Article
AI
Character
Culture
Digital
7 min read

Apple’s AI ads show how we can lose our moral skills

Apple Intelligence promises to safeguard us from the worst of ourselves.

Jenny is training to be a priest. She holds a PhD in law and writes at the intersection of law, politics and theology.

A worker at a desk sits back contemplating a situation
Dour Dale contemplates AI.
Apple.

“I got through the three stages of the interview process, and they said I had done well, but they aren’t hiring any computer science graduates anymore. AI is cheaper, and faster.”

John*, a bright 24-year-old coder and philosopher, has just completed an MSc in Computer Science from one of the top universities in the UK. And he can’t find a job. AI has outcompeted him. In a couple of years, he says, entry level into computer science as a field will require a PhD. What about in ten years, or twenty? Will the only people able to work in the field have to effectively be geniuses to keep up with a technology that’s metastasizing at the rate of knots? It felt painfully ironic to be discussing over coffee the death of an entire sector of meaningful jobs less than a week after the new Labour government announced its plans to “turbocharge” AI (Artificial Intelligence) as the saviour of the nation’s economy. What are we willing to sacrifice in the name of “national renewal”?  

As worrying as John’s story is, there is much more than jobs – and the skills, knowledge and social relations tied up in them – on the line when it comes to AI. The alleged saviour of the nation’s economy is after your soul as well, it turns out.  

This came home to me starkly over the Christmas holidays with the new advertisements for Apple Intelligence tools on MacBook Pro. In the first ad, “Lazy Lance” – a procrastinating business professional – sheepishly shifts in his seat. He has been asked to make a presentation on the new business prospectus, and he has been caught out, unprepared. But he is saved at the last moment. The click of the “Key Points” button using the new Apple Intelligence software on his MacBook Pro provides him with the critical breakdown summary needed to avoid becoming the pariah of the team. The sheepish shifting turns to smug smile: his substandard performance has evaded detection with the ready aid of Apple Intelligence.  

In the second ad, “Dour Dale” – a disgruntled office worker – writes a scathing email to the “monster” who has devoured his pudding from the communal fridge. Before clicking send on this missive, he raises his eyes from the raging words on his screen to see a pious teddy bear holding a love-heart which says “find your kindness.” This moral cue from a cuddly toy prompts Dave to select the “Friendly” button from the dropdown list on Apple Intelligence writing tools, which immediately converts his childish strop over pudding thievery into a mature response in which he kindly expresses his disappointment along with a polite request for the pudding to be returned. The only moral effort required of Dale is the click of a button; Apple Intelligence sorts out the bile and the blame and re-presents his pudding fury in a professionally palatable manner.  

These advertisements for AI tools are designed to provoke an empathetic laugh. Who indeed can honestly say they have never arrived unprepared to a meeting, or at least mentally penned a vindictive response to the tiniest office slight?  

AI is poised to strike at the root of our individual virtue, by inserting itself as an emotional regulator. 

However, underneath the easy laughs, I felt a profound sense of dis-ease when watching them. They indicate just how far AI has already begun to penetrate our moral economy. By inserting a technological tool to disguise or translate social interactions into new terms, our moral relations with each other are deceptively smoothed to avoid the social and personal costs of shame (e.g. Lance using “Key Points” rather than owning up to his poor work ethic) and anger (e.g. Dale using “Friendly” mode to transform his email from raging diatribe into courteous appeal). As appealing as it sounds to have automatic tech weapons to tranquilise social and emotional bugbears, they also remove daily opportunities to learn how to live and work together.  

For example, as excruciating as it is to be the person who came to the meeting woefully under-prepared, embarrassment can be a very useful corrective in learning the art of time management as well as the virtue of pulling our weight. We probably all know from school what it feels like to work on a group project, when only half the group cares about the outcome. If we do not learn moral skills of responsibility and accountability in our formative years, the workplace becomes a vital school for virtue in adulthood where we learn what it means to be trusted and how to be worthy of it. As in the case of Lance, AI now offers us everyday tools which help us to avoid embarrassment and effectively hide our lack of effort, taking the edge off of the very exposure that would help us to grow in both skill and trustworthiness. This is not propaganda for the Protestant work ethic but rather a top survival tip for the human soul in hyper-capitalist economy. Maintaining the moral significance of our labour as a school of formation in self-respect and trustworthiness does not baptise the extractive and exploitative nature of many workplaces. Rather, it offers a means of resistance to the soul-destroying idea that we are all replaceable, that nothing really matters and that our efforts are simply grist for the eternal and insatiable mill of market supply and demand.

