Tag Archives: compliance

Renault’s Hedge

The Attorney General’s letter says that he is resigning at the president’s “request,” but that of course is a euphemism. He never had the choice of not complying, or negotiating a different outcome, as he would if this had been an authentic request. Reports say Sessions wanted to stay on at least until the end of the week, but John Kelly hustled him out the door.

It’s a common ruse to disguise orders or commands as requests. Turning the verb “ask” into a noun — “the ask,” “my ask” — is one form this abuse takes. The euphemistic use of “request” is another.  In my work on asking, I’ve given this euphemism a name: Renault’s Hedge, after Captain Louis Renault in the movie Casablanca.

Rick’s Cafe. Captain Renault, played by Claude Rains, tries to mediate between Major Strasser and the resistance leader Victor Laszlo.

The scene seems like a piece of stage business that brings together the film’s main characters for the first time, only to have them arrange to come together at a later date. But the whole scene is a carefully scripted and choreographed negotiation of “authority,” from the soldier’s salute (in recognition of Strasser’s rank) at its beginning to the polite bows at its end. Throughout, witticisms, pleasantries, good manners and the norms of Casablanca cafe society serve as a hedge against Strasser’s power of command. 

STRASSER : I should like to discuss some matters arising from your presence on French soil.

LASZLO: This is hardly the time or the place.

STRASSER: (hardening) Then we shall state another time and another place. Tomorrow at ten in the Prefect’s office, with Mademoiselle.

LASZLO: Captain Renault, I am under your authority. Is it your order that we come to your office?

RENAULT: (amiably)  Let us say that it is my request. That is a much more pleasant word.

LASZLO: Very well.

Renault and Strasser bow shortly.

The improbable thing, of course, is that Renault’s hedge works, at least well enough to end the standoff (and Laszlo is, at this point, no longer sitting but standing face-to-face with Strasser).

It works in part because the film presents Strasser satirically as a striver, a Nazi brute pretending to be a civilized European. It also works because Rick’s Cafe, like Casablanca itself, is a place where the authority of the occupiers can be contested (think only of the scene in which Laszlo leads the singing of “La Marseillaise”). Polite repartee is still possible here: Victor Laszlo can mock Nazi occupation and subjugation to German authority as a “privilege” he has never accepted, and take refuge in decorum (“this is hardly the time or the place”) when Strasser tells him he should like to question him.

At the same time, this recourse to civility is always fraught with jeopardy. Here, it allows Renault to soften Major Strasser’s order, and all but compel Laszlo’s appearance. Renault’s Hedge gives cover to a moral retreat.

Six Questions about Asking and Sophia AI

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The company that makes Sophia, Hanson Robotics, has become adept at linking different, highly-specific algorithms like image recognition and speech transcription in a way that mimics what humans might be doing when we hear a question and formulate a response.
qz.com

Sophia AI’s mimicry of “what humans might be doing when we hear a question and formulate a response” is mostly “theatrics,” Hanson Robotics CTO Ben Goertzel openly admits. That is probably why Sophia AI has so far found her most receptive audiences on TV talk shows and in corporate theater, where she won’t have to undergo too much scrutiny. But with the launch of singularityNET, which promises to put “Sophia’s entire mind…on the network,” Hanson says that “soon…the whole world will be able to talk to her.”

I would offer that talking “to” Sophia AI — or using Sophia’s chatbot function — is still a long way from conversation in any meaningful sense of the word, because it does not involve talking with a second person. This inconvenient truth about Sophia AI has not prevented the Saudi government from naming Sophia the first “robot citizen” of the Kingdom (and the grim irony of “a robot simulation of a woman [enjoying] freedoms that flesh-and-blood women in Saudi Arabia do not” was not lost on the Washington Post); nor has it prevented tabloids from screeching about Sophia stating she would like to have a family.

If personhood is setting the bar too high, I’m content to consider merely how Sophia AI handles asking. This would involve some of the considerations I’ve been exploring in my posts on The Asking Project: what we “might be doing” (as the writer in Quartz puts it) when we ask or hear a question; what’s involved, and what’s at stake, when we address others with a request or demand; and how these and other interrogative activities might be involved in our (moral) status as persons.

For starters, here are half a dozen questions about asking and Sophia AI that occurred to me after watching her video performances. I suspect there is a clear answer to the first, and the remaining five require some extended discussion.

1. What syntactic, grammatical or other cues (e.g., intonation) does Sophia AI use to recognize a question, and distinguish it from a declarative statement?

2. Can Sophia AI distinguish a request from a demand? A demand from an order? If so, how is this done? If not, what does this shortcoming indicate?

3. Will Sophia AI ever refuse to comply with a request? Leave a demand unmet? Defy an order? If not, how should these incapacities limit the role of Sophia or any AI?

4. Could a demand ever create in Sophia AI a sense of obligation? If so, what might this “sense” entail? Can we speak coherently of AI rights, or even place limits on AI’s role, without first developing this sense?

5. Will Sophia AI ever be capable of deliberating with others and reaching consensus or agreement?

6. What would be required for Sophia AI to deliberate internally? To be capable of asking herself?