Review
Art
Culture
Film & TV
War & peace
4 min read

Not for glory or galleries, capturing modern wars through art

Mary Kinmonth documents the battles women artists see.
In a bombed-out tiled room, two art works hang in the shape of a tiled jacket and shape
Second Hand 7, by Zhanna Kadyrova
Foxtrot Films.

 

When it comes to war, what do women see that men don’t? This is the question asked repeatedly throughout British filmmaker Margy Kinmonth’s new documentary War Paint: Women at War. The third part of a trilogy, the film focuses on the stories of female artists who have created art in their experience of war and conflict. From British women during the London Blitz to those responding to contemporary conflicts in Iran, Ukraine and Sudan, the film takes a thoughtful look into how war has been experienced by those who have been previously excluded from the story. 

Zhanna Kadyrova is a Ukranian artist working from a progressing front line. One sequence shows a fight against time as her team attempts to remove one of her public sculptures as the front line draws closer. Kadyrova operates in recent conflict zones– one of her series involves transforming tiled walls in bombed-out rubble into clothes that appear to hang from the remaining walls. In the wake of violent destruction, Kadyrova wants you to remember the lives left behind. 

Shirin Neshat is an Iranian photographer and artist working from New York. Her work brings together the weapon, the human body, the veil, and the text of the Qu’ran to ask questions of the impacts of the Iranian war on women.  Neshat makes you look right into the eyes of these women– she puts weapons of war into their hands and thus gives them agency that the Iranian government has taken away. 

Marcelle Hanselaar’s work shows the unspoken side of war- depicting the aftermath of violence and sexual assault that many women experience when conflict rips through their homes. 

Women at War brings the audience through one female artist after another, depicting a diversity of styles, voices, and perspectives that range from official war commissions to illegal graffiti. The artists shown don’t even all agree with filmmaker Margy Kinmonth’s premise - that women always see things differently from men. But what they bring together is a view of war far removed from ideas of national glory that often line the halls of national galleries. 

The filmmaker’s own art teacher, the painter Maggi Hambling, says this: 

“For men, victory and defeat marks the end of a war. For the woman, the war doesn’t end.” 

Knowing the consequences and aftermath of war– destroyed communities, post traumatic stress disorder, sexual violence, broken families, that war is more than valiance– isn’t a perspective held by women alone. 

According to a recent YouGov poll, “a third of 18-40 year olds would refuse to serve in the event of a world war – even if the UK were under imminent threat of invasion.” Among reasons listed are an unwillingness “to fight for the rich and powerful – who they see as profiteers or otherwise unfairly able to avoid the consequences of conflict themselves.”

As one respondent put it: "My life is more valuable than being wasted in a war caused by rich people’s greed."

Women have been speaking up for the last 50 years, and the young have heard them. War is not glory, but trauma. Young people see this when they look around. They don’t easily buy into nationalist rhetoric and have no pretenses about the glory of war. They know war is not a place to seek accolades upon accolades, but an evil reality that pays an inordinate toll on human society. 

Today, global tensions are high, and war seems more possible a reality for many in England than previously. Keir Starmer has said the government will increase military defence spending to 2.5 per cent of the national budget by 2027. But Brits aren’t lining up to buy their uniforms. 

If the UK government expects its young citizens to prepare for conflict, they need to be honest about what that involves. They need to be prepared to face a knowing crowd about the realities of war and show a willingness to fight for their lives during peacetime. It’s not that young people are politically disinterested or unwilling to take a stand when it matters. Students at universities rising up in pro-Palestine protests or climate activism reveal that they care greatly about the world they are living in. They want to take an active role in shaping it, and aren’t afraid to face consequences if they find a worthy fight. 

Political commentators used to think we have reached “the end of history” with liberal democracy the last man standing. But War Paint: Women at War shows us that even an end to war doesn’t bring the end of suffering. It complicates the narrative that war is a path to victory. Everyone pays the price of war, yet those in power rarely bear the burden. If leaders want young people to fight for their country, they must first prove they are fighting for them. Otherwise, no one will answer the call.

 

View stills from the film and find screening times.

Watch the trailer

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Article
AI
Culture
Generosity
Psychology
Virtues
5 min read

AI will never codify the unruly instructions that make us human

The many exceptions to the rules are what make us human.
A desperate man wearing 18th century clothes holds candlesticks
Jean Valjean and the candlesticks, in Les Misérables.

On average, students with surnames beginning in the letters A-E get higher grades than those who come later in the alphabet. Good looking people get more favourable divorce settlements through the courts, and higher payouts for damages. Tall people are more likely to get promoted than their shorter colleagues, and judges give out harsher sentences just before lunch. It is clear that human judgement is problematically biased – sometimes with significant consequences. 