In the case of Dale, Apple Intelligence goes beyond protecting users from social shame: it promises to safeguard us from the worst of ourselves. Of the two Apple Intelligence advertisements, I find Dale’s to be even more pernicious because it evidences how AI is poised to strike at the root of our individual virtue, by inserting itself as an emotional regulator. Rather than doing the difficult work of redrafting the email himself, which would require Dale to critically examine his own reactions and put himself into the shoes of the recipient, Apple Intelligence offers to do it automatically. By short-circuiting Dale’s process of recognising the emotions underneath his rage, he misses a critical opportunity to learn for himself what his anger is all about, and even more than that, to practice the art of genuine self-mastery in conflict. The AI tool smooths out the conflict on the surface, while Dale is presumably left with all those rotten feelings built up and unprocessed, because he has not had to do the difficult work of converting his aggressive monologue into a respectful dialogue with another human being.

The insertion of these seemingly innocuous AI tools into the spheres of our everyday, workaday lives introduces new means and modes of (self) deception in our habits, where we are able to hide much more easily from honest moral evaluation of the quality of our work as well as our interpersonal relationships. It also risks new heights of moral “de-skilling” over time as we live in a social and economic world that has become so deeply mediated by technology, to the point where we may very well eventually trust Apple as the gold standard of professional behaviour rather than our own discernment. The soul – our very interiority – is the new frontier of economic expansion, in the name of securing Britain’s place in the ranks of global competitiveness.

To AI enthusiasts, all this may sound like Luddite naysaying. Many people find AI tools helpful in the process of research and preparation. Even some priests, I have recently discovered, use Chat GPT to aid sermon-writing. And what, as a priest friend asked me recently, is the problem with these time-saving tools, as long as we use them critically?

Apart from the obvious answer that AI can’t be trusted to get all the facts right, let alone the word of God, this question presumes that human beings’ critical faculties and moral compasses remain fundamentally unaffected by these new technologies. It may be true for older generations (whose formative years occurred well before the meteoric surge of digital technology in the early 2000s) that technology continues to function as an optional extra to make life that little bit easier. But for Gen Z and below, and even for some younger millennials, intuitive digital technologies have become so fused with the ways that we learn and process information that it is no longer – if it ever was – a neutral tool to improve our lives. We are only learning now about the extent to which social media has thoroughly penetrated the emotional worlds of teenagers, with severe consequences for their wellbeing. What will be the consequences for the generations to come, when AI becomes so integrated into the emotional and social fabric of our lives that we cannot quite tell where we start and it begins? The risk with “turbocharging” AI is not only a huge number of jobs, but the atrophy of our moral muscles as AI encroaches further into the heartlands of what it means to be human. While a few tech elites may always stay one step ahead of AI and keep it safely in the toolbox rather than the driver’s seat, most of us time-poor plebians are being taken for the ride of our lives.

 

 *Name changed for anonymity. 

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Review
Culture
Film & TV
Monsters
5 min read

Here’s what Death of a Unicorn gets very wrong

‘The unicorn was a Christ-allegory’ and other lies.

Iona is a PhD candidate at the University of Aberdeen, studying how we can understand truth. 

A tapestry depicts a unicorn resting within a fenced enclosure.
The Unicorn Rests in a Garden (from the Unicorn Tapestries).
Public domain, The Met Museum.

I don’t do horror or gore. And yet, I just saw the gory creature feature comedy horror Death of a Unicorn. I have not seen such a clichéd movie in a very long time (probably since Don’t Look Up…). Death of a Unicorn gives us a strained father-daughter relationship, the artsy young girl with silver rings on every finger and dyed hair, cartoonishly evil rich people, their creepy but stupid blonde son, the put-upon butler… and… the unicorn. However, the biggest cliché of them all is perhaps the desperate attempt to subvert expectations and tell a new story about a familiar trope… and failing.  

Given the title of the film, one would be forgiven for assuming that unicorns play a significant role in it. One would be mistaken. The conceit of killer-unicorn is a fun one. I wish the film had played with it more. Instead, the unicorns themselves barely feature and are not particularly interesting or subversive. The perception of the unicorn that is put forward by the characters likewise is trite and tired.  

