1,000th Article
AI
Creed
Death & life
Digital
6 min read

AI deadbots are no way to cope with grief

The data we leave in the cloud will haunt and deceive those we leave behind.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A tarnished humaniod robot rests its head to the side, its LED eyes look to the camera.
Nicholas Fuentes on Unsplash.

What happens to all your data when you die? Over the years, like most people, I've produced a huge number of documents, letters, photos, social media posts, recordings of my voice, all of which exist somewhere out there in the cloud (the digital, not the heavenly one). When I die, what will happen to it all? I can't imagine anyone taking the time to climb into my Dropbox folder or Instagram account and delete it all? Does all this stuff remain out there cluttering up cyberspace like defunct satellites orbiting the earth?  

The other day I came across one way it might have a future - the idea of ‘deadbots’. Apparently, AI has now developed to such an extent that it can simulate the personality, speech patterns and thoughts of a deceased person. In centuries past, most people did not leave behind much record of their existence. Maybe a small number of possessions, memories in the minds of those who knew them, perhaps a few letters. Now we leave behind a whole swathe of data about us. AI is now capable of taking all this data and creating a kind of animated avatar, representing the deceased person, known as a ‘deadbot’ or even more weirdly, a ‘griefbot’. 

You can feel the attraction. An organisation called ‘Project December’ promises to ‘simulate the dead’, offering a ghostly video centred around the words ‘it’s been so long: I miss you.’ For someone stricken with grief, wondering whether there's any future in life now that their loved one has gone, feeling the aching space in the double bed, breakfast alone, the silence where conversation once filled the air, the temptation to be able to continue to interact and talk with a version of the deceased might be irresistible. 

There is already a developing ripple of concern about this ‘digital afterlife industry’. A recent article in Aeon explored the ethical dilemmas. Researchers in Cambridge University have already called for the need for safety protocols against the social and psychological damage that such technology might cause. They focus on the potential for unscrupulous marketers to spam surviving family or friends with the message that they really need XXX because ‘it's what Jim would have wanted’. You can imagine the bereaved ending up being effectively haunted by the ‘deadbot’, and unable to deal with grief healthily. It can be hard to resist for those whose grief is all-consuming and persistent. 

Yet it's not just the financial dangers, the possibility of abuse that troubles me. It's the deception involved which seems to me to operate in at a number of ways. And it's theology that helps identify the problems.  

The offer of a disembodied, AI-generated replication of the person is a thin paltry offering, as dissatisfying as a Zoom call in place of a person-to-person encounter. 

An AI-generated representation of a deceased partner might provide an opportunity for conversation, but it can never replicate the person. One of the great heresies of our age (one we got from René Descartes back in the seventeenth century) is the utter dualism between body and soul. It is the idea that we have some kind of inner self, a disembodied soul or mind which exists quite separately from the body. We sometimes talk about bodies as things that we have rather than things that we are. The anthropology taught within the pages of the Bible, however, suggests we are not disembodied souls but embodied persons, so much so that after death, we don't dissipate like ethereal ‘software’ liberated from the ‘hardware’ of the body, but we are to be clothed with new resurrection bodies continuous with, but different from the ones that we possess right now. 

We learned about the importance of our bodies during the COVID pandemic. When we were reduced to communicating via endless Zoom calls, we realised that while they were better than nothing, they could not replicate the reality of face-to-face bodily communication. A Zoom call couldn't pick up the subtle messages of body language. We missed the importance of touch and even the occasional embrace. Our bodies are part of who we are. We are not souls that happen to temporarily inhabit a body, inner selves that are the really important bit of us, with the body an ancillary, malleable thing that we don't ultimately need. The offer of a disembodied, AI-generated replication of the person is a thin paltry offering, as dissatisfying as a virtual meeting in place of a person-to-person encounter. 

Another problem I have with deadbots, is that they fix a person in time, like a fossilised version of the person who once lived. AI can only work with what that person has left behind - the recordings, the documents, the data which they produced while they were alive. And yet a crucial part of being human is the capacity to develop and change. As life continues, we grow, we shift, our priorities change. Hopefully we learn greater wisdom. That is part of the point of conversation, that we learn things, it changes us in interaction with others. There is the possibility of spiritual development of maturity, of redemption. A deadbot cannot do that. It cannot be redeemed, it cannot be transformed, because it is, to quote U2, stuck in a moment, and you can’t get out of it.  

This is all of a piece with a general trajectory in our culture which is to deny the reality of death. For Christians, death is an intruder. Death - or at least the form in which we know it, that of loss, dereliction, sadness - was not part of the original plan. It doesn't belong here, and we long for the day when one day it will be banished for good. You don’t have to be a Christian to feel the pain of grief, but paradoxically it's only when you have a firm sense of hope that death is a defeated enemy, that you can take it seriously as a real enemy. Without that hope, all you can do is minimise it, pretend it doesn't really matter, hold funerals that try to be relentlessly cheerful, denying the inevitable sense of tragedy and loss that they were always meant to express.  

