Fiction Predictions: Mary Shelley on the Ethics of Creation

Eko illustrates Frankenstein

Two hundred years ago, a masterpiece of Gothic fiction was written by a young woman named Mary Shelley. Her story of Frankenstein, the Modern Prometheus, paved the way for the horror and science-fiction genres, and is often cited as the foundational myth for modern AI ethics. 

The Book

When it first hit the press, the book became a terrifying and radical view of what can happen when sentient life is created de novo, sans the usual hundreds of thousands of years of evolutionary steps to acclimate. 

I mean, one minute you are dead body parts with zero self-awareness, and the next you're a free agent, rejected and despised by your creator, left isolated, lonely and eventually vengeful.

It all starts with Victor Frankenstein, whose studies in philosophy and chemistry (controversial topics in Shelley's day) had him obsessed with creating 'artificial life'. But when he succeeds, just like the myth of the Sky god Uranus, he is disgusted by his creation and fearful of his own power being usurped.  

Written in 1818, Frankenstein predicts the storm of ethical, social, and existential concerns arising from scientific advancement. In this way, her novel warns against technology outrunning wisdom and responsibility.

Was Mary Shelley a seer?

I think yes, especially the way the creature in Frankenstein parallels modern artificial intelligence (AI). Here's the breakdown:

 AI for Story Generation - Isamu Isozaki

Responsibility: Victor Frankenstein becomes obsessed with the "how" of creation while neglecting the "why" and/or the aftermath. He abandons his creature the moment it comes to life. This is mirrored by the 'move fast- break things' approach to technological development and the race for General AI.

Rapid Learning: Frankenstein's creature is not born evil; he learns by observing humans, only becoming "monstrous" after being rejected by his creator. Large Language Model AI learn by processing vast amounts of human-generated data. If that data is biased or if the AI is left without moral curating, it can become a digital version of the creature's "mis-education".

Uncontrollable Creations: The core fear in the novel, and in the myth of Uranus as well, is that the creation turns on its maker. This parallels modern fears that an AI’s intelligence will surpass human control or act in ways that are indifferent to human safety.

In the end, the novel asks if a being made from "parts" can have a soul or rights, just as we might argue whether a machine that flawlessly imitates human thought deserves "personhood" or moral consideration.

Did Shelley Foresee Bioengineering and Competitive Exclusion?

Intentional or not, Shelley spotlights the moral concerns that arise when science attempts to create life. More than that, her work is often cited in discussions around cloning, transplants, and competitive exclusion -- a concept in modern ecology describing how invasive species or technologies can destroy ecosystems

Ethics and Morality

The most profound prediction is the warning against pursuing a goal without considering the consequences.

Victor Frankenstein is not a mad, unhinged scientist, but a very reckless one. He is in control, but seemingly without strong morals.

Do you think this relates to corporations and governments racing to advance AI under an ethical banner of gaining power, control and dominance?

I am left with how Shelley's novel emphasises that the disaster is not caused by the creation itself, but by Victor abandoning his creation, failing to love it and raise it 'right'. 

Something to think about . . .

xxKim

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About Kim Falconer

The Amassia Series

Kim Falconer, also writing as AK Wilder, has released Crown of Bones, a YA Epic Fantasy with Curse of Shadows as book 2 in the series. 

 Quantum Enchantment

Kim can be found on AKWilder.com, Twitter, Facebook, Instagram and KimFalconer.com. 

Throw the bones on the AKWilder.com site. See you there!

Read Blood and Water, a PNR alt history that will leave you questioning every natural disaster ever endured.

“There is no doubt fiction makes a better job of the truth.” 

From The Backlist: "Supernatural Sidekickin' " by Kim Falconer

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We do love us a backlist post -- and this one from Kim Falconer is Grade A! We invite you to read on and enjoy. :-)

Supernatural Sidekickin'

This month, I want to explore the qualities of a 'good' sidekick/wing woman/man, what traits they have, their roles in the storytelling and how to write them.

