Explainer
AI
Belief
Creed
5 min read

Whether it's AI or us, it's OK to be ignorant

Our search for answers begins by recognising that we don’t have them.

Simon Walters is Curate at Holy Trinity Huddersfield.

A street sticker displays multiple lines reading 'and then?'
Stephen Harlan on Unsplash.

When was the last time you admitted you didn’t know something? I don’t say it as much as I ought to. I’ve certainly felt the consequences of admitting ignorance – of being ridiculed for being entirely unaware of a pop culture reference, of being found out that I wasn’t paying as close attention to what my partner was saying as she expected. In a hyper-connected age when the wealth of human knowledge is at our fingertips, ignorance can hardly be viewed as a virtue. 

A recent study on the development of artificial intelligence holds out more hope for the value of admitting our ignorance than we might have previously imagined. Despite wide-spread hype and fearmongering about the perils of AI, our current models are in many ways developed in similar ways to how an animal is trained. An AI system such as ChatGPT might have access to unimaginable amounts of information, but it requires training by humans on what information is valuable or not, whether it has appropriately understood the request it has received, and whether its answer is correct. The idea is that human feedback helps the AI to hone its model through positive feedback for correct answers, and negative feedback for incorrect answers, so that it keeps whatever method led to positive feedback and changes whatever method led to negative feedback. It really isn’t that far away from how animals are trained. 

However, a problem has emerged. AI systems have become adept at giving coherent and convincing sounding answers that are entirely incorrect. How has this happened? 

This is a tool; it is good at some tasks, and less good at others. And, like all tools, it does not have an intrinsic morality. 

In digging into the training method for AI, the researchers found that the humans training the AI flagged answers of “I don’t know” as unsatisfactory. On one level this makes sense. The whole purpose of these systems is to provide answers, after all. But rather than causing the AI to return and rethink its data, it instead developed increasingly convincing answers that were not true whatsoever, to the point where the human supervisors didn’t flag sufficiently convincing answers as wrong because they themselves didn’t realise that they were wrong. The result is that “the more difficult the question and the more advanced model you use, the more likely you are to get well-packaged, plausible nonsense as your answer.” 

Uncovering some of what is going on in AI systems dispels both the fervent hype that artificial intelligence might be our saviour, and the deep fear that it might be our societal downfall. This is a tool; it is good at some tasks, and less good at others. And, like all tools, it does not have an intrinsic morality. Whether it is used for good or ill depends on the approach of the humans that use it. 

But this study also uncovers our strained relationship with ignorance. Problems arise in the answers given by systems like ChatGPT because a convincing answer is valued more than admitting ignorance, even if the convincing answer is not at all correct. Because the AI has been trained to avoid admitting it doesn’t know something, all of its answers are less reliable, even the ones that are actually correct.  

This is not a problem limited to artificial intelligence. I had a friend who seemed incapable of admitting that he didn’t know something, and whenever he was corrected by someone else, he would make it sound like his first answer was actually the correct one, rather than whatever he had said. I don’t know how aware he was that he did this, but the result was that I didn’t particularly trust whatever he said to be correct. Paradoxically, had he admitted his ignorance more readily, I would have believed him to be less ignorant. 

It is strange that admitting ignorance is so avoided. After all, it is in many ways our default state. No one faults a baby or a child for not knowing things. If anything, we expect ignorance to be a fuel for curiosity. Our search for answers begins in the recognition that we don’t have them. And in an age where approximately 500 hours of video is uploaded to YouTube every minute, the sum of what we don’t know must by necessity be vastly greater than all that we do know. What any one of us can know is only a small fraction of all there is to know. 

Crucially, admitting we do not know everything is not the same as saying that we do not know anything

One of the gifts of Christian theology is an ability to recognize what it is that makes us human. One of these things is the fact that any created thing is, by definition, limited. God alone is the only one who can be described by the ‘omnis’. He is omnipotent, omnipresent, and omniscient. There is no limit to his power, and presence, and knowledge. The distinction between creator and creation means that created things have limits to their power, presence, and knowledge. We cannot do whatever we want. We cannot be everywhere at the same time. And we cannot know everything there is to be known.  

Projecting infinite knowledge is essentially claiming to be God. Admitting our ignorance is therefore merely recognizing our nature as created beings, acknowledging to one another that we are not God and therefore cannot know everything. But, crucially, admitting we do not know everything is not the same as saying that we do not know anything. Our God-given nature is one of discovery and learning. I sometimes like to imagine God’s delight in our discovery of some previously unknown facet of his creation, as he gets to share with us in all that he has made. Perhaps what really matters is what we do with our ignorance. Will we simply remain satisfied not to know, or will it turn us outwards to delight in the new things that lie behind every corner? 

