Review
AI - Artificial Intelligence
Books
Culture
Education
Monsters
5 min read

Are we letting a monster or saviour into the classroom?

Examining Sal Khan’s confidence in artificial intelligence.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A board of experts sit at a table against a conference backdrop.
Sal Khan, left, at an AI summit.
White House via Wikimedia Commons.

I've watched enough dystopian movies to know that there are lots of reasons to be nervous about the rise of the machines. Whether it’s the Terminator universe where the internet becomes sentient and creates autonomous robots to eradicate humanity, Neo battling an artificial intelligence that enslaves humans in The Matrix, or Will Smith fending off helper robots bent on taking over the planet in I, Robot, technological advances often fuel an array of nightmare scenarios. As if to make matters worse, science fiction has an uncanny knack for becoming science fact – I think of how shows like Star Trek accurately foretold mobile phones, wearable tech and virtual assistants. The line between imagined catastrophe and reality might be thinner than we might like to admit. 

Perhaps we shouldn’t be surprised then, that our creative industries are sending out dire warnings about the impact of the latest breakthrough technology - Artificial Intelligence (AI). Like Mary Shelley’s Frankenstein in the middle of the industrial revolution, and Godzilla in the dawn of the nuclear era, dystopian fiction is par for the course of scientific advancement. It all stems, I believe, from our deep human response to the unknown – the fear instinct. But I have recently come across a surprising new voice of reassurance in Sal Khan’s book Brave New Words: How AI Will Revolutionize Education (and Why That’s a Good Thing)

Khan’s book comes recommended by Bill Gates - a reliably voracious reader and one of the founding fathers of the global information technology revolution. But Khan also has his own excellent credentials. From tutoring his niece online using a simple online drawing programme called Yahoo Doodle, he began creating YouTube videos and soon amassed over 450 million views. This led to his creation of the now world-renowned Khan Academy which has revolutionised online education. By 2023, it had more than 155 million registered users, with students spending billions of hours of learning on the platform.  

Teachers are concerned that AI could undermine their expertise, much like satellite navigation diminished the skills of London Black Cab drivers. 

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It seems to me that AI has the potential to upend the Khan Academy business model, however Khan does not take the opportunity to discredit AI or even to highlight its dangers in a bid to reinforce the advantages of his existing products. Nor does he buy into the doom and fearmongering about the impact of digital technologies on young minds, as Jonathan Haidt does in his recent bestselling book Anxious Generation. Instead, he writes a hopeful and imaginative book on AI’s potential for further transforming education for good.  

Khan’s perspective comes amidst great fear in educational circles that generative AI will mean the end of education. Students can currently ask ChatGPT to generate an outline for them for an essay, suggest copy, check grammar and accuracy, offer improvements, translations, and factchecks, as well as write a conclusion, edit for wordcount, add footnote references and more. Indeed, entire books available for sale on Amazon have been allegedly written solely by AI. Teachers and lecturers are understandably concerned about the potential for plagiarism. If teachers are no longer able to discern what a student has written for themselves and what a computer has generated, the assessment process becomes meaningless. 

Teachers are concerned that AI could undermine their expertise, much like satellite navigation diminished the skills of London Black Cab drivers. After years of mastering 'The Knowledge'—an arduous and demanding process requiring exceptional memory and recall—this once-essential qualification was rendered almost obsolete. New drivers now need little more than a GPS and an Uber account to compete, a shift that highlights how quickly hard-earned skills can become irrelevant in the face of technological advances. Many teachers fear a similar fate as AI continues to encroach on their domain. 

While AI may not be the evil monster that will destroy us, neither is it the perfect saviour that will solve all society’s ills. 

Khan offers an important alternative view. He sees the possibility that AI could, for example, help coach students on essay writing. By reading work, marking it and suggesting improvements, AI could not only save the teacher valuable time but help students take their work to an even higher level.  

