Ex Machina

The Latin noun, machina, can be translated as “machine, engine, military machine, contrivance, trick, or artifice.” The Latin word, e, or ex, means “from” or “out of.” Hence, ex machina can mean out of a machine, which figuratively interpreted can refer to a certain function of a machine that does not seem possible for a mere machine to do.  Artificial intelligence, which is simply machine-learning, in a computer can seem to be outside or apart from what a mere machine built by humans can do. Ex machina is actually part of the phrase deus ex machina, which originally referred to a god or goddess appearing above the stage in a Greek tragedy—the deity being pulled across the top by pulleys (i.e., machina). A sacred deity appears above the other actors by means of profane, mechanical pulleys that do not seem capable of presenting deities, so the latter seem to come out of rather than being of the former. AI, or artificial intelligence, may seem to be coming out of an android because the “human” body is made of materials, including pullies perhaps, that do not seem capable of learning and other human likenesses. In fact, machine learning, which is beyond the programming that is written by humans, might seem at least initially like a miracle, or even as godlike relative to the materials that make up a computer and android “body.” Deus ex machina. More realistically, such an android is likely to appear human rather than divine. David Hume claimed that the human brain inexorably hangs human attributes on divine simplicity (i.e., a pure notion of the divine as One); perhaps today he would point out that we do the same thing when we encounter AI. The danger of the all-too-alluring anthropomorphism of which the human brain is so capable can not only be in viewing an android with AI as human, but also in lauding the inventor/programmer of the AI android as a god for having “created” such a “living” entity that can think for itself and even appear to feel and act as we do.  The movie, Ex Machina (2014) easily dispels both applications of deification. Furthermore, any anthropomorphic illusion that the androids are human and can be taken ethically as being so is also dismissed by the end of the film. Any apotheosis (i.e., rendering someone or something as divine) is so tenuous that the film’s main two human characters illustrate for us just how fallible we are in our understanding and perception of AI in an android-form. The danger is real that AI could get ahead of our emotions and reasoning such that we could leave ourselves vulnerable to being harmed by AI androids by projecting the human conscience into what is actually computer programmed coding. 

The full essay is at "Ex Machina."

Accountability for the Rich and Famous: A Soft Landing for an Ex-Prince

In ancient Greek tragedy, it was not uncommon for a god or goddess to perform the function of a Greek (i.e., conscience) chorus at the end of a play while being pulled by pullies high above the stage. Deus ex machina is the Latin phrase, which meant, a deity out from pullies. We get machine, mechanism, and even engine from the Latin word, machina. A movie entitled Ex Machina is on an AI android that seems full of life, even miraculous, from “pullies” inside it’s “body.” Ex-Prince Andrew of the (seceded) sovereign state of UK, or “Britain” informally, seemed to fly about the other actors in being able to land, rent-free, fittingly around Christmas, 2025, at the monarch’s Sandringham estate in eastern Britain, still rent-free, and with King Charles funding his brother. Considering that Andrew Windsor should arguably been sent to prison for having sex with a 17 year-old prostitute in the employ of the infamous Epstein, and that a large settlement paid by Queen Elizabeth II made Giuffre’s charges go away, as if magically, Andrew not only landed on his feet, but without touching the ground where us mere mortals make our way through life to survive and perhaps prosper.

The full essay is at "Accountability for the Rich and Famous."

E.U. Citizens on the Union’s Enlargement

Having recently been presented with an E.U. citizen denying the E.U. has citizens even as he admitted that he could vote for a candidate to represent him in the European Parliament, I had my faith in human rationality restored the following day in reading of a poll of E.U. citizens on whether additional states should be added to the Union; ideology, even of the tribal sort, need not distort rationality beyond recognition. Even in the reporting of such a poll, however, the Euroskeptic, or states’ rights, ideology left its imprint. Even such an auxiliary presence is a sign of the headwind that has been facing the E.U. since its founding.

The full essay is at "E.U. Citizens." 

The Crow

Considering the amount of screentime devoted to raw violence, it may come as a surprise that The Crow (1994) is actually about love. Not that the film is about an abusive romantic relationship, for the respect that is necessary for love is instantly expunged as soon as violence enters into the equation. The infliction of violence is a manifestation of self-love in the sordid sense of self-idolatry, rather than of love that is directed to other people. So, it may be difficult to fathom how violence can serve love, and even be a manifestation of love, as The Crow illustrates.

The full essay is at "The Crow."