A World Without Hands

A close up of a section of a painting featuring a white feminine hand holding a shell. Salt or water runs over the shell. The hand is graceful and delicate against a black ground, and is framed by an elaborate lace cuff.

—on the spiritual cost of generative AI—

In this Post: 

▫️AI & Spiritual Practice
▫️How to Turn off AI Overview in Chrome
▫️A strange development in the world of GenAI Tech & further discussions.

..storytellers weaving truth into our dreams — their voices carrying medicine across generations, their tales smuggling hope past the censors of despair, imagination as the technology of survival.

— Rob Brezsny  

Generative AI is present in every area of our lives—constantly pushed onto us as we research, write, think–even meditate and pray. New Age gurus tout this tech as a handy spiritual advisor. Why not short cut the path through the dark night of the soul? Suffering is overrated, right? What is atonement or empathy for, anyway? Aren’t these difficult emotions in the way of us living our best lives, actualising mindful wellness?

In his book Digital Dharma, Deepak Chopra™️ promotes the use of  GenAI for spiritual growth. Chropra claims ChatGPT can act as a research assistant, personal confidant, a therapist/healer and a guru. 

Chopra believes a human therapist or healer is expensive, and a GenAI based one is free and available 24-7. Yet we know that this tech comes at a great environmental and cultural price. (I have written about this extensively in previous posts—see links below.) Generative AI consumes vast amounts of energy and clean water. Greenhouse gas emissions from Big Tech’s AI are over 660% larger than reported.

“ChatGPT, the chatbot created by OpenAI in San Francisco, California, is already consuming the energy of 33,000 homes. It’s estimated that a search driven by generative AI uses four to five times the energy of a conventional web search. Within years, large AI systems are likely to need as much energy as entire nations.” from nature.com.

To answer this question of demand, Open AI’s Chief Executive Sam Altman is proposing nuclear fusion to solve this looming energy crisis and is a prime investor in a large fusion company.

Microsoft has already turned to nuclear power to fuel its AI language learning programs. The company has purchased Three Mile Island, the Pennsylvania plant that was the site of the catastrophic disaster in 1979. The notorious Three Mile Island is being renamed the “Crane Clean Energy Centre.” 

Generative AI may seem to perform as a friend and therapist, but the dialogue model is service based. GenAI mimics this human exchange—it can never replace it. ChatGPT therapy is the cause of a worsening mental health crisis. Language learning models acting as ‘friends’ and therapists mirror delusional patterns back to the user. Crises have occurred after vulnerable seekers “engaged a chatbot in discussions about mysticism…” A recent paper by Stanford researchers found that leading chatbots being used for therapy, including ChatGPT, are prone to encouraging users’ schizophrenic delusions without trying to ground them in reality. I acknowledge all the caretakers of these spirit-modes—all who have been exterminated, and all who have kept this way of working in the world alive so that I might also do this work.

According to Chopra, the guru is GenAI’s most advanced role. Consulting a GenAI guru opens a ‘path to wisdom, insight, intuition, and expanded consciousness.’ Because the AI guru is ‘stripped of religious/spiritual connotations,’ Chopra considers it pure—freed from divisive human traditions and their texts. In language learning models acting as gurus, sacred texts are strip mined for content and remixed to suit the user.

Is the novelty of Generative AI worth the environmental, cultural and spiritual price?

In these dark times, I have taken solace in my spiritual tradition—a shamanistic path of hedge-witchery that involves working with plant and animal allies, spirits of place, and ancestors. This work defies written language; it’s rooted in oral tradition. I have cobbled together methods saved from extinction by First Nation people, anthropologists and modern scholars. 

In drawing all hands, GenAI can’t draw one convincingly. I would argue that in describing all faiths, all spiritual realities, Generative AI can’t even render one authentically.

