
Zuckerberg saying AI will cure loneliness is like big tobacco suggesting cigarettes can treat cancer
In an interview with Rolling Stone magazine in 1996, on the publication of his novel Infinite Jest,
the late writer David Foster Wallace voiced some ideas about technology that seem increasingly prescient with every year that passes.
He began by talking about television, which was one of the major subjects of his work, representing as it did a nexus of many of its central themes: technology, addiction, pleasure, loneliness and the all-consuming presence of corporations in contemporary American life.
Wallace, who struggled with substance abuse throughout his life, often spoke of television as his original addiction.
(Infinite Jest, which itself seems to be increasing in relevance, partly centres around a piece of film, known as 'the Entertainment', that is so endlessly compelling that its viewers forego all human contact and bodily sustenance in order to never stop watching it. They eventually die of starvation and neglect.)
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Television was powerfully seductive, he said, because it answered some basic human social needs – for company, for entertainment, for stimulation, for talk – without requiring anything of the viewer in return.
There was none of the risk, none of the potential for unpleasantness or awkwardness or pain, inherent in human relationships. This was why it was so seductive, and also why it led, after long periods of watching, to feelings of profound emptiness.
And then, unprompted, he began to talk about the internet, a technology which in 1996 was still in a prelapsarian state of dial-up innocence – no social media, no
YouTube
, no
Google
even – but with whose darker potentials Wallace had long been preoccupied.
'The technology,' he said, 'is just gonna get better and better. And it's gonna get easier and easier, and more and more convenient, and more and more pleasurable, to be alone with images on a screen, given to us by people who do not love us but want our money. Which is all right. In low doses, right? But if that's the basic main staple of your diet, you're gonna die. In a meaningful way, you're going to die.'
Alone with images on a screen, given to us by people who do not love us but who want our money. It would be hard to identify a darker premonition of our own time or a more unsettlingly accurate one.
The average American has fewer than three friends, and the average person has demand for meaningfully more, like 15 friends
—
Mark Zuckerberg
I thought of Wallace last week, and of this remark in particular, when I heard
Mark Zuckerberg
, whose company
Meta
is investing tens of billions of US dollars in developing
artificial intelligence
(AI) technology, speaking on a podcast about his vision for the near future.
Having touched on the way people will use AI for internet search, and for information processing tasks, he addresses what seems likely to be the primary use for the technology in Meta's case, given the company's foundation in monetising human interactions and its recent movement toward more passive content-consumption.
'I think as the personalisation loop kicks in, and the AI gets to know you better and better, I think that will be really compelling,' he said. 'There's this stat that I always think is crazy, which is that the average American has fewer than three friends, and the average person has demand for meaningfully more, like 15 friends.'
The reality, he said, is that people don't feel the kind of connection to the world that they would like, and they are more alone than they would like. The implication here – and the implication of all that investment in AI – is that this technology, with its personalisation loops and its improving ability to pass for a human intelligence, will answer that need.
It barely needs to be pointed out here that Zuckerberg – who does not love you, and who wants your money – is as responsible as anyone on earth for the increased atomisation of technologically advanced western societies, for the swelling tide of loneliness and isolation he himself invokes.
(I'm guessing that America is, if not exactly a special case, an outlier in terms of the friendship statistics he's talking about. We Irish – and Europeans more generally – are by no means immune to these trends, but I think it's fair to say we have a healthier social environment than work-obsessed Americans.)
That Zuckerberg is now addressing himself to that problem and that the solution he is proposing is, in effect, chatbots – well, it's like a tobacco company addressing the problem of smoking-related illness and death by suggesting that people smoke more.
Idea that a cure for these ills might be found in technology designed to replace the need for other humans is troubling, absurd
Like almost everyone I know, I use Zuckerberg's products. I haven't used
Facebook
in years – has anyone? – but I do use
Instagram
. One aspect that's become unignorable about the experience of using Instagram in recent years is that though you probably joined it to see photos of your friends, and to interact with them, that's not really what it's for any more.
Instagram, largely in response to the transformative success of
TikTok
, has become a place where you consume content, most importantly advertising. You can still interact with your friends there, of course, but you are almost certainly doing it less and less, as their posts – to the extent that your friends are even still posting – are overwhelmed by influencer content, personally targeted advertisements and random AI slop.