Khan offers a similar hopeful alternative to those who blame digital technology advances for the crisis in young person’s mental health. What if AI could help offer coping mechanisms, coaching and tailored advice that can help improve the mental health of students? His vision for the Khan academy virtual assistant ‘”Khanmigo” reminded me of BayMax from Disney’s Big Hero 6 – the large inflatable, huggable robot with a calm, compassionate and loyal personality, highly committed to every aspect of his user’s wellbeing.  

Amid voices that demonise AI, Khan’s is a useful antidote, however I wonder if he has gone too far. While AI may not be the evil monster that will destroy us, neither is it the perfect saviour that will solve all society’s ills. Understatement is not Khan’s strong point. Instead, sometimes he becomes so carried away in excitement that I feel his book begins to sound like an infomercial for his own, current and future products.  

I wish that Khan had taken a slightly different tack – no less inspiring about the potential of AI, but also recognising its limits. After all education is as much about transformation as it is about information. It should lead to character formation as much as skill acquisition. Emphasising these aspects of moral and perhaps even spiritual mentorship, we can see that education remains irreplaceably human.  

AI has huge potential to help and to hinder us in our educative responsibilities to the next generation– and so questions remain – not if AI will change our world, but how. We need to ask not just what benefits it could bring, but who it could benefit most usefully.  

Review
Awe and wonder
Culture
Death & life
Music
4 min read

Natalie Bergman brings grief and joy to Union Chapel

A soul-soaked set turned personal tragedy into communal celebration

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A musician wearing black sits on a chair in a desert holding her guitar.
Natalie Bergman.
Natalie Bergman.

In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel. 

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.    

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter. 

As a result, tonight, she takes us down paths of sorrow into the wilderness to find the light of God shining on us. At Union Chapel, a series of subtly lit arches ascend behind her and her band guiding our eyes upward until they reach the central back-lit rose window. The beauty of that light is where she takes us through the soulful spirituality of her songs. By the end, the joint is jumping with joy as we sing and dance to ‘Keep Those Teardrops From Falling’. 

Why? Her super-melodic songs draw inspiration from the deep sources of sixties soul, including Motown, while being infused also with the rhythms of reggae and highlife. Her voice ranges from childlike wonder floating on a sea of sound to smoky sultry spirituality. In common with Nick Cave on Wild God, the source of her spirituality is a vulnerability and openness occasioned by the grief she has endured, an experience common to all of us, whether now or in the future.  

She has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.” As she concludes, “How could anyone have a problem with someone processing grief in a harmless way?” At Union Chapel, it’s clear that they don’t. Instead, what resonated with Bergman in her loss, also resonates with us.  

‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that: 

‘When you are scared, reach out your hand 

Talk to the Lord, talk to the Lord 

If you are sad, He'll dry your tears 

Talk to the Lord, talk to the Lord’ 

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that: 

‘In this pain, you make me sing 

When I am blue, you take me in 

My little ways, they feel strange 

You give me a little bit, and you take it away 

You paint the rain’ 

In these ways, she has been enabled to live again and to find joy in family life, with My Home Is Not In This World finding its inspiration in the birth of her son, Arthur. When not lamenting lost loves, My Home Is Not In This World is grounded in the realities of home and natural life. The song ‘My Home Is Not In This World’ contrasts a prior life of glitzy glamour – her home no longer being there - with the life she has now found: 

‘My home 

My home is not in this world 

My home 

My home is not in this world  

 

I want to go outside 

Tell the trees that I love them 

Open my eyes 

See the children in the garden 

Dancing underneath the sunshine 

Swinging underneath the moonlight 

Sing away your sorrow my little one’ 

It’s been said that her ‘greatest achievement is choosing to go against the grain’, a decision that includes her spiritual focus and proves the value of going counter to the culture. It’s also been said that her universal music ‘lives in the hearts and minds and souls of her fellow travelers; born again believers in love, joy, and music’s role as guiding light and lightning rod’. That was certainly the case at Union Chapel where she ‘let the sunshine in’ and we all experienced the everlasting light of love shining on us. 

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