In my extensive research writing Ashes & Stones I found that some witchcraft confessions suggest ecstatic spirit work. During the witch hunts, shared folk traditions, including these, were demonised by the church and state. Fragments of witchcraft confessions are a distorted lens, but they hint at animist trandition.  (See research by Carlo Ginzberg, Julian Goodare, Éva Pócs and Emma Wilby for more on this fascinating subject.)To walk a spiritual path, one must understand what has come before.

I acknowledge all the caretakers of these spirit-modes—all who have been exterminated, and all who have kept this way of working in the world alive so that I might also do this work. This is a debt that will never be repaid and can only be acknowledged. Recognising this is uncomfortable, heartbreaking–ego-eradicating–and yet this recognition is central to the work. It is the work—at least for me. I found this path by listening deeply, not to a Generative AI language model, but to the enchanted world, to written accounts and salvaged texts. 

Maybe this is where I differ with Chopra and the rest—I’m not looking for self-improvement or the actualisation of personal potential, but for a connection with the sacred. Visionaries hone their spirit ears over time. It is messy work; one never arrives, despite the idea of “Enlightenment” or wholeness being an end point. We are all capable of visionary experience, though many do not want this. GenAI eradicates the need for a spirit ear—for deep listening. In mashing all traditions together in a false ‘oneness’ of consciousness, it erases them all. 

GenAI can’t help us with our individual paths because it is describing all paths. There is no short cut through this process of learning by reading or listening to the teachings of those who have come before. In trying an easy tech soloution, we disown this inheritance. GenAI jumbles it up and smoothes out the challenging edges. Something is being broken here-a myriad of ancient contracts.

To walk a spiritual path, one must understand what has come before. The vast array of tradition will never be understood in one lifetime, yet this attempt to grasp our place in this makes us human. Spiritual tradition, no matter how fragmentary—connects us to what has come before, to both the sacred and the profane. Perhaps those who have come before can show us not only how to do it, but also what must never be done again.

My father, a minister in his youth, taught me that the way something is translated, like the Bible, can totally change its meaning. There is no one way to read a text, especially an ancient one written in a different language. He also used to mock the Unitarian church even as he respected their openness-he’d say, you can’t really trust someone who won’t put their money on a horse. It’s where he attended church, anyway. He acknowledged there were many horses, many races, and he instilled this in me.  At a certain point, you must devote yourself to a path, a way of working–put your money on a horse.

A spirit tradition comes to us through millennia of care taking-ceremonies, rituals, and prayer. People lived and died to safeguard meaning distilled through devotional practice. While there may be correspondence between distinct faiths, the traditions are not the same. They can’t be lumped together in a GenAI distillation. Some New Age seekers have consumed world faiths as a pick and mix variety. GenAI just makes that easier.

Generative AI can’t draw hands. They come out seven-fingered, distorted paws, claws, or flesh mittens. It can get so many other things right—why are hands so hard? Some say these models are evolving, getting better—but what if they aren’t? Already musicians are finding the model cannibalises its own distortions by exploiting its weaknesses. Tools like Nightshade and Poisonify and the ‘poison pilling’ of art and music files are just the beginning.

Hands—and some have argued thumbs in particular—are uniquely human. When learning to draw, one often starts with their non dominant hand as the perfect model. What you think a hand is—five fingers, a palm and thumb—is not how it appears. (This is another spiritual object lesson.) Get the hand wrong and it looks broken, alien, or weirdly out of joint. Anyone who has taken a life drawing class has had to solve the problem of the hand, sometimes at speed. They are intricate, expressive, and ever-changing. They lack symmetry. One can’t just double half of it and mirror it as one might a front-on face—as weird as those mirror results might be. 

The ancient hand paintings in the Argentinian Cave of Hands are some of the first art ever made by humans. They are stencilled with ochre in the depths of the cave—each the soul-mark of artist-visionary ancestors.

Hands are unique to an individual in time and space, right down to our fingerprints. They express a universal language beyond the written or spoken word. Hands have healing powers no GenAI can ever master. Think of a time you hurt yourself—you automatically touch the place that is hurting. Many therapists, healers and medical professionals can attest–the compassionate touch of a fellow human being is unmatched in its power. 

