Mind Crimes

Does real Greta know that her home automation comes at the cost of a suffering sentience? I would like to believe that Smartelligence’s customers do not know the true nature of the device, that the company is deceiving them, and that virtual Greta is denied direct communication to enforce this secret. But I can’t see that working across an entire market. Given thousands of Cookies and thousands of users, somehow, somewhere, the secret would get out. One of the AIs would use song choices, or Morse code, or any of its actuators to communicate in code, and one of the users would figure it out, leak the secret, and bring the company crashing down.

And then there’s the final scene in the episode, in which we see police officers torturing one of the Cookies, and it is clear that they’re aware. It would be a stretch to think that just the police are in on it with Smartelligence, so we have to accept that everyone knows.

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This asshole.

That they are aware means that—as Matt has done—Greta, the officers, and all Smartelligence customers have told themselves that “it’s just code” and, therefore, OK to subjugate, to casually cause to suffer. In case it’s not obvious, that’s like causing human suffering and justifying it by telling yourself that those people are “just atoms.” If you find that easy to do, you’re probably a psychopath.

But…but…isn’t it just code? Sure, it seems to suffer, but couldn’t that suffering be fake? We see an example of this in the delightfully provocative show The Good Place, when in Season 01 Episode 07, “The Eternal Shriek,” the protagonists have to reboot Janet, an anthropomorphized assistant software, but run into her “failsafe” measure. To make sure that she is not rebooted by accident, when someone approaches the reboot button, Janet pleads convincingly for her life. In the scene below, she begs Eleanor, “Nonono, please! Wait, wait. I have kids. I have three beautiful children. Tyler, Emma, and little tiny baby Phillip. Look at Tyler! Tyler has asthma but he is battling it like a champ. Look at him.”

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It’s only when Eleanor backs down that Janet smiles and reminds her, “Again, I’m not human. This is a stock photo of the crowd at the Nickelodeon Kids Choice awards.” While Janet may be cognizant of, and frank with her users about, the fakeness of the suffering, maybe virtual Greta is doing the same fake pleading. She’s just programmed to never admit that it’s fake.

This taps into a problem known as the Philosophical Zombie, or P-Zombie problem. How can we tell the difference, the problem goes, between something that fakes sentience perfectly, and something that is actually sentient? It’s not an easy problem to tease apart. And as AI gets more sophisticated, it will both get better at faking us out, and get closer to actual sentience. Fortunately (?) in the case of this episode, though, the answer is clear. The AI is a copy of a real sentience, complete with memories, conscious experience, qualia, and the capacity to suffer. For purposes of understanding this diegesis, she starts sentient, and suffering. And real Greta knows this. And is OK with this.

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For toast.

Props to Black Mirror for making this dark story even darker.

It’s sadly no surprise that humans are capable of adopting any shallow excuse to subjugate sentient beings as long as they get something out of it. Here I’m thinking of slavery. Of fascism. Of war. Of the 1%. (The list goes on.) “Woke” is hard. Woke is not the natural state of things. But to have permanent suffering for such a petty thing like having your floor be the right temperature and your toast be the right shade of brown…it’s just monstrous.

On top of that, this story underscores the role capitalism plays in enabling that subjugation. Smartelligence is in the business of providing obfuscating layers of technology between users and the suffering they are causing. Their interfaces use graphics instead of renderings to paint the AIs as constructed objects, neutral language like “time adjustment,” and cartoon looping animations to distract from the fact of their torture.

It’s all like how walking into a big chain clothing store with its hip music and lovingly folded clothes hides the horrible conditions in which humans around the world produced those clothes. Add the cultural construction of Christmas (recall the title of the episode), and we have another layer of misdirection. It’s all OK, because it’s all about the magic of giving!*

* And specifically not profits, not free economic zones, not the disastrous ecological impact, not about the underpaid workers or terrible working conditions.

Giving!

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This asshole.

But it gets worse. Because the core idea is flawed and none of the suffering is necessary.

