On the other front of the revolution described, not that of the painters but that of the photographers, quickly the new technique becomes established and gains a central role in modern society. For modern man it turns out to be true what is photographed. If a painter painted a battle months or years after its occurrence, subjectively following verbal descriptions, the photographer becomes a reporter and enters the battlefield, mechanically and thus “objectively” recording the event. And this applies to all events, which thanks to the press are communicated and shared by the whole world. Photography creates an image of the world to which absolute veracity is attributed. The mechanical, uninterpreted nature guarantees the photographic shot, and then the video shot, an undisputed value of authenticity in the media until the 21st century, a value recognized even at the legal level. Deepfakes produced by artificial intelligence do not undermine this primacy of photography, which is ontologically true because it is generated directly by scanning reality, whereas generative AI images are produced by digital processes; they are not part of real media, but are synthetic media. And from this point of view, substantially inferior.
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