It has become a place, in other words, where you are alone with images on a screen. It has become a more addictive, and generally more toxic, form of television. It has become 'the Entertainment'.
It is inarguably true that the internet and social media have – along with all the other baleful and related effects like the erosion of social trust, the cultivation of conspiracy theories, the growth of political extremism – made people more lonely and isolated.
The idea that a cure for these ills might be found in an even more sophisticated technology, one designed to replace the need for other humans, is as troubling as it is absurd.
Machine lovers, machine therapists, machine friends. The cure is the disease itself. It's a solution that can only lead to a deeper emptiness, and to a lonelier and less human world.
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Irish Times
10 hours ago
- Irish Times
How to Train Your Dragon review: Nobody needed this remake. But it's sleek, charming and funny all the same
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Irish Times
19 hours ago
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Sly Stone, pioneering funk and soul musician, dies aged 82
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READ MORE The 1971 album There's a Riot Goin' On, a moody reflection on civil rights and the corrupted idealism of the postwar era created predominantly by Stone apart from the rest of his band, is widely regarded as one of the greatest of the 20th century. Among those paying tribute to Stone was musician and actor Queen Latifah, who heralded an 'innovator [and] funk aficionado.' Waterboys frontman Mike Scott wrote: 'Thank you for all the inspiration, for breaking ground so others could follow and for being the sassiest, funkiest being on planet earth'. Born Sylvester Stewart to a Pentecostal religious family in Texas in 1943, Stone grew up in the San Francisco Bay Area. His first music came in a gospel quartet with three siblings, the Stewart Four, who put out a locally released single in 1952. 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Irish Times
21 hours ago
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Pioneering producer Arthur Baker: Bono called me up and said, ‘Can you get me a guitar? I want to write a song'
Arthur Baker knows everyone. If he hasn't produced them he's remixed them, or written songs with them, or got drunk with them, or hoovered blow with them. He was the beat scientist behind Afrika Bambaataa's hip-hop foundation text Planet Rock. He remixed Springsteen for the clubs. He co-produced the Artists United Against Apartheid Sun City album. He chaperoned Bob Dylan through his most fallow creative period, in the mid-1980s. Throughout it all he exhibited uncanny hitmaker instincts, the ability to turn musical motifs into money. READ MORE 'I grew up listening to Philly and Motown,' he says from Miami. 'You'd lead with the hook. You want to get to the punchline before people get turned off.' Blame it on artistic ADD. The early 1980s were all about collaging, sampling, pop art as postmodernism. The two main white rap entrepreneurs came at it from different angles: Rick Rubin was a long-haired hardcore kid; Baker loved R&B, disco and funk. 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There's no colour to funk. 'When Nile Rodgers produced Bowie , a lot of the musicians – Carlos Alomar, Tony Thompson – were people of colour. Was Fame or Young Americans a white record or a black record? It was a record , you know. Unless you're making a record with the Ku Klux Klan band – that's a white record. 'Musicians are usually the least racist people you'll ever meet, because they're just about the music.' Baker's book serves as a testimonial to a period when New York was a perfect musical ecosystem dependent on the holy trinity of studios, clubs and record shops. He and his crew blew the woofers on Shirley Bechor's sound system at the Rock and Soul record store when they road-tested the Planet Rock master. Jellybean Benitez even had a reel-to-reel at his club. And there was significant transatlantic traffic. Baker not only produced New Order's Confusion, he also starred in the video – which encapsulates the period so perfectly it should be preserved in the Smithsonian. 'It's the only thing that was filmed in that way, at that time, in a club like that. I'm going through Times Square. It really captures New York like not much else did. It's crazy that they talked me into doing it. Actually, it was all Tony Wilson – to give him his props, he convinced me.' Two years later Baker was hired to remix the flagship singles from Bruce Springsteen's album Born in the USA: Dancing in the Dark, Cover Me and the title track. It was controversial enough. Springsteen was the quintessential blue-collar heartland rocker. The remixes were radical dancefloor makeovers. 