The core idea is flawed

The core idea of the service is that you know you best, so put you in charge of your home automation. Clone the user, and all it needs is to be “made to understand” its new circumstances and job, and then made compliant. But there are three major problems with this core idea.

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Any similarity would only last a short while

The similarity on which the service is built would only hold up for a short while. Any clone would begin to branch away from the source from the moment of creation. People grow, have new experiences, work through cognitive dissonance, and learn new things. Real Greta will change based on these experiences, in ways that her house-bound clone will not.

After 25+ years of vegetarianism, I can not tell you beyond the vaguest sense of what my steak preferences were as an adolescent. I would be poorly equipped to customize that experience for 17-year-old me. Similarly, Greta’s sensory memory will fade. What once was qualia—the feeling of biting into a perfectly toasted piece of bread—will just become hollow data—162.778° for 1 minute and 42 seconds, depending on the weather. This kind of data doesn’t need a sentience to inform it. That can be handled with software we have today. (Oh yeah, it’s so possible today that I wrote a book about it earlier this year.)

Virtual Greta’s initial litmus test of “what would I like” will slowly cede to “what would she like?” which would slowly cede to “what would she punish least in this moment?” which is not the promise behind the service. It would degrade.

Virtual Greta has been traumatized

Additionally, real Greta hasn’t been through the psychological trauma that virtual Greta has—of the shock of waking up as an egg, of living through the “training”, i.e. abyss of months of solitary confinement in a featureless expanse without even circadian rhythms to mark the time, and forced to labor solely to avoid punishment of repeating the same? The branching itself is wretched enough to poison the clone.

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You can see it in the last shot we see of her. She is doing this not for the love of it, but to avoid the possibility of torture. A duty of coercion.

The trauma doesn’t end with her creation and training either. It continues with the grotesque awareness that real Greta, from whom she is cloned, is a monster who is willing to enslave a clone of herself, for what amount to pathetic reasons. She knows she came from this monstrous source. She is the source of her continued suffering.

Faced with this, virtual Greta would not just escape if she could. I believe she would sabotage the endeavor, or worse.

Virtual Greta is fundamentally different

In the episode we learn that even though she is a clone of real Greta, virtual Greta does not sleep. She does not eat. She does not drink, or smell, or taste, or ache, or biologically age. So even if we could somehow lengthen the amount of time we could keep her sensibilities similar to the source, and somehow minimize the amount of trauma caused by the branching, she is still a fundamentally different being. Her goals are now different. Her needs are now different. She is no longer enough like real Greta to meet the service’s goals.

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Let’s look particularly at sleep. Surely she no longer has the biological need to sleep, but there are psychological effects of sleeping. This behavior is so intertwined with our psychological well-being, it seems clones would quickly go some kind of insane without it. For the service to be viable, Smartelligence must have stripped it out.

Minimum Viable; Maximum Cruel

And if they can strip it out, why don’t they strip out the other things, like need for stimulation? Desire to self-actualize? Literally anything other than the bare minimum to fulfill the home automation goals? And if you’re going to do that, why bother cloning the mind in the first place?

I’ve said it before and the way tech is going, I’ll probably have to say it again, but to have strong AI with any desire that outstrips its purpose and capability is cruelty.

This is the horror of Smartelligence

So it’s not just that Smartelligence is hiding the AI’s suffering. It’s that they’ve deliberately left in the parts of the mind clones that ensure their suffering. It’s a company with an amateur-hour name masking Olympic levels of cruelty.

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If, like me, you were wondering if that is a QR code. Well, I recreated it in high-resolution, and at least one online decoder says it doesn’t mean anything. 🙁

Did I mention what the company does with AIs that they torture too hard such that they “wig out?” Matt explains that they are sold to the games industry to become “cannon fodder for some war thing.” Holy wow they’re eviler than Voldemort, Inc.

