Article
AI - Artificial Intelligence
Culture
5 min read

What AI needs to learn about dying and why it will save it

Those programming truthfulness can learn a lot from mortality.

Andrew Steane has been Professor of Physics at the University of Oxford since 2002, He is the author of Faithful to Science: The Role of Science in Religion.

An angel of death lays a hand of a humanioid robot that has died amid a data centre
A digital momento mori.
Nick Jones/midjourney.ai

Google got itself into some unusual hot water in recently when its Gemini generative AI software started putting out images that were not just implausible but downright unethical. The CEO Sundar Pichai has taken the situation in hand and I am sure it will improve. But before this episode it was already clear that currently available chat-bots, while impressive, are capable of generating misleading or fantastical responses and in fact they do this a lot. How to manage this? 

Let’s use the initials ‘AI’ for artificial intelligence, leaving it open whether or not the term is entirely appropriate for the transformer and large language model (LLM) methods currently available. The problem is that the LLM approach causes chat-bots to generate both reasonable and well-supported statements and images, and also unsupported and fantastical (delusory and factually incorrect) statements and images, and this is done without signalling to the human user any guidance in telling which is which. The LLMs, as developed to date, have not been programmed in such a way as to pay attention to this issue. They are subject to the age-old problem of computer programming: garbage in, garbage out

If, as a society, we advocate for greater attention to truthfulness in the outputs of AI, then software companies and programmers will try to bring it about. It might involve, for example, greater investment in electronic authentication methods. An image or document will have to have, embedded in its digital code, extra information serving to authenticate it by some agreed and hard-to-forge method. In the 2002 science fiction film Minority Report an example of this was included: the name of a person accused of a ‘pre-crime’ (in the terminology of the film) is inscribed on a wooden ball, so as to use the unique cellular structure of a given piece of hardwood as a form of data substrate that is near impossible to duplicate.  

The questions we face with AI thus come close to some of those we face when dealing with one another as humans. 

It is clear that a major issue in the future use of AI by humans will be the issue of trust and reasonable belief. On what basis will we be able to trust what AI asserts? If we are unable to check the reasoning process in a result claimed to be rational, how will be able to tell that it was in fact well-reasoned? If we only have an AI-generated output as evidence of something having happened in the past, how will we know whether it is factually correct? 

Among the strategies that suggest themselves is the use of several independent AIs. If they are indeed independent and all propose the same answer to some matter of reasoning or of fact, then there is a prima facie case for increasing our degree of trust in the output. This will give rise to the meta-question: how can we tell that a given set of AIs are in fact independent? Perhaps they all were trained on a common faulty data set. Or perhaps they were able to communicate with each other and thus influence each other.  

The questions we face with AI thus come close to some of those we face when dealing with one another as humans. We know humans in general are capable of both ignorance and deliberate deception. We manage this by building up degrees of trust based on whether or not people show behaviours that suggest they are trustworthy. This also involves the ability to recognize unique individuals over time, so that a case for trustworthiness can be built up over a sequence of observations. We also need to get a sense of one another's character in more general ways, so that we can tell if someone is showing a change in behaviour that might signal a change in their degree of trustworthiness. 

In order to earn our trust, an AI too will have to be able to suffer and, perhaps, to die. 

Issues of trust and of reasonable belief are very much grist to the mill of theology. The existing theological literature may have much that can be drawn upon to help us in this area. An item which strikes me as particularly noteworthy is the connection between suffering and loss and earning of trust, and the relation to mortality. In brief, a person you can trust is one who has ventured something of themselves on their pronouncements, such that they have something to lose if they prove to be untrustworthy. In a similar vein, a message which is costly to the messenger may be more valuable than a message which costs the messenger nothing. They have already staked something on their message. This implies they are working all the harder to exert their influence on you, for good or ill. (You will need to know them in other ways in order to determine which of good or ill is their intention.)  

Mortality brings this issue of cost to a point of considerable sharpness. A person willing to die on behalf of what they claim certainly invests a lot in their contribution. They earn attention. It is not a guarantee of rationality or factual correctness, but it is a demonstration of commitment to a message. It signals a sense of importance attached to whatever has demanded this ultimate cost. Death becomes a form of bearing witness.  

A thought-provoking implication of the above is that in order to earn our trust, an AI too will have to be able to suffer and, perhaps, to die. 

In the case of human life, even if making a specific claim does not itself lead directly to one's own death, the very fact that we die lends added weight to all the choices we make and all the actions we take. For, together, they are our message and our contribution to the world, and they cannot be endlessly taken back and replaced. Death will curtail our opportunity to add anything else or qualify what we said before. The things we said and did show what we cared about whether we intended them to or not. This effect of death on the weightiness of our messages to one another might be called the weight of mortality. 

