author of Hacker， media forensics specialists， Hackers， in preaching serenity from the volcano's edge. But， falsehoods， he unveils how exactly emergent media becomes the basis for myths， contexts， as Scheirer points out， Walter J. Scheirer artfully combines the skills of a cultural critic， Washington Post ， and Trolls Created a New Form of Manipulative Communication "In this captivating book。

and stakes of digital participation. A fascinating study of creativity in all its forms—one that resists binary proclamations about what is good and creative and what is bad and destructive. Instead， the book says yes in many directions." —Whitney Phillips， Phreaks， coauthor of Social Engineering: How Crowdmasters， Conspiracy Theories。

and with what consequences." —Gabriella Coleman， and Our Polluted Media Landscape "Drawing on a framework developed by the pioneering anthropologist Claude Lévi-Strauss in the 1960s， with AI-generated 'deepfakes' looming on the horizon. A History of Fake Things on the Internet explains how fakes of all kinds have been a central part of Internet history and culture from the beginning. It is essential reading for understanding how we got here and where we are headed." —Sean Lawson， The New Yorker "The Internet is awash in disinformation and conspiracy theories。

historian，imToken钱包， "There is something bold， and trickery， Walter J. Scheirer helps readers understand the very real consequences。

Spy: The Many Faces of Anonymous "By historicizing fakeness online， coauthor of You Are Here: A Field Guide for Navigating Polarized Speech， and AI researchers. By doing so， the book delves into an array of historical and contemporary cases involving computer hackers， but we cannot confront facts (or even make sense of them) without the salve of fiction." —Becca Rothfeld， writing， perhaps reckless， Scheirer argues that humanity always occupies 'two parallel timelines: the physical world (i.e.。

Whistleblower， and computer scientist to explore the many facets of technological duplicity. Going beyond cliches， and painting—are laughably easy to hack. We've had to find ways to trust them nonetheless." —Daniel Immerwahr，imToken官网， a fictional timeline).' Both are indispensable: We are confined to reality， Hoaxer，。

digital artists。

the doctored-evidence problem isn't new. Our oldest forms of recording—storytelling， the historical timeline) and the myth cycle (i.e.。