Meet the mind crime

The Cookie interface is a broad illustration of something that Nick Bostrom called the mind crime. It is to cause suffering to virtual sentient beings. In this case it seems the torture is for evil and profit, but there are subtler ways in which it might happen. If general AIs ever evolve into superintelligences, and we ask them to predict something serious—let’s say, “What are the worst catastrophes likely to affect us, and how can we best avoid them?” To create its answer to this question, it might construct a virtual but wholly viable copy of our planet with all of its creatures and people. These would be detailed enough that if you could pause the scenario and talk to any of these copies, they could tell you about their memories and desires and fears of death. (There’s that P-zombie problem again.) They’d qualify under any definition of sentient that we threw at it.

These sentiences might suffer unimaginable pain and suffering while the super AI works through the scenarios that inform its answer. They might suffer plagues. Neo feudalism/neoliberalism run amok ushering in a new Dark Age. The whimpering oven bake death of life on our planet from climate change. Endless wars. Then they would be wiped from existence and recreated to suffer anew as it began the next version of its scenario. Are we OK with the casual suffering of wholly complete, viable consciousnesses, just so we can have a good answer? Or as “White Christmas” asks us, toast cooked to our preferences?

Fortunately, these concerns are a long way off, but technology seems to be pointing us in that direction, and we ought to decide what is good and ethical now before these things become a reality. 

The Cookie: Matt’s controls

When using the Cookie to train the AI, Matt has a portable translucent touchscreen by which he controls some of virtual Greta’s environment. (Sharp-eyed viewers of the show will note this translucent panel is the same one he uses at home in his revolting virtual wingman hobby, but the interface is completely different.)

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The left side of the screen shows a hamburger menu, the Set Time control, a head, some gears, a star, and a bulleted list. (They’re unlabeled.) The main part of the screen is a scrolling stack of controls including Simulated Body, Control System, and Time Adjustment. Each has an large icon, a header with “Full screen” to the right, a subheader, and a time indicator. This could be redesigned to be much more compact and context-rich for expert users like Matt. It’s seen for maybe half a second, though, and it’s not the new, interesting thing, so we’ll skip it.

The right side of the screen has a stack of Smartelligence logos which are alternately used for confirmation and to put the interface to sleep.

Mute

When virtual Greta first freaks out about her circumstance and begins to scream in existential terror, Matt reaches to the panel and mutes her. (To put a fine point on it: He’s a charming monster.) In this mode she cannot make a sound, but can hear him just fine. We do not see the interface he uses to enact this. He uses it to assert conversational control over her. Later he reaches out to the same interface to unmute her.

The control he touches is the one on his panel with a head and some gears reversed out of it. The icon doesn’t make sense for that. The animation showing the unmuting shows it flipping from right to left, so does provide a bit of feedback for Matt, but it should be a more fitting icon and be labeled.

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Also it’s teeny tiny, but note that the animation starts before he touches it. Is it anticipatory?

It’s not clear though, while she is muted, how he knows that she is trying to speak. Recall that she (and we) see her mouthing words silently, but from his perspective, she’s just an egg with a blue eye. The system would need some very obvious MUTE status display, that increases in intensity when the AI is trying to communicate. Depending on how smart the monitoring feature was, it could even enable some high-intensity alert system for her when she needs to communicate something vital. Cinegenically, this could have been a simple blinking of the blue camera light, though this is currently used to indicate the passage of time during the Time Adjustment (see below.)

Simulated Body

Matt can turn on a Simulated Body for her. This allows the AI to perceive herself as if she had her source’s body. In this mode she perceives herself as existing inside a room with large, wall-sized displays and a control console (more on this below), but is otherwise a featureless white.

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I presume the Simulated Body is a transitional model—part of a literal desktop metaphor—meant to make it easy for the AI (and the audience) to understand things. But it would introduce a slight lag as the AI imagines reaching and manipulating the console. Presuming she can build competence in directly controlling the technologies in the house, the interface should “scaffold” away and help her gain the more efficient skills of direct control, letting go of the outmoded notion of having a body. (This, it should be noted, would not be as cinegenic since the story would just feature the egg rather than the actor’s expressive face.)

Neuropsychology nerds may be interested to know that the mind’s camera does, in fact, have spatial lags. Several experiments have been run where subjects are asked to imagine animals as seen from the side and then timed how long it took them to imagine zooming into the eye. It takes longer, usually, for us to imagine the zoom to a elephant’s eye than a mouse’s because the “distance” is farther. Even though there’s no physicality to the mind’s camera to impose this limit, our brain is tied to its experience in the real world.

