Robots

What kind of loyalty do we owe a robot we’ve paid for — one who exhibits a convincingly human kind of consciousness? Less loyalty than we owe to our own children? But what about to someone else’s child? And do we commit murder if we destroy him? These are the questions facing Charlie when he spends his inheritance on a robot called Adam. Charlie is a trained anthropologist with an enthusiasm for computers who hopes to give his life meaning by experimenting in ‘electronics and anthropology — distant cousins whom late modernity has drawn together and bound in marriage’. He and his girlfriend Miranda join forces in programming Adam with a personality, playing at parenthood as they create a new quasi-human.

Imagine a world where we’re all hooked to our individual electronic devices, which feed us our music, communicate with our friends and know our needs; imagine a tech company that dominates an entire city, where your social pecking order is reflected in the devices you possess. Actually, you don’t have to imagine. It’s all there already… Apple, Google, Facebook. So Jinxed, by the young Canadian Amy McCulloch (Simon & Schuster, £7.99), is very much of the moment. It’s set in a city in Canada dominated by a tech corporation: ‘The final goal of Moncha Corp is to make life better... And to make people happier.’ Its academy is where every bright teenager wants to go.

Back in 2012, a team at Google built a state-of-the-art artificial intelligence network and fed it ten million randomly selected images from YouTube. The computer churned through them, and announced that it kept finding these strange things with furry faces. It had, in other words, discovered cats. Artificial intelligence has, all of a sudden, become the next big thing again. It is not so much sweeping across our world as seeping into it, with a combination of enormous computing power and the latest ‘deep learning’ techniques promising to give us better medical diagnoses, better devices, better recipes and better lives. Soon, it might even be able to give us new Beatles songs.

What could happen in literature to a young couple — or a pair of young couples — who fall off the beaten track and enter a magical place not quite of this world? They might end up, like Adam and Eve, in paradise. Or, like The Tempest’s Miranda and Ferdinand, under the control of powers greater than they can hope to understand. Or, like the lovers in A Midsummer Night’s Dream, they could find themselves unsure who they love, or whether they can ever trust what they see, or feel. Or, like Charmaine and Stan, the star-crossed heroes of Margaret Atwood’s dazzling and hilarious new novel The Heart Goes Last, which plays effortlessly with tropes from Shakespeare and Milton, they could take shelter from a world ravaged by economic crises in a prison.

Nicholas Carr has a bee in his bonnet, and given his susceptibilities this might well be a cybernetic insect, cunningly constructed by a giant tech company with the express purpose of irritating him — a likely culprit might be the Tyrell Corporation in Ridley Scott’s future-dystopic film Blade Runner. In 2012 Carr — whose name has homophonic overtones of Cassandra — published a minatory work on the internet and the web called The Shallows. The title does indeed say it all: Carr’s view was that our increasing use of these technologies is having an impact on our cognitive and other physical faculties, and that by and large it’s a negative one.