Posts Tagged ‘Frankenstein’

Robot Takeover Comes Nearer as Britain Intends to Employ 30,000 Robot Soldiers

November 11, 2020

If this is true, then the robot revolution that’s been haunting the imagination of Science Fiction writers ever since Frankenstein and Karel Capek’s Rossum’s Universal Robots just got that bit nearer. Monday’s edition of the I for 9th November 2020 carried this chilling snippet:

Robot soldiers will fight for Britain

Thirty thousand “robot soldiers” could form a key part of the British army within two decades. General Sir Nick Carter, head of the armed forces, told Sky News that “an armed forces that’s designed for the 2030s” could include large numbers of autonomous or remotely controlled machines.

This has been worrying many roboticists and computer scientists for decades. Kevin Warwick, the professor of cybernetics at Reading University, begins his book with a terrifying prediction of the what the world could be like three decades from now in 2015 in his 1990s book, March of the Machines. The robots have taken over, decimating humanity. The few humans that remain are desexed slaves, used by the machines to fight against the free humans that have found refuge in parts of the world difficult or impossible for robots to operate in. Warwick is absolutely serious about the threat from intelligent robots. So serious in fact, that he became a supporter of cyborgisation because he felt that it would only be by augmenting themselves with artificial intelligence and robotics that humans could survive. I went to see Warwick speak at the Cheltenham Festival of Science years ago. When it came to the time when he answered questions from the audience, he was naturally asked whether he still believed that robots could take over, and whether this could happen as soon as 2050. He replied that he did, and that the developments in robotics had brought it forwards by several decades.

There have been a series of controversies going back decades when a country has announced that they intend to use robot soldiers. When this happened a few years ago, it was received with denunciations by horrified scientists. Apart from the threat of an eventual robot revolution and the enslavement of humanity, a la the Matrix, there are severe moral questions about the operation of such machines. Robots don’t have consciences, unlike humans. A machine that’s created to kill without proper constraints will carry on killing indiscriminately, regardless of whether its targets are a soldiers or innocent civilians. Warwick showed this possibility in his book with a description of one of the machines his department has on its top floor. It’s a firefighting robot, equipped with sensors and a fire extinguisher. If there’s a fire, it’s programmed to run towards it and put it out. All well and good. But Warwick points out that it could easily be adapted for killing. If you replaced the fire extinguisher with a gun and gave it a neural net, you could programme it to kill people of a certain type. Like those with blonde hair and blue eyes. Set free, it would continue killing such people until it ran out of bullets.

Less important, but possibly also a critical factor in the deployment of such war machines, is popular reaction to their use against human soldiers. It’s been suggested that their use in war would cause people to turn against the side using them, viewing them as cowards hiding behind such machines instead of facing their enemies personally, human to human, in real combat. While not as important as the moral arguments against their deployment, public opinion is an important factor. It’s why, since the Vietnam War, the western media has been extensively manipulated by the military-industrial-political complex so that it presents almost wholly positive views of our wars. Like the Iraq invasion was to liberate Iraq from an evil dictator, instead of a cynical attempt to grab their oil reserves and state industries by the American-Saudi oil industry and western multinationals. Mass outrage at home and around the world was one of the reasons America had to pull out of Vietnam, and it’s a major factor in the current western occupation of Iraq and Afghanistan. Popular outrage and disgust at the use of robots in combat could similarly lead to Britain and anyone else using such machines to lose the battle to win hearts and minds, and thus popular support.

But I also wonder if this isn’t also the cybernetics companies researching these robots trying to find a market for their wares. DARPA, the company developing them, has created some truly impressive machines. They produced the ‘Big Dog’ robot, which looks somewhat like a headless robotic dog, hence its name, as a kind of robotic pack animal for the American army. It all looked very impressive, until the army complained that they couldn’t use it. Soldiers need to move silently on their enemy, but the noise produced by the robots’ electric motors would be too loud. Hence the contract was cancelled. It could be that there are similar problems with some of their other robots, and so they are waging some kind of PR battle to get other countries interested in them as well as an America.

I’m a big fan of the 2000 AD strip, ‘ABC Warriors’, about a band of former war robots, led by Hammerstein, who are now employed fighting interplanetary threats and cosmic bad guys. When not remembering the horrors they experienced of the Volgan War. These are truly intelligent machines with their own personalities. In the case of Hammerstein and his crude, vulgar mate, Rojaws, a moral conscience. Which is absent in another member of the team, Blackblood, a former Volgan war robot, and ruthless war criminal. I really believe that they should be turned into a movie, along with other great 2000 AD characters, like Judge Dredd. But I don’t believe that they will ever be real, because the difficulties in recreating human type intelligence are too great, at least for the foreseeable future. Perhaps in a centuries’ time there might be genuinely intelligent machines like C-3PO and R2D2, but I doubt it.

The war robots now being touted are ruthless, mindlessly efficient machines, which scientists are worried could easily get out of control. I’ve blogged about this before, but the threat is real even if at present their promotion is so much PR hype by the manufacturers.

It looks to me that General Carter’s statement about using 30,000 of them is highly speculative, and probably won’t happen. But in any case, the armed forces shouldn’t even be considering using them.

Because the threat to the human race everywhere through their use is too high.

Cartoon: Frankenthatcher!

February 6, 2020

Welcome to another one of my cartoons, in which I satirise the Tories by portraying them as monsters from Horror films. This one was suggested by Trev, one of great commenters on this blog. Thanks, Trev! It’s of Maggie Thatcher as Frankenstein’s monster. I’ve added Jacob Rees-Mogg as Frankenstein himself, and Boris Johnson as the hunch-backed servant, Igor.  Enjoy!


JOE Spoof Video: Jacob Rees-Mogg Sings ‘Monster Crash’

November 4, 2019

It was Halloween last Friday, and those merry funsters over at JOE released another of their spoof videos to celebrate. This consisted of edited footage of the young master, Jacob Rees-Mogg, singing a parody of the old hit, ‘Monster Mash’. Mogg and Johnson both have financial interests in Britain suffering an economic catastrophe thanks to Brexit. With Mogg, it’s personal through his own financial interests, while Johnson is supported by Hedge Funds, which have been shorting British companies and gambling on Brexit devastating our economy.

The video begins with Rees-Mogg singing

I was counting my money

Late one night

When my eyes beheld

A most frightful sight

There’s only £55 million

In my account

So I hatched a plan

To get a larger amount.

Then BoJob comes in with

‘Let’s cause a crash.’

Rees-Mogg: We’ll cause a monster crash.

BoJob: A monster crash.

Rees-Mogg: Let’s make loads of cash.

BoJob: A monster crash.

Rees-Mogg: Get filthy rich in a flash.

BoJob: A monster crash.

Rees-Mogg: And I’ll increase my stash.

I’ve got a great big mansion

In the rural southwest

An ancestral home, and a London address.

I’ve a hedge fund company,

Money offshore,

But it’s just not enough,

I still want more.

BoJob: Let’s cause a crash.

Rees-Mogg: We’ll cause a monster crash.

BoJob: A monster crash.

Rees-Mogg: Let’s make loads of cash.

BoJob: A monster crash.

Rees-Mogg: Get filthy rich in a flash.

BoJob: A monster crash.

Rees-Mogg: And I’ll increase my stash.

Back to BoJob: Let’s cause a crash.

And as they continue singing the refrain, there are shots of Rees-Mogg as Dracula, fleeing a victim wielding the EU flag like a cross, Michael Gove as the Mummy, Boris Johnson as Frankenstein’s Monster, and Iain Duncan Smith as Nosferatu.

The last scene is of a hand thrust up from a grave market ‘Margaret Thatcher’.

Ooooh! Spooky!



Examining Jeanette Winterson’s Ideas on AI and Literature

June 4, 2019

Last Saturday’s I for 1-2 June 2019 carried an interview in its ‘Culture’ section with the literary novelist, Jeanette Winterson, about her latest work, Frankissstein. This is another take on Frankenstein, with one strand of the book set in the contemporary world and exploring AI, the downloading of the human mind into computers and literature. Winterson’s the second literary novelist, following Ian McEwan, to turn to the world of robotics for their subject matter. I’ve critiqued both of them, based on reviews in the papers, because this comes across to me very much of another instance of ‘literary’ novelists appropriating Science Fiction subjects and issues, while disdaining and ignoring the genre itself.