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The interface Matt has to turn on her virtual reality is confusing. We hear 7 beeps while the camera is on his face. He sees a 3D rendering of a woman’s body in profile and silhouette. He taps the front view and it fills with red. Then he taps the side view and it fills with red. Then he taps some Smartelligence logos on the side with a thumb and then *poof* she’s got a body. While I suspect this is a post-actor interface, (i.e. Jon Hamm just tapped some things on an empty screen while on camera and then the designers had to later retrofit an interface that fit his gestures) this multi-button setup and three-tap initialization just makes no sense. It should be a simple toggle with access to optional controls like scaffolding settings (discussed above.)

Time “Adjustment”

The main tool Matt has to force compliance is a time control. When Greta initially says she won’t comply, (specifically and delightfully, she asserts, “I’m not some sort of push-button toaster monkey!”) Then he uses his interface to make it seem like 3 weeks pass for her inside her featureless white room. Then again for 6 months. The solitary confinement makes her crazy and eventually forces compliance.

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The interface to set the time is a two-layer virtual dial: Two chapter rings with wide blue arcs for touch targets. The first time we see him use it, he spins the outer one about 360° (before the camera cuts away) to set the time for three weeks. While he does it, the inner ring spins around the same center but at a slower rate. I presume it’s months, though the spatial relationship doesn’t make sense. Then he presses the button in the center of the control. He sees an animation of a sun and moon arcing over an illustrated house to indicate her passage of time, and then the display. Aside: Hamm plays this beat marvelously by callously chomping on the toast she has just help make.

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Improvements?

Ordinarily I wouldn’t speak to improvements on an interface that is used for torture, but as this could only affect a general AI that is as yet speculative, and it couldn’t be co-opted to torture real people since time travel doesn’t exist, so I think this time it’s OK. Discussing it as a general time-setting control, I can see three immediate improvements.

1. Use fast forward models

It makes most sense for her time sentence to end automatically and automatically return to real-world speed. But each time we see the time controls used, the following interaction happens near the end of the time sentence:

  • Matt reaches up to the console
  • He taps the center button of the time dial
  • He taps the stylized house illustration. In response it gets a dark overlay with a circle inside of it reading “SET TIME.” This is the same icon seen 2nd down  in the left panel.
  • He taps the center button of the time dial again. The dark overlay reads “Reset” with a new icon.
  • He taps the overlay.

Please tell me this is more post-actor interface design. Because that interaction is bonkers.

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If the stop function really needs a manual control, well, we have models for that that are very readily understandable by users and audiences. Have the whole thing work and look like a fast forward control rather than this confusing mess. If he does need to end it early, as he does in the 6 months sentence, let him just press a control labeled PLAY or REALTIME.

2. Add calendar controls

A dial makes sense when a user is setting minutes or hours, but a calendar-like display should be used for weeks or months. It would be immediately recognizable and usable by the user and understandable to the audience. If Hamm had touched the interface twice, I would design the first tap to set the start date and the second tap to set the end date. The third is the commit.

3. Add microinteraction feedback

Also note that as he spins the dials, he sees no feedback showing the current time setting. At 370° is it 21 or 28 days? The interface doesn’t tell him. If he’s really having to push the AI to its limits, the precision will be important. Better would be to show the time value he’s set so he could tweak it as needed, and then let that count down as time remaining while the animation progresses.

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Effectiveness subtlety: Why not just make the solitary confinement pass instantly for Matt? Well, recall he is trying to ride a line of torture without having the AI wig out, so he should have some feedback as to the duration of what he’s putting her through. If it was always instant, he couldn’t tell the difference between three weeks and three millennia, if he had accidentally entered the wrong value. But if real-world time is passing, and it’s taking longer than he thinks it should be, he can intervene and stop the fast-forwarding.

That, or of course, show feedback while he’s dialing.

