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AI
Creed
Death & life
Digital
6 min read

AI deadbots are no way to cope with grief

The data we leave in the cloud will haunt and deceive those we leave behind.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A tarnished humaniod robot rests its head to the side, its LED eyes look to the camera.
Nicholas Fuentes on Unsplash.

What happens to all your data when you die? Over the years, like most people, I've produced a huge number of documents, letters, photos, social media posts, recordings of my voice, all of which exist somewhere out there in the cloud (the digital, not the heavenly one). When I die, what will happen to it all? I can't imagine anyone taking the time to climb into my Dropbox folder or Instagram account and delete it all? Does all this stuff remain out there cluttering up cyberspace like defunct satellites orbiting the earth?  

The other day I came across one way it might have a future - the idea of ‘deadbots’. Apparently, AI has now developed to such an extent that it can simulate the personality, speech patterns and thoughts of a deceased person. In centuries past, most people did not leave behind much record of their existence. Maybe a small number of possessions, memories in the minds of those who knew them, perhaps a few letters. Now we leave behind a whole swathe of data about us. AI is now capable of taking all this data and creating a kind of animated avatar, representing the deceased person, known as a ‘deadbot’ or even more weirdly, a ‘griefbot’. 

You can feel the attraction. An organisation called ‘Project December’ promises to ‘simulate the dead’, offering a ghostly video centred around the words ‘it’s been so long: I miss you.’ For someone stricken with grief, wondering whether there's any future in life now that their loved one has gone, feeling the aching space in the double bed, breakfast alone, the silence where conversation once filled the air, the temptation to be able to continue to interact and talk with a version of the deceased might be irresistible. 

There is already a developing ripple of concern about this ‘digital afterlife industry’. A recent article in Aeon explored the ethical dilemmas. Researchers in Cambridge University have already called for the need for safety protocols against the social and psychological damage that such technology might cause. They focus on the potential for unscrupulous marketers to spam surviving family or friends with the message that they really need XXX because ‘it's what Jim would have wanted’. You can imagine the bereaved ending up being effectively haunted by the ‘deadbot’, and unable to deal with grief healthily. It can be hard to resist for those whose grief is all-consuming and persistent. 

Yet it's not just the financial dangers, the possibility of abuse that troubles me. It's the deception involved which seems to me to operate in at a number of ways. And it's theology that helps identify the problems.  

The offer of a disembodied, AI-generated replication of the person is a thin paltry offering, as dissatisfying as a Zoom call in place of a person-to-person encounter. 

An AI-generated representation of a deceased partner might provide an opportunity for conversation, but it can never replicate the person. One of the great heresies of our age (one we got from René Descartes back in the seventeenth century) is the utter dualism between body and soul. It is the idea that we have some kind of inner self, a disembodied soul or mind which exists quite separately from the body. We sometimes talk about bodies as things that we have rather than things that we are. The anthropology taught within the pages of the Bible, however, suggests we are not disembodied souls but embodied persons, so much so that after death, we don't dissipate like ethereal ‘software’ liberated from the ‘hardware’ of the body, but we are to be clothed with new resurrection bodies continuous with, but different from the ones that we possess right now. 

We learned about the importance of our bodies during the COVID pandemic. When we were reduced to communicating via endless Zoom calls, we realised that while they were better than nothing, they could not replicate the reality of face-to-face bodily communication. A Zoom call couldn't pick up the subtle messages of body language. We missed the importance of touch and even the occasional embrace. Our bodies are part of who we are. We are not souls that happen to temporarily inhabit a body, inner selves that are the really important bit of us, with the body an ancillary, malleable thing that we don't ultimately need. The offer of a disembodied, AI-generated replication of the person is a thin paltry offering, as dissatisfying as a virtual meeting in place of a person-to-person encounter. 

Another problem I have with deadbots, is that they fix a person in time, like a fossilised version of the person who once lived. AI can only work with what that person has left behind - the recordings, the documents, the data which they produced while they were alive. And yet a crucial part of being human is the capacity to develop and change. As life continues, we grow, we shift, our priorities change. Hopefully we learn greater wisdom. That is part of the point of conversation, that we learn things, it changes us in interaction with others. There is the possibility of spiritual development of maturity, of redemption. A deadbot cannot do that. It cannot be redeemed, it cannot be transformed, because it is, to quote U2, stuck in a moment, and you can’t get out of it.  

This is all of a piece with a general trajectory in our culture which is to deny the reality of death. For Christians, death is an intruder. Death - or at least the form in which we know it, that of loss, dereliction, sadness - was not part of the original plan. It doesn't belong here, and we long for the day when one day it will be banished for good. You don’t have to be a Christian to feel the pain of grief, but paradoxically it's only when you have a firm sense of hope that death is a defeated enemy, that you can take it seriously as a real enemy. Without that hope, all you can do is minimise it, pretend it doesn't really matter, hold funerals that try to be relentlessly cheerful, denying the inevitable sense of tragedy and loss that they were always meant to express.  

Deadbots are a feeble attempt to try to ignore the deep gulf that lies between us and the dead. In one of his parables, Jesus once depicted a conversation between the living and the dead:  

“between you and us a great chasm has been fixed, so that those who might want to pass from here to you cannot do so, and no one can cross from there to us.”  

Deadbots, like ‘direct cremations’, where the body is disposed without any funeral, denying the bereaved the chance to grieve, like the language around assisted dying that death is ‘nothing at all’ and therefore can be deliberately hastened, are an attempt to bridge that great chasm, which, this side of the resurrection, we cannot do. 

Deadbots in one sense are a testimony to our remarkable powers of invention. Yet they cannot ultimately get around our embodied nature, offer the possibility of redemption, or deal with the grim reality of death. They offer a pale imitation of the source of true hope - the resurrection of the body, the prospect of meeting our loved ones again, yet transformed and fulfilled in the presence of God, even if it means painful yet hopeful patience and waiting until that day. 

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Column
Awe and wonder
Creed
Film & TV
Re-enchanting
4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

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