Winterson’s interview with Max Liu was also very interesting in other respects, and worth reading. While I am not remotely inclined to read her book, and have real objections to some of her statements on philosophical grounds, I also found that there was much that she said, which I agreed with. Particularly about the exploitation of British communities under Brexit.

The Interview

The article, on page 49, was prefaced with the statement Jeanette Winterson talks to Max Liu about AI and why the novel could die if it doesn’t reinvent itself’. It ran

Jeanette Winterson would like to upload her brain to a computer. “It were possibl, I wouldn’t be able to resist the temptation to find out what it’s like to live without a body,” she says when we meet to discuss Frankissstein, her new novel about artificial intelligence. “I had a very religious upbringing, so to me, the idea that the body is just a house is normal.”

The 59-year-old wrote about her Pentecostal childhood in her semi-autobiographical debut novel, Oranges Are Not the Only Fruit (1985), and her memoir Why Be Happy When You Could Be Normal? (2011). For the past couple of years, she has been reading about AI and robotics at the same time as thinking about Mary Shelley’s Gothic classic, Frankenstein. In her latest novel, the young Shelley appears as a character.

“I started writing about Mary in Italy at the beginning of the 19th century then worked my way to the present,” says Winterson. “There was no point setting a novel about AI in the future, because I wanted readers to realise the future is here. We don’t know how far big money has gone in developing AI, but I suspect it’s much further than we think.”

Winterson believes “we’re living in an ahistorical world where people don’t know how we got here”, the pace of change since the Industrial Revolution leaving us bewildered. “By its nature, reading slows us down,” she says,”so I’m pushing against the acceleration of modern life, creating imaginative space for readers to inhabit. Anybody who can imagine something is in control.”

Her new novel’s present-day characters include Ry, a transgender doctor, and Winterson says: “One of my godchildren identifies as transgender and I’ve been reading a lot about that because I thought I needed to understand. The idea of identity being provisional fed into this novel. Much Western thought rests upon the idea that there is a core self that we can know and perfect, but probably there isn’t.

Ray falls in love with Ron, who is trying to make his fortune by designing sex dolls. Ron plans to exploit post-Brexit tax breaks by opening a factory in Wales. “I hate to see how my class has been manipulated by people who have no thought and no care for them,” says Winterson. “I’m ashamed of my country for turning its back on a European project and choosing nationalism.”

Were she to live for another 100 years, Winterson says she would retrain as a scientist. Does this mean she doesn’t see a future for the novel?

“The novel is only on its way out if it doesn’t change,” she says. “In the 80s, it was too middle-class and too male. Then Angela Carter came along and was so fresh, but she had a terrible time initially. The example of English literature’s conservatism that kills me is when Anita Brookner’s Hotel du Lac won the Booker in 1984 and Carter’s Nights at the Circus wasn’t even shortlisted. It was the year before I published Oranges and I just thought: “This is so dull.”

In Frankissstein, one character says the urge to write comes from vanity, but Mary counters that it’s about hope. Which is it from Winterson? “My writing is a message in a bottle. I won’t be here long enough to get my brain uploaded, so I’m chucking this message overboard in the hope it will move the conversation on.”

Moravec, Transhumanism and Max Headroom

It would be interesting to find out what Winterson had been reading as her research for her book. My guess it would almost certainly include Hans Moravec and the downloaders and transhumanists. They aim to upload their minds into machines. A little while ago they held a party at which they avowed their intention to meet each other on the other side of the Galaxy in a million years’ time. Which is some ambition. I think Moravec himself believes that by this middle of this century the technology should have been perfected that will allow a human brain to be read in such minute detail that its functions can be reproduced on computer. This was the premise behind the Max Headroom pilot, 20 Minutes into the Future. In this tale, broadcast on Channel 4 in the 1980s, Headroom, a computer-generated TV personality, is created when his human original, an investigative journalist in a dystopian future London, knocks himself unconscious going through a crash barrier to escape the villains. The journo’s body is retrieved, and used by a teenage computer whizzkid, Brice, who seems to spend his whole life in the bath, to create Headroom as an experiment. The character takes his name from the last thing his original sees before he goes through the barrier: a sign saying ‘Max Headroom’.

Sladek’s The Muller-Fokker Effect

I also wonder if she read any of the SF literature about downloading and cyberspace, including one of the first novels to tackle the subject, John Sladek’s The Muller-Fokker Effect, published in 1970. This is about Bob Shairp, a man reduced to date and stored on computer tape. I haven’t read it, but according to Brian Aldiss and David Wingrove in their history of Science Fiction, The Trillion Year Spree,

it is a deeply satirical book, homing in on the US Army, evangelism, newspapers and the like for its target, with an overall sense of fun reminiscent of the work of Kurt Vonnegut, Philip K. Dick and Sheckley. (p. 307).

Future Shock and the Global Rate of Change

Winterson’s comment that it was useless to set the book in the future, as the future is already here, is very similar to the remarks I heard about two decades ago by William Gibson, one of the founders of the Cyberpunk SF genre. Speaking at the Cheltenham Festival of literature, Gibson said that the future was already here, it was just wasn’t spread out the same everywhere, so there were parts of the world, such as the developing countries, where it wasn’t present to the same extent as the more advanced West. As for her comments about living in an ahistorical age, where people don’t know how we got here, and the pace of change is accelerating, this sounds very close to Alvin Toffler and his idea of future shock, where societal change is now so advanced and rapid that it is profoundly disorienting. But it is possible to exaggerate the speed of such changes. I can remember reading an article a few years ago, that argued that the impact of modern technology is vastly overestimated. The internet, for example, it was claimed, isn’t half as revolutionary as it is made out as it is only a development of earlier technologies, like the telegram. It’s a contentious claim, but in many ways the most rapid technological, social and economic changes were in the century following Queen Victoria’s coronation in 1937. That was when Britain was transformed from an agricultural, almost feudal country into a modern, industrial society. Britain’s empire expanded massively, communications improved allowed the rapid movement of information, goods and people across the globe. It was the period when new transport technologies like the railway, the automobile, the electric tram, dirigible balloons, aeroplanes and the rocket were created, along with inventions like the X-Ray, electric light, the telegram, telephone, radio and the first experiments in television, and, of course, sound recording and the cinema. Contemporary technological advances can be seen as refinements or improvements on these, rather than completely new inventions.

Transgender People and the Question of Core Personality

I also have objections to her comments about whether or not there is a core, human personality. I’ve no doubt that one argument against it is that many people would be very different if they had had a different upbringing. If they’d been born into a different class, or allowed to study a particular subject at school or university, or if they’d decided to pursue a different career. And, obviously, if they’d been born a different gender. But twin studies suggest that people do have some aspects of their character determined by their biology rather than their upbringing. And I don’t think she makes her argument by pointing to transpeople. As I understand it, many transpeople believe very strongly that they have a core personality or nature. It’s just that this is at opposition to their biological gender. Hence their desire to change. It isn’t simply that they simply decide at some point that they want to change their sex, which would be the case if it was simply the case that they had no core personality. But perhaps Winterson’s godchild is different.

Computers and the Existence of Self 

I’m also suspicious of the idea, as it sounds rather close to the ideas of Daniel Dennett and Susan Blackmoore that consciousness is an illusion and that the brain is simply a meat machine for running memes, discrete units of culture like genes are discrete units of biological information. On the other hand, when she says that existing as a disembodied entity on a computer doesn’t seem strange to her because of her religious background, she’s in agreement with Paul Davies. In his book, God and the New Physics, he stated that he’s prepared to accept that life can exist outside the body because of the way computers could be used to simulate human personalities. I can remember reading that the wife of one of the leading downloaders was a Methodist minister. He commented about this apparent contradiction between their two disciplines by saying that they were both trying to do the same thing, but by different methods.

