it is a fine forgery among the multiple versions of the Yellow Court Classic. Through a close reading of the colophons, I attempt to map out the collecting history of the XTP version and why it was prized by connoisseurs over the centuries. I then compare it with the other two versions and Zhou You's (151-230) work, primarily in terms of calligraphic style, to further demonstrate why the XTP version is the best and the closest version to the work of Wang Xizhi.
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Cebik, L. B. "On the Suspicion of an Art Forgery." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 147. http://dx.doi.org/10.2307/431827.
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CEBIK, L. B. "On The Suspicion of An Art Forgery." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 147–56. http://dx.doi.org/10.1111/1540_6245.jaac47.2.0147.
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Chrzczonowicz, Piotr. "Organised crime in the art forgery market." Law Review 16, no. 2 (2017): 126–42. http://dx.doi.org/10.7220/2029-4239.16.8.
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Guo, Zilong. "The Ostensible Author of PS.-Aeschines Letter 10 Reconsidered." Journal of Hellenic Studies 139 (September 20, 2019): 210–21. http://dx.doi.org/10.1017/s0075426919000703.
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AbstractThis article examines the alleged author, or first-person narrator, of the tenth pseudonymous letter in the Corpus Aeschineum. It argues that the forger, in a short epistolary novel that describes the seduction of a certain Callirhoe in Troy, uses puns (αἰσχύνειν, ἀναισχυντία, etc.) on the name of the fourth-century BC orator Aeschines. It notes that αἰσχρός-words recur in ancient works and, as a rhetorical device, are attested in Demosthenes. The forger’s aims are, first, to serialize the ‘Aeschinean’ letters as a whole by relating them to the same author and, second, to create an ‘aischrologic’ counterpart of the Callirhoe, which is attributed to Chariton (Χαρίτων/‘The Graceful’). Thus there is less likelihood of suggesting other figures such as the eponymous Aeschines Socraticus.
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Nawaz, Marriam, Zahid Mehmood, Muhammad Bilal, et al. "Single and multiple regions duplication detections in digital images with applications in image forensic." Journal of Intelligent & Fuzzy Systems 40, no. 6 (2021): 10351–71. http://dx.doi.org/10.3233/jifs-191700.
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‘With the help of powerful image editing software, various image modifications are possible which are known as image forgeries. Copy-move is the easiest way of image manipulation, wherein an area of the image is copied and replicated in the same image. The major reason for performing this forgery is to conceal undesirable contents of the image. Thus, means are required to unveil the presence of duplicated areas in an image. In this article, an effective and efficient approach for copy-move forgery detection (CMFD) is proposed, which is based on stationary wavelet transform (SWT), speeded-up robust features (SURF), and a novel scaled density-based spatial clustering of applications with noise (sDBSCAN) clustering. The SWT allows the SURF descriptor to extract only energy-rich features from the input image. The SURF features can detect the tampered regions even under post-processing attacks like contrast adjustment, scaling, and affine transformation on the images. On the extracted features, a novel scaled density-based spatial clustering of applications with noise (sDBSCAN) clustering algorithm is applied to detect forged regions with high accuracy as it can easily identify the clusters of arbitrary shapes and sizes and can filter the outliers. For performance evaluation, three publicly available datasets namely MICC-F220, MICC-F2000, and image manipulation dataset (IMD) are employed. The qualitative and quantitative analysis demonstrates that the proposed approach outperforms state-of-the-art CMFD approaches in the presence of different post-processing attacks.
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Steenberg, Elisa. "Can art be forged?" Konsthistorisk Tidskrift/Journal of Art History 58, no. 1 (1989): 44–45. http://dx.doi.org/10.1080/00233608908604219.
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Rytelewska, Ewelina. "Material forgery of the document." PRZEGLĄD POLICYJNY 151, no. 3 (2023): 366–77. http://dx.doi.org/10.5604/01.3001.0053.9745.
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The article is an attempt to confirm the recent changes in chapter XXXIV of the cur-rent Penal Code, with particular emphasis on crimes against the credibility of documents. This applies mainly to changes resulting from the consolidated text of April 28, 2022, i.e. Journal Laws of 2022, item 1138 and changes: Journal Laws of 2022, item 1726, item 1855; Sejm printout 1911 and 2024. Where the main goal is to explain and provide a basic comment speci-fying the changes made by the legislator for the proper understanding of the issue of material falsification, as defined in Art. 270 k.k..Analyzing the scope of legal regulations defining the crime of material forgery of a document in the content of art. 270 k.k., it is necessary to discuss the subject of protection and the subject page, taking into account the notion of a document, the subject of a common crime and the subject page 1, 2 and 3 of Art. 270 of the Penal Code. A prag-matic commentary and in-depth descriptions of basic concepts like; forgery of a document, alteration of a document, use as an authentic one, or the criteria of a minor case indicate the correct interpretation of the discussed issue of material falsification. The argumentation pre-sented in the article refers to the views of the doctrine and jurisprudence in the discussed thematic scope. In order to properly illustrate the threats and the scale of the commented cate-gory of crime on the documents, two tables present an analysis of the size and scale of crimes identified under Art. 270 k.k., using statistical data of the Ministry of Justice and the Police. The literature listed in the study includes cited items and publications relevant to the commen-ted article.The issues presented in the study cover the legal status as of November 30, 2022.
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S, Arivazhagan, Newlin Shebiah Russel, Saranyaa M, and Shanmuga Priya R. "CNN-based Approach for Robust Detection of Copy-Move Forgery in Images." Inteligencia Artificial 27, no. 73 (2024): 80–91. http://dx.doi.org/10.4114/intartif.vol27iss73pp80-91.
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With the rise of high-quality forged images on social media and other platforms, there is a need for algorithms that can recognize the originality. Detecting copy-move forgery is essential for ensuring the authenticity and integrity of digital images, preventing fraud and deception, and upholding the law. Copy-move forgery is the act of duplicating and pasting a portion of an image to another location within the same image. To address these issues, we propose two deep learning approaches - one using a custom architecture and the other using transfer learning. We test our method against a number of benchmark datasets and demonstrate that, in terms of accuracy and robustness against various types of image distortions, it outperforms current state-of-the-art methods. Our proposed method has applications in digital forensics, copyright defence, and image authenticity.