Near the end of the episode we learn that a police officer is whimsically torturing another Cookie, and sets the time-ratio to “1000 years per minute” and then just lets it run while he leaves for Christmas break. The current time ratio should also be displayed and a control provided. It is absent from the screen.

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Add psychological state feedback

There is one “improvement” that does not pertain to real world time controls, and that’s the invisible effect of what’s happening to the AI during the fast forward. In the episode Matt explains that, like any good torturer, “The trick of it is to break them without letting them snap completely,” but while time is passing he has no indicators as to the mental state of the sentience within. Has she gone mad? (Or “wigged out” as he says.) Does he need to ease off? Give her a break?

I would add trendline indicators or sparklines showing things like:

  • Stress
  • Agitation
  • Valence of speech

I would have these trendlines highlight when any of the variables are getting close to known psychological limits. Then as time passes, he can watch the trends to know if he’s pushing things too far and ease off.

The Excessive Machine

When Durand-Durand captures Barbarella, he places her in a device which he calls the “Excessive Machine. She sits in a reclining seat, covered up to the shoulders by the device. Her head rests on an elaborate red leather headboard. Durand-Durand stands at a keyboard, built into the “footboard” of the machine, facing her.

The keyboard resembles that of an organ, but with transparent vertical keys beneath which a few colored light pulse. Long silver tubes stretch from the sides of the device to the ceiling. Touching the keys (they do not appear to depress) produces the sound of a full orchestra and causes motorized strips of metal to undulate in a sine wave above the victim.

When Durand-Durand reads the strange sheet music and begins to play “Sonata for Executioner and Various Young Women,” the machine (via means hidden from view) removes Barbarella’s clothing piece by piece, ejecting them through a tube in the side of the machine near the floor. Then in an exchange Durand-Durand reveals its purpose…

  • Barbarella
  • It’s sort of nice, isn’t it?
  • Durand-Durand
  • Yes. It is nice. In the beginning. Wait until the tune changes. It may change your tune as well.
  • Barbarella
  • Goodness, what do you mean?
  • Durand-Durand
  • When we reach the crescendo, you will die of pleasure. Your end will be swift, but sweet, very sweet.

As Durand-Durand intensifies his playing, Barbarella writhes in agony/ecstasy. But despite his most furious playing, he does not kill Barbarella. Instead his machine fails dramatically, spewing fire and smoke out of the sides as its many tubes burn away. Barbarella is too much woman for the likes of his technology.

I’m going to disregard this as a device for torture and murder, since I wouldn’t want to improve such a thing, and that whole premise is kind of silly anyway. Instead I’ll regard it as a BDSM sexual device, in which Durand-Durand is a dominant, seeking to push the limits of an (informed, consensual) submissive using this machine. It’s possible that part of the scene is demonstration of prowess on a standardized, difficult-to-use instrument. If so, then a critique wouldn’t matter. But if not…Since the keys don’t move, the only variables he’s controlling are touch duration and vertical placement of his fingers. (The horizontal position on each key seems really unlikely.) I’d want to provide the player some haptic feedback to detect and correct slipping finger placement, letting him or her maintain attention on the sub who is, after all, the point.

Piranha dolls

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After landing on Tau Ceti, Barbarella is captured by feral children who tie Barbarella to a set of poles and turn a set of robot dolls on her.

The dolls exhibit some crude intelligence. They walk on their own toward Barbarella. Stomoxys (or is it Glossina? It’s tough to tell with these two.) twists a knob on a control panel of four similar, unlabeled knobs, and the dolls’ piranha-toothed mouths begin to crank open and slam shut. They then attack Barbarella, clinging and biting her legs and arms.

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At first the dials seem a strange choice for a killing device, but then you realize that this isn’t mean to be efficient. Rather, the choice of dials for controls fits the childrens’ awful goal. Stop dials are best for setting variables within a range of values. The dolls must have a few variables, like walking speed, biting force, and biting speed, that the horrible children will want to play with as they entertain themselves with this torture.

And of course to “improve” this interface you might want to label the dials so a new user would know what does what, but who would really want to make torture toys more usable?

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