“Presents an unsettling portrait of artificial intelligence’s implications.”

Few contemporary subjects generate as much discussion as artificial intelligence, ranging from effusive praise and misplaced certainty by its proponents who note its potential, to outright confusion or disdain from those who realise the danger that it poses. This is a field that is discussed endlessly, yet rarely given much nuanced interrogation that doesn’t veer towards either extreme. Valerie Veatch is clearly fascinated by the subject, as she uses it as the foundation for Ghost in the Machine, an investigative documentary in which she attempts to cut through the layers of discourse by exploring the origins of artificial intelligence, as well as looking at various theories (both positive and negative) about what it will become, with a particular focus on the power structures and far-fetched fantasies that have already begun to shape this industry. A film that deliberately avoids any kind of prediction or spectacle, and instead sets out to explore the conditions that surround the creation and continued development of this technology, making artificial intelligence an inevitability, despite the underlying concerns that always emerge when the subject is discussed. The director is known for her refusal to simplify or sensationalise her topics, and in tackling an issue that is frequently being discussed from a range of angles, she can create a fascinating and slightly unnerving portrait of the extent to which artificial intelligence has begun to impact our lives, starting as a measured historical overview before eventually evolving into a cautionary warning about the potential dangers that come with trying to “build God”, shifting from analytical curiosity to deep existential anxiety.

The thesis statement of this film is clear: artificial intelligence is less a technological miracle (despite the adulation of its hardcore supporters) and more the culmination of decades (if not centuries) of long-standing fantasies built around efficiency, control and the hopes of eventual transcendence. Told in a series of chapters that are roughly chronological, starting with the origins of artificial intelligence (from which we get the concept of the “ghost in the machine”, a term coined by Gilbert Ryle in the 1940s to refer to the far-fetched but alluring idea that intelligence can exist without the presence of material conditions or biological labour), the film methodically tracks the intellectual and scientific lineage of this technology over time. Veatch employs an interdisciplinary approach, weaving together conversations with experts in several different relevant fields, ranging from scientists and technologists to existential philosophers, historians and political analysts, all of whom bring their own unique insights into the subject. Offering such a wide range of perspectives allows the director to treat artificial intelligence as more than just a purely technical topic, but rather something that is applicable to a much wider range of concepts than we may have initially realised. Adding historical and philosophical nuances gives the film a firmer grounding, showing that artificial intelligence is not a recent phenomenon, and instead of just being a miraculous discovery, it has been shaped by centuries of ideological momentum.

There are many layers that inform Ghost in the Machine and underline its more discerning approach. The core of the film ultimately becomes less about the starry-eyed, idealistic view of artificial intelligence as some technological sensation that will benefit humanity, but instead something much more concerning, which is shown through the film’s exposure of the hidden labour infrastructure on which this technology is built. The film posits that you cannot remove human labour from the process of developing this technology, and that it often relies on invisible human work to train, moderate and maintain these systems, most of which consists of underpaid labour drawn from the third world, with the promise of steady work, without accounting for the fact that it involves clear exploitation. This is where Veatch does draw our attention, since the extraction of workers who do the majority of the job for only a fraction of the benefits speaks to this industry being built on inequality – and unlike other sectors, artificial intelligence is growing so rapidly that anyone who ignores it runs the risk of being entirely left behind. When a technology is supposedly designed to aid humanity, but in the process influences it negatively to the point of engaging in quiet exploitation, we must wonder whether it is actually worth pursuing. The film deliberately doesn’t draw a clear consensus, with the experts from various disciplines often in conflict with one another (reinforcing the instability and unresolved nature of the subject), leaving the onus on each viewer to engage with the content of this film and how it compares to their own opinion on how artificial intelligence is developing and continuing to become an unavoidable part of contemporary existence.

Ghost in the Machine ends with the quote by Antonio Gramsci, where he says, “The old world is dying, and the new world struggles to be born – now is the time of monsters”, which is perhaps the closest the film comes to taking a clear stance, despite the director’s intentional neutrality. Artificial intelligence is like a speeding train heading towards us, which we cannot avoid – creating the feeling of collective helplessness as a few elites reap the benefits under the illusion of groundbreaking technology that they claim will help humanity, but in the process, impacts it negatively. The film does have a clear line of reasoning, and we can discern the director’s own hesitations about the technology, while still being able to present multiple viewpoints, even those that stand in conflict. The ambiguity is one of the film’s strengths, since it forces the viewer to confront uncertainty and think deeply on the subject, rather than just passively watching experts guide the conversation. The thrill of being told the endless possibilities of artificial intelligence sharply contrasts with the more questionable aspects, which are unsurprisingly hidden from view in most conversations. The film ends quite abruptly, leaving the audience suspended in a state of uneasy reflection, lacking a clear resolution in the face of this outright refusal to forecast the future of the technology or comfort those who may feel unsteady about the subject. Ultimately, Ghost in the Machine presents an unsettling portrait of artificial intelligence’s implications, showing where it comes from, how we use it today and what it may become, all of which reveal disturbing insights into the use and abuse of power to satisfy certain priorities and unspoken desires.