Article

Creed

Digital

14 August 2025

4 min read

ChatGPT’s answers on human desire left something to be desired

So we had a little conversation

Rick Hansen

Rick writes and speaks on leadership, transformation, and culture.

OpenAI.

I recently posed a question to ChatGPT.

What do people truly desire? In this unique time in history, what does the soul of humanity yearn for? What are humanity's deepest longings?

The AI's initial response was not unusual or surprising. It was actually rather “meh.” It offered a familiar list of aspirations that could have been answered if I posed the question to a moderately intelligent crowded room:

Love, connection, purpose, meaning, authenticity, freedom, peace, contentment, truth, understanding, hope, transcendence, joy, and wonder.

It continued saying, Ultimately, the human soul's profound quest is for a deep harmony among love, purpose, authenticity, peace, truth, hope, and joy—an integrated, meaningful existence that resonates with our intended nature.

I pressed in,

That is good but it is a long list of many things. Of all of those things you listed above, can you narrow it down to ONE thing, ONE single thing people want from life?

Interestingly and surprisingly it said,

Ultimately, the one thing that the human soul longs for most deeply is: To be fully known and truly loved. All other desires like purpose, authenticity, peace, truth, hope, joy all stem from or lead back to this core need. Being fully known and truly loved means someone sees every part of who we are, with all our imperfections, fears, and dreams, and yet embraces us completely. It's the deepest validation, belonging, and security we can ever experience, satisfying the profoundest longing of the human heart.

I had to step back as I realized what I just read and how I got there. It was a moment of irony. Could it be that AI - one of the most innovative discoveries of our lifetime - identified one of the greatest and most rudimentary dilemmas of humanity? A machine, it appeared, had articulated why we find ourselves at such a cultural moment of unparalleled innovation along with a growing sense of human despair.

We are at a unique point in history, a "cultural moment—a bizarre time of juxtaposition," as articulated by John Mark Comer on his podcast. It’s era defined by the convergence of seemingly disparate events and marked by a time of profound contrast.

Historic levels of digital connectivity parallel a rise of disconnection, loneliness, and despair.

A new cultural fluidity of evolving gender identities and flexible social norms stir strong backlashes over historic claims of rights and norms.

I understand, for some, this "moment" is instead something much less dire. It is simply a moment where life unfolds and continues as it always has. However, what if this moment signifies more than just a fleeting series of advancing and contrasting events?

Why, despite all this progress and innovation, does humanity not seem to be in a better state? Why does it all still feel so woefully empty?

What if this reality presents us with a responsibility to delve into these contrasting events, prompting us to ask a new and perhaps deeper question?

Victor Frankl in his bestselling book Man’s Search For Meaning cited two revealing studies that - not surprisingly - align with ChatGPT. One was a public poll in France that showed 89 percent of the people polled admitted that man needs something to live for, a purpose greater than themselves. A second study he cited of 7,948 students at 48 colleges by John Hopkins University revealed nearly the same. They were asked what they considered “very important”, 16 percent checked “making a lot of money”; 78 percent said their goal was “finding a purpose and meaning to my life.”

What if our constant pursuit of innovation and progress, rather than inspiring wonder and creating soulful connection, is actually separating us from an unknown longing to be truly known and truly loved?

For many, this swift, intense interplay of progress and regress is seen as an inevitable result of our human evolution. In practice, it is the only way true discovery and radical breakthroughs can happen. However, it's clear that our current cultural challenges won’t be answered by this ongoing experiment. More progress isn’t the answer.

What if, in our super modern world where hope often feels out of reach and despair is common, an ancient book and a profound idea can shed light on what ChatGPT and Victor Frankl are getting at? The Bible consistently talks about God's desire for a relationship with us, a longing to be known and loved so that he can in turn know and love us.

Our relentless pursuit of constant change and true innovation may well reflect a profound, yet undiscovered inner yearning: a mirror of the intended two-way connection between God and people. Perhaps the intensity with which we chase external goals of development and discovery stems from our inability to resolve an inherent, unspoken dilemma within humanity.

Could the Bible, in a world shaped by AI, force us to confront and even understand the complexities of the world and our place in it? Could God use AI - a hyper advanced technological tool - to draw our attention to Him and reveal to us the ancient truth of what we truly yearn for? Is it, as ChatGPT quickly summarized, really that simple?

Ultimately, the one thing that the human soul longs for most deeply is: To be fully known and truly loved.

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Review

Belief

Culture

Death & life

Joy

Music

Wildness

30 August 2024

7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.

Belle Tindall

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A singer, wearing headphones, turns from a microphone in front of him.

Listen with Nick.

nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God.

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.

She was utterly captivated by God, and that meant that she was free.

I think that Nick Cave is free, too.

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be.

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder.

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too.

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.

It’s music that baffles your senses.

And then there are the stories that the songs are telling.

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.

It is pretty uncontainable.

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation.

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.

His wild God has clearly swept him off his feet.

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered…

… Oh, never mind. Never mind.