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6 min read

The BBC and the quest for Truth

Space for neutrality is shrinking; two French philosophers explain why

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

BBC News logo.
BBC.

Watching American news always feels very different from the British version. Changing channels from CNN to Fox News feels like you're switching to a different universe altogether, as on each one you're getting a very different interpretation of events. The BBC has always been thought to rise above this. In the UK and beyond, through the World Service, the Beeb has, until recently, been viewed as an oasis of impartial, authoritative reporting in a world of propaganda and state-run media.

Now, allegations of bias, with evidence that BBC editors doctored a speech of Donald Trump to make it sound worse than it was, one-sided coverage of transgender issues, and perceived anti-Israel prejudice, have led to doubts about the truthfulness of BBC reporting, and the resignations of the Director General Tim Davie and its CEO, Deborah Turness.

It does seem that the BBC has fallen into an echo chamber, reflecting the generally liberal, metropolitan left-leaning ethos of the chattering classes. And that is a problem, especially for a taxpayer-funded corporation. At the same time, it is much harder for media companies these days to be neutral. Once upon a time, there was perhaps a broad space for impartiality and a general trust that institutions like the BBC could be trusted to tell the truth. Trying to be politically and culturally balanced these days, however, is like trying to walk along an ever narrowing mountain arête with an increasingly slim path of independence, while the steep and sheer slopes of the culture wars beckon on either side. The idea of a media platform maintaining strict neutrality is becoming harder and harder to sustain these days.

In Britain, that narrow arête has become smaller and smaller, with the BBC perceived as falling on one side of the debate, and GB News emerging to offer a perspective from the other, offering different assessments on what's going on, increasingly mirroring their American counterparts.

Now there is a reason why this space for neutrality is narrowing, rooted in cultural and philosophical developments over the past 50 years or more.

Foucault’s challenge

In the 1970s and early 80s, French philosopher Michel Foucault taught a whole generation of students - and his ideas became embedded in universities across the world - that claims to truth were in essence assertions of power. Foucault had been a Marxist, believing that power had to be wrested away from the hands of the ruling classes and placed in the hands of the proletariat. After the Paris student riots of the late 1960s, he changed his mind and started to believe that power is never concentrated in one place. It flows in multiple directions in any human relationship or institution. In such interactions, all kinds of power dynamics are at play, and you need to be very watchful to notice how they work. Power produces ‘truth’ - in other words a justification for its existence - and such ‘truth’ produces power, in that this ‘truth’ reinforces the power relations it was designed to justify. He often claimed not to be making a moral judgement – in fact moral judgments were irrelevant: “My point”, he said, “is not that everything is bad, but that everything is dangerous.” If all truth is power, then nothing is neutral. Everything is dangerous. You can’t trust anyone.

The result is that there is really no such thing as a neutral, absolute truth. All claims to truth come from a particular perspective on things. There is no ‘view from nowhere’ that stands above all our limited perspectives, and therefore the idea of finding ultimate absolute truth is fruitless.

Foucault’s target was the idea inherited from the Enlightenment that we could find truth through impartial rational inquiry. So for him, the idea that something like the BBC was an arbiter of neutral, rational truth was a mirage all along. The irony is that if the BBC has drifted into a left-leaning echo chamber, it has wandered into space deeply influenced by Foucault’s ideas – ideas which by definition make its claim to any kind of neutrality increasingly difficult to sustain.

The prevalence of these ideas explains why it is harder and harder for news outlets to remain neutral, or claim to offer the truth of things. 

Pascal’s perspective

So what does Christian theology say to this? At one point in his Pensées, another French philosopher, Blaise Pascal (unlike Foucault, a Christian one from the seventeenth century), says to the Foucault-type sceptic of his own day:

“I maintain that a perfectly genuine sceptic has never existed. Nature backs up helpless reason and stops it going so wildly astray.”

In other words, it's impossible to be a total sceptic about truth. Even the most progressive philosopher puts the kettle on and expects it to boil. He wakes in the morning expecting the sun to rise. There is such a thing as capital-T Truth and an order to the world that we didn’t create, and can be relied upon. We simply have to receive it and be grateful for it.

So far, so conservative. Yet Pascal then casts doubt on our ability to know that truth absolutely:

“Let us then concede to the sceptics what they have so often proclaimed, that truth lies beyond our reach and is an unattainable quarry, that it is not to be found here on earth, but really belongs in heaven, lying in the lap of God, to be known only in so far as it pleases him to reveal it.”

Perhaps surprisingly, Pascal agrees with Foucault, that absolute truth is unattainable to us here, at least if we think we can find it by some process of impartial human reason. Only God knows the truth. Our perspectives are inevitably limited and the only way we can know the ultimate truth is if it is revealed to us.

Which points to the heart of what a Christian believes about truth - that ultimately it is not so much rational and propositional but personal. Jesus does not say ‘here is the truth’, or ‘this is the truth’, but ‘I am the truth’.

Truth, in other words, is not just something you read on a page. It is not the product of brainy people sitting in a room analysing the data. Data always has to be interpreted and that's when fallible, inevitable and unspoken human prejudice creeps in. Truth is personal. You see it in a life – most perfectly in the life of Jesus. And if it is to be found here and now, it comes out of a life that has learned to be like Jesus, truthful in all kinds of simple personal interactions, honest even when it's inconvenient, generous even when you have little to give.

Truth, in Christian understanding, is a quality of life. It is not something that can be expected to arise from some august body of clever people – the Royal Society or the BBC. The BBC, like ITN, GB News, CNN, and Fox – and like the rest of us - will always be biased - and maybe it’s better to acknowledge that than try to hide it. To have a limited take on things is part of the human condition.