The Manipulation of the Working Class

I do agree wholeheartedly, however, with Winterson’s comments about how her class is being manipulated by people, who give them no thought and no care for them. The idea that the creation of tax breaks for businesses after Brexit would allow an amoral entrepreneur to build a factor for sex robots in Wales is all too credible. Just as I agree with her about Britain turning it’s back on the EU, though I also have strong criticisms of the European Union. But Brexit has been and is being used by the Tory extreme right and its related movements, like UKIP and Farage’s noxious Brexit people, to manipulate the working class and exploit them. If you look at what Boris Johnson and Farage want, the privatisation of the NHS to American private healthcare firms is very much on the table.

Conservatism, Sexism, Literature and Literary Snobbishness

She was also right about the conservatism and sexism of the literary world in the 1980s. Private Eye’s literary column attacked Hotel du Lac for its snobbishness at the time. And the Orange Prize for literature was set up because it was felt that women were being unfairly excluded from the main literary prizes. However, the remarkable success of women writers in winning the mainstream awards has also, in the view of Private Eye a few years ago, also called into question the reason for Orange Prize. Why have a separate prize for women when that year the lists were dominated by female writers? And as for Angela Carter, I wonder if some of the problems she had didn’t just come from her writing feminist magic realist tales and fairy stories, but also because the genre SF/Fantasy crowd liked her. Flicking through an old SF anthology I found in one of the secondhand bookshops in Cheltenham yesterday, I found a piece by her about literary theory along with pieces by other, firmly genre figures. A few years ago Terry Pratchett commented that the organisers of the Cheltenham Festival looked at him as if he was going to talk to his fans about motorcycle maintenance, and he was certainly subject to appalling snobbery by the literary critics when he started out. I think it’s therefore quite possible that Carter was disdained by those who considered themselves the guardians of serious literature because she was too genre. But I also wonder if Winterson herself, despite her deep love of Carter’s work, doesn’t also have the same attitude that sees genre fiction as somehow not proper literature, as she, Martin Amis, Ian McEwan and the others write.

I have to say that I don’t see the death of novel being anywhere near imminent. Not from looking along the shelves at Waterstone’s, and particularly not in the genre fiction, crime, horror, and SF. But it says something about the apparent lack of inspiration in literary fiction that it is turning to SF for its subjects. Winterson said some fascinating things in her interview, but to me, genre SF still did AI, robots and downloading first and better than the mainstream novelists now writing about it.


Jeanette Winterson’s Cyberfeminist New Tale of Frankenstein, AI and Sex Robots

May 26, 2019

A week or so ago I put up several articles criticising Ian McEwan’s latest book as another example of mainstream, literary writers’ appropriation of Science Fictional subjects. As I said in these articles, what annoys me about this is the higher respect given to these works, even though genre authors have frequently tackled the subjects much better. Private Eye in its piece describing how the literary set were turning to robots and AI said that after McEwan’s book would come one by Jeanette Winterson. This is Frankissstein: A Love Story, which was reviewed in Friday’s issue of the I, for 24th May 2019 by Lucy Scholes, on page 44 of the paper.

I realise that it’s dangerous to comment on a book you’ve never read, and that reviews can be notoriously inaccurate guides to what a book or other work is actually like. I can remember the Oxford poet, Tom Paulin on the Late Review about two decades or more ago really attacking the Star Wars prequel, The Phantom Menace, as a piece of Nazi cinema in precisely so many words. He had a point in that some groups had felt that the film was somehow racist and discriminatory, particularly in the portrayal of Jar Jar Binks. Binks, it was held, was a caricature of Blacks, Hispanics or gays. But many others didn’t find anything racist or homophobic in the movie, and Paulin’s attack was itself a grotesque misrepresentation of the movie itself.

But Scholes’ brief description of the book and its themes raise issues that deserve comment and criticism.

The Plot

The book is split between two periods. The first is that night in 1816 in the Villa Diodati on the shores of Lake Geneva when Byron, his lover, Claire Clairmont, the Shelleys and their doctor, John Polidori, all met to write a ghost story, the evening which saw the birth of Mary Shelley’s tale of the monstrous creation of artificial, human life, Frankenstein. The second is a contemporary tale about a romance between a young transgender doctor, Ry Shelley, who meets and falls in love with the charismatic Victor Stein at a cryonics facility in the Arizona desert. Stein is a leader in the field of Artificial Intelligence, who, according to the review, ‘envisions a bodyless utopia in which race, faith gender and sexuality no longer exist.’

Caught up in this tale is Ron Lord, a millionaire, who has made his fortune from advance sex robots, and his partner, the evangelical Claire, who has designed a version for Christians, and an investigating journalist, Polly D. Ron Lord’s empire of sex robots its misogynistic. His deluxe model offers three orifices and interesting conversation, in which they tell the user he’s very clever and asks him if he knows anything about Real Madrid. Looking at their names, it seems very clear to me that they’re supposed to be the modern counterparts of Byron’s party 200 years ago. But it’s a moot point how accurate this portrayal is about what they would be like if they lived now. As for Claire’s invention of the ‘Christian Companion’, this seems to be a gibe by Winterson at Christian hypocrisy. Winterson’s a lesbian, who had a miserable childhood growing up in an extreme Christian sect. This formed the basis for his book Oranges Are Not the Only Fruit, which was adapted as a TV drama by the Beeb. This seems to have established the 9.00 Sunday night slot as the venue for intense dramas about gay women. It was followed a few years later by Fingersmith, a lesbian drama set in the Victorian underworld. And now there’s Gentleman Jack, now playing on BBC 1, based on a real Victorian aristocratic lady, who married her gay lover. I’m very much aware that many Christians do hate gays, and that in response many gay men and women have turned away from Christianity and religion. But this isn’t necessarily the case. I know one woman, who was brought up by her mother and her lesbian partner, who grew up perfectly well adjusted. She was deeply religious herself, and went on to marry a vicar. She also loves her mother, and respects her for the excellent way she feels her mother brought her up.

Cyberspace as Disembodied Platonic Realm

Some of the ideas in Winterson’s book also seems strangely dated. Like the idea of AI as offering a utopia in which people are disembodied entities without race, gender, sexuality or religion. This sounds like it’s based on the views of some of the cyberfeminists back in the 1990s. They hailed the internet as forum in which women would be free to participate as individuals without gender. Now there is a real issue here with misogyny on the internet. There are some sites and forums which are very hostile to women, so much so that a few years ago there were comments that there no women on the internet, as those who were seemed few and far between. But the solution to that problem is to create a culture in which women are free to participate and interact without their gender being issue, rather than forced to disguise or deny it.

It’s also vulnerable to the opposite criticism from feminist academics like Margaret Wertheimer. In her The Pearly Gates of Cyberspace, Wertheimer criticised cyberspace for being too masculine. It was a disembodied, Platonic realm of mind like the heaven of religious belief. Women weren’t interested in such ideal states, and so were put off it. This idea was influential. One of the museums and art galleries held an exhibition of Virtual worlds created by artists experimenting with the medium. One of the women artists, whose work was featured, included as part of her world the sound of the viewer breathing as they entered her artificial reality. She had done so, she told New Scientist, because the absence of any kind of physical interaction in these Virtual worlds was the product of male scientists and engineers, who made the passage through them like that of a disembodied being. As a woman, she wanted to rectify this through the inclusion of details that made it appear that the viewer was physically there.

It’s over 20 years since these arguments were made, and much has changed since then. There are now very many women on the internet, with female sites like Mum’s Net and the feminist Jezebel. And some of the online games and worlds, like Second Life, do allow their users to interact as physical entities as the games’ characters or citizens.

Robot-Human Romance and Sex

As for her view of sex robots, it’s true that the creation of an artificial woman purely as a sex slave is misogynist. At the moment such machines aren’t really much more than sophisticate sex dolls, and some of those, who use them do seem to be very misogynist. One of the denizens of the Manosphere, the Happy Humble Hermit, who really does despise women and feminism, apparently has a link on his web page to a firm making them. But despite dire warning that these machines are a threat to women’s status and real, genuine, loving or respectful sexual relationship, the existing sex robots aren’t popular. A Spanish brothel which specialised in them has had to get rid of them because of lack of custom. Women don’t have to fear being replaced by compliant, subservient female robots, as in Ira Levin’s Stepford Wives, just yet.

