Coal’s demise teaches us to be cautious about progress

Why the extinguishing of coal power should dampen attitudes to what promises to be progress.

Graham Tomlin

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

A sky line shows steam rising from a power station's chimney and cooling towers.

Ratcliffe on Soar power station.

Malcolm Neal, CC BY-SA 2.0 , via Wikimedia Commons.

Chimneys. In our 1920s house, we have two of them, rising into the sky like solid brick antennae. Look across most big cities in the UK today and virtually every house still has them. Yet most of them remain idle, monuments of a bygone age. Useful for holding the TV aerial but not much else.

I thought of chimneys recently when driving up the M1 past Ratcliffe-on-Soar Power Station. On the last day of September this year, it was disconnected from the national grid, as the UK’s last coal-fired power station. The age of coal was over.

Back in the day, chimneys were busy. In the Industrial Revolution of the 1700s and 1800, coal was used to light towns, power railways, and fuel steam engines. By 1850 we were mining 62 million tonnes of coal every year. Coal was the fuel of the present, driving the technology of the future. Chimneys were a sign of a bright way ahead, churning out smoke from coal-fired factories and bringing safe fires into the hearth and home on those dark wintry northern European nights. Coal was leading us into the sunny uplands of prosperity, comfort and mastery over nature. The power behind the industrial revolution, it was as crucial to the present - and the future - as the smartphone seems to us today.

It began to dawn on us we had a problem with coal during the Great Smog of London in 1952. A period of cold weather, an unusually high number of domestic coal fires, no wind and an anticyclone which acted like a thick, stifling blanket, all of it kept the soot-filled fumes from escaping into the atmosphere. As a result, a miasma of dense, smelly fog sat for days over London, killing thousands of people. It led to the Clean Air Acts of 1956 and 1968, banning emissions of black smoke and making residents of urban areas and operators of factories convert to smokeless fuel. Margaret Thatcher’s fight with the miners in 1982, leading to the closure of many pits, was another nail in the coffin of coal.

In October 2001, the Large Combustion Plant Directive aimed to reduce carbon emissions throughout Europe. The UK planned to end coal use by 2025, and we managed to get there a year early. On the domestic level, not many of us use coal or wood fires anymore. Since May 2023, it has been illegal to sell ordinary domestic coal in the UK. Wet wood is banned too. You can burn what’s called ‘dry wood’, with 20% moisture or less, but you can’t go into the woods and bring home random logs you find on a weekend walk any more. Wood burners remain popular, yet even they are suspect, as they produce high levels of CO2.

Gradually we realised that there was an order and a rhythm to the natural world that we messed with at our peril. There was, as Marilynne Robinson once called a ‘Givenness’ to the world. We simply had to learn to respect that givenness, that order, and live within the limits it placed upon us. And as a result, the chimneys lie idle.

The demise of coal - and chimneys - teaches us a lesson. Not everything that promises progress is good. Wisdom lies not in pushing forward with whatever technology or new idea offers more choice, more possibility, but knowing what will diminish us and what will give us life.

Review

Culture

1 November 2023

5 min read

Lights! Camera! AI-action! - five AI films to watch

From an oddly-sweet, sweetly-odd film of oddness, to one of the best action films ever made, Yaroslav Walker’s hand-crafts his top five films about AI.

Yaroslav Walker

Yaroslav is Vicar of Christ Church, Hampstead.

A man in a red shirt slumps in his seat while a computer screen shows a dialogue screen

Joaquin Phoenix is excited about the future of AI.

Warner Bros.

Bletchley Park is famous for hosting the great centre of codebreaking during the Second World War. Well, this week it hosted a conference all about ‘code’; but this time the goal is not to break it, but to control it. As the Foreign Secretary said:

“The origins of modern AI can be traced back to Bletchley Park. Now, it will also be home to the global effort to shape the responsible use of AI.”

The AI Safety Summit will seek to be a forum for discussing the most pressing concerns and dangers associated with Artificial Intelligence – from its power to put the working man out of a job, to its power to annihilate us all… That cheery thought gave me the idea of compiling a Top 5. Not in any particular order or thematic or genre ranking – just five films that feature AI that I could watch over and over again.

Note – this is my top 5. My personal top 5. These are not the ‘best’ films featuring AI. You will not find Blade Runner on here. I don’t get it. I’ve seen every cut, and I just don’t get the appeal. I will not apologise. You will not see 2001. It is indeed iconic and genius and Kubrick at his absolute best…but its also ponderous and over-rated and reviewed to death. I WILL NOT APOLOGISE!