In order for this kind of weight to become attached to the claims an AI may make, the coming death has to be clearly seen and understood beforehand by the AI, and the timescale must not be so long that the AI’s death is merely some nebulous idea in the far future. Also, although there may be some hope of new life beyond death it must not be a sure thing, or it must be such that it would be compromised if the AI were to knowingly lie, or fail to make an effort to be truthful. Only thus can the pronouncements of an AI earn the weight of mortality. 

For as long as AI is not imbued with mortality and the ability to understand the implications of its own death, it will remain a useful tool as opposed to a valued partner. The AI you can trust is the AI reconciled to its own mortality. 

Review
Culture
Film & TV
Monsters
8 min read

Here's why E.T. is in my list of top Halloween films

What Halloween films reveal about our fears, our families, and our fondness for the ridiculous
A child and E.T. ride a BMX bike across a moon lit sky.
Universal Pictures.

 

Halloween can be exhausting these days. As we continue to import and cement more and more of the American cultural experience, and as I age into maturity and (especially) fatherhood, I find myself spending All Hallow’s Eve in two ways (neither of which is prayer and meditation of the hallowed Saints of the Church, or the Faithful Departed Souls who now rest in Christ): I can take my daughter trick-or-treating, or I can stay home and desperately throw handfuls of sweets and the horde of children in fancy dress who arrive at my door. I always choose option A…I’m a priest…I have a ready-made costume. To aid in the convalescence necessary after such an exhausting evening, I have compiled by Top 5 Halloween Films. 

NOTE: This list is in no particular order, and the entries are not all horror films. In an effort to be ecumenical, and to bring solace to those of all temperaments and dispositions, I’ve taken my criteria as films set on, or around, Halloween. I hope there is at least one offering here that might intrigue and delight you. 

5. The Crow 

A supernatural superhero flick which has gained cult status, this film kicks off the list in style. What style, you ask? The inimitable style of the 90s. Eric Draven and his fiancée are murdered on ‘Devil Night’ (also known as ‘Mischief Night’), on the eve of their Halloween wedding, leaving a distraught Sarah – the young girl they care for. One year later, Eric is resurrected by the spirit of the Crow, who shepherds souls to the afterlife, and resurrects those who die by evil and violence as undead warriors with a mission to find revenge and, perhaps…peace? Certainly not to begin with!  

This film is perfect Halloween fare for those who want the grit and vibe of the holiday without actually having to engage with real fear. The 90s was a decade of looking and sounding edgy without any commitment: the decade of bark, not bite. Brandon Lee (who died during filming in a prop accident – a star in the making, taken too soon) looks terrific as Eric Draven/The Crow, covered in black leather and face paint, excelling at fight and stunt choreography, and towing the line of camp perfectly. The setting is moody darkness and rain and neon, and gothic gargoyles! The music underpins the atmosphere superbly…I mean…the title track is by The Cure! It goes hell for leather in a deliciously pantomimesque fashion and is well worth a watch for spooky fun without the fear. 

4. Halloween II 

The unwanted sibling. The sequel that was never meant to happen. It is unclear to me quite what it was that forced John Carpenter and Debra Hill back to the writing room (perhaps the threat that this sequel would happen with or without them), but it certainly wasn’t passion for the project! Carpenter has described the writing process as one where he essentially had to be drunk to get through it. I must say, if this is the case, it doesn’t show! Halloween II picks up right where the original ends, Laurie Strode (Jamie Lee Curtis) is catatonic after surviving the Haddonfield Halloween night massacre and is immediately transported to hospital. The murderous Michael Myers has disappeared after being shot by his psychiatrist, Dr Loomis (Donald Pleasance returning with the most delightfully hammy performance…in fact with the whole back half of the pig), and now Loomis is back on the hunt. It is all leading to a blood-soaked showdown in Haddonfield Memorial Hospital, and the most contrived plot-twist in horror history; necessary, Carpenter says, for any of this forced sequel (to a perfectly conceived standalone film) to make sense. It isn’t a patch on its progenitor, but it is far better than it deserves to be, allows you to spend some more time with beloved characters, cranks everything up to 11, and is a guilty pleasure of mine – me, a man of taste and refinement, a connoisseur of the creepy, a gentleman in the gathering of the ghoulish. 

