Article
AI - Artificial Intelligence
Community
Culture
Education
5 min read

Artificial Intelligence needs these school lessons to avoid a Frankenstein fail

To learn and to learn to care are inseparable

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A cyborg like figure opens the door to a classroom.
AI in the classroom.
Nick Jones/Midjourney.ai.

Recent worries expressed by Anthropic CEO, Dario Amodei, over the welfare of his chatbot bounced around my brain as I dropped my girls off for their first days at a new primary school last month. Maybe I felt an unconscious parallel. Maybe setting my daughters adrift in the swirling energy of a schoolyard containing ten times as many pupils as their previous one gave me a twinge of sympathy for a mogul launching his billion-dollar creation into the id-infused wilds of the internet. But perhaps it was more the feeling of disjuncture, the intuition that whatever information this bot would glean from trawling the web,it was fundamentally different from what my daughters would receive from that school, an education.  

We often struggle to remember what it is to be educated, mistaking what can be assessed in a written or oral exam for knowledge. However, as Hannah Arendt observed over a half century ago, education is not primarily about accumulating a grab bag of information and skills, but rather about being nurtured into a love for the world, to have one’s desire to learn about, appreciate, and care for that world cultivated by people whom one respects and admires. As I was reminded, watching the hundreds of pupils and parents waiting for the morning bell, that sort of education only happens in places, be it at school or in the home, where children themselves feel loved and valued.  

Our attachments are inextricably linked to learning. That’s why most of us can rattle off a list of our favourite teachers and describe moments when a subject took life as we suddenly saw it through their eyes. It’s why we can call to mind the gratitude we felt when a tutor coached us through a maths problem, lab project, or piano piece which we thought we would never master. Rather than being the pouring of facts into the empty bucket of our minds, our educations are each a unique story of connection, care, failure, and growth.  

I cannot add 8+5 without recalling my first-grade teacher, the impossibly ancient Mrs Coleman, gazing benevolently over her half-moon glasses, correcting me that it was 13, not 12. When I stride across the stage of my village pantomime this December, I know memories of a pint-sized me hamming it up in my third-grade teacher’s self-penned play will flit in and out of mind. I cannot write an essay without the voice of Professor Coburn, my exacting university metaphysics instructor, asking me if I am really saying what is truthful, or am resorting to fuzzy language to paper over my lack of understanding. I have been shaped by my teachers. I find myself repaying the debts accrued to them in the way I care for students now. To learn and to learn to care are inseparable. 

But what if they weren’t? AI seems to open the vista where intelligences can simply appear, trained not by humans, but by recursive algorithms, churning through billions of calculations on rows of servers located in isolated data centres. Yes, those calculations are mostly still done on human produced data, though the insatiable need for more has eaten through most everything freely available on the web and in whatever pirated databases of books and media these companies have been able to locate, but learning from human products is not the same as learning from human beings. The situation seems wholly original, wholly unimaginable. 

Except it was imagined in a book written over two hundred years ago which, as Guillermo del Toro’s recent attempt to capture that vision reminds us, remains incredibly relevant today. Filmmakers, and from trailers I suspect Del Toro is no different here, tend to treat the story of Frankenstein as one of glamorous transgression: Dr Frankenstein as Faust, heroically testing the limits of human knowledge and human decency. But Mary Shelley’s protagonist is an altogether more pathetic character, one who creates in an extended bout of obsessive experimentation and then spends the rest of the book running from any obligation to care for the creature he has made.  

It is the creature who is the true hero of the novel and he is a tragic one precisely because his intelligence, skills, and abilities are acquired outside the realm of human connection. When happenstance allows him to furtively observe lessons given within a loving, but impoverished family, he imagines himself into that circle of growing love and knowledge. It is when he is disabused of this notion, when the family discovers him and is disgusted, when he learns that he is doomed to know, but not be known, that he turns into a monster bent on revenge. As the Milton-quoting monster reminds Frankenstein, even Adam, though born fully grown, was nurtured by his maker. Since even this was denied creature, what choice does he have but to take the role of Satan and tear down the world that birthed him? 

Are our modern maestros of AI Dr Frankensteins? Not yet. For all the talk of sentient-like responses by LLMs, avoiding talking about distressing topics for example, the best explanation of such behaviour is that they simply are mimicking their training sets which are full of humans expressing discomfort about those same topics. However, if these companies are really as serious about developing a fully sentient AGI, about achieving the so-called singularity, as much of the buzz around them suggests, then the chief difference between them and Frankenstein is one of ability rather than ambition. If eventually they are able to realise their goals and intelligences emerge, full of information, but unnurtured and unloved, how will they behave? Is there any reason to think that they will be more Adam than Satan when we are their creators? 

At the end of Shelley’s novel, an unreconstructed Frankenstein tells his tale to a polar explorer in a ship just coming free from the pack ice. The explorer is facing the choice of plunging onward in the pursuit of knowledge, glory, and, possibly, death, or heeding the call of human connections, his sister’s love, his crew’s desire to see their families. Frankenstein urges him on, appeals to all his ambitions, hoping to drown out the call of home. He fails. The ship turns homeward. Knowledge shorn of attachment, ambition that ignores obligation, these, Shelley tells us, are not worth pursuing. Will we listen to her warning? 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy 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
Culture
Film & TV
Monsters
Race
4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles is a writer and creative who hosts the God in Film podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.
Delroy Lindo, Michael B. Jordan, and Ryan Coogler.
Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night. 

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise. 

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.  

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.  

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.  

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:  

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”  

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.  

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.  

Celebrate our 2nd birthday!

Since Spring 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 enjoy 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