But science fiction also shows that there is an interest, at least among some people, for genuine romantic relationships between robots, and humans and robots. One of the Star Wars spin-off books published in the 1980s was Hardware Honeymoon, whose cover showed C-3PIO holding hands with a female robot. The robot seems to have become the subject of some women’s fantasies. One of the independent comics from California was Wet Satin, whose female creator based her stories on women’s sexual fantasies. One of these was about a robot, which looked remarkably similar to the Star Wars robot. Rather less luridly, Tanith Lee wrote a book in the 1980s about a woman having a romance with a robot in The Silver Metal Lover. You could go on. There is a desire for sex with robots, but this seems in most cases to be within the framework of a romantic relationship with a genuinely sentient being, not a mechanical sex slave.

Stein’s Disembodied Utopia Horrific

As for Stein’s idea of a post-human utopia of disembodied minds, this is profoundly unattractive, as Scholes herself says in her review, saying ‘As with all brave new worlds, though, the reality is rarely perfect’. It seems to be based on the Transhumanists hope that in the near future technology will have advanced so far that that humans will be able to download their minds into computers, so that they can exist as pure disembodied entities in cyberspace, or move into robot bodies, like the hero at the end of the South African SF film, Chappie. But Winterson’s, or Stein’s cybernetic dream of posthuman, post-flesh utopia is horrifically sterile. Part of what makes diversity and multiculturalism such powerful ideologies is that people are naturally drawn, fascinated with and treasure difference. It’s why western tourists travel around the world, to Asia, Africa and South America, to enjoy the experience of different cultures and meeting people of different races and religions. There is friction and hostility between different peoples, all too often exploding into horrific violence. But the reduction of humanity to disembodied minds doesn’t solve the problem. It doesn’t genuinely promote tolerance, equality and the feeling of common humanity so much as negates the problem by destroying the physical and spiritual differences that form the basis of human identity. It’s certainly not an idea that’s popular in SF. In just about all the Science Fiction I’ve read, people retain their gender and other aspects of their identity even after they cross over into cyberspace. When they appear, either in cyberspace itself, or conjured up in computer displays for characters in the real world, they appear as they did in life, complete with their gender and race. And I’ve no doubt that the vast majority of people would find that far more preferable to the strange disembodied existence Stein offers in Winterson’s book.

LGBTQ and Transgender Issues With Winterson’s/ Stein’s Utopia

Which also raises the question about its handling of LGBTQ issues. The inclusion of a transgender character seems to be a deliberate attempt to make the book very relevant to contemporary issues, now that transgender rights have overtaken gays as the issue of the moment. Some transgender people seem to look forward to a future without physical gender. I can remember reading an interview with the first, or one of the first, people to undergo the operation, April Ashley, in an interview in one of the Daily Mail’s Sunday supplements years ago. She looked forward to a time when humanity would have moved beyond gender, and pregnancy would become a matter of simply taking a pill. But I think such people are a very small minority. Back in the 1990s there was a demand from gay Science Fiction fans for Star Trek to tackle homosexuality and include gay characters or stories. This was several years before the new, revived Dr. Who did so, and so would have been extremely controversial. Star Trek – The Next Generation tried to make an effort in that direction with a story in which Lieutenant Riker formed a relationship with a member of an alien species, the J’Nai, who had evolved past gender. However, from time to time there were throwbacks, who were persecuted. They would be hunted down and then treated so that they were proper neuter members of their society. The alien with whom Riker has fallen in love is one such throwback, a female. She is caught by the authorities. Riker tries to free her, but it is too late. She is now neuter, and so has no interest in any sexual or romantic relationship with him. The story’s a metaphorical attempt to deal with the underlying issues around homosexuality, gender identity and forbidden sexuality, but was bitterly criticised by gay SF fans because it didn’t tackle the issue of homosexuality overtly. The Federation was, remember, an organisation in which humanity had moved beyond racial and cultural prejudice and sexism, and gay Trekkers and their supporters felt that the prejudice against homosexuality would also have no place in such a future. But they were also highly critical about how the story presented gays. They felt that it showed them unfairly as wanting to abolish gender. And Winterson’s book does seem to do the same with its depiction of a romance between the transgender character, Ry Shelley, and Stein, with his dream of an asexual disembodied world.


I may well be doing Winterson’s book a great disservice, but it does seem peculiarly dated for a book which is trying so desperately to be acutely relevant. And I do feel that readers would probably get a better idea of the issues about cyberspace and AI by going elsewhere. I think there’s probably a better fictional treatment of these subjects waiting to be written. And as for human-robot romance and sex, this has also been very extensively explored in genre SF. And some of this almost certainly represents what people really want from such relationships than simple sex robots.

As for the book’s inclusion of Mary Shelley, Byron, Claire Clairmont and Polidori, Brian Aldiss also did it, or something like it, in his 1970’s SF story Frankenstein Unbound. This was filmed by B-movie maven Roger Corman. It’s not supposed to be a good film, but even so, it seems far more to my taste than Winterson’s book.




Yay! David R. Bunch’s ‘Moderan’ Now Back in Print

May 7, 2019

Bit of good news for fans of classic SF. Looking through the Cheltenham branch of Waterstone’s last week, I found that David R. Bunch’s Moderan was now in print. This was published in 1971, and is really a series of vignettes originally published in small magazines, as well as the big SF mags Amazing and Fantastic. These are set in a future in which organic humanity has decided that its reached the end of its natural evolution, and to evolve further it must transform itself into machines. This process is described as it affects the hero, Stronghold 10. The style is superficially sympathetic to heighten what the reality of what this new, cyborg humanity has become: immortal, but paranoid with each stronghold at war with their neighbours.

Brian Aldiss gives as sample paragraph of Bunch’s prose style, which explains the background to the novel, in his and David Wingrove’s history of SF, The Trillion Year Spree:

Now, to turn tedious for a time, this is what happened. Flesh-man had developed to that place on his random Earth-ball home where it was to be the quick slide down to oblivion. All the signs were up, the flags were out for change for man and GO was DOWN. To ENDING. Flesh-man was at the top, far as he could climb as flesh-man, and from there he was certain to tumble. But he had the luck to have these brave good white-maned men in the white smocks, the lab giants, the shoulders, and great-bulged thighs of our progress (what matter if they were weazened, probe-eyed, choleric scheming, little men sometimes – more often than not, REALLY?) authors of so much of man’s development and climb to that place where he was just due to die, expire, destroy himself and his home at this grand stage of development to make new-metal man and set him in the Strongholds upon the plasto-coated Earth that had been man’s random and inefficient home. New-metal replaced flesh (down to the few flesh-strips and those, we hope, may soon be gone) the bones were taken out and new metal rods, hinges and sheets put in (it was easy!) and the organs all became engines and marvellous tanks for scientifically controlled functional efficiency forever. YAY! Don’t you see?! Our Scientists made of life-man (the VERY-STRANGE-accident man) essentially a dead-elements man, one who could now cope with eternity, but he certainly was not a dead man. AH! Heavens no! He was alive! with all the wonderful scienc3e of the Earth ages, and just as functional as anyone could wish. YAY! science, take your plaudits now! You’ve shown what was meant from the beginning for the VERY-STRANGE-accident man. (p.324).

Aldiss states that it’s a technophobic piece in the SF tradition of questioning technological progress that began with Mary Shelley’s Frankenstein.

Moderan was out of print for a long time, so I’m looking forward to reading it some time. Bunch also wrote poetry in an avant-garde style very much like his prose, though in verse. A collection of his pieces, of which only one or two were SF, The Heartacher and the Warehouseman, was published in the 1990s. The title poem is set in the Moderan world, and is about one of these cyborgs coming to a warehouse carrying his pump in his heart. He complains that he – and all the other cyborgs – have no heart. The cyborg warehouseman, suspicious, retreats behind his armoury of weapons, informing him of all the cyborg bits and pieces they have, like hearts and mechanical fingers. But he fails to understand the man’s real complaint – that their civilisation has no heart in the metaphorical sense. The warehouseman drives the Heartacher away, but wonders what will happen to him as he retreats back into his cubby-hole.

