Tag: The Uncanny

Who Am I? Why Am I So Afraid of AI?

Here is one truth about aging that we don’t talk about often: we are much more ashamed of signs of mental decline than we are of the physical decay of our bodies.  We don’t like our aging spots or wrinkles, but they don’t make us feel inadequate in the same way that forgetting a name or an appointment does.   Why is it that none of the physical infirmities of old age shame me?  I am not ashamed of my grey hair or the fact that I can no longer hike six miles.  I don’t like the brown spots on my hands, but I am not really ashamed of them.  But the mind is different.  When I forget a name or a common word and have to fish for it, I can exclaim, “Senior Moment!” and laugh – but I really do not think it is funny.  I think it is a profound loss.  And that is not good for the serenity I have been seeking.

Last week my husband came in after a morning errand to tell me that I had forgotten to put the gas cap on and close the little door after I filled up the car the day before.  I had also neglected to notice the message on my dashboard that would have reminded me to go do it.  I felt awful.  I occasionally leave a burner on or leave a light burning when I go to bed.  And, of course, I fish around for names and sometimes ordinary words.  I have always been somewhat absent-minded (as was my mother before me), but it seems to be getting a little worse and more mortifying.

The aging of my physical body does not please me, but it does not mortify me.  I stopped dyeing my hair a dozen years ago; I wear little makeup and have not explored plastic surgery, although I did have my upper eyelids lifted when I started having trouble seeing beyond their droop. Why the difference?

We clearly don’t identify our selves with our aging bodies.  There is Freud’s recollection of catching an unexpected glimpse of himself in a mirror:

Jumping up with the intention of putting him right, I at once realized to my dismay that the intruder was nothing but my own reflection in the looking-glass of the open door. I can still recollect that I thoroughly disliked his appearance. (from “The Uncanny”)

Similarly, Jonathan Swift, upon being led across a room in his dotage, caught sight of himself in a mirror and cried out “O poor old man.”  And so cry we all. And yet, loss of the mind – even in bits and pieces – is worse.  Many of us fear it more than physical death.  Is the reason we are afraid to die not the loss of the body, but the fact that the body will take our consciousness, our sense of identity with it?

And is our source of identity the reason that AI scares us so much?  Artificial hips or implanted lenses don’t scare us.  We are grateful for them.  We don’t mind using motorized scooters if we can’t walk or using hearing aids when we can’t hear. No one is afraid of wearing glasses.  But do we want technology to replace our brain? If we could implant something in our brain to “help” us remember names, would we want to do it?

One of the best sources of how AI was developed is a small book, The Maniac, by Benjamin Labatut.  He tells the story of Johnny von Neumann, which leads into the story of Demis Hassabis, a developer of AI and the founder of DeepMind.  I strongly recommend this book – a lucid read on a difficult subject.  Hassabis finds no problem with developing a machine that can think better than we can, and he does.  One of the proofs is that his AI can beat chess masters, and also the masters of Go, a game developed in China over 2,500 years ago, with a system of grand masters known for their wisdom as well as their skill.  In 2016, his AI program took on the master Lee Sedol in Korea for the best of five games with the understanding that all five games would be played regardless of outcome.  AI handily won the first three.  Sedol was demoralized, but persevered and somehow beat AI in the fourth game.  The crowd exploded:

Outside the hotel, Lee’s fans were running in the streets of Seoul, chanting and celebrating their hero’s victory.  Even the team at DeepMind, who had lost, rather embarrassingly, were amazed at Lee’s stunning ability to create something out of nothing.  How could a man, however smart, defeat a computer like AlphaGo, able to calculate over two hundred million positions a second.  Surely it was a feat that would go down in history… something that all mankind could truly celebrate.  (The Maniac)

Why were they so happy?  Sedol had already lost the tournament.  They were happy because AI threatens our very identity, our purpose, our souls.  Needless to say, Hassabis was not happy.  DeepMind fixed AlphaGo and Lee Sedol retired a short time later calling AI “an entity that cannot be defeated.”  He said his “entire world had collapsed.”  Why would anyone play Go again? (I’ll come back to that.)

AI will not get old and forget names and leave the gas cap off.  It will get more and more perfect as my brain probably gets more and more unreliable.  But it is my brain.  It has brought me this far with its own memories and capacities.  If it were fixed, I would not be me.