'For me the whole concept of doing a remix is to reinterpret it the way I hear it and then let the artist come in and make feedback,' Baker says. 'Remixes are all about the groove, and how much vocal you use, and whose vocal you use on it. 'With Bruce, he came in on the first one and it was fine, because I had my crew there. He was pretty chilled out, had a few beers and then left. The thing is, [the remixes] wouldn't have come out if he didn't like them.' Springsteen's manager, Jon Landau, 'told me that the Dancing in the Dark mix helped it break in the UK. They ended up using it as the single at one point.' Baker's work rate throughout this era was insane, largely fuelled by cocaine, alcohol and workaholism. In 1985 he and Springsteen's lieutenant Steve Van Zandt produced the Sun City single and album, featuring a huge cast of rock and hip-hop musicians. It was a revolutionary statement, both politically and sonically. Even today the track sounds bracingly militant, Public Enemy before the fact. 'Probably too ... Well, no, I wouldn't say it was too militant, but it was sort of at the peak of my partaking in drugs ... My chapter on it and Steven's chapter' – from Van Zandt's memoir, Unrequited Infatuations – 'are way different, because he would go home at nine o'clock and I'd be there all night. 'It was definitely a wall of sound, trying to fit in all the musicians and all the vocalists and making it danceable, and rockable. To me it's the most important record I made. I'd have people coming in all night: I turn around and I'm in the studio with Miles Davis and Peter Gabriel and George Clinton and Eddie Kendrick and David Ruffin.' It was also crucial in inspiring the departure of Bono and U2 from European postpunk into widescreen Americana. 'I'm not saying [Bono] disliked blues, but it wasn't on his radar at all. And then he got Peter Wolf and Keith Richards giving him a f**king crash course. He called me up and said, 'Arthur, can you get me a guitar? I want to write a song.' And he wrote Silver and Gold, and the thing grew at that point. 'We had never planned an album, but there was so much great information being laid down that we said, 'Well, we got to.' When I think about how short of a time we actually had making it, and how hard we worked, I don't think we ever got a chance to appreciate it. Before you know it, it was over. And then obviously Mandela got out, and it was, like, the job was done.' Arthur Baker at Shakedown Sound Studios in New York City. From his book Looking for the Perfect Beat That same year Baker got the call to produce Bob Dylan's Empire Burlesque album. He wasn't surprised to learn that the singer's recording process was as idiosyncratic as everything else about him. 'He was always rewriting. I'm not going to say every song, but a lot of the songs he would be rewriting as he would record. He'd sit down and scratch it out and rewrite it. I was always trying to get one of those pieces of paper. Dylan would just gather everything up at the end of the session. Man, I got nothing from those sessions!' The album's closer, Dark Eyes, written after Baker suggested that the record needed an old-fashioned acoustic track, is widely regarded as Dylan's greatest song from a period of lean. Until he read Chronicles, Dylan's memoir, the producer had no clue that he'd effectively commissioned a new song from his boss. 'Dylan had cassettes full of f**king demos, so I thought he just went back to the hotel and listened to a few things and came back with that. When Chronicles came out I was, like, 'Holy shit. Dylan is saying I was right.' I wonder how many times he said someone is right on in print. 'That is one moment I will never forget, when he played that song, where we were, the little booth. 'Empire Burlesque: there's some really good songs. There were some duds, there were some bad overdubs, 1980s shit. Looking back, I would have done it differently, but, you know, at least we got Dark Eyes out of it. That song's unbelievable.' Baker has since produced and worked with artists of the calibre of Tina Turner, Mick Jagger, Diana Ross, Al Green and Quincy Jones. Is there a strategy for dealing with megastars' egos and insecurities? 'I'm a bad producer, dude. You know, I'm more of an artist. The best stuff I do is when I collaborate with the artists, like when I did records with New Order I joined the band. 'I love making music, I love writing songs, I love doing remixes, but the idea of going in with a band, having to be their shrink, doesn't appeal to me. I'm like a bull in a china shop, you know. I'm a tourist; I'm not Rick Rubin. I'm not that guy who has all his f**king theories and shit. I could have used someone like that to produce me , and then I probably would have a lot more hits.' Looking for the Perfect Beat: Remixing & Reshaping Hip-Hop, Rock & Rhythms, by Arthur Baker, is published by Faber & Faber