Article
AI
Creed
Morality
Spiritual formation
6 min read

The moral machine: algorithms that give a window into the soul

In TikTok’s algorithm Graham Tomlin saw something that got him thinking. Could it lead to moral health rather than harm?

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

A abstract grid of colourful cubes with arrows, crosses and cubes, viewed from above and at an angle
Champ Panupong Techawongthawon's illustration of artificial intelligence.
Google DeepMind on Unsplash.

A few years ago, I was thinking of buying a camera for my wife as a birthday present. I lazily browsed a couple of websites to check out the options. Then something odd started to happen. Somehow, my laptop seemed to think this was a good idea and sprang into action. Whenever I went onto Amazon, Ebay or any other website selling stuff, it kept pushing adverts for cameras at me. Canon or Nikon? Point and Shoot or DSLR? How did it know? Could it read my mind?

It was the first time I noticed the power of the algorithm.

A bit later on, thinking I ought to get up to speed with the regions of social media that I had little clue about, I opened up TikTok and started to swipe upwards (apparently that seemed to be the way to do it). This time I was determined not to like or unlike anything, follow anyone or be followed by anyone. Yet mysteriously, it still worked out what I liked and kept pushing short, addictive videos at me, enticing clips of football, mountains and music along with other random stuff mixed in. How did it know me so well?

It is as old as the hills. The algorithm simply takes the desires of your heart and amplifies them.

Of course, better informed people than me know how all this works. The algorithm figures out which accounts you follow, any comments you’ve posted, clips you’ve liked or shared, and in particular, videos you watched all the way to the end. So, if you linger over a video, it knows you like it. If you rush on quickly to the next one, it makes a mental note that you’re not so keen.

It all feels a little sinister, yet very clever. You often read dark theories of social media, and the way it is re-wiring our brains. Yet when you look a little closer, it is as old as the hills. The algorithm simply takes the desires of your heart and amplifies them. So, if you like or linger over certain videos expressing a particular cultural or political opinion it will send you more of the same. The result is we get confirmed in our own frameworks which never get challenged by others. It's part of why we are so polarised as societies these days. When you ask why ‘the other side’ cannot see the obvious truth that you see, the answer is that they literally don’t see it. They don't see it because the algorithm doesn't feed them the same things as it feeds you.

As a result, TikTok or Facebook is an alarming mirror into the soul – see what it sends you and it just may be that it tells you more about yourself than you would like to know.  

Social media like TikTok, Facebook and Twitter (or X)  learn to recognise what your heart really desires (not just what you say you do). They notice what you linger over, what catches your fancy and sends you more of the same. They are, apparently, studiously neutral on moral questions. They seem to have no moral designs on you to school or form your soul in particular ways, but are simply a reflection of your own longings. What TikTok, Facebook, Instagram and the others all do is to propel you further in the moral direction in which you are already headed. Which for most of us, is not a great idea.

Now of course there would be howls of protest if TikTok announced a moral code – that it was about to encourage virtue and discourage vice by deliberately sending us improving videos, material that the mysterious people who run it think is good for us. And that is not because we think virtue is bad and vice is good, but because we can’t decide on what virtues we want to encourage or what vices to stamp out. We draw a line at cruelty to children and extreme violence, but not much else. It is also because we hold as sacrosanct the freedom of the (adult) individual to choose his or her own way in life, as long as they don’t hurt anyone else.

Such sites are examplars and vehicles of expressive individualism – not just in the myriads of people who show off their dance moves, sing their songs or act out half-funny scenes on a golf course, but in that they confirm me in me my own wishes. They don’t tell me what to want. But they give me more of what I want. As a result, TikTok or Facebook is an alarming mirror into the soul – see what it sends you and it just may be that it tells you more about yourself than you would like to know.

It matters what we feed our souls with. It matters what stories we allow ourselves to be told.  

Such sites appear to be morally neutral. They don’t seem to aim to educate or form you in any particular direction. Or at least they are supposed not to. But of course nothing is entirely neutral.

Funnily enough, it’s not how we bring up children, or educate ourselves. When we bring up a child, most of us have some kind of vague or not so vague moral code in mind. We reward kind and helpful behaviour, and we punish selfish and mean actions. We don’t tend to give more of the same to a child who has eaten the first half of the packet of biscuits, or encourage a brother to hit his sister yet again. We have a goal of some form of moral formation in mind.

Yet, despite our confusion over which virtues to encourage, we need some kind of moral guidance for our wandering and flawed hearts, linked to eyes that are tempted to feast on things that fascinate but are not good for us. Like a glutton who cannot stop eating, even if these sites don’t themselves push extreme violence, pornography, aggression, they offer enough of the soft version of these to draw you in. And it’s not hard to find sites that will take you deeper into the darkness. And those sites will already know the way you are thinking and desiring and are ready to pull you in deeper into the mire.

The problem is not so much with the algorithm. It is with us. Netflix’s documentary, ‘The Social Dilemma’ quotes an alarming statistic - that fake news spreads six times faster than the truth. The reason is not hard to find. We are fascinated by the sensational and alarming rather than something a little more ordinary yet which happens to be true. As one person in the documentary put it: “The internet has a bias towards false information. Because false information makes more money. The truth is boring.”

The moral philosopher Gilbert Meilaender wrote:

“Successful moral education requires a community which does not hesitate to inculcate virtue in the young, which does not settle for the discordant opinions of alternative visions of the good, which worries about what the stories of its poets teach.”

It matters what we feed our souls with. It matters what stories we allow ourselves to be told.

The purveyors of social media are not innocent in this as they do exploit our worst tendencies, but in the end they simply confirm us in our own moral confusion. Yet it does point up the problem in the liberal ideal of leaving ethical decisions entirely up to the individual, to give entirely free choice without any guidance, because with our crooked hearts, it will always end up feeding the darker sides of our characters without a corresponding pull in the other direction, something which Christians called divine Grace.