In his Essay Concerning Human Understanding (1690), Locke had taken up the subject of personal identity, connecting personhood to consciousness and memory:

For since consciousness always accompanies thinking, and it is that that makes everyone to be what he calls self, and thereby distinguishes himself from all other thinking things: in this alone consists personal identity, i.e. the sameness of a rational being.  And as far as this consciousness can be extended backwards to any past action or thought, so far reaches the identity of that person.  (II: xxvii: 9)

Linking consciousness and memory to identity is problematic in relation to old age, when changes in cognitive abilities may challenge our assurance of continuous identity.  I will have to accept that.  But that same consciousness is my personal identity.  To lose that identity to a machine would be a living death.

I do what I can for my memory.  I push myself to read difficult books, I do puzzles, I enroll in a French class. I create appointment reminders.  I check the stove before I go to bed.  But it is a little silly to accept that the body is changing while refusing to believe that our gray matter is affected too.  And perhaps it is even sillier to think we can patch up our minds with computer chips and not lose our selves in the process.  In the end I am less afraid of my aging mind than I am of AI.

And I continue to enjoy doing the things that AI could do for me.  I play the piano when I could stream Glen Gould playing Bach, I knit hats that computerized mills can make much more quickly and error-free. I do not use AI to write my blog.  There is a sense of satisfaction and accomplishment in doing such things.  But I had these habits before the advent of AI; I despair for the children.

In Capek’s play R.U.R. (Rossum’s Universal Robots and where the term robot originated), about the takeover of robots as they first serve mankind and then get rid of them, one of the humans cries that the only solution is to “help people return to their former worries and labor…there is nothing more terrible than giving people paradise on earth.”  Because earth is not paradise and our minds and bodies are not eternal.  And there is some comfort in that.

For more discussion of identity, you might try my past blog, “Was She Someone?”

 

Does Everyone Die Young?

I just read an intriguing book by Marc Augé, entitled Everyone Dies Young. Augé is a distinguished and famous anthropologist; he was eighty-one in 2016 when he published this slim volume of essays about old age.  It starts with the story of Mounette, his first cat, who aged without the psychological constraints that human beings struggle with as they age, and this cat yet knew her own limitations.  As Mounette aged, she gave up leaping to the beloved mantel and contentedly spent days in the sunshine in a soft chair by the window. When she could not leap onto the chair, she lay on the floor.  The old cat was not perturbed.  Like the elderly human, it had time.  Unlike the human, it had no age: “Time is a freedom, age a constraint.  The cat, apparently, does not know this constraint.”

We all feel the “constraint” of age in various ways.  Aches and pains remind us.  Other people remind us.  And then there is the mirror.  In medieval literature (Langland, Gower), the mirror is the vehicle which confronts us with our own age.  In “The Uncanny,” Freud tells of his surprise that the reflection of the old man in the window is his self.  Robert Graves and Thomas Hardy write poignant poems about what they see in the mirror.  They are alternately puzzled and outraged.  And why does the mirror sometimes surprise us?  Because we feel young inside.  That continuing self, the “person” that we were at twenty, is still there somewhere, but now is enshrouded with a wrinkled and faded façade. 

It is a truism that “you are only as old as you feel.”  Nevertheless, one of the worse things that our culture can say about our older comrades is that “they are showing their age,” which usually means they are “acting old” (never a good thing).  Ellen Langer, a Harvard psychologist, posited that feeling younger psychologically would have a positive effect on the physical body and did the famous “counterclockwise” experiment in which she moved a group of elders into an environment that mimicked (or maybe mocked) the world of 1959, the world of their youth.  They watched old television programs, read old magazines, discussed old headlines.  And there were no mirrors.  The staff treated them as if they were young; no one helped them with their luggage or condescended to them.  At the end of the week, they showed improvement in almost all measurable areas – cognitive, physical, perceptual.  Of course, there was no control group and perhaps the group just profited from attention, socialization, and respect from the staff.

We know this kind of thing works.  In this digital age, when our cell phone can design a radio program based on the music we listened to in our youth (and isn’t that the music we all love?), we get a lift as one old favorite after another conjures up scenes and emotions from the days when our whole life was in front of us.  We like talking about old times, particularly with someone who was there.  We enjoy re-reading the books and re-watching the movies that shaped our lives, and all of it is available to us with a few clicks.  We can bring 1959 back all by ourselves.

