Article
AI - Artificial Intelligence
Attention
Culture
5 min read

Will AI’s attentions amplify or suffocate us?

Keeping attention on the right things has always been a problem.

Mark is a research mathematician who writes on ethics, human identity and the nature of intelligence.

A cute-looking robot with big eyes stares up at the viewer.
Robots - always cuter than AI.
Alex Knight on Unsplash.

Taking inspiration from human attention has made AI vastly more powerful. Can this focus our minds on why attention really matters? 

Artificial intelligence has been developing at a dizzying rate. Chatbots like ChatGPT and Copilot can automate everyday tasks and can effortlessly summarise information. Photorealistic images and videos can be generated from a couple of words and medical AI promises to revolutionise both drug discovery and healthcare. The technology (or at least the hype around it) gives an impression of boundless acceleration. 

So far, 2025 has been the year AI has become a real big-ticket political item. The new Trump administration has promised half a trillion dollars for AI infrastructure and UK prime minister Keir Starmer plans to ‘turbocharge’ AI in the UK. Predictions of our future with this new technology range from doom-laden apocalypse to techno-utopian superabundance. The only certainty is that it will lead to dramatic personal and social change. 

This technological impact feels even more dramatic given the relative simplicity of its components. Huge volumes of text, image and videos are converted into vast arrays of numbers. These grids are then pushed through repeated processes of addition, multiplication and comparison. As more data is fed into this process, the numbers (or weights) in the system are updated and the AI ‘learns’ from the data. With enough data, meaningful relationships between words are internalised and the model becomes capable of generating useful answers to questions. 

So why have these algorithms become so much more powerful over the past few years? One major driver has been to take inspiration from human attention. An ‘attention mechanism’ allows very distant parts of texts or images to be associated together. This means that when processing a passage of conversation in a novel, the system is able to take cues on the mood of the characters from earlier in the chapter. This ability to attend to the broader context of the text has allowed the success of the current wave of ‘large language models’ or ‘generative AI’. In fact, these models with the technical name ‘Transformer’ were developed by removing other features and concentrating only on the attention mechanisms. This was first published in the memorably named ‘Attention is All You Need’ paper written by scientists working at Google in 2017. 

If you’re wondering whether this machine replication of human attention has much to do with the real thing, you might be right to be sceptical. That said, this attention-imitating technology has profound effects on how we attend to the world. On the one hand, it has shown the ability to focus and amplify our attention, but on the other, to distract and suffocate it. 

Attention is a moral act, directed towards care for others.

A radiologist acts with professional care for her patients. Armed with a lifetime of knowledge and expertise, she diligently checks scans for evidence of malignant tumours. Using new AI tools can amplify her expertise and attention. These can automatically detect suspicious patterns in the image including very fine detail that a human eye could miss. These additional pairs of eyes can free her professional attention to other aspects of the scan or other aspects of the job. 

Meanwhile, a government acts with obligations to keep its spending down. It decides to automate welfare claim handling using a “state of the art” AI system. The system flags more claimants as being overpaid than the human employees used to. The politicians and senior bureaucrats congratulate themselves on the system’s efficiency and they resolve to extend it to other types of payments. Meanwhile, hundreds of thousands are being forced to pay non-existent debts. With echoes of the British Post Office Horizon Scandal, the 2017-2020 the Australian Robo-debt scandal was due to flaws in the algorithm used to calculate the debts. To have a properly functioning welfare safety net, there needs to be public scrutiny, and a misplaced deference to machines and algorithms suffocated the attention that was needed.   

These examples illustrate the interplay between AI and our attention, but they also show that human attention has a broader meaning than just being the efficient channelling of information. In both cases, attention is a moral act, directed towards care for others. There are many other ways algorithms interact with our attention – how social media is optimised to keep us scrolling, how chatbots are being touted as a solution to loneliness among the elderly, but also how translation apps help break language barriers. 

Algorithms are not the first thing to get in the way of our attention, and keeping our attention on the right things has always been a problem. One of the best stories about attention and noticing other people is Jesus’ parable of the Good Samaritan. A man lies badly beaten on the side of the road after a robbery. Several respectable people walk past without attending to the man. A stranger stops. His people and the injured man’s people are bitter enemies. Despite this, he generously attends to the wounded stranger. He risks the danger of stopping – perhaps the injured man will attack him? He then tends the man’s wounds and uses his money to pay for an indefinite stay in a hotel. 

This is the true model of attention. Risky, loving “noticing” which is action as much as intellect. A model of attention better than even the best neuroscientist or programmer could come up with, one modelled by God himself. In this story, the stranger, the Good Samaritan, is Jesus, and we all sit wounded and in need of attention. 

But not only this, we are born to imitate the Good Samaritan’s attention to others. Just as we can receive God’s love, we can also attend to the needs of others. This mirrors our relationship to artificial intelligence, just as our AI toys are conduits of our attention, we can be conduits of God’s perfect loving attention. This is what our attention is really for, and if we remember this while being prudent about the dangers of technology, then we might succeed in elevating our attention-inspired tools to make AI an amplifier of real attention. 

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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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