For the developers of ChatGPT and the like, there is also a reminder here that we ought not to expect AI to take on the attributes of God. AI used well in the hands of humans may yet do extraordinary things for us, but it will not truly be able to do anything, be everywhere, or know everything. Perhaps if it was trained to say ‘I don’t know’ a little more, we might all learn a little more about the nature of the world God has made. 

Review
Creed
Film & TV
Friendship
4 min read

Testament soulfully re-tells the acts that changed the world

What happened after The Chosen?

Giles Gough is a writer and creative who hosts the God in Film podcast.

A man stands the landing of an external staircase and stares out.
Angel Studios.

Testament reimagines the story of how Jesus’ disciples spread the good news of him to the world by transplanting it to an alternate-modern era. Swapping Jerusalem for London. As the followers risk everything to preach the good news, the Temple races to silence them before the oppressive Imperium retaliates. But public miracles and divided loyalties force both sides to confront the true cost of their choices. In the first episode it asks the question, what would it be like if the Son of God had come down from heaven, come to your very hometown, and you’d missed him? 

Most re-tellings of the early church usually end the story either with Jesus’ resurrection, or his ascension into heaven. Testament starts the action just after Pentecost, fifty days after Jesus’ death and resurrection. In Christianity, Pentecost is the day when the Holy Spirit descended on the Apostles like “a violent wind” and gave them not just the ability to be understood in any language, but also the courage and conviction to go out and tell people about Jesus. We see much of the action through the character of Stephen, a young man who decides to follow Jesus after hearing the Apostles preach. Consequently, Stephen’s mother accuses him of heresy and throws him onto the street, making him fully dependent on this early Jesus movement.  

In the first episode, the storytellers seem to have presented themselves with a bit of a challenge, by starting the action at Pentecost. Not only does it seem like the most interesting events have just happened off camera, but we’re also meeting these characters in a moment of spiritual awakening and holy joy, which is notoriously hard to depict on screen. Especially with characters we’ve just met. Nonetheless, as they navigate the logistics of having so many converts all at once (the kind of happy problem any church minister would like to have) we see that the Apostles have a familiar, lived-in quality to their inter-personal dynamics. You can easily believe that these very different men have spent every day living and working with each other for the last three years until they’ve sanded off the rough edges of their relationships.  

Whilst the show doesn’t always hold together at first, it builds momentum by tackling some of the more difficult parts of the book of Acts with sensitivity and nuance. It’s helped by the performances being incredibly watchable. The colour-blind casting is a delight, and perhaps reflective of Christianity being the most ethnically diverse religion on the planet. Tom Simper, who plays Peter, has an incredibly expressive face and a compassionate manner. Kenneth Omole who plays John can be vulnerable as he returns to the garden of Gethsemane to mourn the absence of his friend and saviour. Yet the next scene, where he is confronted by a Temple priest, he emanates a quiet authority. You can’t take your eyes off him.

If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation.

Making Stephen the point of view character is a bold narrative choice. Anyone with a passing knowledge of the New Testament might feel anxious for the character, and having him be played by such a young actor as Charles Beaven underscores the upcoming tragedy. Mogali Masuku plays Mary as a woman with her head thoroughly screwed on. Her storyline shows Mary ministering to addicts and victims of human trafficking, looking gangsters dead in the eye and telling them these lost souls belong to Jesus now. On the other side of the divide is Saul. Eben Figueiredo plays him with the type of zeal that allows people to do both wonderous and terrible things. If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation. It’s Saul, not the Temple establishment, who is the main antagonist of this season.  

If there is one clear misstep, perhaps it’s the depiction of what the show calls ‘The Sentinels’, the foot soldiers of the ‘Imperium’, a stand-in for the Roman Empire. Rather than being dressed in modern military fatigues, they are clad head to toe in a red, faceless body armour. The type that would be more at home in the Star Wars universe. They’re possibly dressed like this to represent the empire’s overwhelming and sinister military power, but as we see repeatedly through world events, human cruelty looks painfully normal. 

The timing of this show seems noteworthy as well. This show drops roughly a year after Angel Studios, the producers of Testament, were forced to split from the creators of The Chosen. Following the lives of the Apostles as they begin to follow Jesus, The Chosen became a monster hit and the flagship show of Angel Studios’ catalogue. So a show following the lives of the Apostles after Jesus leaves them (albeit transplanted to a different time), might be an attempt by Angel Studios to recapture some of the popularity they have lost.  

Testament definitely has a faltering start, but it has all the ingredients to be compelling TV. If you can stick with this show as it finds its feet, you will be treated to a soulful depiction of an oft-overlooked part of the Jesus story. 

Watch the trailer

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