It’s one of those pieces that was acutely relevant in the 1990s, when there was much talk among the chattering classes of transhumanism and cyborgisation. It was the decade when Radio 3 broadcast the series Grave New Worlds examining these possibilities through interviews with writers, artists and scientists, including Paul J. McAuley, J.G. Ballard and the Australian performance artist, Stelarc, who really has tried to turn himself into a cyborg in performances in which he wired himself up to the net, so that images found online would work his body automatically through galvanic stimulators some Borg organic puppet, and by giving himself a third, cybernetic arm. It’s still relevant as prosthetic limbs continue to improve. While these are an immense benefit to those, who have lost their real limbs through accident or disease, it does raise the question of how far this process can go and humans become the cyborgs of SF. This was the central question David Whittaker was pondering when he created Dr. Who’s cybermen. Bunch’s novel also seems to have influenced one of the writers of Dr. Who Magazine way back in the ’70s. One of the comic strips, Throwback: The Soul of a Cyberman, was about a cyberman, who had some how retained his emotions and compassion. The story was set on the planet ‘Moderan’. And in the 1980s the British space scientist, Duncan Lunan, expressed concerns that people, who were heavily reliant on medical machines suffered a loss of creativity when he explored the possibility of similar mergers between humans and machines in his class Man and the Planets.

I’m glad that this lost classic is back in print. But still more than a little annoyed that it, and other SF works like it, are overlooked by the literary crowd in favour of those by ‘literary’ authors like Ian McEwan. Sorry to ride this old hobby-horse again, but a few weeks ago there was an interview with McEwan in the I. The newspaper mentioned to him that Science Fiction fans were upset about him denying that his book was part of the genre. McEwan repeated his sentiment, saying it wasn’t SF, but was based on him considering real world issues. Well, so is much Science Fiction, all the way back to Frankenstein. Aldiss has praised it as the first real work of Science Fiction as it was based on science as it was known at the time. This was Galvani’s experiments making the severed legs of frogs twitch and move through electricity. McEwan’s attitude shows the basic contempt of many literary authors and critics for the genre. They’re keen to borrow its tropes, but sneer at it as essentially trivial fantasy, unlike the serious stuff they’re writing. Much SF is, and doesn’t pretend otherwise. But there is a very large amount which isn’t, and which deserves to be taken as seriously as so-called ‘serious’ literary works like McEwan’s.


Reviewing the ‘I’s’ Review of Ian McEwan’s ‘Machines Like Me’

April 21, 2019

George Barr’s cover illo for Lloyd Biggle’s The Metallic Muse. From David Kyle, the Illustrated Book of Science Fiction Ideas & Dreams (London: Hamlyn 1977).

The book’s pages of last Friday’s I , for 19th April 2019, carried a review by Jude Cook of Ian McEwan’s latest literary offering, a tale of a love triangle between a man, the male robot he has purchased, and his wife, a plot summed up in the review’s title, ‘Boy meets robot, robot falls for girl’. I’d already written a piece in anticipation of its publication on Thursday, based on a little snippet in Private Eye’s literary column that McEwan, Jeanette Winterson and Kazuo Ishiguro were all now turning to robots and AI for their subject matter, and the Eye expected other literary authors, like Martin Amis and Salman Rushdie, to follow. My objection to this is that it appeared to be another instance of the literary elite taking their ideas from Science Fiction, while looking down on the genre and its writers. The literary establishment has moved on considerably, but I can still remember the late, and very talented Terry Pratchett complaining at the Cheltenham Literary Festival that the organisers had looked at him as if he was about to talk to all his waiting fans crammed into the room about motorcycle maintenance.

Cook’s review gave an outline of the plot and some of the philosophical issues discussed in the novel. Like the Eye’s piece, it also noted the plot’s similarity to that of the Channel 4 series, Humans. The book is set in an alternative 1982 in which the Beatles are still around and recording, Tony Benn is Prime Minister, but Britain has lost the Falklands War. It’s a world where Alan Turing is still alive, and has perfected machine consciousness. The book’s hero, Charlie, purchases one of the only 25 androids that have been manufactured, Adam. This is not a sex robot, but described as ‘capable of sex’, and which has an affair with the hero’s wife, Miranda. Adam is an increasing threat to Charlie, refusing to all his master to power him down. There’s also a subplot about a criminal coming forward to avenge the rape Miranda has suffered in the past, and a four year old boy about to be placed in the care system.

Cook states that McEwan discusses the philosophical issue of the Cartesian duality between mind and brain when Charlie makes contact with Turing, and that Charlie has to decide whether Adam is too dangerous to be allowed to continue among his flesh and blood counterparts, because

A Manichean machine-mind that can’t distinguish between a white lie and a harmful lie, or understand that revenge can sometimes be justified, is potentially lethal.

Cook declares that while this passage threatens to turn the book into a dry cerebral exercise, its engagement with the big questions is its strength, concluding

The novel’s presiding Prospero is Turing himself, who observes that AI is fatally flawed because life is “an open system… full of tricks and feints and ambiguities”. His great hope is that by its existence “we might be shocked in doing something about ourselves.”

Robots and the Edisonade

It’s an interesting review, but what it does not do is mention the vast amount of genre Science Fiction that has used robots to explore the human condition, the limits or otherwise of machine intelligence and the relationship between such machines and their creators, since Mary Shelley wrote Frankenstein. There clearly seems to be a nod to Shelley with the name of this android, as the monster in her work, I think, is also called Adam. But Eando Binder – the nom de plume of the brothers Earl and Otto Binder, also wrote a series of stories in the 1930s and ’40s about a robot, Adam Link, one of which was entitled I, Robot, which was later used as the title of one of Asimov’s stories. And although the term ‘robot’ was first used of such machines by the Czech writer Karel Capek in his 1920s play, RUR, or Rossum’s Universal Robots, they first appeared in the 19th century. One of these was Villier de l’Isle-Adam, L’Eve Futur of 1884. This was about a robot woman invented by Thomas Edison. As one of the 19th centuries foremost inventors, Edison was the subject of a series of proto-SF novels, the Edisonades, in which his genius allowed him to create all manner of advanced machines. In another such tale, Edison invents a spaceship and weapons that allow humanity to travel to the planets and conquer Mars. McEwan’s book with its inclusion of Alan Turing is basically a modern Edisonade, but with the great computer pioneer rather than the 19th century electrician as its presiding scientific genius. Possibly later generations will have novels set in an alternative late 20th century where Stephen Hawking has invented warp drive, time travel or a device to take us into alternative realities via artificial Black Holes.

Robot Romances

As I said in my original article, there are any number of SF books about humans having affairs with robots, like Tanith Lee’s The Silver Metal Lover, Lester del Rey’s Helen O’Loy and Asimov’s Satisfaction Guaranteed. The genre literature has also explored the moral and philosophical issues raised by the creation of intelligent machines. In much of this literature, robots are a threat, eventually turning on their masters, from Capek’s R.U.R. through to The Terminator and beyond. But some writers, like Asimov, have had a more optimistic view. In his 1950 I, Robot, a robot psychologist, Dr. Susan Calvin, describes them in a news interview as ‘a cleaner, better breed than we are’.

Lem’s Robots and Descartes

As for the philosophical issues, the Polish SF writer, Stanislaw Lem, explored them in some of his novels and short stories. One of these deals with the old problem, also dating back to Descartes, about whether we can truly know that there is an external world. The story’s hero, the space pilot Pirx, visits a leading cybernetician in his laboratory. This scientist has developed a series of computer minds. These exist, however, without robot bodies, but the minds themselves are being fed programmes which make them believe that they are real, embodied people living in the real world. One of these minds is of a beautiful woman with a scar on her shoulder from a previous love affair. Sometimes the recorded programmes jump a groove, creating instances of precognition or deja vu. But ultimately, all these minds are, no matter how human or how how real they believe themselves to be, are brains in vats. Just like Descartes speculated that a demon could stop people from believing in a real world by casting the illusion of a completely false one on the person they’ve possessed.

