Today, the events {#blank#}1{#/blank#} in realistic-looking or-sounding video and audio recordings need never have happened. They can instead be {#blank#}2{#/blank#} automatically, by powerful computers and machine-learning software. The catch-all term for these computational productions is "deepfakes".

    The term first appeared on Reddit, a messaging board, as the username for an account which was producing {#blank#}3{#/blank#} videos. An entire community {#blank#}4{#/blank#} up around the creation of these videos, writing software tools that let anyone automatically {#blank#}5{#/blank#} one person's face onto the body of another. Reddit shut the community down, but the technology was out there. Soon it was being applied to political {#blank#}6{#/blank#} and actors.

    Tools for editing media {#blank#}7{#/blank#} have existed for decades—think Photoshop. The power and peril of deepfakes is that they make fakery cheaper than ever before. Before deepfakes, a powerful computer and a good chunk of a university degree were needed to produce a realistic fake video of someone. Now some photos and an Internet connection are all that is required.

    The consequences of cheap, widespread fakery are likely to be {#blank#}8{#/blank#}, albeit slow to unfold. Plenty worry about the possible impact that believable, fake footage of politicians might have on civil society—from a further loss of trust in media to the {#blank#}9{#/blank#} for electoral distortions. These technologies could also be deployed against softer targets: it might be used, for instance, to bully classmates by creating imagery of them in embarrassing situations. In a world that was already saturated with {#blank#}10{#/blank#} imagery, deepfakes make it plausible to push that even further.

The Floating School

    Life on the islands can feel a bit isolated due to a lack of electricity and internet connectivity.

    Although some of the islands have primary schools, most young people must travel to the larger islands or to the mainland to attend high school. Schools on the islands follow the {#blank#}1{#/blank#} curriculum (课程). They don't teach subjects such as maritime skills, swimming or local fishing traditions, and so the curriculum isn't always {#blank#}2{#/blank#} with students' everyday life.

    So, we {#blank#}3{#/blank#} the Floating School after winning funding through a US State Department grant competition called Seeds for the Future. Before we started the school, we spoke with young people, community leaders and teachers on the islands to find out the topics young people are most interested in. We also learned about the various {#blank#}4{#/blank#} of students and young people who don't go to school. Thus, we {#blank#}5{#/blank#} our own non-formal educational programme that fits with the context of life on the islands. For example, those working in fishing have responsibility {#blank#}6{#/blank#} the marine life, so we teach environmental protection and discourage destructive fishing practices.

    The Floating School is a wooden boat that can {#blank#}7{#/blank#} up to twenty people and it goes to the students, not the other way around -- we use it to transport educational materials, tools, and teachers to young people living on the islands. Our teachers are local young {#blank#}8{#/blank#}— so far we have had journalists, photographers, computer engineers and musicians — and students who want to {#blank#}9{#/blank#} their skills.

    At first, many of the young people thought the Floating School would be the same as their schools on the islands. They had thought of the teachers to be {#blank#}10{#/blank#}. But our students learn through art, media and literature. They don't have to wear uniforms or shoes, and the teachers treat the students as equals, without judging them. This means our students can be themselves.

Museums Rethink What to Do with Their African Art Collections

Recently, a discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and the Netherlands have announced plans to return art and artifacts (文物) taken from Africa during the{#blank#}1{#/blank#}period. And more museum staff are meeting on the topic across Europe.

According to the most commonly{#blank#}2{#/blank#}figures from UNESCO（United Nations Educational, Scientifie and Cultural Organization）, 90% to 95%of sub-Saharan cultural artifacts are{#blank#}3{#/blank#}outside Africa. Many were taken by force long ago and ended up in museums across Europe and North America.

At the Africa Museum in Belgium, director Guido Gryseels says 85 percent of the-museum's collection comes from the Congo-the site of Belgium's{#blank#}4{#/blank#}colony in Central Africa. For decades, Congolese leaders have asked for these objects to be returned. Most of their{#blank#}5{#/blank#}, and those by African countries to other museums, have been refused.

But recent events in Europe have{#blank#}6{#/blank#}the possibility of returns at a much larger scale. In addition to the plans announced in Germany, last year France conducted a study of how much African art French museums are holding and made{#blank#}7{#/blank#}about what to do with it.

The study recommended the return of a wide range of objects taken by force. The suggestion got mixed{#blank#}8{#/blank#}in France, where there are at least 90000 African items in museums.

In France, some people have suggested returns could leave shelves{#blank#}9{#/blank#}in French museums. Cecile Fromont, a French historian of Central African art, says that's not going to happen. One way of thinking about it, she says, is that more African art can go on display.

However, Guido Gryseels of the Africa Museum in Belgium{#blank#}10{#/blank#}that attitudes are changing. He says he's in discussion with the Congo to return works.