Buffy -- & the Sidekicks!

What Sidekicks Are Good For

Back story: A well written, three dimensional sidekick can help with back story, allowing the reader to see and hear about things that came before page one without wading through heavy exposition. We see this in Star Wars with the sidekick Chewbacca, where his adventures in the past with Han Solo help shape our understanding of the man. Also in the sidekicks C-3PO and R2-D2. We learn much about the world through their commentary.

World Building: The sidekick can represent a culture or social group as Gimli and Legolas do in Lord of the Rings. Gollum, a 'minor' character, but with a major goal, provides a talking point for the long and complex history of the ring. What life was like in the past, the roots of the hobbits as a people. He is kind of an 'anti-skidekick' to the anti-hero Frodo.

Contrast: The sidekick can have different values, ethics, goals and motivations, making for a contrast to the main protagonist. Damon Salvatore in The Vampire Diaries, for example, hasn't much of a moral compass. At all. His buddy Alaric Saltzman, however, does, and watching that friendship grow is a measure of the main character's arc and emotional evolution.

Alaric & Damon

Humor and wit: The protagonist has to be pretty serious at times, playing it 'straight' as they work out how to fight the baddy, retrieve the lost treasure and save the day. The sidekick, however, is free to use wit and humor at times when the hero cannot. We see this in Buffy the Vampire Slayer with Xander (one of Buffy's many sidekicks). She may be in deep emotional angst and he can pop a one-liner that lifts the moment without throwing away her feelings.

Xander & Buffy

Throw-aways: Similar to wit and humor, there are times when a scene is too intense, deep or meaningful and the sidekick can be just the one to lighten it all with a 'throw-away' line. Clive and Ravi do this on iZombie when Liv is too deep into the fact that she is dead, turned into a zombie and has to eat brains to survive. It can turn a scene around in a flash.

Liv, iZombie

Freedom of Speech: The sidekick can say things the hero might be thinking, or wish they could say, but can't. In the Quantum Enchantment Series, Rosette has a sentient familiar, a temple cat who links with her telepathically. She might be having a conversation with a mentor or rival while her familiar does a running commentary on the whole thing, adding a new element to the scene.

The "Quantum" series

Sympathy: The hero may also relate to the sidekick in ways they can't to others, allowing the reader to gain more compassion or understanding. This works especially well for main characters that are not fully sympathetic. Eric Northman's compassion for his progeny, Pam, is an example from True Blood, aka Charlaine Harris's Southern Vampire Mysteries.

Eric, True Blood

Writing the Sidekick

The first question to answer when developing a sidekick in the story is why are they there? They have to move the plot forward, be part of the part of the story. They also have to have their own GMC - goals, motivations and conflicts, internal and external. In a shorter work, these won't be explored to a great depth, but with novel length stories and series, there is room for these subplots to be woven.

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To read the full post, click here

To check in on Kim, go here.

A Hiatus On Heroines...Just For Now!

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The life authorial has gotten a tad busy, with the 'b' that is for bustle, buzzing around ('like a blue-ass fly' as our Aussie friends like to say :D ) and beavering away!

So much so that I cannot do the heroines justice for today, so I'm calling a heroines hiatus until after the Easter holiday, and its aftermath, is done and dusted.

Instead, for both those who are set to enjoy a break and those who are continuing as usual, here are a few photos from "inside Middle Earth", aka Aotearoa-New Zealand that I hope you will enjoy. :-)

From great high mountains...

...via meetings with remarkable gardens...

To a shining sea.

About Helen Lowe

Helen Lowe is an award-winning novelist, poet, and lover of story. With four books published to date, she has recently completed the final instalment in The Wall Of Night series, which is now with its publisher, HarperVoyager.

Helen posts regularly on her “…on Anything, Really” blog, monthly on the Supernatural Underground, and tweets @helenl0we.