But imagine you were on the receiving end of such treatment, and wanted to appeal your overly harsh sentence, your unfair court settlement or your punitive essay grade: is Artificial Intelligence the answer? Is AI intelligent enough to review the evidence, consider the rules, ignore human vagaries, and issue an impartial, more sophisticated outcome?  

In many cases, the short answer is yes. Conveniently, AI can review 50 CVs, conduct 50 “chatbot” style interviews, and identify which candidates best fit the criteria for promotion. But is the short and convenient answer always what we want? In their recent publication, As If Human: Ethics and Artificial Intelligence, Nigel Shadbolt and Roger Hampson discuss research which shows that, if wrongly condemned to be shot by a military court but given one last appeal, most people would prefer to appeal in person to a human judge than have the facts of their case reviewed by an AI computer. Likewise, terminally ill patients indicate a preference for doctor’s opinions over computer calculations on when to withdraw life sustaining treatment, even though a computer has a higher predictive power to judge when someone’s life might be coming to an end. This preference may seem counterintuitive, but apparently the cold impartiality—and at times, the impenetrability—of machine logic might work for promotions, but fails to satisfy the desire for human dignity when it comes to matters of life and death.  

In addition, Shadbolt and Hampson make the point that AI is actually much less intelligent than many of us tend to think. An AI machine can be instructed to apply certain rules to decision making and can apply those rules even in quite complex situations, but the determination of those rules can only happen in one of two ways: either the rules must be invented or predetermined by whoever programmes the machine, or the rules must be observable to a “Large Language Model” AI when it scrapes the internet to observe common and typical aspects of human behaviour.  

The former option, deciding the rules in advance, is by no means straightforward. Humans abide by a complex web of intersecting ethical codes, often slipping seamlessly between utilitarianism (what achieves the most amount of good for the most amount of people?) virtue ethics (what makes me a good person?) and theological or deontological ideas (what does God or wider society expect me to do?) This complexity, as Shadbolt and Hampson observe, means that: 

“Contemporary intellectual discourse has not even the beginnings of an agreed universal basis for notions of good and evil, or right and wrong.”  

The solution might be option two – to ask AI to do a data scrape of human behaviour and use its superior processing power to determine if there actually is some sort of universal basis to our ethical codes, perhaps one that humanity hasn’t noticed yet. For example, you might instruct a large language model AI to find 1,000,000 instances of a particular pro-social act, such as generous giving, and from that to determine a universal set of rules for what counts as generosity. This is an experiment that has not yet been done, probably because it is unlikely to yield satisfactory results. After all, what is real generosity? Isn’t the truly generous person one who makes a generous gesture even when it is not socially appropriate to do so? The rule of real generosity is that it breaks the rules.  

Generosity is not the only human virtue which defies being codified – mercy falls at exactly the same hurdle. AI can never learn to be merciful, because showing mercy involves breaking a rule without having a different rule or sufficient cause to tell it to do so. Stealing is wrong, this is a rule we almost all learn from childhood. But in the famous opening to Les Misérables, Jean Valjean, a destitute convict, steals some silverware from Bishop Myriel who has provided him with hospitality. Valjean is soon caught by the police and faces a lifetime of imprisonment and forced labour for his crime. Yet the Bishop shows him mercy, falsely informing the police that the silverware was a gift and even adding two further candlesticks to the swag. Stealing is, objectively, still wrong, but the rule is temporarily suspended, or superseded, by the bishop’s wholly unruly act of mercy.   

Teaching his followers one day, Jesus stunned the crowd with a catalogue of unruly instructions. He said, “Give to everyone who asks of you,” and “Love your enemies” and “Do good to those who hate you.” The Gospel writers record that the crowd were amazed, astonished, even panicked! These were rules that challenged many assumptions about the “right” way to live – many of the social and religious “rules” of the day. And Jesus modelled this unruly way of life too – actively healing people on the designated day of rest, dining with social outcasts and having contact with those who had “unclean” illnesses such as leprosy. Overall, the message of Jesus was loud and clear, people matter more than rules.  

AI will never understand this, because to an AI people don’t actually exist, only rules exist. Rules can be programmed in manually or extracted from a data scrape, and one rule can be superseded by another rule, but beyond that a rule can never just be illogically or irrationally broken by a machine. Put more simply, AI can show us in a simplistic way what fairness ought to look like and can protect a judge from being punitive just because they are a bit hungry. There are many positive applications to the use of AI in overcoming humanity’s unconscious and illogical biases. But at the end of the day, only a human can look Jean Valjean in the eye and say, “Here, take these candlesticks too.”   

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