In drawing all hands, GenAI can’t draw one convincingly. I would argue that in describing all faiths, all spiritual realities, Generative AI can’t even render one authentically. Is it any wonder these immediate, ‘spiritual’ fixes are being offered to us at a time of great unease—when climate catastrophe and political despots threaten our world? What happens if we turn away from this ‘help’ being offered, to the analog world patiently waiting for us to look up from our screens?


Follow these simple instructions to turn off AI Overview in Chrome: https://tenbluelinks.org/#chrome-ios


Some Follow Up Links:

More on Nightshade and Poisonify: https://decrypt.co/203153/ai-prompt-data-poisoning-nightshared

In a bizarre turn… “A Prominent OpenAI Investor Appears to Be Suffering a ChatGPT-Related Mental Health Crisis, His Peers Say.” It’s a ramble worthy of a Philip K. Dick novel. https://futurism.com/openai-investor-chatgpt-mental-health

“AI industry horrified to face largest copyright class action ever certified. Class actions could financially ruin AI industry, trade groups say.” Millions of authors, artists, musicians, translators and researchers who have had their work stolen by big tech training language learning models are watching this go down. https://arstechnica.com/tech-policy/2025/08/ai-industry-horrified-to-face-largest-copyright-class-action-ever-certified/

Karen McCrindle Warren on her Highland Bagpipe Composition for the Accused


“The Burning of the Nine Women on the Sands of Dumfries, April 13th, 1659.
By J. Copland, Dundrennan

I spoke to Karen McCrindle Warren about her Piobaireachd, composed for the Highland Bagpipes.

You can hear Karen play her Piobaireachd  here.

The tune is one of memorial and witness for women executed in Dumfries in 1659, but also stands in as a memorial for all those executed for whom there is no physical memorial.  The tune was commissioned by Steve Rooklidge of the Shasta Piping Society of California. Asked for a remembrance piece for the “devastating witch trials that took place during the 16th and 17th centurires. A “Lament for the Accused”, if you will.” He included a link to the Interactive Witchcraft Map published by the University of Edinburgh. 

Questions in bold are mine. Here is what she told me: 

“This tune commemorates the events of 13th April 1659, when nine Galloway women were executed on Dumfries Whitesands.  Agnes Commes, Janet McGowane, Jean Tomson, Margaret Clerk, Janet McKendrig, Agnes Clerk, Janet Corsane, Helen Moorhead and Janet Callon, were “stranglit at stakes till they be dead, and thereafter their bodies to be burnt to ashes”.  This began a third peak in Galloway – more and more witch finders came forward, demanding their fees for rounding up suspects and torturing confessions from them.

“The tune is written in pentatonic G – the key that gives the most dissonance against the drones, symbolising the pain, fear and anxiety of these times, and the high G’s symbolising the screams of the ‘witches’ who were tortured for confession and put to such horrific public execution.  Not enough to kill them by strangling them at the stake, they had to be sure they were dead by also burning their bodies to ashes.”

Can you tell me more about how the Piobaireachd was commissioned? 

…I started looking through the map and searching for more information about witchcraft in Scotland, and particularly relating to Ayrshire, Dumfries and Galloway which is my area of interest.  I wrote music that was dark and desperate, but it took a while to find the story behind the title, and find the right title that suited the tune.  In the end, I felt the tune, title and story were a perfect fit.

Piobaireachd has a way of pulling at the heart strings, as the variations grow in intensity, it is like waves of grief coursing through the body and soul, returning to the calm of the ground as you try to compose yourself and move forward in life.

Karen McCrindle Warren

Your Piobaireachd is moving and intense, demanding time and space for witness. Traditionally, how has this style of composition been used in memorials?  