Morality and Tragedy in The ABC Warriors 

Some of these complex moral and personal issues have also been explored by comics, until recently viewed as one of the lowest forms of literature. In a 1980s ‘ABC Warriors’ story in 2000AD, Hammerstein, the leader of a band of heroic robot soldiers, remembers his earliest days. He was the third prototype of a series of robot soldiers. The first was an efficient killer, patriotically killing Communists, but exceeded its function. It couldn’t tell civilians from combatants, and so committed war crimes. The next was programmed with a set of morals, which causes it to become a pacifist. It is killed trying to persuade the enemy – the Volgans – to lay down their arms. Hammerstein is its successor. He has been given morals, but not to the depth that they impinge on his ability to kill. For example, enemy soldiers are ‘terrorists’. But those on our side are ‘freedom fighters’. When the enemy murders civilians, it’s an atrocity. When we kill civilians, it’s unavoidable casualties. As you can see, the writer and creator of the strip, Pat Mills, has very strong left-wing opinions.

Hammerstein’s programming is in conflict, so his female programmer takes him to a male robot psychiatrist, a man who definitely has romantic intentions towards her. They try to get Hammerstein to come out of his catatonic reverie by trying to provoke a genuine emotional reaction. So he’s exposed to all manner of stimuli, including great works of classical music, a documentary about Belsen, and the novels of Barbara Cartland. But the breakthrough finally comes when the psychiatrist tries to kiss his programmer. This provokes Hammerstein into a frenzied attack, in which he accidentally kills both. Trying to repair the damage he’s done, Hammerstein says plaintively ‘I tried to replace his head, but it wouldn’t screw back on.’

It’s a genuinely adult tale within the overall, action-oriented story in which the robots are sent to prevent a demon from Earth’s far future from destroying the Galaxy by destabilising the artificial Black and White Holes at the centre of Earth’s underground civilisation, which have been constructed as express routes to the stars. It’s an example of how the comics culture of the time was becoming more adult, and tackling rather more sophisticated themes.

Conclusion: Give Genre Authors Their Place at Literary Fiction Awards

It might seem a bit mean-spirited to compare McEwan’s latest book to its genre predecessors. After all, in most reviews of fiction all that is required is a brief description of the plot and the reviewer’s own feelings about the work, whether it’s done well or badly. But there is a point to this. As I’ve said, McEwan, Winterson, Ishiguro and the others, who may well follow their lead, are literary authors, whose work regularly wins the big literary prizes. They’re not genre authors, and the type of novels they write are arguably seen by the literary establishment as superior to that of genre Science Fiction. But here they’re taking over proper Science Fiction subjects – robots and parallel worlds – whose authors have extensively explored their moral and philosophical implications. This is a literature that can’t and shouldn’t be dismissed as trash, as Stanislaw Lem has done, and which the judges and critics of mainstream literary fiction still seem to do. McEwan’s work deserves to be put into the context of genre Science Fiction. The literary community may feel that it’s somehow superior, but it is very much of the same type as its genre predecessors, who did the themes first and, in my opinion, better.

There is absolutely no reason, given the quality of much SF literature, why this tale by McEwan should be entered for a literary award or reviewed by the kind of literary journals that wouldn’t touch genre science fiction with a barge pole, while genre SF writers are excluded. It’s high time that highbrow literary culture recognised and accepted works and writers of genre SF as equally worthy of respect and inclusion.

Private Eye: Literary Authors Now Turning to SF’s Robots for Subject Matter

April 17, 2019

According to this fortnight’s Private Eye, the British literary authors Ian McEwan, Jeanette Winterson and Kazuo Ishiguro are turning to the world of robots and AI for their next books. A brief snippet on page 34 of the issue for 19th April – 2nd May 2019 runs

For middle-aged authors looking for a reboot, the trendiness of artificial intelligence and robots is proving a godsend.

In Ian McEwan’s just-out Machines Like Me, a couple acquire a male synthetic human and a love triangle duly develops ( a set-up quite similar to the main storyline of Channel 4’s sci-fi drama Humans, with the robot’s gender switched).

In her forthcoming Frankissstein, Jeanette Winterson – unfazed by having missed last year’s Frankenstein anniversary – reworks Mary Shelley’s novel in a story featuring not only Victor Stein, a professor “leading the debate around AI”, but also a character who sells sex bots. Kazuo Ishiguro told the Oxford literary festival his next book will be about AI too… Who else? Rushdie? Amis? Jeffrey Archer? 

One of the complaints of the SF world back in the 1990s was that literary fiction, and writers like McEwan, Rushdie, Amis, Winterson and the rest of them were lifting ideas from Science Fiction to great critical acclaim, while the genre itself remained despised by literary critics and prizes. This seems to be yet another example.

Not all serious literary critics are dismissive of Science Fiction. The late J.G. Ballard and Ursula Le Guine managed to achieve mainstream critical appreciation, and some of the newspapers do give good review to SF books, like the Guardian and the I. And the years have passed since I heard the late Terry Pratchett speak at the Cheltenham Festival of Literary, telling the crowd that the Festival’s organisers seemed to look at him as if they expected him to give a talk on mending motorbikes. Brian Aldiss in his and Peter Wingrove’s history of SF, The Trillion  Year Spree, states that in the 1950s even pornography had a higher reputation among critics than Science Fiction. More recent critics and historians of the genre have pointed out that there never was quite the severe break between proper literature and Science Fiction in Britain as there was in America. Serious literary writers like Kingsley Amis and Anthony Burgess also wrote Science Fiction, as did C.S. Lewis and Conan Doyle. Nevertheless, I still get the impression that there is in certain literary quarters more than a little of the old literary disdain still remaining. Margaret Atwood’s The Handmaid’s Tale is dystopian Science Fiction, but she has still sneered at the genre as ‘talking squids in space’ apparently.

And looking at the plots of some of the books mentioned in the Eye article, I wondered how many of the literary types reading these pieces would be aware of similar works by some of the great genre SF writers. If you’re talking about romances between humans and robots, there’s Tanith Lee’s The Silver Metal Lover, about a girl who has an affair with a robot, which is destroyed by jealous human males.  The robot scientist, Geoff Simons, mentions a series of SF tales about romances between people and robots, or the construction of sex robots, in his book Robots: The Quest for Living Machines (London: Cassell 1992) including Satisfaction Guaranteed (1951), by Isaac Asimov; Maria Bujanska’s Krwawa Maria (Bloody Mary), 1977, R. Forsyth’s ‘Silicon Valley of the Dolls’, 1979; The Pleasure Machines (1969); Ira Levin’s The Stepford Wives (1974) and such as Dr. Goldfoot and the Girl Bombs (1966) and Sins of the Fleshapoids.

As for Frankenstein, Brian Aldiss has argued that Mary Shelley’s classic should be regarded as the first real work of Science Fiction, as it was based on genuine science, as it was understood in the early 19th century. He also wrote a book inspired by Shelley, Frankenstein Unbound, which is split between Shelley’s time and a technological future. It was later filmed by the old producer of low-budget SF, Roger Corman.

Winterson has previous in taking themes from science/ science fiction. Way back in the 1990s, when everyone was getting very excited at discovering a Grand Unified Theory (GUT) or ‘theory of everything’, she wrote a book, GUT Symmetries, about it and parallel world. She’s also written novels of feminist Magic Realism, following the feminist fairy tales of Angela Carter. But the Polish author, Stanislaw Lem, who wrote Solaris, filmed by Andrei Tarkovsky, also wrote a series of tales about robots, The Cyberiad and Mortal Engines, set in a fairy tale universe in which robots were the dominant life form. Another of Lem’s books is a series of philosophical explorations of machine and human intelligence and nature from the point of view of a vast computer that has far surpassed the intellects of its human makers. Lem was a high-brow author, who, after winning various awards from the Science Fiction community, then went on to decry Science Fiction, so he personally shared the sneering view of some mainstream literary critics. However, his books are still well worth reading.

