Hindsight No. 2: Myth over Matter

Hindsight for Monday, January 24, 2022

(Image from indiatimes.com)

THERE’S HARDLY a week that goes by without me receiving a Viber notice from a friend warning me about another incoming message containing some innocuous line like “Let’s go to Latvia” or “Your mother will love this,” clicking which will trigger a dizzying spiral into digital damnation: your phone will freeze, all your passwords will be stolen, your half-naked selfies will be posted to your Village Association chat group, and whatever gender you declared will be reversed in all your official records. 

It’s all well-meant, of course; some friends will even add “Sharing, just in case”—meaning, they also suspect it’s fake, but meaning further, they’ll pass final judgment on to you, a privilege you should be thankful for—on the one-percent chance that it’s true.

I’ve taken it as my civic duty to look up the particular hoax online (easy: just add “hoax” or “scam” to whatever the key words are, and Google away) and to inform the senders of their mistake. Many will reply with a terse “Thank you.” Some will protest: “It wasn’t me—it was my silly sister-in-law who swore it was true, so I passed it on!” A few (some of these senders have PhDs) will even argue back: “Now, how sure are you that snopes.com is a real fact-checker? Who’s funding them? What’s their angle?” (Makes you wonder: if they were going to be that investigative, why didn’t they ask it about the hoaxer in the first place?)

Living in the age of fake news (or “alternative truths” as Donald Trump’s aide so nicely put it), we can’t be surprised any longer by the seemingly infinite pliability of the truth, which can be warped and twisted to the point of being barely recognizable. But as it turns out, that “barely recognizable” element is key. 

An article in WIRED from 2019 on “Why People Keep Falling for Viral Hoaxes” points this out: “The narrative that Big Bad Instagram is going to take all of your most intimate personal data points and use them for nefarious secret purposes is the sort of story that is primed to appeal to the average person… because it contains a kernel of truth: You have all this data out there on the internet, and God knows who has access to it.”

We sort of knew that already—the best lies have a little truth in them, encouraging our gullibility. When Ferdinand Marcos claimed to be a war hero with 33 medals to his name—only two of which were actually given in 1945, and both contested by his superiors—all the fellow basically had to show for proof was his picture in a uniform, surrounded by pretty hardware that you can buy today on eBay, and that was enough to make many believe that he had to be a hero.

What’s more breath-taking—and possibly more dangerous—are the outright fabrications, the brazen claims to this and that outrageous deed or achievement. You’d think that they’re too absurd to be swallowed by even the most credulous, but think again.

The story of the Tallano gold, now being trotted out on social media as the source of the Marcos fortune, is a case in point. The story that went around on Facebook is that the Tallano family—the descendants of the rulers of a pre-Hispanic, pan-Pacific kingdom called Maharlika—had paid the young lawyer Marcos 192,000 tons of gold. With one kilo of gold today at around P3 million, I don’t have enough zeroes on this line to tell you what that’s worth. And for what lawyerly labor, one wonders—a gazillion affidavits and deeds of sale? 

Never mind that Imee Marcos herself has denied this story, and even the “Yamashita gold” that her mother claimed in 1992 to have found its way to Ferdie. The late Bob Couttie had been exposing the Tallano claims as a fraud even in 2018. But the story has legs. You just have to go online to find testimonials like this from a “BQ”: “It’s true but they’re burying the truth. I myself held those documents—three reams of A4-sized paper, including the mother title of all the land here in the Philippines, which came from Great Britain!”

Never mind, too, that it’s clearly a minority of believers. It’s how and why they believe kooky fantasies like this that’s more intriguing. The WIRED article again points to a reason: that, for many people, mythmaking provides a coherent narrative, a story easier and more convenient to believe than the truth, which is often too messy and complicated to figure out.

In my fiction writing class, I often bring up my favorite quote from Mark Twain, paraphrased: “Of course fact is stranger than fiction; fiction, after all, has to make sense.” Like myth, traditional fiction has a familiar beginning, middle, and end—and even a “lesson” to clarify the haze in which we stagger through daily life.

As I said in a lecture sometime ago, “The most daring kind of fiction today is out of the hands of creative writers like me. It is being created by political propagandists who are spinning their own versions of the truth, and who expect the people to believe them. The short story and the novel are no longer the best media for this type of fiction, but the tweet, the Facebook feed, the YouTube video, and even the press conference.”

