Es Devlin possesses a remarkable singing bowl, traditionally utilized in Buddhist chanting ceremonies but now a staple in many high-quality yoga sessions. This specific bowl resonates at a frequency that creates a delightful vibration in my temples, and judging by the quiet that envelops the gathering at Oxford Kilns when Devlin strikes it, I am not alone in experiencing a pleasant mental clarity.
Devlin is orchestrating a gathering of artists, AI researchers, spiritual leaders, and tech experts from around the world at the kilns for the AI and Earth conference, an event she has organized.
Despite her role in coordinating the event, Devlin admits she is not fully acquainted with the attendees. “I requested the university team to invite AI practitioners with a wide range of perspectives,” she explains. “Last year, I observed a similar approach at an artists’ retreat in a monastery, where monks encouraged guests to introduce themselves using only their first names. At a gathering for climate advocates led by diplomat Christiana Figueres, individuals from oil companies and activists shared experiences through meditation, cooking, and dishwashing before discussing their often opposing viewpoints, which facilitated the discovery of common ground.”
This conference is part of the lead-up to the inauguration of the Schwarzman Centre for the Humanities, which stands as the largest building initiative ever undertaken by Oxford University. Unlike most of its properties, which are off-limits, the ground floor of this new center will be accessible to the public, featuring a gallery, cinema, two theaters, and the world’s first Passivhaus concert hall. In addition to traditional humanities subjects like languages and philosophy, the center will house the Institute for Ethics in AI, a burgeoning area of moral philosophy with which Devlin has collaborated.
Devlin’s installation, titled 360 Vessels, created in collaboration with American composer Nico Muhly, will be showcased during the center’s opening festival. The 360 pots—including those created by us and others in workshops—will be displayed on three circular tables under the grand octagonal dome of the center’s main hall. “Each vessel represents a unique perspective,” Devlin remarks.
The University Chamber Choir will perform a choral work by Muhly, inspired by the writings of 17th-century theologian and poet Thomas Traherne. As we engage in pottery today, discussions will revolve around the implications of AI on the environment. Subsequent workshops will feature edited recordings of today’s dialogue as participants create and converse.
If the multiple layers of references and meanings are causing your mind to spin, that’s reflective of Devlin’s creative process. Whether she is designing sets for theatrical productions or crafting her own artwork, she emphasizes collaboration and audience involvement—art emerges only when everyone actively participates and interacts with the concepts and physical experience.
Here, participation is hands-on: we roll up our sleeves and knead the clay. Two skilled potters guide us as we shape the clay into vessels, create pinch pots, and transform simple bowls into more decorative items.
“I believed that hosting the conference in a pottery workshop, with our hands immersed in 160-million-year-old Jurassic clay, was ideal! It serves as a counterbalance to the time spent in front of screens with our fingers dancing over keyboards,” Devlin explains.
While we may not know each other’s names, several notable figures arise during our discussions. Alan Turing is referenced, particularly regarding the relevance of the 1950 Turing test in evaluating a machine’s capability to exhibit compassion. Additionally, Isaac Asimov’s Three Laws of Robotics, first introduced in a short story published in 1942, are debated. Ethan Mollick’s 2024 publication, Co-Intelligence, is mentioned for its concepts of centaurs and cyborgs, which describe the ways in which humans and AI can work together. The conversation also touches on the Compost computer, a prototype that converts bioenergy into electricity, reconnecting technology with the earth. One participant shared insights from Jorge Luis Borges’ 1945 short story, The Aleph, which discusses a point in space that encompasses all other points; another had just returned from a conversation about AI with the Dalai Lama.
A notable comment came from one of the potters leading the workshop, who emphasized that this discussion represents a privilege. She pointed out that her family hails from what many refer to as the developing world, where discussions about AI are rarely held, as it simply unfolds without consultation. This raises an important perspective on behalf of a significant portion of the global population.
After the conference, Devlin expressed satisfaction with the outcomes. She reflected on a participant’s insight regarding the struggle to avoid anthropomorphizing AI, despite understanding the logical arguments against it. Devlin herself has been exploring large language models for a decade and is intrigued by the language used to characterize AI. She noted that Shoshana Zuboff’s book, The Age of Surveillance Capitalism, discusses the notion of digital shadows, prompting her to think about the tale of Peter Pan losing his shadow.
Devlin concluded, “I recognize that my art, my words, and every choice I make contribute to training algorithms that concentrate wealth among a privileged few. Despite the confusion and challenges this presents, I aspire to reconnect my digital shadow to my being and engage with it fully, inviting others to do the same.”
Es Devlin and Nico Muhly’s 360 Vessels – A Choral Installation will be featured at Open House, a complimentary festival at the Schwarzman Centre, Oxford, on April 25.