And any literary exploration of robots, AI and the human condition inevitably involves Asimov’s robots of the books I, Robot and the Caves of Steel, and his Three Laws of Robotics, as well as William Gibson and Cyberpunk. Cyberpunk’s a form of SF set in dystopian near futures, where humans are able to ‘jack into’ cyberspace, a Virtual Reality inside the Web, and where AIs have consciousness and some rights. The classics of this genre include Gibson’s Neuromancer, Count Zero, Burning Chrome and Mona Lisa Overdrive.  One of his novels, relevant to any literary discussion of humans and AI, was Idoru, about a man, who has an affair with a Virtual celebrity. Gibson was very hip with his worlds of urban decay and high-tech criminality mixed with the glamour of the super-rich and celebrities. Shortly after Idoru was published, one of the Japanese tech firms declared they had created the first, computer-generated rock star. There was a powerful impression, shared by Gibson himself, that the computer industry looked to his books for ideas without accepting that his books were also part of SF’s tradition of ‘literature as warning’. His futures had great AIs and cool Virtual Reality and hackers, but they also featured poverty, despair and a massive gap between rich and poor.

And then there’s the film Bladerunner, one of the great SF classics, and the problems it poses about humanity and human capacity for compassion within the narrative of the detective thriller. It’s another dystopian future, where animals are all but extinct and humanity has created a class of artificial slaves, replicants. These are indistinguishable from real humans, except through psychological testing. The final speech by the replicant leader, Roy Batty, ‘I’ve seen things you people wouldn’t believe. Set ships on fire off the shores of Orion’, written by actor Rutger Hauer, has itself become one of the classic speeches of cinema, and quoted and parodied by other SF writers.

In my opinion, whatever McEwan, Winterson and Ishiguro write about robots, genre writers will have got their first and done it better. And I wonder if the literary critics and award judges will recognise that when these books inevitably get put in for the Booker and other literary awards. And I also feel that when they are, these awards should be open to self-conscious genre writers. Because if the literary crowd can write about robots and win literary prizes for them, it’s only going to be snobbishness that keeps the genre SF writers from winning them too.  

Science Fiction Becomes Chilling Science Fact: Plans for Autonomous Drones

May 7, 2018

Last week, the I carried a story reporting the debate over the development of truly autonomous military drones. At the moment these killing machines require a human operator, but there are plans to give them AI and autonomy, so that they can fly and kill independently. I’m afraid I didn’t read the article, so can’t really tell you much about it, except what leapt out at me.

And what did leap out of me was that this is very dangerous. The I itself reported that there was a controversy over the proposals. Some scientists and other people have argued that it’s dangerous to remove humans from war, and leave to it cold, dispassionate machines. This is a valid point. A decade or so ago, one tech company announced it was planning to build war robots to be used in combat. There was immediately a storm of protest as people feared the consequences of sending robots out to kill. The fear is that these machines would continue killing in situations where a humane response is required.

whistleblowers on the American drone programme have also talked about its dehumanising effects. The human operator is miles, perhaps even an entire continent away from the drone itself, and this creates a sense of unreality about the mission. The deaths are only seen on a screen, and so the operator can forget that he is actually killing real human being. After one trainee drone operator continued killing long after he had completed his mission, he was reportedly hauled from his chair by the instructor, who told him sternly, ‘This is not a video game’. Similarly soldiers and pilots in combat may also become dehumanised and enjoy killing. One of the volumes I read against the Iraq War included a letter from a veteran American Air Force pilot to his son, entitled ‘Don’t Lose Your Humanity’. The father was concerned that this would happen to his lad, after seeing it happen to some of the men he’d served with. He wrote of a case where a man continued to shoot at the enemy from his plane, simply because he enjoyed the chaos and carnage he was creating.

Already humans can lose their own moral compass while controlling these machines, but the situation could become much worse if these machines became completely autonomous. They could continue to kill regardless of circumstance or morality, simply through the requirement to obey their programming.

There is also another danger: that the rise of these machines will eventually lead to the extinction and enslavement of the human race. The idea of the robot’s revolt has haunted Science Fiction since Mary Shelley first wrote Frankenstein at the beginning of the 19th century. It’s one of the clichéd themes of SF, but some scientists fear it the danger is all too real. Martin Rees, the Astronomer Royal, included it among the dangers to the survival of humanity in his book, Our Final Minute?, in the 1990s. Kevin Warwick, professor of robotics at Reading University and former cyborg, also sees it as a real possibility. His 1990s book, March of the Machines, opens with a chilling description of a world ruled by robots. Humanity has been decimated. The few survivors are enslaved, and used by the machines to hunt down the remaining free humans living wild in places which are inaccessible to the robots. Warwick was deeply troubled by the prospect of the machines eventually taking over and leaving humanity far behind. He turned to cyborgisation as a possible solution to the problem and a way for humanity to retain its superiority and survival against its creations.

These plans for the drones also remind very strongly of an SF story I read way back when I was a teenager, ‘Flying Dutchman’, by Ward Moore, in Tony Boardman, ed., Science Fiction Stories, illustrated by David Mitchell, Paul Desmond, and Graham Townsend (London: Octopus 1979). In this story, a bomber comes back to base to be refuelled and loaded up once again with bombs, to fly away again on another mission. This is all done automatically. There are no humans whatever in the story. It is implied that humanity has finally killed itself, leaving just its machines continuing to function, flying and bombing in an endless cycle, forever.

Many of the other stories in the volume were first published in the SF pulp magazines. I don’t know when Moore’s story was written, but the use of bombers, rather than missiles, suggests it was around the time of the Second World War or perhaps the Korean. Not that bombers have been entirely superseded by modern missiles and combat aircraft. The Americans used the old B54s against the Serbs during the war in Yugoslavia. These plans to create autonomous drones brings the world of Moore’s story closer to horrifying reality.

SF has often been the literature of warning. Quite often its predictions are hilariously wrong. But this is one instance where we need to pay very serious attention indeed.

Forthcoming Programme on the Destructive Consequence of IT

August 1, 2017

Next Sunday, the 6th August, BBC 2 is showing a documentary at 8.00 pm on the negative aspects of automation and information technology. Entitled Secrets of Silicon Valley, it’s the first part of a two-part series. The blurb for it in the Radio Times reads

The Tech Gods – who run the biggest technology companies – say they’re creating a better world. Their utopian visions sound persuasive: Uber say the app reduces car pollution and could transform how cities are designed; Airbnb believes its website empowers ordinary people. some hope to reverser climate change or replace doctors with software.

In this doc, social media expert Jamie Bartlett investigates the consequences of “disruption” – replacing old industries with new ones. The Gods are optimistic about our automated future but one former Facebook exec is living off-grid because he fears the fallout from the tech revolution. (p. 54).

A bit more information is given on the listings page for the programmes on that evening. This gives the title of the episode – ‘The Disruptors’, and states

Jamie Bartlett uncovers the dark reality behind Silicon Valley’s glittering promise to build a better world. He visits Uber’s offices in San Francisco and hears how the company believes it is improving our cities. But Hyderabad, India, Jamie sees for himself the apparent human consequences of Uber’s utopian vision and asks what the next wave of Silicon Valley’s global disruption – the automation of millions of jobs – will mean for us. He gets a stark warning from an artificial intelligence pioneer who is replacing doctors with software. Jamie’s journey ends in the remote island hideout of a former social media executive who fears this new industrial revolution could lead to social breakdown and the collapse of capitalism. (p. 56).

I find the critical tone of this documentary refreshing after the relentless optimism of last Wednesday’s first instalment of another two-part documentary on robotics, Hyper Evolution: the Rise of the Robots. This was broadcast at 9 O’clock on BBC 4, with second part shown tomorrow – the second of August – at the same time slot.

This programme featured two scientists, the evolutionary biologist, Dr. Ben Garrod, and the electronics engineer Professor Danielle George, looking over the last century or so of robot development. Garrod stated that he was worried by how rapidly robots had evolved, and saw them as a possible threat to humanity. George, on the other hand, was massively enthusiastic. On visiting a car factory, where the vehicles were being assembled by robots, she said it was slightly scary to be around these huge machines, moving like dinosaurs, but declared proudly, ‘I love it’. At the end of the programme she concluded that whatever view we had of robotic development, we should embrace it as that way we would have control over it. Which prompts the opposing response that you could also control the technology, or its development, by rejecting it outright, minimizing it or limiting its application.