Deadbots are a feeble attempt to try to ignore the deep gulf that lies between us and the dead. In one of his parables, Jesus once depicted a conversation between the living and the dead:  

“between you and us a great chasm has been fixed, so that those who might want to pass from here to you cannot do so, and no one can cross from there to us.”  

Deadbots, like ‘direct cremations’, where the body is disposed without any funeral, denying the bereaved the chance to grieve, like the language around assisted dying that death is ‘nothing at all’ and therefore can be deliberately hastened, are an attempt to bridge that great chasm, which, this side of the resurrection, we cannot do. 

Deadbots in one sense are a testimony to our remarkable powers of invention. Yet they cannot ultimately get around our embodied nature, offer the possibility of redemption, or deal with the grim reality of death. They offer a pale imitation of the source of true hope - the resurrection of the body, the prospect of meeting our loved ones again, yet transformed and fulfilled in the presence of God, even if it means painful yet hopeful patience and waiting until that day. 

Celebrate with us - we're 2!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief

Review
Books
Culture
Digital
4 min read

Filterworld: algorithmic anxiety is flattening our culture

The rule of vanilla lets our unfeeling gadgets decide what’s best for us.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A podcast guest speaks in front of a mic.
What's next on the playlist?
Sebastian Pandelache on Unsplash.

Here’s another diagnosis to add to modern malaise: algorithmic anxiety.  It’s described by Kyle Chayka in his excellent book Filterworld (Heligo Books, 2024) as the: 

 …awareness that we must constantly contend with automated technological processes beyond our understanding and control, whether in our Facebook feeds, Google Maps driving directions, or Amazon product promotions. 

We don’t understand algorithms.  Even if we did, we wouldn’t know how they actually work on us as every tech company keeps it a secret, lest competitors learn from them.  This has led to the algorithm becoming the century’s newest bogeyman, a phantom we can reference in conversation to make us sound tech savvy and culturally knowing even while we remain in the dark. 

‘Algorithmic has become a byword for anything that feels too slick, too reductive, or too optimised for attracting attention’.   

Kyle Chayka

One of the oddest outcomes of the ascendency of the algorithm is the seemingly diametric effects on politics and culture.  In politics it has polarised people, sorting us into opposing camps and then ensuring we hear only good things about our ‘side’ and only maddening things about the ‘opposing’ side.  Instead of calmly listening to a different view, we hurl insults, as performative as Prime Minister’s Question Time and about as enlightening. 

Something different is happening with culture.  Here, the algorithm makes culture more homogenous; in the words of Kyle Chayka, it is ‘flattened’.  The basic rule of what he calls Filterworld is that ‘the popular becomes more popular, and the obscure becomes even less visible’.  It is a strange re-mix of Jesus for the digital age: ‘to all those who have, more will be given…but from those who have nothing, even what they have will be taken away. 

The life of an Instagram post is said to be determined in the first five minutes.  If it has engagement, it can be sure of more; if it gets none, it will sink.  Visibility on social media is vital for artists of all kinds, because this is where all publicity begins.  Artists try and game the system, figuring out what kind of content the algorithm will promote.  In the process, their creative expression is subtly compromised.  People begin to write in a style that gets attention, and what gets attention is decided by the algorithm.  Those who tweet will know how the short, pared back medium starts to influence their life away from X. Musicians know that art which is safe and mainstream – the public’s crowded middle where performers like Ed Sheeran have thrived – is likely to succeed.   

‘Much of culture now has the hollow, vacant feeling of having been made by algorithm’ according to the cultural commentator Dean Kissick.  Chayka observes that: ‘algorithmic has become a byword for anything that feels too slick, too reductive, or too optimised for attracting attention’.   

It is often at the margins that breakthroughs emerge; art that makes us see this world in a new and divine light.   

There is a valid counter to this development.  Previously, what we read, heard and saw as cultural consumers was determined by a small set of experts who filtered content for us.  These experts were often drawn from a narrow section of society who inevitably brought their own biases to bear.  While this may be true, it is hardly a triumph for the public to have an unfeeling gadget decide what’s best for them, based on what we have liked before and what seems to appeal to most people.  At the ice cream vendor, this is like reaching for vanilla every time.   

The truth is, in necessarily surrendering to the algorithm (for what alternative is there online?) we miss huge volumes of culture that might appeal to us.  It is about as effective as deciding what sea life we like based only on what pops up to the surface of the water. 

The best art is not always the most popular and there is a risk that the divine spark of invention that the creator God has placed within each of us – the unlimited potential of being made in the image of God – will not be fanned into existence as often as it could be.  Chasing likes is no substitute for patient inspiration.  It is often at the margins that breakthroughs emerge; art that makes us see this world in a new and divine light.   

‘Behold, I am making all things new’ says the one who sits on the throne in Revelation.  That algorithms are making all things similar is the reality we are learning to live with.