by Mark R. DeLong
Duke law professor James Boyle said an article on AI personhood gave him some trouble. When he circulated it over a decade ago, he recalled, “Most of the law professors and judges who read it were polite enough to say the arguments were thought provoking, but they clearly thought the topic was the purest kind of science fiction, idle speculation devoid of any practical implication in our lifetimes.” Written in 2010, the article, “Endowed by Their Creator?: The Future of Constitutional Personhood,” made its way online in March 2011 and appeared in print later that year. Now, thirteen years later, Boyle’s “science fiction” of personhood has shed enough fiction and fantasy to become worryingly plausible, and Boyle has refined and expanded his ideas in that 2011 article into a new thoughtful and compelling book.
In the garb of Large Language Models and Deep Learning, Artificial Intelligence has shocked us with their uncanny fluency, even though we “know” that under the hood the sentences come from clanky computerized mechanisms, a twenty-first century version of the Mechanical Turk. ChatGPT’s language displays only the utterance of a “stochastic parrot,” to use Emily Bender’s label. Yet, despite knowing the absence of a GPT’ed self or computerized consciousness, we can’t help but be amazed or even a tad threatened when an amiable ChatGPT, Gemini, or other chatbot responds to our “prompt” with (mostly) clear prose. We might even fantasize that there’s a person in there, somewhere.
Boyle’s new book, The Line: AI and the Future of Personhood (The MIT Press, 2024) forecasts contours of arguments, both legal and moral, that are likely to trace new boundaries of personhood. “There is a line,” he writes in his introduction. “It is a line that separates persons—entities with moral and legal rights—from nonpersons, things, animals, machines—stuff we can buy, sell, or destroy. In moral and legal terms, it is the line between subject and object.”
The line, Boyle claims, will be redrawn. Freshly, probably incessantly, argued. Messily plotted and retraced. Read more »
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Ryan Ruby is a novelist, translator, critic, and poet who lives, as I do, in Berlin. Back in the summer of 2018, I attended an event at TOP, an art space in Neukölln, where along with journalist Ben Mauk and translator Anne Posten, his colleagues at the Berlin Writers’ Workshop, he was reading from work in progress. Ryan read from a project he called Context Collapse, which, if I remember correctly, he described as a “poem containing the history of poetry.” But to my ears, it sounded more like an academic paper than a poem, with jargon imported from disciplines such as media theory, economics, and literary criticism. It even contained statistics, citations from previous scholarship, and explanatory footnotes, written in blank verse, which were printed out, shuffled up, and distributed to the audience. Throughout the reading, Ryan would hold up a number on a sheet of paper corresponding to the footnote in the text, and a voice from the audience would read it aloud, creating a spatialized, polyvocal sonic environment as well as, to be perfectly honest, a feeling of information overload. Later, I asked him to send me the excerpt, so I could delve deeper into what he had written at a slower pace than readings typically afford—and I’ve been looking forward to seeing the finished project ever since. And now that it is, I am publishing the first suite of excerpts from Context Collapse at Statorec, where I am editor-in-chief.![Henri Matisse created many paintings titled 'The Conversation'. This, from 2012, is of the artist with his wife, Amélie. [Hermitage Museum, St. Petersburg, Russia].](https://3quarksdaily.com/wp-content/uploads/2019/06/Matisse_Conversation-360x292.jpg)