At first I wondered if Garrod was there simply because Richard Dawkins was unavailable. Dawko was voted the nation’s favourite public intellectual by the readers of one of the technology or current affairs magazines a few years ago, and to many people’s he’s the face of scientific rationality, in the same way as the cosmologist Stephen Hawking. However, there was a solid scientific reason he was involved through the way robotics engineers had solved certain problems by copying animal and human physiology. For example, Japanese cyberneticists had studied the structure of the human body to create the first robots shown in the programme. These were two androids that looked and sounded extremely lifelike. One of them, the earlier model, was modelled on its creator to the point where it was at one time an identical likeness. When the man was asked how he felt about getting older and less like his creation, he replied that he was having plastic surgery so that he continued to look as youthful and like his robot as was possible.

Japanese engineers had also studied the human hand, in order to create a robot pianist that, when it was unveiled over a decade ago, could play faster than a human performer. They had also solved the problem of getting machines to walk as bipeds like humans by giving them a pelvis, modeled on the human bone structure. But now the machines were going their own way. Instead of confining themselves to copying the human form, they were taking new shapes in order to fulfil specific functions. The programme makers wanted to leave you in new doubt that, although artificial, these machines were nevertheless living creatures. They were described as ‘a new species’. Actually, they aren’t, if you want to pursue the biological analogy. They aren’t a new species for the simple reason that there isn’t simply one variety of them. Instead, they take a plethora of shapes according to their different functions. They’re far more like a phylum, or even a kingdom, like the plant and animal kingdoms. The metal kingdom, perhaps?

It’s also highly problematic comparing them to biological creatures in another way. So far, none of the robots created have been able to reproduce themselves, in the same way biological organisms from the most primitive bacteria through to far more complex organisms, not least ourselves, do. Robots are manufactured by humans in laboratories, and heavily dependent on their creators both for their existence and continued functioning. This may well change, but we haven’t yet got to that stage.

The programme raced through the development of robots from Eric, the robot that greeted Americans at the World’s Fair, talking to one of the engineers, who’d built it and a similar metal man created by the Beeb in 1929. It also looked at the creation of walking robots, the robot pianist and other humanoid machines by the Japanese from the 1980s to today. It then hopped over the Atlantic to talk to one of the leading engineers at DARPA, the robotics technology firm for the American defence establishment. Visiting the labs, George was thrilled, as the company receives thousands of media requests, to she was exceptionally privileged. She was shown the latest humanoid robots, as well as ‘Big Dog’, the quadruped robot carrier, that does indeed look and act eerily like a large dog.

George was upbeat and enthusiastic. Any doubts you might have about robots taking people’s jobs were answered when she met a spokesman for the automated car factory. He stated that the human workers had been replaced by machines because, while machines weren’t better, they were more reliable. But the factory also employed 650 humans running around here and there to make sure that everything was running properly. So people were still being employed. And by using robots they’d cut the price on the cars, which was good for the consumer, so everyone benefits.

This was very different from some of the news reports I remember from my childhood, when computers and industrial robots were just coming in. There was shock by news reports of factories, where the human workers had been laid off, except for a crew of six. These men spent all day playing cards. They weren’t employed because they were experts, but simply because it would have been more expensive to sack them than to keep them on with nothing to do.

Despite the answers given by the car plant’s spokesman, you’re still quite justified in questioning how beneficial the replacement of human workers with robots actually is. For example, before the staff were replaced with robots, how many people were employed at the factory? Clearly, financial savings had to be made by replacing skilled workers with machines in order to make it economic. At the same time, what skill level were the 650 or so people now running around behind the machines? It’s possible that they are less skilled than the former car assembly workers. If that’s the case, they’d be paid less.

As for the fear of robots, the documentary traced this from Karel Capek’s 1920’s play, R.U.R., or Rossum’s Universal Robot, which gave the word ‘robot’ to the English language. The word ‘robot’ means ‘serf, slave’ or ‘forced feudal labour’ in Czech. This was the first play to deal with a robot uprising. In Japan, however, the attitude was different. Workers were being taught to accept robots as one of themselves. This was because of the animist nature of traditional Japanese religion. Shinto, the indigenous religion besides Buddhism, considers that there are kami, roughly spirits or gods, throughout nature, even inanimate objects. When asked what he thought the difference was between humans and robots, one of the engineers said there was none.

Geoff Simons also deals with the western fear of robots compared to the Japanese acceptance of them in his book, Robots: The Quest for Living Machines. He felt that it came from the Judeo-Christian religious tradition. This is suspicious of robots, as it allows humans to usurp the Lord as the creator of living beings. See, for example, the subtitle of Mary Shelley’s book, Frankenstein – ‘the Modern Prometheus’. Prometheus was the tAstritan, who stole fire from the gods to give to humanity. Victor Frankenstein was similarly stealing a divine secret through the manufacture of his creature.

I think the situation is rather more complex than this, however. Firstly, I don’t think the Japanese are as comfortable with robots as the programme tried to make out. One Japanese scientist, for example, has recommended that robots should not be made too humanlike, as too close a resemblance is deeply unsettling to the humans, who have to work with it. Presumably the scientist was basing this on the experience of Japanese as well as Europeans and Americans.

Much Japanese SF also pretty much like its western counterpart, including robot heroes. One of the long-time comic favourites in Japan is Astroboy, a robot boy with awesome abilities, gadgets and weapons. But over here, I can remember reading the Robot Archie strip in Valiant in the 1970s, along with the later Robusters and A.B.C. Warriors strips in 2000 AD. R2D2 and C3PO are two of the central characters in Star Wars, while Doctor Who had K9 as his faithful robot dog.

And the idea of robot creatures goes all the way back to the ancient Greeks. Hephaestus, the ancient Greek god of fire, was a smith. Lame, he forged three metal girls to help him walk. Pioneering inventors like Hero of Alexandria created miniature theatres and other automata. After the fall of the Roman Empire, this technology was taken up by the Muslim Arabs. The Banu Musa brothers in the 9th century AD created a whole series of machines, which they simply called ‘ingenious devices’, and Baghdad had a water clock which included various automatic figures, like the sun and moon, and the movement of the stars. This technology then passed to medieval Europe, so that by the end of the Middle Ages, lords and ladies filled their pleasure gardens with mechanical animals. The 18th century saw the fascinating clockwork machines of Vaucanson, Droz and other European inventors. With the development of steam power, and then electricity in the 19th century came stories about mechanical humans. One of the earliest was the ‘Steam Man’, about a steam-powered robot, which ran in one of the American magazines. This carried on into the early 20th century. One of the very earliest Italian films was about a ‘uomo machina’, or ‘man machine’. A seductive but evil female robot also appears in Fritz Lang’s epic Metropolis. Both films appeared before R.U.R., and so don’t use the term robot. Lang just calls his robot a ‘maschinemensch’ – machine person.

It’s also very problematic whether robots will ever really take human’s jobs, or even develop genuine consciousness and artificial intelligence. I’m going to have to deal with this topic in more detail later, but the questions posed by the programme prompted me to buy a copy of Hubert L. Dreyfus’ What Computers Still Can’t Do: A Critique of Artificial Reason. Initially published in the 1970s, and then updated in the 1990s, this describes the repeated problems computer scientists and engineers have faced trying to develop Artificial Intelligence. Again and again, these scientists predicted that ‘next year’ ,’in five years’ time’, ‘in the next ten years’ or ‘soon’, robots would achieve human level intelligence, and would make all of us unemployed. The last such prediction I recall reading was way back in 1999 – 2000, when we were all told that by 2025 robots would be as intelligent as cats. All these forecasts have proven wrong. But they’re still being made.

In tomorrow’s edition of Hyperevolution, the programme asks the question of whether robots will ever achieve consciousness. My guess is that they’ll conclude that they will. I think we need to be a little more skeptical.