A hoax, after all, is a piece of theater. (Blackburn tells the story of an actor who gave a meaningless and nonsensical lecture on mathematical game theory and physical education to approving audiences made up of medical professionals and psychologists.) It’s like a magic trick: one hand does the misdirection, the other does the work behind the scene. Think of “Witness for the Prosecution,” “The Sting,” Clifford Irving’s “authorized” biography of Howard Hughes and the many successes of forgers, counterfeiters and imposters. If a hoax comes off, and there is praise to be bestowed, it should go to the ingenuity of the master illusionist who has set the whole thing up.
So high marks to Goldstein and Sokal for being able to construct a stage setting that produced a calculated effect; but no marks for any claim that what they were able to do had implications for anything beyond its own performance.