Explainer
AI
Belief
Creed
5 min read

Whether it's AI or us, it's OK to be ignorant

Our search for answers begins by recognising that we don’t have them.

Simon Walters is Curate at Holy Trinity Huddersfield.

A street sticker displays multiple lines reading 'and then?'
Stephen Harlan on Unsplash.

When was the last time you admitted you didn’t know something? I don’t say it as much as I ought to. I’ve certainly felt the consequences of admitting ignorance – of being ridiculed for being entirely unaware of a pop culture reference, of being found out that I wasn’t paying as close attention to what my partner was saying as she expected. In a hyper-connected age when the wealth of human knowledge is at our fingertips, ignorance can hardly be viewed as a virtue. 

A recent study on the development of artificial intelligence holds out more hope for the value of admitting our ignorance than we might have previously imagined. Despite wide-spread hype and fearmongering about the perils of AI, our current models are in many ways developed in similar ways to how an animal is trained. An AI system such as ChatGPT might have access to unimaginable amounts of information, but it requires training by humans on what information is valuable or not, whether it has appropriately understood the request it has received, and whether its answer is correct. The idea is that human feedback helps the AI to hone its model through positive feedback for correct answers, and negative feedback for incorrect answers, so that it keeps whatever method led to positive feedback and changes whatever method led to negative feedback. It really isn’t that far away from how animals are trained. 

However, a problem has emerged. AI systems have become adept at giving coherent and convincing sounding answers that are entirely incorrect. How has this happened? 

This is a tool; it is good at some tasks, and less good at others. And, like all tools, it does not have an intrinsic morality. 

In digging into the training method for AI, the researchers found that the humans training the AI flagged answers of “I don’t know” as unsatisfactory. On one level this makes sense. The whole purpose of these systems is to provide answers, after all. But rather than causing the AI to return and rethink its data, it instead developed increasingly convincing answers that were not true whatsoever, to the point where the human supervisors didn’t flag sufficiently convincing answers as wrong because they themselves didn’t realise that they were wrong. The result is that “the more difficult the question and the more advanced model you use, the more likely you are to get well-packaged, plausible nonsense as your answer.” 

Uncovering some of what is going on in AI systems dispels both the fervent hype that artificial intelligence might be our saviour, and the deep fear that it might be our societal downfall. This is a tool; it is good at some tasks, and less good at others. And, like all tools, it does not have an intrinsic morality. Whether it is used for good or ill depends on the approach of the humans that use it. 

But this study also uncovers our strained relationship with ignorance. Problems arise in the answers given by systems like ChatGPT because a convincing answer is valued more than admitting ignorance, even if the convincing answer is not at all correct. Because the AI has been trained to avoid admitting it doesn’t know something, all of its answers are less reliable, even the ones that are actually correct.  

This is not a problem limited to artificial intelligence. I had a friend who seemed incapable of admitting that he didn’t know something, and whenever he was corrected by someone else, he would make it sound like his first answer was actually the correct one, rather than whatever he had said. I don’t know how aware he was that he did this, but the result was that I didn’t particularly trust whatever he said to be correct. Paradoxically, had he admitted his ignorance more readily, I would have believed him to be less ignorant. 

It is strange that admitting ignorance is so avoided. After all, it is in many ways our default state. No one faults a baby or a child for not knowing things. If anything, we expect ignorance to be a fuel for curiosity. Our search for answers begins in the recognition that we don’t have them. And in an age where approximately 500 hours of video is uploaded to YouTube every minute, the sum of what we don’t know must by necessity be vastly greater than all that we do know. What any one of us can know is only a small fraction of all there is to know. 

Crucially, admitting we do not know everything is not the same as saying that we do not know anything

One of the gifts of Christian theology is an ability to recognize what it is that makes us human. One of these things is the fact that any created thing is, by definition, limited. God alone is the only one who can be described by the ‘omnis’. He is omnipotent, omnipresent, and omniscient. There is no limit to his power, and presence, and knowledge. The distinction between creator and creation means that created things have limits to their power, presence, and knowledge. We cannot do whatever we want. We cannot be everywhere at the same time. And we cannot know everything there is to be known.  

Projecting infinite knowledge is essentially claiming to be God. Admitting our ignorance is therefore merely recognizing our nature as created beings, acknowledging to one another that we are not God and therefore cannot know everything. But, crucially, admitting we do not know everything is not the same as saying that we do not know anything. Our God-given nature is one of discovery and learning. I sometimes like to imagine God’s delight in our discovery of some previously unknown facet of his creation, as he gets to share with us in all that he has made. Perhaps what really matters is what we do with our ignorance. Will we simply remain satisfied not to know, or will it turn us outwards to delight in the new things that lie behind every corner? 

For the developers of ChatGPT and the like, there is also a reminder here that we ought not to expect AI to take on the attributes of God. AI used well in the hands of humans may yet do extraordinary things for us, but it will not truly be able to do anything, be everywhere, or know everything. Perhaps if it was trained to say ‘I don’t know’ a little more, we might all learn a little more about the nature of the world God has made. 

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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