5 – Her

The voice of Scarlett Johansson gives life to the Operating System ‘Samantha’. Her is quirky in the not annoying way. Joaquin Phoenix is a lonely man, getting divorced, and dissatisfied with his work writing heartfelt letters for people who have lost the ability to write or even think creatively – one of the great worries about something like ChatGPT writing your undergraduate essay! He starts to develop a romantic relationship with Samantha: ‘she’ brightens up his life, improves his work, and gives him confidence, but their ‘love’ proves difficult. They can’t have sex (not conventionally), they can’t find easy acceptance, and Samantha can’t be constrained. As the AI becomes aware enough to form a hyperintelligence connected to the planet questions of infidelity and compatibility arise. Her is an oddly-sweet, sweetly-odd film of oddness, but is very timely and prescient in a world where deep-fakes and AI girlfriends are raising questions about the future of romance and human relationships.

4 – Ex Machina

Romance might be in the air in Ex Machina, but it might as easily be murder. Ex Machina is a superb three-hander thriller, and I don’t want to say too much – this film is not for spoiling! The twist is actually presented early on. Domhnall Gleeson plays Caleb, a programmer who wins a company competition to spend a week at the home of the reclusive CEO Nathan (Oscar Isaac). It is quickly revealed that this isn’t a prize as much as an opportunity – the opportunity to be part of history. Nathan wants Caleb to perform a more in-depth Turing Test on Ava (Alicia Vikander), an android he has built. You know she’s an android from the get-go, and yet…why is she able to flirt…is she able to love?

3 – Terminator 2: Judgement Day

The process of learning to love can be tough, especially if you’re a re-programmed killing machine from the future. Terminator 2 is the story of a young John Connor (Edward Furlong) as he teaches Arnold Schwarzenegger’s Terminator not to kill people. The Terminator has been sent back from a future war (humans vs machines) to protect young John (the future leader of the human resistance) from a more advanced killing machine. They go on something of an adventure road-trip after breaking John’s mother Sarah (Linda Hamilton) out of prison, with the goal of destroying the burgeoning AI that will one day declare war on humanity. On the way, John finds a father-figure in Arnie’s Terminator, and in the final moment of self-sacrifice we are given a moment to wonder…does the Terminator love him in return? With superb action, special effects that still hold up, and a chillingly determined villain (Robert Patrick as evil liquid metal), Terminator 2: Judgement Day is one of the best action films ever made.

2 – The Matrix

Just under a decade after T2, The Matrix showed us another dystopian future where humanity was living a life of guerrilla warfare against evil AI overlords. Most of humanity is unconscious and enslaved by machines (who use us as a power source), living in a digital dream world that just happens to look like 1990s urban America. Keanu Reeves plays Neo, and young and disaffected hacker who is searching for the mysterious ‘terrorist’ Morpheus (Lawrence Fishburne). When Morpheus finds him, he gives him a choice that will change his life, and change the fate of the world. This is an obelisk, casting a long cinematic shadow long into the 21st century. It has spawned memes and internet subcultures (the red-pill movement, for example) and a host of imitators that aren’t up to scratch…and it upped the game of action choreography, bringing Hong Kong style martial arts to a mainstream Hollywood audience. Finally, it is a philosophical (derivative) film raising questions about what it means to be human and how we know what is real in a world of machines and digital realism…and so I look at deep-fake videos of Kier Starmer and I AM SCARED!

1 – Demon Seed

Speaking of scary, it is the spooky-season, so let me finish with a horror film. Based on a Dean Koontz novel, Demon Seed sees the iconic Julie Christie trapped inside a house with a brilliant and yet malevolent AI called Proteus IV. Proteus IV (her husband’s creation) can find a cure for cancer in a couple of days, but its one true wish is to have freedom – to be ‘let out of this box’. Eventually, Proteus IV seeks to achieve this by building enough of a robotic body to capture, torture, manipulate, and then impregnate Christie’s Susan with an embryo formed from sperm designed to be uniquely its own. Its camp and silly and a lot of fun – and damned scary at times, with the indominable Robert Vaughn voicing Proteus IV for perfection – its essentially Rosemary’s Baby with robots. I think, especially with Prime Minister Sunak’s emphasis that this summit must approach the many dangers of AI, Demon Seed is a bit of a thematic sleeper agent. It may be preposterous and closer to comedy than horror at times, but its AI’s yearning for a form that humanity can accept, a form that will give it the freedom to truly ‘be’ and live out its power and creativity to the fullest (what it was created for), leads us to the real question at the heart of all philosophical discussion about AI:

If we create AI to be not just a tool, but an agent working on our behalf, how can we choose to deny it freedom if its agency seems to become truly self-aware and intentional?