The film features another classic scene: the ‘plucky young woman digs out her laptop and falls down a google rabbit hole to research paranormal/fantastical phenomenon’. In her research Ridley comes across a set of medieval tapestries depicting a unicorn hunt. These tapestries do exist in real life and are indeed now housed at The Met. The Met’s fictional website in the film informs Ridley that the fifth tapestry in the series ‘The Unicorn Surrenders to a Maiden’ only survives in fragments (true) and that scholars believe the missing part of the tapestry most likely showed the unicorn going on a murderous rampage (very much not true). From this, Ridley deduces that, since unicorns do indeed appear to be real, the warnings of old ought to be heeded. In the film, Ridley is proved right, the unicorns do turn out to be murderous monsters out for the blood of those who would abuse the remains of their dead foal.  

While the real Met website does indeed show us the torn tapestry, it features no such conjecture about the gory violence the unicorn might have inflicted prior to being subdued by the maiden.  

In one of her desperate attempts to reason with the megalomaniacal pharmaceutical tycoons, Ridley slips in a sentence about the unicorn serving as an allegory for Christ. This is a claim that is repeated all across the internet in various fora, fan sites, even some old scholarship. But that is exactly what this theory is: outdated scholarship… mixed with a healthy (unhealthy?) dose of paternalistic attitudes towards the past and half-misremembered folklore about Christian symbolism. It is true that medieval art is rich in symbolism. It is also true that medieval European cultures were deeply steeped in Christian religious traditions. However, as Barbara Drake Boehm writes in her recent book on the tapestries ‘the Cloisters Hunt for the Unicorn tapestries have … fallen victim to a tendency to perceive Christianity in every stitch’. The fact that one of the hunters has a scabbard that invokes the ‘Queen of Heaven’ (the Virgin Mary), or that another carries rosary beads, are most likely simply indicative of the fact these were common items ‘within the majority-Christian society in which the tapestries were created’. (A Blessing of Unicorns, The Metropolitan Museum of Art, 2020).

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. 

One doesn’t need a degree in art history to figure out that such an allegorical relation would make no sense either. If the unicorn was representative of Christ and the hunt of his Passion, why does the unicorn fight back? If the untouched maiden in whose lap the unicorn reposes is the Virgin Mary, mother of Christ, why does she help the hunters trap and kill the unicorn? The tapestry that supposedly shows the unicorn resurrected and at peace in its captivity does not even appear to belong to the same narrative as the other tapestries. And why would a resurrected Christ-figure be shown in supposed captivity?  

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. ‘Ah, well, back then they were all religious fanatics that believed in silly things like Jesus and unicorns.’ The implication being that in our modern, enlightened state we couldn’t possibly be accused of believing in silly simplistic mythical accounts of the world… Yeah. Not only is this of course false, it also distract from the very real things we could learn from the past.  

The film in the end wants to have it both ways. It wants to ridicule medieval people (based on lazy stereotypes) as well as perpetuating some of the most backward attitudes woven into the tapestries. So, what is the real true meaning of the tapestries and of unicorns? I don’t know. I can’t offer ‘real true’ interpretations (because they don’t exist). What I can offer is a careful and close engagement.  

What strikes me about the myth of the unicorn is what the unicorn does stand for. Over the centuries the unicorn has been used as a symbol for purity, innocence, humility, and sometimes fertility. In medieval poetry the (male) bard would often cast himself as the unicorn, beguiled by his beautiful lady, desiring nothing more than to rest his head in her lap. Little of this particular metaphor has survived into the modern pop-culture. What seems to have survived is the strong connection with young virgins. This particular trope features heavily in the film too though the film makers attempt to gloss over the sexual implications of ‘virgin’ by speaking only of ‘maidens’ (which still means the same thing but doesn’t have the same sexual baggage for modern ears).  

Now, that is indeed an interesting aspect worth unpacking. Why is it that unicorns are so attracted to young women who have not had sex? Why the obsession with virginity and the implied association that – for a woman! – having sex sullies something pure? What does it mean that both the hunters in the tapestries and the rich people in the film use a woman’s body and sexuality to trap the unicorn and commit their violence? Where’s the film that deals with those questions? Until they make that one maybe I’ll stick with My Little Pony, I’m told that has significantly less disembowelment.  

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