The only way we can rise above that to the ‘truth that comes from above’ as the Bible calls it, a truth which is “pure, peaceable, gentle, full of mercy, without a trace of partiality or hypocrisy” is the spiritual path of inner growth, through prayer, the practice of goodness and compassion.

Truth is not something we possess but something we grow towards. When the BBC – or any corporation for that matter - embraces the spiritual path of yearning for the ‘truth that comes from above’, then we might get nearer to trusting it again. 

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Review
Ageing
AI - Artificial Intelligence
Culture
Film & TV
5 min read

Foundation shows you can’t ‘Ctrl+V’ a soul

A sci-fi classic unearths transhumanism’s flaws

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

A woman confronts a man whose clone stands behind her.
Apple TV.

One of the reasons that science fiction has had enduring popularity as a genre is its ability to illustrate thought experiments. The way it can attempt to answer questions that can’t even be asked in any other kind of fiction is what gives it power as a form of storytelling. One question that keeps coming up is: what if you could live forever, through technology?  

One person to attempt to answer this question is Isaac Asimov, one of the early giants of the sci-fi genre. Born in 1920, Asimov arrived into a world that was rapidly changing, and yet, his imagination was still able to outpace it. Much of what he is known for is his depiction of robots, with ‘Asimov’s laws of robotics’ influencing the depiction of androids in Star Trek: The Next Generation. However, direct adaptations of Asimov’s own work were few and far between. Robin Williams’ Bicentennial Man released in 1999 and Will Smith starred in I, Robot in 2004 were the best of the bunch. That is, until Apple TV began adapting Asimov’s Foundation

Asimov’s Foundation books were written across the span of fifty years. The premise of the stories is that in a distant future, a galactic empire is beginning to fail and cannot be saved. The mathematician Hari Seldon develops the theory of psychohistory, where he uses statistical laws to predict the future of large populations. In the wake of the empire’s fall, Seldon predicts a dark age lasting 30,000 years before a second empire arises. Seldon devises a plan to reduce this dark age to just one thousand years by preserving a ‘foundation’ of knowledge. The novels describe some of the dramatic events that frustrate, or are a result of Seldon's Plan. One of the features of the story that the Apple TV show of Foundation focuses on is attempted immortality.  

Foundation gives us three depictions of ‘immortality’. Firstly, Seldon orchestrates having his conscience eventually uploaded into the Prime Radiant, a super-computer in order to allow him to shepherd his plans beyond the limits of his own human lifespan. Secondly, his protégé, Gaal Dornick is throughout the first season put into a cryo-sleep that lets her move into the future without ageing. Finally, the characters of Dawn, Day and Dusk attempt immortality through cloning. The tyrannical emperor Cleon decided that the only person fit to succeed him was…himself. So, he creates a revolving triumvirate of his own clones: Brother Day, a Cleon in his prime; Brother Dusk, an aging Cleon who serves to advise Day; and Brother Dawn, a young Cleon being trained to succeed Brother Day. This "genetic dynasty" has been ruling with an iron fist for 400 years by the start of the series.  

These interpretations of immortality grant each character the ability to shape and curate history in a way that no one human could ever achieve. But as there’s no drama without conflict, Foundation shows us the downsides of this kind of immortality. Firstly, Gaal’s version, being frozen in cryo-sleep for decades might literally extend her life, but from Gaal’s perspective, it is no longer than it would have been otherwise. Whilst she does get to see history play out, she loses connections with people like her family and her lover Raych. She is unable to build the life she would have planned for herself.    

No-one mourns your absence because there’s an identical copy of you still walking about. 

Seldon’s version of immortality is flirted with by tech bros and transhumanists like Peter Thiel. The idea of a computer that has the processing power to replicate a human brain turns up in numerous stories, but it’s another false immortality. Firstly, the original Hari Seldon still dies, and the ‘digital version’ stored eventually in the Prime Radiant is merely a copy. We might not think much of copy and pasting a document or file on our computer, but it doesn’t quite work the same for human beings. A copy is not the same as the original. You can’t ‘Ctrl+V’ a soul. In addition to this, we find out at one point that due to a mistake, Hari’s digital self has been trapped in darkness, fully conscious but with no rest, no distractions and no way of communicating with the outside world for 148 years. This naturally drags Hari into an interminable madness.  

Lastly, the Empire run by the clones, Dawn, Day and Dusk suffer much the same problem as the other two. It’s not a real immortality; as each clone eventually dies. But in many ways, it’s even worse than death. No-one mourns your absence because there’s an identical copy of you still walking about. This is a trope that is troubling, because a protagonist dying and being returned via cloning is often presented as a ‘resurrection’. It has been used as a story arc in the X-men comics and in Peter Capaldi’s era of Doctor Who, with very little outcry from their respective fandoms. Possibly because the thought that the producers have canonically killed the main character and replaced them with an exact copy is simply too uncomfortable to consider. In Foundation itself, the clones are judged by their fidelity to the original (a cold and petty despot) and any deviation is met with a death sentence. Whilst clones may be one way to rule a sci-fi galactic empire, it’s possibly their inability to adapt to changing circumstances that contributes to the fall of civilisation.  

The great irony in all of these interpretations is; you are only immortal to those observing you, and an immortality that relies on perspective is not really an immortality at all.  

It seems that hard science fiction, and ancient Greek myths can at times, overlap in their focus. Viewed in one light, Asimov’s Foundation series can be seen as one long story of Prometheus, who steals fire from the gods to give it as a gift to mankind, only to be punished by Zeus for his actions. Asimov appears to be telling us that mankind can’t accurately predict the future and you can’t live forever. So despite being a staunch atheist, one of the great minds of science fiction might be suggesting that immortality may belong squarely in the realm of the divine.

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