There is also the matter of memory.  Many old people have much better memories of fifty years ago then they do of last week.  True, we have had time to polish those memories, but they are there.  Augé says that “with regard to our pasts, we are all creators and artists.  We advance facing backward, forever observing and reconstructing the times gone by.”  We can remember the lyrics to a song we haven’t heard for decades and the name of the friend who bought us our first cigarette.  But, for dear life, we can’t remember the name of our neighbor’s husband.  We are youthful in memory.  Except in the face of physical ailments, we all feel young.

Augé ends with this from the title essay of Everyone Dies Young:

Time, as old age experiences it, is not the accumulated, ordered sum of the events of the past.  It is a palimpsest; everything inscribed there does not reappear, and sometimes the earliest inscriptions surface most easily.  Alzheimer’s disease is only an acceleration of the natural selection process of forgetting, at the end of which it seems that the most tenacious – if not the most faithful – images are often those of childhood.  Whether we delight in this fact or deplore it, because there is a share of cruelty in such an observation, we must nevertheless admit it:  everyone dies young.  (85)

I recommend Augé’s little book.  He approaches old age from the vantage point of being old and being trained as an anthropologist/ethnologist.  He encourages us to look at old age as a cultural as well as a biological construction. 

If you are interested in people and mirrors, you might try my old story, “Reflections.”  I don’t like looking in the mirror myself, but don’t seem to be able to avoid it.

 

The Mirror of Age

There is a footnote in Freud’s essay “The Uncanny” which all of us can identify with:

I was sitting alone in my wagon-lit compartment when a more than usually violent jerk of the train swung back the door of the adjoining washing-cabinet, and an elderly gentleman in a dressing-gown and a traveling cap came in. I assumed that he had been about to leave the washing-cabinet which divides the two compartments, and had taken the wrong direction and come into my compartment by mistake. Jumping up with the intention of putting him right, I at once realized to my dismay that the intruder was nothing but my own reflection in the looking-glass of the open door. I can still recollect that I thoroughly disliked his appearance.

First, we must remember that Freud has defined “uncanny” as the “mixture of the familiar and the eerie.” And, in this case, it was his own image as an “elderly gentleman” that was uncanny. And so, perhaps, it is with old age. The face is familiar but the transformation can sometimes be…eerie. I think part of it is because when we look at our own faces in the mirror or at the faces we love, we see a vision anchored to the past. It is only when we unexpectedly identify ourselves as a stranger that we can see what we really look like to others.

The old face in the mirror is a familiar motif –we see it in poetry. In both Robert Graves’ “Face in the Mirror” and Thomas Hardy’s “I Look into My Glass,” the poet contrasts the visage he sees with how he feels inside. Graves is puzzled:

I pause with razor poised, scowling derision
At the mirrored man whose beard needs my attention,
And once more ask him why
He still stands ready, with a boy’s presumption,
To court the queen in her high silk pavilion.

Hardy is more outraged as he views his “wasting skin” and wishes his heart would also waste away:

But Time, to make me grieve,
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

For babies, the “mirror stage” starts a process of physical identity. For the aging person, the mirror may serve as an agent of disintegration rather than integration; a secure sense of the physical self developed when young – and as young – is displaced by the changing body in the mirror: “The I or ego which is developed in the mirror stage of infancy is structured precisely to resist the anxiety of bodily fragmentation. In old age, with one’s position reversed before the mirror, the ego finds it more difficult to maintain its defenses” (Woodward, Aging and Its Discontents). Fragmentation rather than integration – no wonder we are disoriented.

Still, we have wonderful self-portraits of artists like Rembrandt in their old age. A triumph of the spirit looks out of Rembrandt’s wrinkled eyes. I have lasted, Rembrandt seems to say, despite and because of this old, battered body. We know Rembrandt used a mirror for his many self-portraits. Clearly he came to terms with what he saw. Such self-examination is not easy, but I think it would be a worthwhile exercise.

The old, deaf, and presumed mad (I’m not so sure) Jonathan Swift, upon being led across a room in his dotage, caught sight of himself in a mirror and cried out “O poor old man.” And so cry we all. But, near the very end, Swift was found rocking himself and muttering “I am what I am, I am what I am.” There is a truth in the mirror. We can deny it, but it is part of who we are and it cannot be rejected anymore than can the self/soul that peers out of the reflected eyes.