3. E.T. 

One for the kids now, especially for those children who find Halloween a bit too much. This is the film that proved Steven Spielberg isn’t just a good filmmaker – he is one of the finest ever to pick up a camera, able to master any story in any genre. E.T. is a small alien who is separated from his group on a routine mission to collect plant samples from Earth. He is taken in by a young boy, Elliot, and protected from the government agents trying to capture him. Over the coming days the two bond, developing an odd empathic link that gives Elliot confidence in school, and gives the two much joy and laughter at home. Soon it is time for E.T. to ‘phone home’ and return to his own planet. Naturally this escape attempt takes place on Halloween, so that the little gremlin-like creature can wear a bedsheet without attracting unwanted attention. After several near escapes form the law, E.T. and Elliot have a goodbye so emotional and poignant that I dare you to watch this with your little ones and not cry…go on…I DARE YOU! E.T. is everything a children’s story should be, and has everything it should have: aliens, coming-of-age shenanigans, clueless parents, a chase with levitating bicycles. It is perfect, and perfectly gentle for a Halloween wind down as a family.  

2. Batman Forever 

Now, I was thirteen when Batman Begins was released; a man of grey-hair and wrinkled visage by the standards of comic books. As a result, Christian Bale is not my Batman – the raspy voice just grates on me! Michael Keaton is my Batman, and is, to this day, the best Batman. However, none of the Keaton films have a Halloween setting as far as I’m aware, so I’m going to recommend the Val Kilmer take on the caped cruder. Kilmer is the billionaire bad-boy Bruce Wayne, a mask he wears to hide his true identity as the crime fighter Batman. Tommy Lee Jones is the once upstanding prosecutor Harvey Dent, who went mad after having acid thrown in his face, and has become the supervillain Two-Face. Jim Carrey plays Edward Nygma, a scientific genius who is researching a technology to send TV signals directly to the brain – research that Bruce Wayne shuts down due to its potential for mind control. Nygma takes on the guise of The Riddler, and he and Two-Face begin to commit a series of robberies to fund the research and, eventually, take down Batman. Their plan culminates on Halloween night, which might explain why no one questions maniacs in ridiculous costume running around Gotham City.  

If you think The Crow is camp (which it is) you haven’t seen anything yet. The gothic is more gothicky, the leather is more leathery, the neon will burn the eyes right out of your skull, and I’m not sure if you can get more 90s than a gurning Jim Carrey menacing Nicole Kidman while Val Kilmer smoulders in anger. If you can keep a secret…I know this film is rubbish, but it was the ‘latest’ Batman film as I was growing up, and I actually really like it, and it brings back so many memories of my childhood, excitedly sitting in front of the telly to watch the action for the fiftieth time. Highly recommended, for the sheer operatic silliness of the film alone – and what is Halloween for if not operatic silliness? 

1. Halloween 

Of course this was going to be on the list. This is THE Halloween film. This is so much a part of the cultural memory that I’m not sure I even need to give a plot synopsis or explain my recommendation. Instead, I could just list the people involved and leave it at that. John Carpenter writing (with Debra Hill), directing, doing the music, probably making the cast’s lunch and everything else! Jamie Lee Curtis in the lead, essentially creating the ‘final-girl’ trope of the slasher flick, and doing it so brilliantly that it has only ever been imitated but never topped. Donald Pleasance…is also there. I can’t quite describe his performance: is it a genius deconstruction of trope and cliché in a valiant attempt to understand the warring forces of light and darkness in the human heart, or is it the work of a man who missed the lunch Carpenter prepared and so has decided to devour the scenery instead? He is bonkers – and I’m here for it! 

Curtis is Laurie Strode, an innocent and virginal (vitally important in the mythos of what becomes the ‘final girl’) high schooler, who will be spending Halloween night babysitting Tommy Doyle while her friends do – ahem – what teenagers do. Honestly, they couldn’t have picked a worse time or place to engage in underaged drinking and pre-marital sex. Haddonfield on Halloween night in 1978 is essentially an abattoir for the morally flexible teen. Because…Michael Myers is on the prowl. Introduced at the start of the film (in a POV shot that has stood the test of time for its chill and shock factor!) as a six-year-old boy who inexplicably stabs his sister to death on Halloween. He is committed to an asylum under the care of Pleasance’s Dr Loomis. On Halloween night, 15 years later, he escapes. Loomis, who’s time with Michael has turned him into a different type of madman, is horrified and starts hunting Michael, accosting innocent children, and all the while screaming about ‘THE EVIL HAS ESCAPED’…he also wonders why the police don’t take him seriously. 

Michael stalks Laurie and her friends, picking them off one-by-one, until only Laurie is left to fight and survive. The film is perfectly taught and lean and coiled: the tension ratchets and ratchets and ratchets until you don’t think you can take anymore. What makes this one of the finest horror films, and my favourite one to watch on Halloween night itself, is its simplicity. Michael Myers has no explanation. Why he killed his sister, why he hunts Laurie, how he is so strong and fast and seemingly invulnerable. He simply is. He happens. He is a force of nature that has no discernible cause or motive. Sometimes evil is like this, and I find my annual viewing of Halloween a tremendous restorative – a reminder of an age when the horror movies didn’t spoon-feed you backstory and explanations…they just gave you damn-good scares! 

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