St Paul wrote to the small group of Christians in Philippi, surrounded by the highly sexualised and violent culture of the Roman empire: “whatever is true, whatever is honourable, whatever is just, whatever is pure, whatever is pleasing, whatever is commendable, if there is any excellence and if there is anything worthy of praise, think about these things.”

I’m not saying don’t watch TikTok. But here’s an idea. Why not try to make it into a morally forming version of what you want to be, not what you are? Exercise a bit of moral direction yourself. If you see a video which you know in your conscience is not good, or is spreading lies, swipe it away quickly. If you see something positive, dwell on it.

If you approach it this way, you might just be able to persuade the algorithm to shape you in good ways and not the bad. It could become a means of growing in goodness, but only if you want it to be.

Review
Awe and wonder
Creed
Easter
Film & TV
5 min read

Heading Home: a pilgrimage that breaks out beauty along the way

We can learn a new language together as we travel.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A shaft of light from an opening in a dome lights a cross on a pedestal.
Church of the Holy Sepulchre.
Kieran Dodds.

This film, this pilgrimage, this story begins in Jerusalem in the rotunda of the Church of the Holy Sepulchre with its Aedicule, a small chapel, containing the tomb from which Jesus rose.  

Jesus' resurrection was revolutionary because it is the first fruits of a wider resurrection into a new heaven and a new earth, the new Jerusalem, where all that is harmful on earth is transformed into eternal glory and beauty. 

The Church of the Holy Sepulchre holds that vision within its walls, a vision that was then transported throughout the world through pilgrimage and creatively replicated in other locations so that all who entered their local church or cathedral would be transported through art and architecture to the New Jerusalem.  

US philanthropist and author Roberta Ahmanson thinks that American Protestants, in particular, have neglected this story because of the Reformation's preference for word over image. As a result, in 2022, she gathered an eclectic group of Christian college presidents, church pastors, and Christian creatives taking them on a pilgrimage from Jerusalem to London via Italy and Aachen while filming their responses to the visual history of the New Jerusalem as found in the churches they visit. In their two-week journey, the group cover almost 2,000 years of church art and architecture. 

Ahmanson explains that this search for the reality of the Kingdom of God as it is to be realised in the New Jerusalem at the end of time did not mean that pilgrims were to abandon the world. On the contrary, she says, "their job was to serve this world to make it more like the heavenly home where their ultimate citizenship lay." That remains the aim of this art and architecture as:  

“By studying the nature of that promised place, as artists and architects and writers of the past have sought to express it, we are schooled to live lives of wholeness and beauty right here on earth. The longing for beauty is ultimately a longing to be Home, to be in the place where we are whole.” 

The beauty of the churches visited on this pilgrimage provided a vision of the New Jerusalem to those who entered in order that they took that vision into their everyday lives when they left. Along the way, the pilgrims on this trip learnt how artists, architects and theologians worked in parallel for many centuries – from Saint Augustine’s vision of a New Jerusalem to Dante’s admonitions about the Last Judgment. 

The film combines scenes of beautiful interiors with explanations of their significance from Ahmanson and others, plus it shows the reactions of various of the pilgrims as they allow their sense of wonder and understanding of Church history to be expanded. David and Joy Bailey, founders of Arrabon which cultivates Christian communities to pursue healing and reconciliation in a racially divided world, are two of those to have spoken about the impact the trip had on the group of pilgrims.   

Joy said: “Everybody was very literate coming from these strong traditions of faith being either oral or written but to see it so visually impacting, it was breaking us all open and trying to find language for that took the entire trip.” David suggested that: “What the trip was helping you to see was this deeper rootedness, this long tradition that, I think, could actually be very helpful for us today because some of the things that were there were the understanding of humanity as plain on the outside and beauty on the inside, the glory that comes with the inward journey that reflects on Heaven as it is on Earth.”  

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience 

As we travel further from Jerusalem in the film, we are surprised to find that the template of the Holy Sepulchre continues to inspire and shape the experience of pilgrims. Ahmanson explains that: “In churches across the old Roman Empire, from Africa and Palestine to the furthest reaches of Britain, liturgy was created to tell the story and to bring the spaces alive in the telling. Pilgrimages to Jerusalem and later to Rome and then to the tomb of Saint James in Spain became a kind of geographic liturgy. When the trip became too long or … too dangerous, believers found alternative destinations. Across the continent, from Magdeburg in Germany and Constance in Switzerland, to Bologna and Pisa in Italy and London and Cambridge in England, round churches or smaller models replicating the Church of the Holy Sepulchre became pilgrim destinations.” 

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience, particularly during Lent and Holy Week. Walking labyrinths, Palm Sunday processions and Passion dramas, praying the Stations of the Cross, washing feet on Maundy Thursday, sharing a Passover meal, the Good Friday three-hour devotional, and the Dawn Eucharist on Easter Day are among the many ways Christians continue to follow in the footsteps of Jesus while remaining where they are during this most special season.  

Many of these practices provide the opportunity to go on pilgrimage while remaining at home. Just as with images of the New Jerusalem brought from Jerusalem to the churches of Europe, so with, for example, the practice of praying the Stations of the Cross which originated in medieval Europe when pilgrims were unable to visit the Holy Land, so instead “visited” the Holy places through prayer.  

The film, and other creative off-shoots including exhibitions of photographs from the pilgrimage taken by Kieran Dodds and performances by spoken word poet Street Hymns (one of the pilgrims), with his fellow poets Hanna Watson, Jasmine Sims, and Lo Alaman, in response to images of the New Jerusalem, provide viewers with a similar opportunity to experience, reflect and pray. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. 

 

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