Today’s savviest political operators know this: spin a tale, make it sound appealing, trust ignorance over knowledge, and make them feel part of the story. “Babangon muli?” Well, who the heck who dropped us into this pit? It doesn’t matter. Burnish the past as some lost Eden, when streets were clean, people were disciplined, and hair was cut short—or else. Never mind the cost—“P175 billion recovered in ill-gotten wealth” is incomprehensible; “a mountain of gold to solve your problems” sparkles like magic.

Imagination is more powerful than reason—myth over matter. I hope the forces of the good and right can work with that.

Penman No. 351: The Fake, The Good, and the Beautiful

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Penman for Monday, April 29, 2010

 

AS I’VE mentioned before, I’ve taken to collecting a bit of Philippine midcentury art over the past few years. You won’t see any Amorsolos, Kiukoks, Botongs, or Ocampos on our walls, because I simply don’t have the kind of loose change you need to bring home even one of those dazzlers. But I take pride in having put together a small but decent gathering of works mainly by Amorsolo’s students and juniors—typically pastorals by such gifted painters as Gabriel Custodio and Elias Laxa, depictions of a lost landscape that relax me and remind me of a time when—to use a phrase brazenly stolen by its opposite—the true, the good, and the beautiful prevailed.

Pastorals.png

Someone I know had the unfortunate and rather embarrassing experience of trying to help a friend dispose of some masters’ paintings—excellent examples of their kind that the friend had bought years earlier in good faith—through an auction house. The auctioneer was initially delighted to receive the works, but upon closer inspection raised small but troubling questions about the pieces (as they were of course obliged to do, with many millions and their reputation in the balance). Eventually the works had to be pulled out because they simply couldn’t be authenticated, which is one short and polite step away from saying that they’re, well, probably fake. They could look good and even be beautiful, but at the end of the day, they’re still fake.

This reminded me of the controversy that followed a big university’s mounting of a retrospective show of one of its most distinguished alumni, only to be told that a few of its prized exhibits were somebody else’s handiwork.

Ironically, I have to sheepishly confess to being taken in by a seller purporting to sell an old painting by this very same master at a bargain price—which, being new to buying art, I jumped at, after examining all the visual and physical evidence before me. The style was correct, as was the subject, including the little tell-tale touches that artists tend to populate their signature works with. The corners of the painting were thick with dust and the natural accretions of age. I knew there was a 50-50 chance I was being taken for a ride—the seller was offering no guarantees, no certificates of authenticity, so I wasn’t going to get my money back—and I hemmed and hawed for a bit, but it was finally the dust that suckered me into a deal; if I didn’t take it that minute, someone else would, so I might as well gamble. I was elated for a few hours, and then I began to do more visual research online, until I began to realize, with a crushing certainty, that I’d just bought a fake, because of one small but vital detail that the painter had gotten wrong (which I’m not about to divulge here, and which I’ve since spotted in other offerings of the same artist).

Even more ironically, of course, I’m married to one of the best art restorers and conservators in the country—but she can’t, doesn’t, and won’t authenticate artworks, knowing both the scholarship and the science required to do the job properly and credibly. The problem isn’t only that Certificates of Authenticity (COAs) can sometimes be too easily secured or bought from less than stellar sources, but also that COAs themselves have been faked. (If you can do a reasonably good copy of a masterwork, it shouldn’t be too hard to fake a piece of paper and a signature, right?)

With all the big money sloshing around in the art market these days, it’s easy to see how and why art forgery is also a booming sub-industry, going by what I’ve seen and heard out there. A persistent story that’s made the rounds is that of a warehouse-sized factory where an artist who’s made a name for himself, in his own right, has been assisted by apprentices in churning out fakes.

To be fair, it’s been going on since at least Michelangelo, whom scholars point out indulged in a bit of forgery himself, copying older works and passing them off as originals—an act generous critics would call a “triumph over antiquity.” You can read the full, fascinating story of history’s most notorious (or, to put it another way, most talented) art forgers here: https://bit.ly/2eWwQhI.

I wish we had a repository of artists’ signatures, organized by date or period. I’ve had good luck doing research online, where auction houses keep visual records of well-known artists’ works and sales figures. But proper authentication has to go beyond signatures and gut feel.

One friend closely related to a National Artist wants to set up a scientific laboratory for professionally authenticating art works, so that we don’t go simply by sight or the word of the artist’s relatives and friends. This could involve, among others, undertaking a chemical analysis of the materials used, comparing them to data stored in a bank that will also have to be, of course, set up and maintained. You’d think that this idea should fly easily among gallery owners and art patrons, but you’d also have to wonder how willing some people will be to subject their collections to microscopic scrutiny.

As we should’ve learned from the days of Michelangelo to this age of Twitter, the truth may not be beautiful, and what looks good may not be true.