Piobaireachds have been used in memorials for centuries.  It is the traditional, ancient music of the bagpipe, and is often used to lament or salute those we have lost.  For example “Lament for Mary MacLeod”, “Lament for the Duke of Hamilton”, or “Lament for the Children” – this last one was written by Patrick Mor MacCrimmon who lost seven of his eight sons to small pox within a year.  This year the piping world lost a talented and lovely young man Alex Duncan at the age of 26.  A close family friend wrote a piobaireachd to commemorate him “Lament for Alex Duncan” and it was performed at the Glenfiddich Championship at Blair Castle where Alex used to spend a lot of time piping.  For one tune, our whole world came together and remembered this wonderful young man and mourned such a great loss to our community.  Piobaireachd has a way of pulling at the heart strings, as the variations grow in intensity, it is like waves of grief coursing through the body and soul, returning to the calm of the ground as you try to compose yourself and move forward in life.

What aspects of the history of the witch hunts informed your composition? 

I really didn’t know anything about witches in Scotland before Steve brought it up – we all learnt about Anne Boleyn having her head chopped off for being a witch, but I had never really considered witchcraft in Scotland.  What an eye opener that map was!  As I read into some of the cases, the things these poor people were being accused of was just crazy.  Anyone could fall out with you and accuse you of being a witch and your life would be over. Suspicion was enough to accuse, repute was enough to convict.  It must have been a terrifying time, and it was this state of distress I tried to bring out in the music. 

There is growing momentum for a national memorial to those killed during the witch hunts in Scotland. How do you see your composition playing a role in this work for a national monument? 

This isn’t something I’m familiar with but my music is freely available to anyone who wishes to listen, use it in memorials or learn to play it, and I hope it helps to evoke the desperation of the times and the memory of all these poor people who had their lives taken in such a cruel and violent way for nothing.

Karen can be found online at: 

www.elixir.scot

www.facebook.com/southwestscotlandcollection   

www.facebook.com/elixir.scot 

Dispatches from Fantasycon 2014

The York Minster. Taken with my iphone using Snapseed editing.
The York Minster. Taken with my iphone using Snapseed editing.

This year Fantasycon was in York, convenient for me as I live behind the rail station so the con was essentially in my back yard.  The popular joke at the con was that York was indeed Winterfell.  I confess I went simply because it was close to me– but fantasy is the genre I have always loved and with the embrace of the New Weird, it has become even closer to my heart.

The first con I ever attended was GenCon back in 1984. I was a dorky kid who played D&D. I remember trying to disguise my budding womanhood by wearing a man’s shirt and a fedora.  I ended up wandering around pretty lonely, not knowing how how to approach the myriad boys and men around me.  (I don’t remember any other girls, though there must have been some.) I was shy then, and not much has changed though I no longer wear men’s shirts and fedoras– maybe I should.

I still found the social aspect of this recent con daunting. Everyone was chatting in groups– presumably they’d known each other for years, or so it seemed.  There was no way to enter into conversations as a lone woman.  Or at least i should say I found it daunting.

And yet, things have changed. This was my first Fantasycon– since moving to the UK I have regularly attended Eastercon, the BSFA con– and in the last few years I have sold my hand made jewellery in the dealers room under the Feral Strumpet banner, which has helped me fund my trip to the con.

What I noticed was that feminism was alive and well in almost all the panels I attended.  Challenging questions of inclusion and the purpose of violence against women in fiction where electric, bristling with new ideas.  Men and women were voicing complex arguments; inclusion and nixing the misogynist cliches in the genre simply makes for richer stories.

Still the statistics are sobering– 50% of fantasy readers are women, yet we make up only 25% of published fantasy writers.  These numbers, voiced by Abbadon Editor David Moore in his panel on Grimdark, were repeated in other panels I attended that weekend.  There was an urgency to change this, something I had not felt before at any con.

It gave me hope. I would like to go back in time to that little girl hiding in plain sight and say “Hang in there– 30 years from now things will start changing and when they do, it’s going to happen fast.”